Amanda Forsyth talks about finding inspiration from a Jewish cantor to help her play emotional slides and singing phrases
In our August 2016 issue, double bassist Christine Hoock emphasises serenity, clarity and flow, and the importance of preparation when tackling the first movement of this overtly Classical piece
Swedish violist Emilie Hörnlund, of the Chiaroscuro Quartet, discusses how to achieve optimal articulation, balance and flow in the first movement of the first ‘Rasumovsky’ Quartet
Violist and composer Konstantin Boyarsky considers nerves, narrative and the influence of the opera in his discussion of this late Romantic piece
Violist Richard O’Neill gives his thoughts on performing the work in the November 2021 issue
The Takács Quartet violist looks at the first and third movements of this well-loved B flat major work, where his instrument is thrown into a rare spotlight
Cellist Johannes Moser takes a look at structure, character and speed, and explains why it is so important to honour the composer’s bowings, in the first and second movements of the E minor Sonata. From December 2017
Moray Welsh looks at the cello version of the first movement, whose successful execution requires boundless musicality, lyricism and technical finesse
Practical tips to help you master the challenges of this most fundamental of repertoire
Cellist Wolfgang Emanuel Schmidt discusses how to produce a true legato and varied tone colours appropriate to this tempestuous work. From February 2016
Berlin Philharmonic bassist Edicson Ruiz advocates Viennese tuning and a period bow to bring out the best in this sonorous Classical work
To say that repeated material always has to be played differently to make it interesting is a flawed interpretation of how we work as human beings' - double bassist Leon Bosch speaks about performing 'The Famous Solo' by Dragonetti to The Strad.
If you want someone to listen to you, you must express yourself with extreme clarity. This has to be exaggerated in front of a large audience.'
The French soloist and teacher advises on how to improve intonation and dexterity on the double bass. From the October 2015 issue
Degrees is The Strad’s international guide to further education for string players. Find details of courses in 50 countries worldwide, including the main string teachers on each, to help you make an informed decision about where to study next.
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