CelloBello

Join our friends at Play For The Vote this Thursday, September 5th! Mike Block Music

Buy your tickets here: https://www.passim.org/live-music/events/play-for-the-vote/

🎶 Join us for a Special Night of Music, Community & Fundraising! 🎶

We’re thrilled to announce a one-of-a-kind Fundraiser Variety Show at Club Passim on September 5th, featuring beloved Boston artists in unique collaborations you won’t want to miss! ✨

Play for the Vote is on a mission to amplify voter turnout through the power of music. By organizing performances at polling locations across the country, we aim to create a positive voting experience and foster a sense of community on Election Day. 🇺🇸

Your support helps us bring these impactful performances across the country. Let’s come together for an unforgettable night and make a difference!

📅 Date: September 5th, 2024
📍 Location: Club Passim
🕔 Doors Open: 5 PM | Show: 7 PM

Get your tickets now and be part of something special! 🎟️
Use the link in our bio to purchase them! 🔗 ✨

Check out CelloBello's For Teachers section! CelloBello founder Paul Katz hosts discussions on cello pedagogy with Eugene Kim, Laura Blustein, Matt McManus, Nancy Hair, Mark Churchill and Ron Lowry.

Topics include holistic educational methods, developing creativity and musical instinct, technique, the fingerboard, and healthy playing habits.

Visit For Teachers Archives: https://hubs.la/Q02KTwy40

It's time to read "Practice Time: Inspiring and Productive?" by Natasha Brofsky

"As musicians, a life spent practicing our instruments means that we need to be able to teach and inspire ourselves. The art of practicing well is essential in order to develop our own musical voice.

The musical idea is everything.

Awaken your musical imagination!!

Is the phrase you are practicing lyrical or dancelike? Is it passionate? Melancholy? Stormy? Tender? Does a particular passage inspire a scene in your mind? What kind of a story does it tell? How do you want the audience to experience the music at that particular moment?

Experiment! Try different bowings and fingerings for the same passage. What makes the music come alive?Remember that the phrasing and emotional impact of the music affect what techniques we use to play it successfully, so don’t decide on bowings or fingerings without your musical imagination firing!

Perform for yourself in the practice room.

Have you ever been frustrated in a performance because the passages you had practiced by yourself were not reliable when you did a run-through of the movement? Often it is because you haven’t practiced the difficult passages in the right dynamic or with the same emotional intensity that you are playing them with in the performance. Project your musical idea when you work on challenging places in the music so that you can make sure your physical movements are still fluid when you are emotionally involved.

Then remember that after you have worked on a difficult bit, PUT IT BACK into context! Many of us get stuck putting the passage under the microscope and forget to put the bits back into the musical whole. If you are not ready to play it up to tempo, you can still put it back into context by playing in slow motion. Play the phrase with exactly the musical shape you want, but only as fast as you can manage the whole phrase. Often I hear students who practice the easy bits up to tempo, then, when they get to the challenging part they slow down or hesitate. When they have to perform, they tighten physically at the difficult moment because they have taught their bodies remember the physical hesitation they repeatedly practiced. Retain the flow of the musical phrase even in slow motion.

Don’t always start from the beginning of a phrase.

Have you ever repeatedly practiced a phrase from..."

Read more:

Practice Time: Inspiring and Productive? - CelloBello As musicians, a life spent practicing our instruments means that we need to be able to teach and inspire ourselves. The art of practicing well is essential in order to develop our own musical voice. The musical idea is everything. Awaken your musical imagination!! Is the phrase you are practicing ly...

Enjoy a CelloBlog! Take a look at "The Shape of Brahms: Looking at His Music" by Anssi Karttunen.

"Brahms the Architect
One of the keys to understanding the music of Johannes Brahms is through his use of shapes and sizes and the manipulation of them in building his architectural forms. He was always stretching motives and phrases, making them overlap, go in and out of sync, hiding the bar-line and bringing it in sight again. Irregular phrase lengths, hemiolas, working with conflicting slurs in order to make us unsure where the strong beat is – he had many tools to confuse us.

What this playing with blocks of material means for us performers is that one should not fall in love with only one line and its details, everything is always part of a larger picture and while detail is important it always relates to larger structures. I feel the best way to appreciate the genius of Brahms is to allow for the discovery of the listeners and not explain him when he clearly wants to confuse us. It is sometimes tempting to underline what is about to happen or point at what just happened, but that undermines his efforts. He is always very clever in the way he brings us back to reality after going to great lengths to confuse us.

Brahms the Jeweler
Brahms was a fanatic of old music, a collector of manuscripts, a meticulous editor and proof-reader of his own music and the music of others. When reading his manuscripts or urtext scores, it is good to be aware that he really did think about the notation of the details. He knew the instruments and their particularities. Whether he sometimes puts a slur that is surprisingly long or no slur when you would expect one it is at least worth thinking that he may have been trying to tell us something very specific about the music.

As an example, in the first movement of the op. 38 sonata in the cello part, the opening has no slurs or very short ones for a long time. He gives the performance indication Piano, espressivo, legato which would make one expect slurs (many editions add them). Underneath he gives the piano a very simple accompaniment in steady chords, articulated as quarter notes with dots under slurs which create a very special acoustic background. On top of this the simplest and most straightforward cello line will appear espressivo and legato even with separate bows. Another theme later appears first with a five..."

Read more:

The Shape of Brahms: Looking at His Music - CelloBello Brahms the Architect One of the keys to understanding the music of Johannes Brahms is through his use of shapes and sizes and the manipulation of them in building his architectural forms. He was always stretching motives and phrases, making them overlap, go in and out of sync, hiding the bar-line an...

Listen to Marcy Rosen in conversation with Paul Katz and watch a CelloLesson, "Marcy Rosen: Left Hand Position & Vibrato"

Watch here:

Marcy Rosen: Left Hand Position & Vibrato - CelloBello Marcy Rosen in conversation with Paul Katz.

Read "Conversation with Frans Helmerson" a CelloBlog interview by Tim Janof!

"Swedish cellist Frans Helmerson studied with Guido Vecchi in Göteborg, Guiseppe Selmi in Rome, and William Pleeth in London. Other important musical influences came through contact with conductor Sergiu Celibidache, with whom he worked as principal cellist in the Swedish Radio Symphony Orchestra in the early 1970’s, as well as significant guidance and support from Rostropovich.

Frans Helmerson has performed with many of today’s finest conductors and orchestras, touring throughout Europe, the USA, South America, Asia, and Australia since the late 1970’s. His love for chamber music led him to take the position of Artistic Director of the Korsholm Chamber Music Festival in Finland as well as appearing at many other renowned festivals.

Since 1992 Frans Helmerson has held a Professorship at the Musikhochschüle in Cologne and has held similar positions in Oslo, Stockholm, and Madrid. During the current season he is touring as both cellist and conductor throughout Europe, Brazil, and Korea.

His recordings include the Dvorak and Shostakovich concertos, the Brahms Double Concerto with Mihaela Martin, and a recent release of the Bach Solo Cello Suites.

TJ: Your first major cello teacher was Guido Vecchi, whom you studied with from 12 to 18 years old. You said that he “opened your ears to musical color and nuance.” Does this mean that he didn’t teach technique?

FH: Naturally, he also taught technique, but my lasting impression of him is his sound. I first heard him play when I was eight or nine years old when he came to my small town in Sweden and played a concerto with the local amateur orchestra. As an encore, he played a movement of Bach, which I have never forgotten. I still strive to reproduce his sound in my own playing.

TJ: You joined the Swedish Radio Symphony Orchestra at age 22, conducted by Sergiu Celibidache. You said that he gave you “musical curiosity.” How?

FH: Prior to my time with him, my approach to music was more intuitive, so watching him work was eye-opening. He would delve very deeply into the music before making any interpretive decisions. He studied the harmonies and other compositional aspects in great detail, so he knew what he wanted to do with each note, phrase, movement, and piece. He was one of the great maestros of his day..."

Read more: https://hubs.la/Q02KTs0r0

Get to know August's featured 21st-century cello works composer! Learn more about Kalie Akel!

Born in 1989 at Belém, Kalie Akel started piano lessons when he was 5 years old, than the violin at 6 years, the cello at 8 years, the viola at 16 a'd the double basse at 30 years old.

His first composition was performed by Ernani Aguilar in 2009, then he moved to Paris in 2012 to study composition with Eric Tanguy, than with Manuel López López.

He is the resident composer of "Festival Violoncelles en Folie" since 2018. Since this collaboration with the cellist and creator of the Festival, he composed several works for cello orchestra, but also chamber music like cello trio, cello quartet, cello solo and with other instruments (violin, piano, french horn, clarinette and others).

Start working on a new and inspiring cello work here: https://www.cellobello.org/21st-century-cello-works/

We are thrilled to announce Helen Zell and the Zell Family Foundation have chosen to support CelloBello through a remarkable Matching Gift Challenge program to provide the organization with sustaining financial support and cash flow.

Every dollar you contribute to CelloBello through July 31st, 2024 will be matched dollar by dollar by the Zell Family Foundation. Your support will have twice the impact, helping CelloBello "Level the playing Field" in music education.

Seize the extraordinary opportunity to make a difference and donate today: https://www.cellobello.org/helenzellchallenge/

Last Chance to Enroll in CelloBello's Teacher Training Seminar! Register today and join David Ying on Saturday, July 27th!

Full Program and Individual class registrations are now open here: https://www.cellobello.org/teacher-training-seminar/

Friday, July 27th:
- David Ying: “Vibrato, a Moving Experience”
In this class, David Ying will discuss the physical movements that create motion in sound, analyzing how these components fuel the emotiveness of the music.

Last chance to enroll in CelloBello's Teacher Training Seminar! Register today and join Jeffrey Zeigler and Sandra Halleran on Friday, July 26th!

Full Program and Individual class registrations are now open here: https://www.cellobello.org/teacher-training-seminar/

Friday, July 26th
- Jeffrey Zeigler: “Finding Your Path and Your Own Voice in an Ever-changing Field”
The field of music is in a constant stage of evolution, yet the conservatory curriculum has only made subtle changes in the last half century. How does one develop the right tools while finding their own unique path forward into an uncertain future?

- Sandra Halleran: “Ways to Pile it On! Supplements to the Suzuki Books”
Learn which books to incorporate into your teaching along with the Suzuki books to ensure your students are well-rounded and prepared to play anything! We'll discuss supplemental materials at every level.

2 Days left to enroll in CelloBello's Teacher Training Seminar! Enroll today and join Madeleine Golz and Jisoo Ok on Thursday, July 25th!

Full Program and Individual class registrations are now open here: https://www.cellobello.org/teacher-training-seminar/

Thursday, July 25th:
- Madeleine Golz: "Off to a Good Start: Setting Up a Beginner with a Healthy and Happy Foundation"
A class offering practical guidance on how to set up a new cellist with a healthy technical foundation, a love of learning and an appreciation for the great gift of music!

- Jisoo Ok: “Play Better Faster: Unlock the Power of Effective Practice”
Practice is essential for every musician and accounts for the majority of our time we spend. Contrary to popular belief, lengthy and monotonous practice sessions can actually slow down rather than accelerate progress. In this workshop, I'll share valuable insights and provide actionable tips so you can help your students Play Better Faster!

Join Paul Katz and Kee-Hyun Kim on CelloBello's Teacher Training Seminar! 3 days left to enroll

Full Program and Individual class registrations are now open here: https://www.cellobello.org/teacher-training-seminar/

Tuesday, July 23rd:
- Paul Katz: "Essential Study—Priorities for Early Teaching"
The first five or six years are the most important pedagogically in the career of a young cellist. As such, there is a responsibility to establish healthy habits and a solid technical base while minimizing any bad habits that might impede a student’s progress. In this course, Paul Katz delves into foundational principles pertaining to right hand, left hand, musical expression, and creativity that are essential for all young cellists.

- Kee-Hyun Kim: “On Expression”
How we create and inflect our sound is integral to how we create music, as well as define our own unique sense of personal expression. In this session we will explore how we create layers of expression, with our bow as well as with our left hand.

Enroll in CelloBello's Teacher Training Seminar and join Ken Kubota and Erin Breene on Monday, July 22nd!

Full Program and Individual class registrations are now open here: https://www.cellobello.org/teacher-training-seminar/

Monday, July 22nd:
- Ken Kubota: "Is That a Guitar? Chordal Cello for Suzuki Accompaniments and Non-Classical Styles''
This course offers a unique approach to cello accompaniment for early Suzuki repertoire, focusing on mastering movable and fixed hand positions to create lush, plucked harmonies. Participants will learn to seamlessly integrate these chordal techniques into Suzuki repertoire, providing supportive and engaging accompaniments for young students. Additionally, the course will explore non-classical styles such as folk, jazz, and pop, empowering cellists to adapt their playing to diverse musical genres.

- Erin Breene: "Chasing Your Best Cello Sound—An Exploration of Sound Creation Through Use of Weight, Resistance, and Vibrato"
This session will explore how natural arm weight, vibrato, and shifting technique all work together to help students find their best cello sound. We will also discuss how the mind/body connection can impact a player’s relationship with their instrument. We’ll explore how all these techniques come together to bring the music to life, helping unleash the true artist that is inside all of us!

Get to know July's featured 21st-century cello works composer! Learn more about George Lewis!

George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University, where he serves as Area Chair in Composition and Faculty in Historical Musicology. A Fellow of the American Academy of Arts and Sciences, the American Academy of Arts and Letters, and a Corresponding Fellow of the British Academy, Lewis’s other honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015), a Doris Duke Artist Award (2019), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts.

Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work in electronic and computer music, computer-based multimedia installations, and notated and improvisative forms is documented on more than 150 recordings. His work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, Mivos Quartet, Boston Modern Orchestra Project, London Sinfonietta, Spektral Quartet, Talea Ensemble, Dinosaur Annex, Ensemble Dal Niente, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble, and others, with commissions from American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Either/Or, Orkestra Futura, Turning Point Ensemble, Studio Dan, San Francisco Contemporary Music Players, 2010 Vancouver Cultural Olympiad, IRCAM, Glasgow Improvisers Orchestra, and others. Lewis’s music is published by Edition Peters.

Lewis has served as Fromm Visiting Professor of Music, Harvard University; Ernest Bloch Visiting Professor of Music, University of California, Berkeley; Paul Fromm Composer in Residence, American Academy in Rome; Resident Scholar, Center for Disciplinary Innovation, University of Chicago; and CAC F**t Artist in Residence, Brown University. Lewis received the 2012 SEAMUS Award from the Society for Electro-Acoustic Music in the United States, and his book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008) received the American Book Award and the American Musicological Society’s Music in American Culture Award; Lewis was elected to Honorary Membership in the Society in 2016. Lewis is the co-editor of the two-volume Oxford Handbook of Critical Improvisation Studies (2016), and his opera Afterword (2015), commissioned by the Gray Center for Arts and Inquiry at the University of Chicago, has been performed in the United States, United Kingdom, and the Czech Republic.

In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa)from the University of Edinburgh. In 2017, Lewis received the degree of Doctor of Humane Letters (PhD, honoris causa) from New College of Florida. In 2017 Lewis received the degree of Doctor of Music from Harvard University.

Professor Lewis came to Columbia in 2004, having previously taught at the University of California, San Diego, Mills College, the School of the Art Institute of Chicago, the Koninklijke Conservatorium Den Haag, and Simon Fraser University's Contemporary Arts Summer Institute.

Start working on a new and inspiring cello work here: https://www.cellobello.org/21st-century-cello-works/

New CelloBlog! Enjoy "Bach in the Himalayas" by Judith Glyde

"Preface
I wrote a book! Really?

But I’m a cello player!

I’ve been a cellist from such a young age; and, except for a brief departure (an aberration perhaps?) into thinking about being a chemical engineer in a belief that someone in my family could be other than a musician, I have been a cellist for over 75 years. I never thought I would write a book about being in solitude with Bach. And a memoir at that!

I’d love to share the story.

The Plan
It all began in Boulder, Colorado, in 1999, when I needed a sabbatical idea. I had been playing string quartets for 23 years. I knew quartet literature: Shostakovich, Beethoven — all the great works for this ensemble. Now, teaching all levels of university students, I felt the need to re-explore Bach.

What a fabulous opportunity! 3 months free from academia to rediscover the suites and all they have meant to me as a cellist. I thought of the Tibetan Buddhist monk going into contemplative isolation to study and then emerging to teach. Since sliding food under a monastery cell door In Tibet seemed precarious, I needed to rethink. Finding the right cave, the cloister — this was the next step.

A lover of mountains, I had found myself in Boulder at the foothills of the Rockies — the perfect locus ‘after quartets’ for the next part of my life journey. The city is an eclectic cornucopia: the university, several national laboratories, and the Himalayan Explorers Club. Through the Club, I met Pemba Sherpa, a young man who said without hesitation, “You can stay in Sengma where I grew up!” (Sengma is a small village of 9- 10 houses in the Khumbu, the Everest region, of Nepal.

I’ve always been a risk-taker. Once with an idea, no matter how bizarre, I ‘go with it’. This was one of those times. Nepal seemed ideal — the land of the Sherpas: Buddhists who had come from Tibet 600 years ago to farm in the Khumbu. I had the place and the time. I was ready.

After months of planning, off I go. The cello must be carried as the pack is on the back — first to Kathmandu, then Lukla (the gateway to Everest), and on to Sengma.

Sengma and Bach!
To set the stage: living in a Sherpa home with no running water, no electricity, and during monsoon season — all was difficult. The most challenging of all, however, was the lack of communication: verbal (Sherpa is a spoken dialect); personal (little interaction and none with the outside world); and most difficult, musical. No one was interested in listening. Do we play to express our thoughts?

Perhaps the romantic notion of purposeful isolation is too difficult without personal history or training. Complete social isolation can be quite numbing. I counted on Bach to sustain myself. My Alexanian score came alive and became my language. I made an intricate schedule for memorizing, and with time to re-examine Bach’s writing, I began.

As the three months passed, something electric transpired. I became aware of a parallel relationship between my emotions and those in each suite — the former shedding light on the latter.

The G Major. The arrival in Sengma. The key is bold, heroic, and saying, “I can do this!” Even though a monsoon was stealing throughout the valley, was this suite an attempt to bring sunny skies into this rather dismal and frightening environment?

The D minor. The key is one of anxiety, grief and introverted sadness. I was lost in homesickness and despondency. Experimenting with shading intonation and vibrato, I created the utter loneliness I felt. The need to cross the valley to speak to others was overwhelming. Before that could happen, there was this confounding stream I needed to cross.

The C Major. No key is more positive than C Major. It is the foundation of a new dawn. “Do not surrender to defeat but explore solutions!” Painstakingly, I created a stone bridge, crossed the stream, and hiked across the valley. Conversation and chocolate! Thank you, C Major

(Perhaps a bit Dramatic, but this dialogue with the suites was life-affirming.)

The Eb Major. The contemplative, metaphysical suite creating the moment to spend with Mount Everest. Fortunately, the suite’s difficulties, due to the left-hand extensions, were conquered with the concept of left-hand rotation and ‘jumping.’ All was becoming quite manageable.

As I came to the 5th and 6th suites, and with the importance of Bach’s melodic construction, I wanted to find the melody without the chords becoming disruptive. I found myself ‘touching’ the harmony and moving quickly to the melody. All became lighter – quicker. I am convinced it was the altitude.

For the last week before heading home (the temperature in the mountains had become too cold for the instrument) I headed to a hotel in Nagarkot in the hills outside Kathmandu. At sunset, on an outside terrace, a group of Canadian tourists listened to 2 ½ hours of Bach, non stop. Finally — someone to listen.

Epilogue
My accomplishment was considerable: memorizing the six Bach suites and meeting many challenges, physical and spiritual. Trekking to see Mount Everest was an extraordinary experience and the fulfillment of a grand obsession. I was in awe of this top of the world — the ‘Land of Snows.’ The experience will remain the adventure of a lifetime and the most inspiring task I have ever accomplished. To go outside of one’s comfort zone while communicating with nature and with those around you is a gift. I have no regrets — not for things past, only for those that I will not accomplish."

To learn more about Judith’s book, visit https://judithglyde.com.

To read more visit: https://www.cellobello.org/cello-blog/artistic-vision/bach-in-the-himalayas/

Bach in the Himalayas - CelloBello Preface I wrote a book! Really? But I’m a cello player! I’ve been a cellist from such a young age; and, except for a brief departure (an aberration perhaps?) into thinking about being a chemical engineer in a belief that someone in my family could be other than a musician, I have been a cellist ...

Enroll in CelloBello's Teacher Training Seminar and join Horacio Contreras and Sandra Halleran on Sunday July 21st!

- Horacio Contreras: “The Voice as Our Ally: Using Singing as a Tool to Cultivate Musicianship in Cello Lessons”
In this session we will explore the benefits of singing for the development of musicianship skills in cellists. We will explore strategies to cultivate singing and a melodic imagination for students at beginning, intermediate and advanced levels.

- Sandra Halleran: “What's so Important about Suzuki Book 1?”
Learn about the teaching points of each piece in Suzuki Book 1 and how to build a strong foundation for your students. We'll discuss setting up beginners, and will trace important foundational concepts from piece to piece.

All virtual classes are recorded and made available to full program registered participants to view on demand until the end of the calendar year.

Full Program and Individual class registrations are now open here: https://www.cellobello.org/teacher-training-seminar/

Tune in to today's Paul Katz Masterclass at Bowdoin International Music Festival!

Watch here: https://www.bowdoinfestival.org/event/paul-katz-masterclass/

PROGRAM

Paul Katz Masterclass
Wednesday, July 3, 2024 • 1:00 PM EDT
LIVE from Studzinski Recital Hall

SERGEI RACHMANINOFF (1873-1943)
Sonata for Cello and Piano in G Minor, Op. 19
III. Andante
Hayoung Moon, cello • Teddi Yoo, piano
Hayoung is sponsored by Margot Stiassni & Chris Sieracki.

DMITRI SHOSTAKOVICH (1906-1975)
Sonata for Cello and Piano in D Minor, Op. 40
I. Allegro non troppo — Largo — Poco con moto
Kyle Victor, cello • Ting-Ting Yang, piano
Kyle is sponsored by an anonymous donor, and Ting-Ting is sponsored by Dena & Chuck Verrill.

MAURICE RAVEL (1875-1937)
Sonata for Violin and Cello, M. 73
I. Allegro
Daniel Dastoor, violin • Camden M. Archambeau, cello
Daniel is sponsored by Lewis & Adria Kaplan, and Camden is sponsored by Margy Burroughs.

ROBERT SCHUMANN (1810-1856)
Adagio and Allegro in A-flat Major, Op. 70
Ami Matsush*ta, cello • Cynthia Tseng, piano

Paul Katz Masterclass - Bowdoin Music Festival Paul Katz Cello MASTERCLASS Masterclasses give the audience a first-hand look into the teaching and learning process that goes into creating music. Honing technical craft, understanding the nuances of musical language, and finding personal meaning in music are all part of a great masterclass. Progra...

Enroll in CelloBello's Teacher Training Seminar 2024 and join Richard Aaron on "The Rationale Behind the Aaron Approach: Choosing Fingerings & Bowings, and Insight on Scale Methods and Etudes”!

In this session, Richard Aaron will discuss the logic he uses in assigning fingerings and bowings, and why they are significant for each student. He will also address his approach to scales and etudes, and how he determines what methods and approaches would be best for each student.

All virtual classes are recorded and made available to full program registered participants to view on demand until the end of the calendar year.

Full Program and Individual class registrations are now open here: https://www.cellobello.org/teacher-training-seminar/