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The Great Cellists
The instrument we know today developed from the "bass violin" and came into general use in the 17th century. Through her research of performers and teachers, from Boccherini and Romberg to Casala and Jacqueline du Pre, author Margaret Campbell presents a rich picture of traditions handed down the generations and developed internationally, and recreates the magic of the greatest cellists in history.
- GenresMusic
277 pages, Paperback
First published February 1, 1989
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About the author
Margaret Campbell
54 books6 followersPseudonym of Marjorie Bowen, George Preedy and Joseph Shearing
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Displaying 1 of 1 review
August 8, 2013
hey, if you play cello, there aren't that many books on cellists through history so you might as well read them all. so what was this one like? if it offered more tips from each player on music making or on cello playing i would give this five stars instead the info is largely biographic and light on anecdotes. a pity.
this book discusses the first makers, players and composers for cello and the switch in history in popularity from viol family to violin family (of which cello is one).
when you are studying cello you keep using etude books like kummer and wonder who the heck kummer, popper and others like them, were. this book introduces you to all the names and gives you their bios.
stuff in the book:
learn to play scales musically - don't think of your bowing.
learn not only a singing tone but a speaking tone. you will need many tones.
fournier believed in a high right elbow and using sevcik violin exercises for cello.
great to realize that tortelier and other greats also feared making a mistake during shifts.
"consistency is the difference between the professional and the amateur"
rostropovich: ...then i take out my cello and play it with many faults and without proper fingering or bowing. it is very bad for people to hear me when i am doing this" - see! even the best players know when practicing a new piece you have to be willing to sound bad in order to sound good later.
hard to play pianissimo on modern cellos and hard to play fortissimos on the early ones.
get yourself the best teacher you can.
guess what? the best players practice etudes and scales so we have to too. drat. usually i just practice the hard bits of pieces i'm working on at the time and can't find the time to actually do scales and etudes. oh well...
you have to relive a piece EVERY time you play it.
do a lot of slow practicing and making that perfect.
this book discusses the first makers, players and composers for cello and the switch in history in popularity from viol family to violin family (of which cello is one).
when you are studying cello you keep using etude books like kummer and wonder who the heck kummer, popper and others like them, were. this book introduces you to all the names and gives you their bios.
stuff in the book:
learn to play scales musically - don't think of your bowing.
learn not only a singing tone but a speaking tone. you will need many tones.
fournier believed in a high right elbow and using sevcik violin exercises for cello.
great to realize that tortelier and other greats also feared making a mistake during shifts.
"consistency is the difference between the professional and the amateur"
rostropovich: ...then i take out my cello and play it with many faults and without proper fingering or bowing. it is very bad for people to hear me when i am doing this" - see! even the best players know when practicing a new piece you have to be willing to sound bad in order to sound good later.
hard to play pianissimo on modern cellos and hard to play fortissimos on the early ones.
get yourself the best teacher you can.
guess what? the best players practice etudes and scales so we have to too. drat. usually i just practice the hard bits of pieces i'm working on at the time and can't find the time to actually do scales and etudes. oh well...
you have to relive a piece EVERY time you play it.
do a lot of slow practicing and making that perfect.
Displaying 1 of 1 review