cellobello Archives

Queen Elisabeth Competition Adds 2017 Cello Discipline!

Reposted from the Queen Elisabeth Competition In 2017, the Queen Elisabeth Competition will hold a competition devoted to the cello. The decision to launch a new competition, dedicated to the cello, was a natural one, taken after meeting with a number of outstanding young cellists and against a background of worldwide enthusiasm for the instrument today. Despite this enthusiasm, it seems that the international scene has lacked a major competition devoted to the cello; the cellists approached by the Competition over recent months have reacted very favourably to the idea of establishing a competition along the same lines as the others organised by the Queen Elisabeth Competition. The incorporation of this new discipline is sure to receive a very warm welcome from music professionals, from our extensive public, and from the [...]

By Blogmaster|2017-10-30T05:08:02-04:00January 22nd, 2015|Categories: Competition, News, Pablo Casals|Tags: Brussels, cellobello, Competition, CelloBlog, 2017, Belgium|

Laszlo Varga, Cellist for the New York Philharmonic, is Dead at 89

Laszlo Varga, Cellist for the New York Philharmonic, is Dead at 89 by Bruce Weber and Jacob Burg Reposted from the Herald-Tribune Laszlo Varga, a Hungarian-born musician and teacher who escaped a Nazi work camp to become principal cellist for the New York Philharmonic under the batons of Dimitri Mitropoulos and Leonard Bernstein, died on Dec. 11 at his home in Sarasota, Fla. He was 89. He died several days after a fall had precipitated a stroke, his son Michael said. In a long career, Mr. Varga applied his virtuosic skills to solo performances, orchestral playing and ensemble work. As a young man he lost his position as first-chair cellist of the Budapest Symphony in a purge of Jews. He came to the United States after World War II as a member [...]

By Blogmaster|2018-09-24T22:26:39-04:00January 10th, 2015|Categories: Artistic Vision, Chamber Music, Orchestra, Performance|Tags: Laszlo Varga, Nazi, Leonard Rose, cellobello, World War II, Hungary, CelloBlog, Kent Nagano|

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 [...]

By Guy Fishman|2017-10-30T05:09:58-04:00December 14th, 2014|Categories: Artistic Vision, Baroque, Repertoire|Tags: cellobello, Telemann, Baroque, Vivaldi, Guy Fishman, CelloBlog, Alexanian, Gabrielli, Handel, Romberg, Scarlatti|

Rule #2 — by Jonathan Thomson

The previous post introduced the concept of Rule #1 (Never Stop), which trains the mind for performance by teaching it to stay focused, even after mistakes. Simulating the timing and continuous playing of performance is a crucial experience to be repeated many times during training. Through Rule #1 practice, we get important feedback about our technical preparation, stamina, and memory (if applicable). Rule #2 is the necessary counterpart to Rule #1: Rule #2: Always Stop! When you are practicing, you must not allow any mistake, uncoordinated motion, scratch, or squeak. If you practice with mistakes or undesirable tone, you are teaching your muscles "this is how the piece goes," and establishing bad habits. The next time you get to the same place, you will make the same error! Instead, start again from [...]

By Jonathan Thomson|2017-10-10T02:58:09-04:00December 9th, 2014|Categories: In the Practice Room, Playing Healthy, Self Discovery|Tags: Practice, rules, sports, CelloBlog, Jonathan Thomson, cellobello|

A Return to “What Makes a Baroque Cellist”: a Slight Digression about Textbooks (Part 1) — by Guy Fishman

My recent posts about “How to Play the Baroque Cello” were brought about by earlier posts in which I attempted to answer the question, “What Makes a Baroque Cellist.” I spent almost as much time contemplating my difficulty in answering this very interesting question as I have finally trying to answer it. Undoubtedly, there are concrete topics that may make up an answer, and I have tried and will continue to discuss these. But my struggle was palpable. That may be because, despite what we all know, see, and hear, ultimately there may not be such a thing as a “baroque cellist,” nor did such a person ever exist. Not now, nor in 1697 or 1732, nor at any other time. And this is because there may not have ever [...]

By Guy Fishman|2017-10-30T05:07:52-04:00December 1st, 2014|Categories: Artistic Vision, Baroque, Performance|Tags: history, Baroque, Guy Fishman, CelloBlog, Grout, Michaelangelo, Stolba, Textbooks, Western Music, cellobello|

On How to Play the Baroque Cello: Vibrato (Part 2) — by Guy Fishman

In last week’s post, I attempted to set out the basic arguments made by those musicians who, for over four centuries, advocated a judicious approach to the application of vibrato to stringed instrument sound, and those who, for the last ninety years or so, have championed a more continuous presence for this expressive tool. Members of the former group adhered to the original attribution of vibrato as an ornament that is most highly effective when employed sparingly, where those who belong to the latter group see it as an indispensable component of good tone production. Two things should be kept in mind. The first is that each statement constitutes what is largely a philosophical stance, although the latter is supported by the overwhelming majority of live and recorded playing on [...]

By Guy Fishman|2021-05-31T14:18:35-04:00November 24th, 2014|Categories: Artistic Vision, Baroque, In the Practice Room, Self Discovery|Tags: Baroque, Guy Fishman, CelloBlog, Flesch, arm vibrato, Haydn, bow vibrato, bow, finger vibrato, vibrato, cellobello|

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 [...]

By Guy Fishman|2017-10-30T05:07:11-04:00November 12th, 2014|Categories: Artistic Vision, Baroque, Repertoire, Self Discovery|Tags: Guy Fishman, CelloBlog, Bow Michelle Corrette, cellobello, Baroque|

The Buddha, the Brain, & Bach: One Cellist’s Inner Exploration of Practice — by Barbara Bogatin

My bare toes feel cold on the smooth cement. The scent of rosemary is hinted in a gentle breeze, as a bee glances my ear and wild turkeys caw raucously in the distance. I take a slow breath—in ... pause, out ... pause—and become aware of the arising of the intention to take a step. As the weight shifts to the left side of my body, my right knee bends slightly, lifting the heel off the ground, and then the ball and the toe glide airborne over the stone till the tip of my toe reaches its destination. Balance shifts as the right foot bears the full body weight and I stand suspended, legs apart, caught in a slow-motion reenactment of a child learning to walk. Try as I might [...]

By Guest Blogger|2021-11-30T14:03:07-05:00November 6th, 2014|Categories: Artistic Vision, In the Practice Room, Playing Healthy, Self Discovery|Tags: Barbara Bogatin, Buddha, Mindfulness, Bach, San Fransisco Symphony, cello, Vipassana, cellobello, brain, meditation|

Sports and Cello: Starting the Discussion — by Jonathan Thomson

We see the dramatic moment in sports all the time: with the game on the line, a player steps up to shoot the game-winning free throw, kick the field goal, or take the penalty kick. Make or miss, social and news media chatter about these moments for days afterward. Documentaries and TV series offer detailed views inside the lives of athletes and behind-the-scenes depictions of how teams practice and communicate throughout their seasons. An athlete's comments on any issue can reverberate through our society for weeks. Sport is everywhere—it is unavoidable. Though many musicians and teachers may see it as a competitor to practice time and music's place within the culture, athletes and musicians share many common experiences and can learn from each other. While athletes personal lives are [...]

By Jonathan Thomson|2021-06-14T15:52:29-04:00October 31st, 2014|Categories: Performance, Playing Healthy, Self Discovery|Tags: CelloBlog, Jonathan Thomson, cello, cellobello, Practice, sports, training|

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 [...]

By Guy Fishman|2021-07-11T18:42:00-04:00September 29th, 2014|Categories: Baroque, Chamber Music, Repertoire, Teaching|Tags: Guy Fishman, Tim Janoff, cello, cellobello, Baroque, gut strings|

Power is Energy, Unblocked and Properly Directed — by Selma Gokcen

"The words of truth are always paradoxical." —Lao Tzu Paul Katz was here recently in London giving a workshop on the bow to the members of the London Cello Society and raised an interesting point about strength. His Tai Ch'i teacher once said to him, "Hardness is Weakness, Softness is Strength: Hardness is Death, Softness is Life." This remarkable saying inspires this article. As cellists we need to be able to call upon reserves of power to play our big repertoire, to perform long concerts and tours. No way are we not interested in knowing about power and strength, but as soon as we raise the question of where it comes from, then hundreds of viewpoints can be found. Weight training, strength training, aerobic conditioning, and the list goes on. [...]

By Selma Gokcen|2021-10-11T12:08:13-04:00May 6th, 2014|Categories: Alexander Technique for Cellists, Performance, Playing Healthy, Self Discovery|Tags: Selma, quality of attention, Paul, back, tours, Spine, energy, freedom, repertoire, direction, shoulders, balance, T’ai Chi, concerts, flow, power, Alexander Technique, muscular over-exertion, cello, Gokcen, musical education, cellobello, properly received energy, Katz|

Hit or Miss — by Selma Gokcen

"Under the ordinary teaching methods, the pupil gets nineteen wrong to one right experience. It ought to be the other way round." —F.M. Alexander A young instrumentalist aiming for a professional life onstage puts in a staggering number of practice hours during their formative years. I heard the director of our Conservatoire recently state the figure of 8 to 10 hours a day for the 18-24 year olds at undergraduate and graduate levels. Does he think that's what's happening in the practice room or wish that it were so? Either way, it's alarming to think that so much time is spent sitting and using the fine muscles of the fingers in relentless repetitive motions. Were we, are we designed for this kind of activity? Maybe the better question to ask [...]

By Selma Gokcen|2017-11-24T02:54:01-05:00March 10th, 2014|Categories: Alexander Technique for Cellists, In the Practice Room, Playing Healthy, Self Discovery|Tags: Primary Control, young instrumentalists, Practice Room, accuracy, results, habit, activity, conservatory, conditioning, Coordination, delivery, Alexander Technique, F.M. Alexander, Gokcen, hours of practicing, necessity, cello, Selma, relentless repetitive motions, cellobello, repetition, the Use of the Self|

Objects — by Arnold Steinhardt

Last summer I was once again a participant in the Marlboro Music Festival. As always, the school generously provided my wife, Dorothea, and me with a house off campus. This time we were given the former home of David Soyer, the cellist of our Guarneri String Quartet for thirty-seven of its forty-five-year existence. Dave passed away in 2010, his wife, Janet, in 2011. I knew Dave and Janet’s house rather well, a charming, rustic old place set in the woods, and I looked forward to staying in it. When people asked me whether I wouldn’t feel funny living in their house now that they were gone, I laughed and said no at first without really thinking much about it. But then I began to wonder whether Dave and Janet would [...]

By Arnold Steinhardt|2018-03-18T18:30:07-04:00March 4th, 2014|Categories: Interpersonal Relationships|Tags: memories, Marlboro Music Festival, David Soyer, memory-inducing objects, Arnold, musical world, career, Guarneri String Quartet, obituary, cello, Steinhardt, Peter Wiley, cellobello, beauty of phrasing, remembrance, students, In the Key of Strawberry, Spoleto, teacher, incisiveness, string quartet, intelligence, Italy, posters, Jacqueline du Pré|

“But I Don’t Want To!”: How to Get Yourself (or Your Kid) to Practice… — by Martha Baldwin

One of the most frequent problems my students ask me about is how to get inspired to practice. Old, young, serious and casual cellists alike come to me in frustration: “But I just can’t find the inspiration to practice right now/ever/this month/today etc. etc.” Parents ask even more often how to get their child to practice without a battle. Here’s the thing—there’s a hard truth about being a cellist, about the practicing it takes. It’s not always fun. It’s hard to get started. You don’t feel inspired to practice all the time. Don’t feel bad—you know that student next to you in the practice room who’s there every day without fail? He’s not more inspired than you, you’re not missing the I-Love-To-Practice gene. Parents—you know that mom who says “I [...]

By Martha Baldwin|2017-10-24T04:04:38-04:00March 3rd, 2014|Categories: In the Practice Room, Self Discovery, Teaching|Tags: appointment, Martha, daily routine, practicing, feel like practicing, how to get yourself to practice, Habits, inspiration to practice, cellist, rehearsal, inspiration, problems, schedule, cello, routine, truth, cellobello, Baldwin, structure, Practice Room, discipline|

Dave — by Arnold Steinhardt

David Soyer, cellist and founding member of the Guarneri String Quartet, passed away on February 26, 2010—one day after his 86th birthday. Michael Tree, violist, and John Dalley and I, violinists, the other founding members, played in the quartet with Dave for almost forty years and we knew him for close to fifty. Peter Wiley, a former cello student of Dave’s and his successor in the Guarneri Quartet, has known him for easily forty years. Given the close musical and personal relationship that we had with Dave stretching over decades, it is hard to believe that he is no longer with us. Dave and I first met at the Marlboro Music School—quite literally at a rehearsal for Brahms B Major Piano Trio. In the course of that two-hour rehearsal, I [...]

By Arnold Steinhardt|2017-09-28T04:16:26-04:00February 24th, 2014|Categories: Artistic Vision, Chamber Music, Interpersonal Relationships|Tags: Marlboro Music School, musicians, Arnold, Michael Tree, David, bold, Steinhardt, cellist, Brahms B Major piano trio, University of Michigan, Touring, distinctive, writer, Ford Honors, Arnold Steinhardt, Soyer, Ford Motor Company, cello, bow control, Guarneri String Quartet, cellobello, Style, historian, music, artist, impeccable intonation, tribute, John Dalley, Travel, David Soyer|

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