Maintaining Structure and Purpose in Your Day During COVID
Reprinted with permission from The Violin Channel. Violist Kim Kashkashian shares her thoughts on how she feels students can best maintain structure and purpose in their day during this pandemic. “Thoughts and musings on performing artists living at home … Where do we fit in as artists? Where do we fit in as citizens? How can we lead a productive artistic life? Our primary impulse- indeed, our primary need as artists is to create and share pure truth. We are all, in that sense, part of the healing profession. It is humbling and inspiring to recognize the potency and power of the visceral in our art. The power of resonance, vibration, sound waves in space and the organic feedback of an audience are unique and seemingly irreplaceable. But, we must [...]
Finding Purpose and Growth as an Adult Amateur Cellist
Growing up, I never really wanted to be a cellist. I liked to play the cello and I could hold my own, but I just didn’t have the passion to see it through past college. Instead, I became an elementary teacher and now a district administrator. From that time, I played in several chamber and community symphonies; just cruising along with an incorrect mindset, a secret envy of my music major friends, and not really bettering my skills. I was busy with a teaching job, a young family, and cello was a bittersweet diversion...Time marched on. Several years ago, I had an incident in my life that very abruptly indicated to me that I needed the cello in my life and that I needed to start improving my [...]
Conversation with Marston Smith (March, 2003)
Interview by Tim Janof Marston Smith has introduced audiences of all ages to the infinite possibilities of cello repertoire, venturing into Rock & Roll and Trance Celtic, to High Fashion Euro Funk. His performances are renowned for his creative costuming bordering between Cirque du Soleil, Lord of the Rings, and Road Warrior. He received his Master of Music degree from the renowned cellist Bernard Greenhouse and since has appeared on national television (QVC), and has been a soloist with symphony orchestras, and played in recordings for motion picture soundtracks, record albums, and performances in Las Vegas. He currently lives on a mountain top just outside of Los Angeles with his wife and three children. As a professional cellist working in the recording industry he has recorded with Barbara Streisand, Michael [...]
Not Enough
The long drive from Aspen gave me a chance to refine a bit what I said to my students there to end our last class: I have been almost as lucky as you can be in this business. I've had countless disappointments of course- some deserved, some not. That is the nature of the business. But I have a good job, a happy reputation, a balance between solo, chamber, orchestral playing and teaching, the good fortune to be friends and colleagues with some of the musicians I admire most in the world, and the respect of some of the peers that I care the most about. I've had the chance to travel, play concerts, enjoy the camaraderie and live some of the enviable life. I haven't had everything, but I've [...]
Master Class Report: János Starker 2/29/01
Benaroya Hall, Seattle, USA, 2/29/01 The following are my notes from the master class Janos Starker gave in Seattle. 10 minutes before the class was to start, Seattle experienced a 6.8 earthquake. Apparently, Janos Starker was calm as can be backstage when it happened. The class ended up starting only 1/2 hour late. —by Tim Janoff Left Hand Anticipated Shift -- Slide before the bow change and land on the note at the bow change. Delayed Shift -- Slide after the bow change. Thumb Placement in Thumb Position -- A hitchhiking thumb allows more overtones, but it is harder to play in tune. Placing the thumb on the neighboring string is more solid, but it allows fewer overtones. The technique of the future is to place the thumb beneath the [...]
The Bach Suites, A Deep Mirror — by Lluís Claret
I am posting today some thoughts regarding my upcoming performance of all the cello suites of Bach, in Barcelona, next October 6th. A "3 hour conversation with Bach," by which I mean playing all the 6 Suites in one evening, is a rare privilege, and at the same time, an opportunity to devote months of work gazing, probing, until their is transparency in this greatest of all music given to us by the Kantor of Leipzig. In this period of reflection, the performer's goal and intention should be to imbue his own spirit into the depths of the pieces, and become inspired and elevated by this music of such extraordinary dimensions. After a concert a few years ago, somebody who had never heard my playing said, "I can feel the [...]
Behind the Scenes with Brannon Cho
We are thrilled to introduce you to Brannon Cho, First Prize Winner of the 2018 Paulo International Cello Competition. In this conversation Brannon takes us behind the scenes offering insight into his preparation, mindset, and aspirations. Blogmaster: Can you give us insight as to how the competition felt for you? Did you play as you aspired to? Brannon Cho: The competition was quite exhausting. As opposed to other competitions I’ve done in the past there was almost no time to rest between rounds. In some ways I appreciated it because it was similar to the concert schedule of a touring soloist. As a soloist, every two days you have a big concert. In contrast, in Belgium last year I would sometimes have a week before I played the next [...]
Sing. Paint. Dance. (Part 2)
Sing. Paint. Dance. (Part 2) Yes, we can place the bow one inch above the bridge and play various phrases for the purposes of mapping and sensory awareness. We can also take one step back and go about it from a different angle. As we listen to repertoire we can place a brush to canvas or a pencil to paper and emulate phrase length with our hands. We can isolate passages in the score and literally paint them. Feel the duration of notes, their inner lives, through your brush. See the color sustain or fade. Watch the brush as it moves up and down according to contour. For me, although away from the cello, this type of association is the most direct connection to gesture. Let’s be clear, this [...]
Sing. Paint. Dance. (Part 1)
Sing. Paint. Dance. (Part 1) Sing. Paint. Dance. I am often reminded of a statement made by Tabea Zimmerman that alluded to the idea that all instrumental problems have non instrumental solutions. With that in mind I often advocate a number of non instrumental solutions to any issues that may arise in the course of music making. Each can be connected to one of three wings : Singing. Painting. Dancing. On the occasions that I played with the LA opera, I was around Placido Domingo as both conductor and singer. The latter is clearly his identity in spades. But to hear him sing every vocal line in a rehearsal always echoed quartet life for me. Listening with a sense of integration -each voice existing within the context of the whole. [...]