CelloBlog

Conquering Coordination Through Broken-Rhythm Patterns — by Grigory Kalinovsky

Reposted from Strings Magazine. One of the most common problems encountered by string players in virtuoso pieces is the coordination between the bow strokes and the left-hand fingers in fast running-note passages (passages consisting of mostly the same note values), especially when the majority of notes are played with separate bows or with a few small slurs thrown in. Examples of these types of passages abound—they include sections from the Finale movement of Wieniawski’s Violin Concerto in D minor, several episodes and the entire coda section of Introduction and Rondo Capriccioso by Saint-Saens, the majority of the Allegro movement from Kreisler’s Preludium and Allegro, and many, many other pieces. Without proper coordination training, playing these passages can create a feeling of the two hands “chasing each other”—and getting tangled up [...]

By | 2017-07-19T02:48:55+00:00 June 14th, 2017|Categories: In the Practice Room, Self Discovery, CelloBlog, Featured|Tags: , , |

Cellist Jeremy Tai Wins Irving M. Klein International String Competition 2017

Reposted from The Strad. The 18-year-old Bienen School of Music student receives the top prize of $13,000 and concert engagements Cellist Jeremy Tai has won first prize at the 32nd Annual Irving M. Klein International String Competition, held at San Francisco Conservatory of Music. The 18-year-old California native, who is currently studying with Hans Jørgen Jensen at the Bienen School of Music at Northwestern University, received the top prize of $13,000 and concert engagements for his final round performance of Lisa Bielawa’s Insomnia Etude #3, and works of Grieg and Prokofiev. Second prize, worth $5,500, went to 20-year-old violist Zhanbo Zheng, while third prize, worth $2,500, went to 20-year-old violinist Kyumin Park. This year’s winners were whittled down from 99 applicants from 13 countries, aged between 15 and 23, by [...]

By | 2017-09-15T02:09:42+00:00 June 7th, 2017|Categories: News, CelloBlog, Competition|Tags: , , , , |

The Most Erogenous Region of the Cello — by Stefanie Buller

Search for resistance—enjoy the friction! I have been considering the topic “sounding point” (contact point, in German) for a long time now. Where bow hair and string meet is where everything we have to offer—regarding material, technique, power and ease—is channeled. This is the origin of the sound! This is where the action is! Isn't the sounding point therefore the most erogenous region of the cello? But at first a little anecdote: After the Christmas mass the priest stood at the exit, shaking the hands of the parishioners and wishing them a Merry Christmas. What a nice gesture! So I took his hand in return. But it felt like a rubber glove filled with jelly. By intuition I tried to get a grip. (“There must be bones somewhere in this hand…”) [...]

Castelnuovo-Tedesco’s Forgotten Masterpiece — by Brinton Averil Smith

With over 200 film scores to his name, it's more likely that you've heard Mario Castelnuovo-Tedesco's music than his name. Castelnuovo-Tedesco was born in Florence in 1895 into a family that had been in Italy for generations, since the expulsion of Jews from Spain in 1492. His career as a composer began with conservatory study in Italy, and by the 1920s he was beginning to garner attention in greater Europe. In 1932 Mario began a lifelong friendship with the guitarist Andres Segovia, who inspired perhaps his most famous work, the Guitar Concerto No.1, and became an important champion of his music. It is largely due to Segovia's influence that Mario wrote over 100 works for the guitar, which today form an important and frequently heard part of that instrument's repertoire. [...]

100 Cello Warm-Ups and Exercises Blog 3: Stretches – Part One – by Robert Jesselson

  I think that most people understand the importance of stretching before (and after) playing an instrument. I like to say that we are athletes: we are “small muscle” athletes involving the fingers, wrists, and arms. But actually playing the cello really involves the entire body. Whether it is a matter of producing sound from the lower back, or being physically expressive with our movements, we need to make sure that we are using our bodies in the best possible ways. Just as with any athletic use of the body, we need to make sure that our muscles are warmed up well before we start playing – and that we “cool-down” afterwards.  Warming-up helps by increasing blood flow and oxygen to the muscles, reducing the possibility of soft-tissue injury, and [...]

Travels with Ima – by Robert Jesselson

This year my cello is celebrating its 300th birthday. Made in 1716 by Jacques Boquay, I call her Ima, as in “I’m a Cello” because whenever I fly with her I book the ticket as Ima Cello. That way I collect the frequent flyer miles and get a free meal! When I was younger it was a lot easier to travel with a cello—in fact when I lived in Germany, I used to fly with Swiss Air and they usually just let me take Ima on the plane without paying for a seat. Later I bought a big Kolstein travel case—it is huge and bulky, but it has an inflatable “balloon” that surrounds the cello inside the case and is made out of Kevlar so you can shoot a gun at it and it won’t pierce the [...]

The Bach Suites as you Have Never Seen Them Before – By Antonio Lysy

Hundreds of scholars have studied and written about the Bach Suites, yet we can only speculate about how or when they were first performed. The original manuscript is lost, leaving us with various facsimiles to decipher, and there are no written accounts by Bach’s contemporaries. The one advantage of this predicament is the wide spectrum of artistic decisions on which a cellist is compelled to ruminate, in order to make them “their own”. Apparently the suites were not intended to be performed as a cycle, although this approach has become increasingly common in the last couple of decades. My current perspective, developed over many years of performing and teaching the suites, is that each of the six tells a distinctive story. And, like a series of books or films, each [...]

If it Ain’t Baroque, Don’t Break It? Thoughts About Playing Bach Today…. — by Inbal Segev

When I decided to record the Bach cello suites a couple of years ago, I started not by playing but by reading. I read Bach's biography, and then a few Baroque practice books (extremely dense and quite boring) and then I became inspired to change almost everything about the way I played Bach. I eventually came back to doing things the way that had been a part of my DNA after years of playing Bach the "modern" way (but improved), and I'd like to share some of my experiments with you. I never played from a manuscript copy before. The notes are difficult to decipher and so the work is slow and cumbersome. Worth it! Playing from copies of the surviving manuscripts by Anna Magdalena and Kellner taught me so much. There is really no way of [...]

17 (not so) Random Tips for Practicing the Bach Cello Suites – by Inbal Segev

1. First play the bass line. Then add the top voice. 2. Think about voicing. 3. Sequences. 4. Find circles of fifths and enjoy them! 5. Gestures on slurs—the Baroque bow is heavier at the frog and lighter at the tip and sometimes it's beautiful to show the tapering of sound towards the tip. 6. Show where codas happen. 7. Interrupted cadence? 8. Sigh figures. 9. Be aware of the underlying harmony. 10. Echo effects (not too much!). 11. Vary bow pressure—Baroque bow is heavier on the down bow, lighter on the up bow. This can shape a passage of descending eight notes for example. They are not all equal in length and strength. 12. Gigue—breathe more. Feel like you are about to skip before the start. 13. When playing [...]

B A C H S U I T E S – by Colin Carr

Bowings, beats, bass, bowings and fingerings fit together, bow distribution, bible? Articulation and Anna Magdelena Chords, cadences. common themes within each suite, comfort? Harmony, harmonics? Slurs, scales, sequences, spontaneity Understanding direction of phrases. Up bow or down bow? Intonation Tension from dissonance. tempo choices, trills Extremes? Surprise I was asked to choose a Bach related topic for this live Facebook chat, but I couldn’t think of justone. Instead I thought I would try to cover as many issues as I can think of, using this (gimmicky) chart as a starting point. I will talk about each of the sub-headings, and in doing so hope to answer a lot of questions before they have been asked! I have been playing and teaching the suites all my life. There have been countless [...]