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 [...]
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 [...]
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 [...]
Reprinted from The Strad 12/14/2016 South Korean cellist Taeguk Mun has won the János Starker Foundation Award, worth $25,000. Granted to cellists under the age of 30 ‘who have already begun a significant career in music’, the prize was created in memory of legendary Hungarian-American cellist and pedagogue János Starker, who died in April 2013 at the age of 88. Candidates submit an unedited video recording of six works, representing Pre-Classical, Classical, Romantic, 20th Century and Contemporary eras of Western music. A former Juilliard School student, Mun is currently a pupil of Laurence Lesser at the New England Conservatory in Boston. He won the Pablo Casals International Cello Competition in 2014, and the Andre Navarra International Cello Competition in 2011.
Reprinted from Internet Cello Society 11-29-2016 By Tim Janof 4-6-2006 TJ: When you burst onto the music scene, people were struck by your white hot performances. Your sound was strong and your vibrato was wide, which was a striking contrast to your predecessors. Where did your unique concept of sound come from? MR: Let me give you a little background first. My family lived in two-room apartment in Baku until I was seven years old. My mother was a pianist and my father was a cellist who had worked with Casals. There is a picture of me sleeping inside my father's cello case when I was four months old. My first instrument was the piano, which was my first love. To this day, when I am learning a new cello [...]
Reprinted from the Boston Symphony Orchestra 11/17/2016 Jules Eskin, the legendary principal cellist of the Boston Symphony Orchestra for 53 years, passed away at his home in Brookline, Massachusetts, after a long struggle with cancer. Mr. Eskin began his more than half-century tenure as BSO principal cello in 1964 and since 1969 occupied the Philip R. Allen Chair, endowed in perpetuity. He played for five different music directors, including Erich Leinsdorf, William Steinberg, Seiji Ozawa, James Levine, and the BSO's current music director, Andris Nelsons, and performed as soloist with the orchestra on numerous occasions. He was featured as soloist with the orchestra in Richard Strauss's Don Quixote, Ernest Bloch's Schelomo, Brahms's Double Concerto, Beethoven's Triple Concerto, William Schuman's Song of Orpheus, and cello concertos of Samuel Barber, Antonín Dvořák, Franz Joseph Haydn, Camille [...]
By Nathan Chan Hey CelloBello readers! My name is Nathan Chan and I’ve been playing the cello for over 17 years. Throughout this time period, my relationship with the cello has been an ongoing evolution in the way I see music as an incredibly powerful tool of expression and creativity. What started as a hobby in the beginning of my musical learning initially evolved into a battle for technical mastery and now has begun to blossom as a freeing medium for spontaneity and exploration. As a child born and raised in the 90s, my parents were very supportive of me. My father, a Hong-Kong born cardiologist who emigrated to the states for college, represented the discipline and detail-oriented leader in my early life. My mother, a Chinese-Canadian who is a [...]
Reprinted from Internet Cello Society 11/28/98 By Tim Janof: TJ: You studied with Felix Salmond who also taught Leonard Rose. BG: When I was 18, I had to choose between entering a pre-med program or trying out for Juilliard. I chose to try for a Juilliard fellowship, which I was awarded, and I began to study with Felix Salmond. He was sort of a funnel for talent from all over the United States, since there weren't many cellists at the time. There were only eight cellists at Juilliard, as well as at Curtis, and each one was a very gifted player. TJ: Did you attend school with Leonard Rose? BG: No, he was at Curtis, in Philadelphia, though we were quite aware of each other because of our common teacher. I remember going [...]