coaching

On How to Play the Baroque Cello: Vibrato (Part 1) — by Guy Fishman

  In my first blog entry I described a coaching I had gotten on the F major sonata by Brahms, during which I was told I sounded like a “baroque” cellist. I think this was because I disappointed her expectations as to what good cello sound should be, because I’m familiar with some of the excellent players in her circle and with how they play. More than anything else, I think it was my use of vibrato that gave her pause. I should say, however, that my playing at that time did not evince any provocative stance on this topic. But what vibrato I did apply to Brahms clearly did not near her idea of what is appropriate for romantic music. In her defense, I concede that this idea is [...]

By |2017-10-30T05:07:22+00:00November 20th, 2014|Categories: Artistic Vision, Baroque|Tags: , , , , , , , , |

Exploring Beethoven’s Fifth Symphony — by Jonathan Pegis

Here in just a few measures is an excerpt that has confused, befuddled, and downright scared more cellists than just about any other excerpt (please click image to enlarge): The theme from the second movement of Beethoven's fifth, along with the first two variations, shows up on the vast majority of cello audition lists.  I thought it would be educational to spend some time exploring this theme, and future blogs will explore the first and second variations.  To begin with, this excerpt is one of a handful that I have coached for many years where I am actually LESS confident than I used to be.  Why?  Because every teacher, every coach, and every conductor has had radically different ideas about all the different aspects of this theme.  Temp, color, dynamic, [...]

Teaching at Cello: An American Experience — by Mark Summer

As a founding member of the Turtle Island Quartet, I am grateful to Paul Katz for asking me to contribute to CelloBello. As a conservatory-trained, improvising cellist, I hope I can bring a unique perspective to this forum with thoughts on performing, teaching, and traveling with my cello. This past summer I enjoyed five days of intensely rewarding teaching and performing at the summer music program, Cello: An American Experience. The program attracted 18 young cellists from around the country, and is held at St. Olaf College in Northfield, Minnesota, 44 miles south of Minneapolis. Left to right: Avery Johnson and Mark Summer My introduction to Cello: An American Experience began with a Facebook message sent to me from the director, and my old colleague, Anna Clift. Anna [...]

A New Look at Sight-Reading (Part 1) — by Robert Battey

As a teacher who specializes in adult amateurs, and who coaches at chamber music workshops catering to the amateur demographic, I have been struck by the differences of approach between these players and the “serious” conservatory students. By definition, “amateurs” are those who pursue the art form simply because they love it, and without the goal of becoming a professional. Conservatory students pursue the goal of professionalism even when, in a few cases, they don’t actually love the art form that much. But inherent in that pursuit are the thousands of hours slaving away on exercises, scales and etudes, always with an eye on the competition lurking in the next practice room or the impending juries. Amateurs “just want to play.” They have no illusions about ever sounding like the [...]

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 [...]

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