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Castelnuovo-Tedesco Cello Concerto Revival — by Brinton Averil Smith

June 8, 2018 marked the Naxos release of a live recording of the first professional performance of Italian composer Mario Castelnuovo-Tedesco's 'lost' cello concerto in over 80 years. Castelnuovo-Tedesco's career in his native Italy was cut short by Mussolini's rise, and he spent the latter half of his life in Hollywood, where he scored nearly 200 films, while continuing to compose classical works and teaching students including Henry Mancini, Nelson Riddle, André Previn, Jerry Goldsmith, and John Williams (André Previn tells the story of Mario forcing him to orchestrate Mozart's 40th symphony from memory, and then comparing his orchestration to the economy of Mozart's). Gregor Piatigorsky and Mario Castelnuovo-Tedesco, August 1935 (source unknown) Mario relates that Piatigorsky asked “Castelnuovo, a great many cellists play your works as well [...]

Emanuel Feuermann and the Art of Phrasing — by Brinton Averil Smith

There has been a long-running debate in the string-playing world regarding the 'Golden Age' of string playing, generally considered to span the 1920s to the 1960s. While many today are happy to listen to and model their playing on more contemporary players, there has been a persistent argument made that the players of that era—Heifetz, Feuermann, Kreisler, Oistrach, Casals, and numerous others—played in a different way than more recent players. It is easy to dismiss this argument as the eternal 'nothing is as good as it used to be' meme and, when painted with too broad a brush, such generalizations quickly fall apart. The string players of that era were, after all, a group of vividly different players with different approaches—as are today's players. Yet when one begins to examine [...]

What “Posture” Looks Like on the Inside — by Vanessa Mulvey

The perfect posture can feel like an illusive goal. It has the power to empower the performer and fuel expression or it can limit every aspect of a performance.  What is “posture” and how can it be perfect? The problem is that posture is often assessed by one’s appearance as they sit and play. This is far from a perfect or repeatable science. I offer you another way to understand and assess posture, and that is from inside the body.  From the inside, we can utilize the body’s amazing design for being upright and for movement. Forget Posture The first thing I want to do is remove ‘posture’ for your musical vocabulary.  Why you ask? According to dictionary.com, the definition of posture is “the position of the limbs or the carriage of the body as a whole.” Playing the cello or any [...]

A Much Maligned Cellist: The True Story of Felix Salmond and the Elgar Cello Concerto (Part 4) — by Tully Potter

Blog photos courtesy of the Tully Potter Collection.   This blog is a continuation of a multi-part series. Revisit it from the beginning in Part 1, Part 2 & Part 3. The original article first appeared in the Elgar Society Journal.    THE EMIGRATION Early in 1922 the Salmonds left England for New York with their two children: Lillian had borrowed money to help pay for their passage and their living expenses while Felix established himself. On 29 March he made a successful recital début at the Aeolian Hall with Frank Bibb at the piano; but it soon became apparent that he would not earn much more as a soloist than he had in England, and that he would have to take a teaching post in order to make ends meet. He [...]

A Much Maligned Cellist: The True Story of Felix Salmond and the Elgar Cello Concerto (Part 3) — by Tully Potter

Original image provided by the Salmond Family.   This blog is a continuation of a multi-part series. Revisit Part 1 here, and Part 2 here. The original article first appeared in the Elgar Society Journal.    The next development in the saga was that Fred Gaisberg of HMV wanted to record the Concerto—he had obviously not been put off by the première. As had happened with the Violin Concerto, just four 12-inch 78rpm sides would be available, but the more compact Cello Concerto would not need to be cut quite so drastically—the Scherzo would require only a small excision and the Adagio would be accommodated complete on one side. Sadly Salmond was under contract to Vocalion, so could not be considered. Guilhermina Suggia was approached but wanted too high a fee. The [...]

The Amit Peled Peabody Cello Gang: Closing the Circle — by Amit Peled

Originally posted on Violinist.com. As a student, I was fortunate enough to experience the magic of performing music on stage with my great mentors Bernard Greenhouse, Boris Pergamenschikow, and Laurence Lesser, as well as see how each of them balanced their performing and teaching careers. The difference between listening to them explain how to create a phrase and actually forming that phrase with them on stage was huge and significant. Performing with my teachers was a vastly more effective lesson than a one-on-one in a studio, teaching me “on-the-spot” artistic decision-making, amending each performance to fit the energy of the hall. Ever since those transformative and magical moments, I knew that I would become a teacher and pass on the tradition of sharing music with my own students on stage. [...]