All Masterclass articles – Page 2
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Premium ❘ FeatureMasterclass: Leila Josefowicz on Berg Violin Concerto Second Movement - part 2
In the second of two articles, Leila Josefowicz discusses the Adagio of the second movement, in the context of the Viennese School and the Neue Sachlichkeit era
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Premium ❘ FeatureMasterclass: Glazunov Elegy in G minor for viola and piano op.44
Violist Paul Laraia explores the lyrical possibilities of this miniature masterpiece and the emotional journey on which it takes the listener
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Premium ❘ FeatureMasterclass: Augustin Hadelich on Tchaikovsky’s Violin Concerto part 1
In the first of a two-part article Augustin Hadelich discusses timing, tradition and character in the acrobatic first movement
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Premium ❘ FeatureMasterclass: Antje Weithaas on Brahms Violin Concerto part 2
Antje Weithaas completes her exploration of the concerto’s first movement, in the second of a two-part article
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Premium ❘ FeatureMasterclass: Beethoven Cello Sonata no.4 in C major
Cellist Amit Peled gives his thoughts on a second movement of introspection and wild exploration
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Premium ❘ FeatureMasterclass: Antje Weithaas on Brahms Violin Concerto part 1
In the first of a two-part article, Antje Weithaas discusses mystery and contrast in the first movement of this great work
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Premium ❘ FeatureMasterclass: Mozart Violin Concerto no.4 in D major K218
Violinist Francesca Dego looks at how to play the final movement of this violin concerto with direction, musicality and a sense of fun
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Premium ❘ FeatureMasterclass: Mendelssohn Violin Concerto 2nd movement
Violinist Tessa Lark delves beneath the surface to discover why the concerto’s second movement is such a pleasure to perform
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Premium ❘ FeatureMasterclass: Julia Fischer on Beethoven’s Violin Concerto, Third Movement
Conversations between instruments, harmony and articulation all form part of Julia Fischer’s discussion of this joyous third movement
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Premium ❘ FeatureMasterclass: Augustin Hadelich on Beethoven’s Violin Concerto first movement - part 1
In the first of two articles, Augustin Hadelich looks at direction and flow in the first movement of this notoriously simple and yet deceptively difficult work
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Premium ❘ FeatureMasterclass: Beethoven Grosse Fuge op.133 (part two)
In the second of two articles, Belcea Quartet violist Krzysztof Chorzelski paints a vivid picture of the dissolution and resolution in the second half of this great work
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Premium ❘ FeatureMasterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 1
In the first of two articles, violinist Tai Murray discusses individuality, balance and tempo in the lengthy first movement of the op.56 concerto for piano, cello and violin
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Premium ❘ FeatureMasterclass: Jack Liebeck on Bruch Violin Concerto no.1
Thoughts on sound, colour, phrasing and interpretation of the first movement from British violinist Jack Liebeck
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Premium ❘ FeatureMasterclass: Esther Yoo on Mendelssohn’s Violin Concerto Third Movement
Esther Yoo imagines a ballroom of swirling summer dancers and secret trysts as she talks through the sparkling third movement of this magical work
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Premium ❘ FeatureMasterclass: Beethoven Grosse Fuge op.133 (part one)
Belcea Quartet violist Krzysztof Chorzelski guides us on a journey that requires courage from both listener and performer
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Premium ❘ FeatureMasterclass: Hummel Potpourri for viola and piano
Violist Timothy Ridout considers the endless invention and simple elegance of a work written for popular appeal
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Premium ❘ FeatureMasterclass: Schumann sonata no.1 op.105 for violin and piano
Alexandra Wood explores the passionate and highly effective work of a composer tormented by his own ideals
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Premium ❘ FeatureMasterclass: Debussy Cello Sonata
Abel Selaocoe delves deep into the first movement of Debussy’s only sonata for cello
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Premium ❘ FeatureMasterclass: Hummel Sonata op.5 no.3 for Piano and Viola
Violist Tabea Zimmermann offers her advice on how to practise this playful, virtuosic work
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Premium ❘ FeatureMasterclass: Mozart String Quartet K428
In the first movement of Mozart’s third ‘Haydn’ quartet Johanna Staemmler, second violinist of the Armida Quartet, discusses the importance of harmony, colour and intellectual complexity
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