cellobello

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 [...]

Fantastic Getaways and their Cello-related Aftermath — by Lev Mamuya

The house is just like you left it. As soon as you plop your heavy suitcase in the door, you run over to the corner. Ah, how nice to see your cello after such a long absence! You open up the case, and start to play. What are these odd, strange squeaking noises emanating from your cello? Why can’t you play properly? Having just come back from a wonderful vacation in Costa Rica, I am faced with this question: how do I regain the level of technicality that I had before a long absence from the cello? The short answer: with time and lots of varied, and sometimes evil exercises. Now I’m sorry to be sort of a practicing nag two blogs in a row, but it’s necessary for all [...]

By |2017-10-22T22:54:55-04:00March 24th, 2011|Categories: Cello Travel, High School Blogs, In the Practice Room|Tags: , , , , , |

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 [...]

Airplane Diaries — by Alisa Weilerstein

I think it's appropriate that I'm writing my first blog (ever—not only on this site) while flying between Madrid and Copenhagen. I've taken to telling people I live on airplanes lately, which is sort of true since I catch up on sleep most often while I'm in the air, and I've only been in my actual apartment for four days so far this year. I've been in Europe for a few days and for the first time in awhile am experiencing some serious transatlantic jetlag. I can't sleep before 4:30 a.m. and waking up in the morning (in other words, when the sun is up...) has been difficult, to put it mildly. I just finished three concerts in Madrid, playing Osvaldo Golijov's incredible Azul. Given my perpetually bleary-eyed state each [...]

Two Minutes of Your Time — by Brant Taylor

Early in 2011, the Chicago Symphony Orchestra will hold auditions hoping to fill two vacancies in our cello section.  In my twelve years of hearing auditions as a member of this ensemble, hundreds of cellists have presented themselves on our stage. Some have done so several times. Their audience is a committee of nine members of the orchestra who sit behind a screen in our otherwise-empty hall.  Some of us take notes during the performances, but the only thing that matters to the process is the simple "yes" or "no" each committee member marks on a blank index card after every player has finished. If a candidate receives at least six "yes" votes in a preliminary audition, he or she advances to the final round.  To those unfamiliar with the [...]

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