Some Thoughts About My Bach Recordings — by Laurence Lesser
When anyone approaches the Bach Cello Suites, it’s natural to begin thinking about a “correct” way to play them. My teacher, Gregor Piatigorsky, used to say: “Never play for the cellists in the audience—they always have a different idea.” Start that instead with “Never play Bach for . . .” and life gets even harder! Like every young cellist of my generation, I was very influenced by the recordings of Pablo Casals. How could I not be? He was considered the “greatest” cellist of his day and my then teacher, Gabor Rejto, had studied with him. And how could one deny the performances of an artist who always convinced you, at least as long as his sounds were in your ears. I was lucky enough to play the D minor [...]
CelloStream Artist Master Classes – Fall 2015
Streamed live from Pierce Hall at New England Conservatory in Boston COMING THIS FALL 2015 MARCY ROSEN Tuesday, September 22nd 2015 10 am EDT LLUÍS CLARET Sunday, October 11th 2015 1 pm EDT GARY HOFFMAN Sunday, October 18th 2015 1 pm EDT PETER STUMPF Tuesday, October 27th 2015 7 pm EDT To tune in for a live-viewing of a CelloStream Artist Master Class, please navigate to the CelloStream page at the appropriate time. To read bios of previous CelloStream master class artists, please see below. […]
Beneath the Surface of Brahms — by Brant Taylor
Brahms' 3rd Symphony Cello Excerpt A successful audition performance involves showing many different sides of yourself, musically, in a condensed period of time. Therefore, it is useful if not imperative to conceive each excerpt on a list in its own distinct world of character and color. Despite being works from the same composer, the well-known cello audition excerpt from Brahms’ Second Symphony, which we previously discussed, and the cello audition excerpt from Brahms’ Third Symphony, which is the subject of this post, present quite different opportunities. While these suggestions are not the only solutions to the challenges presented by this excerpt, they are a starting point for practice and discussion and illustrate some of the details that must be carefully considered in any successful performance. Sound Production In thinking about [...]
A Return to “What Makes a Baroque Cellist”: a Slight Digression about Textbooks (Part 2) — by Guy Fishman
I ended last week’s post by qualifying the common sobriquet for the period between 1600 and 1750, “Baroque,” with a “so-called.” I didn’t mean to incite controversy, but I said “so-called Baroque period” because I meant just that. It is so called. It simply does not exist beyond us calling it so in textbooks and elsewhere. Or more accurately, we repeat some music critics’ derogatory epithet for music written during this time, an aspersion that can be found as early as 1753. The word is evidently based on the Portuguese word for “misshapen pearl.” Clearly to some, reading through a concerto of Vivaldi was comparable to risking one’s life by diving in search of a coveted calcite bead only to come up with a deformed and therefore worthless specimen. I say [...]
On How to Play the Baroque Cello: the Baroque Bow, or What Your Ear Imagines Your Bow Should Do (Part 3) — by Guy Fishman
This illustration and text come from the Methode by Michelle Corrette, published in 1741. The work remains the earliest extant treatise that deals with every technical aspect of playing the violoncello. This section details the variations in the manner of holding the bow that Corrette found acceptable. The areas that he prescribes for placing the right hand upon the bow are familiar: A player may hold the stick at the frog, or may “choke” the bow higher on the stick. The exact distance depends on the balance point of the particular bow, which in any case would be different from that of a Tourte-style stick. I caution against taking Corrette’s illustration where “ABCD” are concerned literally, that is, placed almost in the middle of the bow. I rather believe he means [...]
On How to Play a Baroque Cello: Gut Strings (Part 2) — by Guy Fishman
In last week’s blog, I outlined a brief history of gut strings in the 20th century. Here I complete my blog on gut strings, and also offer a bit of advice on their use. There is no doubt that the character of the sound of gut strings differs from that of steel. Gut has what is usually described as a warm sound. This is despite the fact that the surface tension of gut is much higher than steel, and the “buzz” that musicians often hear under their ears coming from gut strings is part of what propels the sound toward the listener. I have found that the variety of color between the strings and along the same string, especially on unwound gut, creates a great deal of interest in the [...]
The Britten Cello Suites (Part 5): An Interview with Steven Isserlis — by Aron Zelkowicz
Your 1992 recording of Britten's Third Suite is widely known, due to its pairing with John Tavener's "The Protecting Veil" (which has been called a "cult" recording). Do you have any approximate idea of how many copies that album has sold? I don't know—quite a few, anyway. I wonder how many people have listened to the Britten, though! There's another connection: the very first time I went to see John Tavener with my cello, I played him the passage in the coda of the Britten where the cello breaks into a chordal version of the chant for the dead—like a Russian Orthodox choir. I remember him saying how wonderful that music sounded on the cello. Much later, John heard me play the whole suite, and—rather to my surprise, because it [...]
The Britten Cello Suites (Part 2): An Interview with Steven Doane — by Aron Zelkowicz
My first live encounter with a Britten suite was an in-your-face experience. Steven Doane played the First Suite, Op. 72 as a “dry run” for a group of students as we crammed into an Eastman studio with barely enough floor space to not get poked with an upbow. Mr. Doane’s association with the piece has only grown, leading to a brand new recording of the complete suites to be released this year. I asked Mr. Doane about his thoughts and experiences playing this demanding work over the years. Do you remember the occasion of learning the Britten First Suite for the first time? It’s a piece that I discovered late - I was in my mid thirties when I started working on it, and it was revelatory. It was an [...]
The Britten Cello Suites (Part 1) — by Aron Zelkowicz
Cellists have as much reason as anyone to celebrate the upcoming Benjamin Britten centenary, if not more so. The five major cello works he wrote for Mstislav Rostropovich – the sonata, the Symphony Concerto, and the three solo suites – have been taken up in short order as standard repertoire. By my unofficial count there are twenty recordings of the complete cello suites on the market, not to mention sixteen “incomplete” cycles of one or two suites here and there. So it can be easy to forget that this music hasn’t been around for very long. Those of us of a certain age can remember relics like the individually published suites, each score with its distinctly colored cover. Or Rostropovich’s classic 1970 LP titled, rather definitively, “Britten: The Suites for [...]
Pezzo Capriccioso, Transitions, Alterations, and Rosin (Edited Version) — by Robert Battey
I am indebted to Aron Zelkowicz for correcting factual errors in the first version of this article, and to Peter Close for locating an on-line version of the original score. Today’s ruminations are on Tchaikovsky. And his congenital weakness regarding transitions. It’s kind of endearing, that such a genius would have this Achilles’ heel; for some reason, his muse regularly deserted him when he needed to stitch together two sections of music. It could be in a placid spot, such as the transition to the jerky second theme in the first movement of the Piano Concerto . . . or the connecting “music” preceding the waltz variation in the A minor Trio. It could also be in a transition meant to increase tension, like the second return to the [...]
CelloStream Masterclasses 2012-2013
LAURENCE LESSER March 27 2013 2-5 pm EST Laurence Lesser is a prizewinner of the Tchaikovsky Competition and was President of NEC from 1983-1996. He performs as a soloist and chamber musician globally. Many of his former students have concert careers as soloists or members of chamber groups and many occupy important posts as orchestra members and teachers. View video of Laurence Lesser master class YEESUN KIM February 6 2013 2-5 pm EST Yeesun Kim is a founding member of the Borromeo String Quartet, Quartet-in-Residence at the New England Conservatory. She teaches cello and chamber music at NEC and also teaches at the Taos School of Music every summer. She is a graduate of the Curtis Institute and the NEC. NATASHA BROFSKY January 23 2013 2-5 pm EST Natasha Brofsky [...]
Backstage with the Boston Cello Quartet — by Blaise Déjardin
A few weeks ago, I had a video conversation with my 4 years-old nephew and my brother on Skype. At one point, my brother (also a cellist) tells my nephew: “You know Blaise plays in a cello quartet? He plays with three other cellists.” My nephew starts laughing: “A cello quartet? Noooo…That’s not possible!” Yes, it is! But it is indeed a strange concept and I believe it is rare to get a chance to have such a group with a long-term commitment. Since the Boston Cello Quartet is now releasing its first CD album, “Pictures”, it was interesting to look back on our three years together and talk about the challenges of being in a cello quartet. When I asked my colleagues to form a cello quartet, I knew [...]
Bach Suites and You – by Robert Battey
“In a work of art the intellect asks questions; it does not answer them” -Friedrich Hebbel Few tasks are more daunting than attempting to discern and convey J.S. Bach’s precise intentions for his Cello Suites. Just playing them is hard enough, but a true and meaningful interpretation of the Suites requires an entirely different heuristic model than that of our other repertoire. This is because the autograph of the Suites has been lost, and we are left only with several flawed and inconsistent copies. Since there is no original source, everything, from notes to rhythms to phrasings, must be questioned. With many pieces, one can rely on the fidelity and accuracy of a high-quality edition, prepared either from autographs or composer-supervised prints. There, you have the simple choice of either [...]