compositions

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 [...]

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 [...]

Tak-Sîm (Pt. 1) — by Jeffrey Zeigler

In my next few blog posts I am going to take a temporary detour from our discussion regarding the K-Bow in order to talk about a new work that my quartet recently premiered in Paris at the Cité de la Musique. The piece is by Alireza Farhang, an Iranian composer currently residing in Paris. The work, entitled Tak-Sîm, was commissioned by IRCAM (the Institute for Research and Coordination in Acoustics and Music).   In past blogs I have spent a fair amount of time talking about the integration of technology and extended cello techniques into performance. My desire to discuss this piece comes from the fact that in my opinion this particular composition successfully integrates both concepts. In his own words, the composer's objective was to transmit the intonation of [...]