Hello CelloBello Fans! With school back in full swing, we're excited to officially kick off the fall season here at CelloBello! Stay tuned for a packed week of new and original CelloBello releases: Monday: an exclusive masterclass with Yo-Yo Ma on the Elgar Concerto, Mvts. 3 &4 Tuesday: a new blog from Michael Haber, "Practicing, Some Practical Advice" (Part 1) Wednesday: two new CelloLessons from CelloBello's founder Paul Katz, "Eliminate Left Hand Tension" Thursday: Part 2 of Michael Haber's "Practicing, Some Practical Advice" Friday: an interview with Alisa Weilerstein, "The Psychology of Sound Production" Enjoy!
Reprinted from Internet Cello Society 11-29-2016 By Tim Janof 4-6-2006 TJ: When you burst onto the music scene, people were struck by your white hot performances. Your sound was strong and your vibrato was wide, which was a striking contrast to your predecessors. Where did your unique concept of sound come from? MR: Let me give you a little background first. My family lived in two-room apartment in Baku until I was seven years old. My mother was a pianist and my father was a cellist who had worked with Casals. There is a picture of me sleeping inside my father's cello case when I was four months old. My first instrument was the piano, which was my first love. To this day, when I am learning a new cello [...]
Reprinted from Strings Magazine, September 17 2015 By Martin Steinberg: "A cellist walks on a beach and picks up a bottle. A genie pops out and says, “I give you two wishes.” The cellist says: “Wow, I’d like to have world peace.” The genie thinks for a second and says, “That’s too hard! What’s your second wish?” The cellist says, “Well, I’m turning 60 and I want to play in tune.” The genie thinks for a second and says, “What was your first wish again?” Musicians, take heart. That joke was told by the cellist Yo-Yo Ma during an interview ahead of his 60th birthday on Oct. 7. After 55 years of playing, yes, even Yo-Yo Ma needs to practice. “What all string players have in common is that if [...]
Your 1992 recording of Britten's Third Suite is widely known, due to its pairing with John Tavener's "The Protecting Veil" (which has been called a "cult" recording). Do you have any approximate idea of how many copies that album has sold? I don't know—quite a few, anyway. I wonder how many people have listened to the Britten, though! There's another connection: the very first time I went to see John Tavener with my cello, I played him the passage in the coda of the Britten where the cello breaks into a chordal version of the chant for the dead—like a Russian Orthodox choir. I remember him saying how wonderful that music sounded on the cello. Much later, John heard me play the whole suite, and—rather to my surprise, because it [...]