Tak-Sîm (Pt. 2) — by Jeffrey Zeigler
Here in Part Two of my discussion on Tak-Sîm by Alireza Farhang, I am going to focus on his application on various extended cello techniques. On this topic, I found his approach to be quite fascinating and one that I am especially excited to share with everyone here in the cello community. The piece begins with an audio trigger that I execute by pressing on a foot pedal. The trigger is a low, ambient sound that is sonically enhanced when I play a tremolo on the stick of the bow thus creating an almost a breathless quality. Although a relatively simple technique, for this technique I would suggest using what I call a "guilt free" bow. The reason is because there is a large crescendo at the tail end of [...]
Tak-Sîm (Pt. 1) — by Jeffrey Zeigler
In my next few blog posts I am going to take a temporary detour from our discussion regarding the K-Bow in order to talk about a new work that my quartet recently premiered in Paris at the Cité de la Musique. The piece is by Alireza Farhang, an Iranian composer currently residing in Paris. The work, entitled Tak-Sîm, was commissioned by IRCAM (the Institute for Research and Coordination in Acoustics and Music). In past blogs I have spent a fair amount of time talking about the integration of technology and extended cello techniques into performance. My desire to discuss this piece comes from the fact that in my opinion this particular composition successfully integrates both concepts. In his own words, the composer's objective was to transmit the intonation of [...]
Myth Busters — by Brant Taylor
Instrumentalists often prepare for an orchestra audition by seeking feedback on their preparation from a teacher or colleague. Perhaps because my career includes both orchestral playing and teaching, I am frequently asked to coach players who are preparing solo work(s) and orchestral excerpts for a given audition. Some players I hear are very new to the audition game, while others are already seasoned professionals looking to step up to another ensemble or for a promotion in their current group. After years of talking with these musicians about auditions in general and about the specifics of their preparation, I've noticed several assumptions that players sometimes make about auditions. While some of these assumptions are true, and made with good reason, many others are best described as myths. Some of these are half-truths, and [...]
New and Old — by Yeesun Kim
This summer I had two very different experiences performing contemporary pieces. The first piece, as it turned out, had several performances spread over two months. Two concerts included working with the composer prior to the concert. The second piece was set up to be only performed once, without the composer's presence and with only two days of rehearsing. Both pieces were quite difficult in their own ways. The first piece called for virtuosity, stamina and the ability to clearly outline the structure and narrative in order to hold the piece together. The second piece was almost the exact opposite. Short and obsessively detailed in its use of sound effects, it abounded in the use of extended techniques. It employed extremely soft dynamics and seemed to purposefully obscure perceptible structure in [...]
Pieter Wispelwey Master Class Streamed Live on CelloBello
Pieter Wispelwey, Cello We are proud to present a CelloBello milestone - our first live-streamed event! Join us by clicking on the link below: www.cellobello.org/blog/cellostream Pieter Wispelwey Master Class New England Conservatory, Pierce Hall Wednesday, Sept. 28, 3-6 PM Eastern Daylight Time (EDT) Repertoire: Bach Suites 1, 3 and 6. Schubert Arpeggione Sonata, featuring cellist Tony Rymer. CelloBello is so pleased to be able to present this master class live, as it happens - our first in a planned series of streamed events!
Notes from the Field: 12 Cellos are Better Than 1 — by Aron Zelkowicz
I wanted to take a break from behind-the-scenes administrative reporting to share a recent concert experience that might be of interest to those who like to “geek out” about all things cello-related. It might have been Sarah Jessica Parker’s character in Sex and the City (not that I ever watched the show…) who noted that one of the best things about living in New York City is getting out of it once in a while. So on a scorching July weekend it was invigorating to drive well beyond the numbered streets and convene with eleven other cellists in the town of Hunter, New York—home to some of the highest peaks in the Catskill Mountains. The simplicity of this village and nearby Tannersville was a quaint contrast to Manhattan. The Catskills [...]
Finesse — by Brant Taylor
Any musician who has interests outside the realm of music has probably discovered ideas and concepts important to other disciplines which are directly applicable to the study and performance of music. The lessons we can learn about greatness from outside our own field are often very powerful because the underlying principles tend to be universal and not confined to any single discipline. For the famed American chef Thomas Keller, there is one word he uses to describe his entire philosophy of approaching his craft at the highest level: finesse. Chef Keller apparently doesn't want anyone who works for him to forget it—the word and its dictionary definition are emblazoned directly on the tiles above the entrance to the kitchen at Per Se, his high-end (and delicious) New York City restaurant: [...]
Sound Designer — by Jeffrey Zeigler
As we continue our discussion about the various ways to integrate a sophisticated approach to sound design, there is one point that I would like to make before we get to far into the equipment nitty-gritty. That is of the need for your own sound designer. I think that the person in this role has both the most important as well as the most unsung job in a given concert. Important because they have complete responsibility for how you actually will sound in the hall. You may play wonderfully, but it could all be for nothing if, for example, the sound person has set you up to sound brash and tinny. But I also say unsung because the audience will only see them as the person standing at the mixing [...]
Are You a Manager of Your Cello’s Problems? — by Wayne Burak
In the past month I have had several cellists come in for adjustments. The interesting common denominator in each case was the complaint that something could not be achieved technically on the cello because of an adjustment issue. These problems ranged from neck angles being so low that the c bout edges were hit easily with the frog, fingerboards which were worn and misshapen, necks which were too thick (fatiguing the hand in fast passage work), to many bridge and soundpost position issues. One cellist remarked that he felt like he was managing inconsistencies and limitations which even affected his programming choices! What? I pondered this for several days while working on both new and old instruments. The central issue of course, is that the cello is proportionately successful to [...]
Tour Musings — by Alisa Weilerstein
I'm now a few days removed from one of the most exhilarating—and definitely the longest—tours of my life. I've grown accustomed to playing a different concerto every week, sometimes with a recital thrown in here and there. But I can't remember the last time I actually played only one piece for three weeks straight. However, that's exactly what I did in the last week of March and first two weeks of April; I played Shostakovich 1st Concerto fifteen times across the US with the St Petersburg Philharmonic and Yuri Temirkanov. I've had so many thoughts about this tour and am struggling to consolidate them into a coherent blog entry. I have to start by saying what an incredible musical and educational experience it was for me. There are players in [...]
Practicing What You Preach: Some Thoughts on Balancing Performing and Teaching — by Natasha Brofsky
During my preparation for playing a faculty recital at NEC’s Jordan Hall at the end of March, I found myself thinking a lot about the challenges of maintaining a teaching and performing career. I always find it the most challenging to play for the “home crowd,” especially students and colleagues, because I hope that I will in some way be able to “practice what I preach.” As a cello teacher my listening is focused on how a phrase could be played in a different, more compelling way, and how technique can serve the music. I find that turning my critical teaching ear on myself can inspire me but also paralyze me, because while I am playing I am hearing all the possibilities for doing it better: all the ways I have taught [...]
In the Zone — by Talya Buckbinder
I received my most memorable lesson in distraction during my first year of playing the cello. My teacher sat me down one day, instructed me to play the Gavotte from Suzuki Book 2, and then proceeded to demonstrate the most amusing display of histrionics I'd ever seen, even going as far as to caterwaul loudly and spill her coffee down the front of her dress. My teacher thought she could train me to focus on the music if she presented me with an array of possible distractions. At the Perlman Music Program, Toby Perlman would tell us the story of how Mr. P played a concert through an earthquake and continued performing, completely unaware that the earth was trembling below the concert hall. We all laughed incredulously, though I couldn't [...]
Cycles, Shostakovich, and the Final Four — Brandon Vamos
I often get asked about performing cycles. I am a member of a Quartet that is passionate about performing cycles of music, including the complete string quartets of Beethoven, Carter, Mendelssohn, and Shostakovich (among others). But why bother with cycles? What do they have to offer us a musicians or audience members? I like to think of it like I think of my Vikings (in case you didn’t know, I’m a huge fan). Why bother following a team game to game or season to season? Well for one, you start to learn the language of the game. Not just the game of football itself, but how that TEAM plays the game. The aggressive way they run plays or their team personality, what feeling they leave with you at the end [...]
Putting Your Best Foot Forward in Auditions — by Yeesun Kim
Let's face it. A musicians life is full of auditions. Even when you might not be taking a formal audition, each concert may turn out to be an audition for your next project. For many students, February in particular is a busy, stressful month filled with college auditions, summer festival auditions, recital juries and so forth. When you are a beginner, auditions generally represent a relatively encouraging nudge of "Do your best." Later, they have greater consequences, and dealing with the pressure can become quite torturous. Some are more at ease than others, but I believe it is safe to say that auditions are not activities anyone particularly enjoys doing. Of course listening to auditions is not so easy either. One is asked to sit through 7-8 hours per day [...]