All cello articles – Page 2
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Spiccato and sautillé - two important bow strokes which are often confused
Spiccato and sautillé are the two most important off-the-string bowings, but they are often confused. One of the reasons might be their relation to speed.
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Performing entirely by reflex, by cellist Leonid Gorokhov
The Russian musician and Hochschule für Musik und Theater, Hannover professor describes how he trains himself to transcend the physical restraints of playing
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Video
Victor Julien-Laferrière: Dvořák’s Waldesruhe
Filmed on 1 August at the Charlottenborg Festsal during the Copenhagen Summer Festival
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Blogs
Alban Gerhardt on playing the Britten and Shostakovich sonatas side by side
Their composers may have been friends but these two 20th-century masterpieces, written 30 very eventful years apart, could hardly be more different
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What to play when trying out a new stringed instrument
Buying a new instrument is as much about rigorous auditioning as it is about falling in love...
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Article
Laureates named at Mazzacurati International Cello competition
Dutch cellist Anton Spronk takes the Turin event’s first prize, plust audience and orchestra awards
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8 ways to vary your vibrato
Tips from The Strad’s archive for varying vibrato speed, width, pressure and direction to produce an infinite range of colour contrasts
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Video
Composer cellist Hildur Guðnadóttir on the halldorophone
Guðnadóttir has created a number of prominent film scores in recent years, including HBO’s Chernobyl miniseries and the new Joker starring Joaquin Phoenix
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From the Archive: a cello by Gennaro Gagliano of Naples
This illustration of a cello by Gennaro Gagliano was published in The Strad, March 1938. The following text is extracted from the article accompanying the photographs
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Premium ❘ Debate
How should string teachers approach an advanced adult pupil?
Understanding the physique and psyche of a new adult pupil should not be taken lightly, writes Pauline Harding
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From the Archive: an Alexander Despine cello
This illustration of an Alexander Despine cello was published in The Strad, February 1953. The following text is extracted from the article accompanying the photographs:
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A Human Heart
To mark the centenary of the completion and premiere of Elgar’s Cello Concerto, cellist Raphael Wallfisch reflects upon the period and circumstances surrounding the work’s creation and subsequent life
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Raphael Wallfisch on finding the right cello position
The British artist tells Laurinel Owen why he plays with a long endpin and its effect on technique and sound production
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Cellist Jian Wang on the importance of slow practice
The Chinese artist explains why his method of practising hand movements has its origin in the jungle
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Thomas Demenga on studying with Grimmer, Janigro, Rose and Rostropovich
The Swiss cellist compares himself to a quattro stagioni pizza of the combined influence of his teachers. From September 2008
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How to shift smoothly and cleanly by cellist Jeffrey Solow
When it comes to shifting, the American cellist and Boyer College professor gets his inspiration from the physics of ball games in this 2007 article
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Video
Comparing 3 Stradivari cellos
Pablo Ferrández visits the Nippon Music Foundation to compare the 1696 'Lord Aylesford' cello he has on loan with two others by Stradivari, the 1730 'De Munck, Feuermann' and the 1736 'Ladenburg' (part of the 'Paganini' quartet).
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Fernández - Prelude & Bossa Nova No. 2 ‘Alla Chitarra’
Composer Horacio Fernández writes: ‘In this virtuoso piece, the cello is asked to put the bow down and imitate techniques that are usually associated with the guitar such as the use of chords and fingerstyle technique. ‘With this, the cello proves once again its capabilities as a simultaneously harmonic ...
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10 tips for performing from memory
Guidance from The Strad’s archive from how to incorporate memorisation into your practice, what the benefits might be – and when not to bother
