Soyer

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: , , , , , , , , |

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 [...]

I Found my “Dream Quartet” in an Unexpected Industry — by Margo Drakos

My love for string quartets drew me to the cello, or rather, it motivated me to practice. It isn’t just the repertoire—I was hooked by the music the first time I ever heard the early Guarneri recording of the Cavatina and Grosse Fuge.  I love the idealist concept of a quartet, and the feeling of playing an individual voice that joins together with three other voices to form a single interdependent expression.   I also love the cellist’s role in a quartet, as it requires a multitude of skills.  At once the quartet cellist is the anchor, sometimes quietly without notice, sometimes with declarative strength, sometimes a supportive counterpart, yet at other times is the prominent, docile melody.  I have taken great pride in seeking the seemingly unattainable perfection of [...]