Masterclass: Alisa Weilerstein on Chopin’s Cello Sonata in G minor op.65


The American cellist explores how to bring out all the romantic charm of the first movement using fingerings and bowings, without over-reliance on vibrato, rubato or a sticky, sickly sound

Explore more Masterclasses  like this in The Strad Playing Hub

Read more premium content for subscribers here

Chopin wrote very few pieces that were not for solo piano, and I am happy to say that the Cello Sonata is one of them. Cello repertoire from before the 20th century is extremely limited, so there is a special appreciation for any cello piece from that time that is truly great. This is one of the last pieces that Chopin wrote, and it’s one of his best. Of course, I would say that, but truly, it is! This first movement is structurally masterful and harmonically engaging, and the melodic writing is inspired. The second movement is one of the most beloved cornerstones of the repertoire.

Already subscribed? Please sign in

Subscribe to continue reading…

We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.

  • Free 7-day trial

    Not sure about subscribing? Sign up now to read this article in full and you’ll also receive unlimited access to premium online content, including the digital edition and online archive for 7 days.

    No strings attached – we won’t ask for your card details

  • Subscribe 

    No more paywalls. To enjoy the best in-depth features and analysis from The Strad’s latest and past issues, upgrade to a subscription now. You’ll also enjoy regular issues and special supplements* and access to an online archive of issues back to 2010.


* Issues and supplements are available as both print and digital editions. Online subscribers will only receive access to the digital versions.