Jonathan, Author at Jonathan Simmons

Today’s blog post will be a different sort – all about set up and equipment! I hesitate to write a blog post on equipment because so much cello-centric equipment comes out that seems admittedly “gimmicky.” In addition your instrument and bow are a very personal combination. What works for me might not work for you, and what I prefer may not please you at all! With that being said, the intent of this blog is to both share what has worked for me as well as to thank and promote the shops and individuals who helped me come to my current setup. When I buy a new instrument, I will definitely try out these same accessories to see if they work just as well for me on other instruments. To confirm, none of the shops mentioned in this post have sponsored me in any way. Rather I would like to use this post to show my gratitude for their products and their good service.

Horvat Tailpiece and Carbon Fiber Tip

Horvat Tailpiece

Perhaps the most unique part of my setup is a pernambuco/mixed composite hybrid tailpiece by Damir Horvat of Horvat Fine Violins based in Columbia, South Carolina. Although many carbon fiber tailpieces have flooded the market in recent years, this model is the only one of which I am aware that successfully integrates both the natural look and warm sound of wood with the tone-enhancing characteristic of composite materials. Damir Horvat says “the exact ratio is a little trade secret.” My particular tailpiece is a prototype that I fell in love with after trying several different tailpieces on my cello. Now several models are available with various choices of wood. More examples can be seen HERE, and the Horvat Fine Violins website can be found HERE.

In addition, my tip plate is also carbon fiber!

Horvat Tip Plate

This tip plate replaces the broken original one, and I have no worries of this one will be breaking any time soon, or ever! I did not notice any difference in weight or tone after the carbon fiber was added. It is the first carbon fiber tip plate design of which I am aware.

Pegheds

Josef Teller Swiss Model Ebony Peghed

You may have noticed that that tailpiece does not have fine tuners. Although I prefer fine tuners, I am happy to live without them if the sound benefits. That brings us to another innovation in string technology, Pegheds, a name brand of mechanical pegs. Lest you recall tuning nightmares with older mechanical pegs that used a screw to tighten or loosen the grip of the pegs, mechanical pegs have developed tremendously since those early attempts. My early interaction with mechanical pegs was limited to one friend who used a different brand in high school and loved them, although they were always the last one tuning! More recently however several of my teachers had Pegheds installed, prompting me to consider them. Although many off brands exist, to my knowledge, Pegheds are the top of the line and worth the investment.

Chuck Herin, founder of Pegheds was nice enough to both give me a tour of his shop in Winnsboro, SC and also to walk me through the options of different designs for the head of the pegs. In the end, I decided to keep the heads of the pegs that were currently on the instrument and have them installed on the new peg shaft. Watching the process was fascinating, and procedure requires much less time and painstaking detail than fitting a new set of traditional wooden pegs. To create and install the whole set on my cello took well under an hour! Pegheds ships internationally with detailed instructions for luthiers who may not be familiar with the products, or you can go to the man himself at his Columbia, SC location. The Pegheds Facebook page can be found HERE, and their website is HERE. Note: Pegheds, Inc. is for sale! Contact Chuck Herin with inquiries.

New Harmony Endpin – Cellos2Go

New Harmony Endpin

One final often overlooked accessory on the cello – the endpin. Endpins come in multiple diameters, materials, and lengths. If you are debating switching to a new endpin, consider factors including how long you need the endpin to be and whether you can remove your current endpin easily, or if you need to take the whole unit out. Also consider the diameter of your endpin. They come in both standard 8mm and 10mm sizes, and the two sizes are not interchangeable. Materials vary from composite materials to carbon fiber and denser metals. Some are hollow and some solid.

So why would you want a new endpin? I admit I was skeptical about what difference an endpin would make. However, there was no risk involved when Cellos2Go shipped me several to try for a week. I came out with a New Harmony hollow carbon fiber pin with the sharpest spike known to man! From behind the cello, I really did not notice much difference in sound, but the response of the cello did become much quicker, especially on the C string. That being said, at my first lesson after switching to the new endpin, my teacher looked up as I tuned the first string and immediately asked, “What did you change?” Perhaps the difference out front is more marked than I can tell from behind. Cellos2Go’s website is HERE. I have always had a positive experience with their advice and their customer service. Note: In speaking with Chuck Herin from Pegheds, I found that he too makes endpins! They include “Bronze, Copper, and brass core in a 10mm pultruded carbon fiber sheath…with silicon carbide tips.” Here is a picture of one of his endpins.

Keeping all these innovations in mind, I would like to share a quote to which I often return when tempted to purchase instrument-related equipment. “Amateurs think hardware; professionals think software.” No matter what your skill level, you can overcome the limits of your instrument and equipment; still having nice gear is always an enjoyable experience, to be sure! Happy practicing!

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©2020 by Jonathan Simmons. All rights reserved.

Slow Practice vs. Slow Motion Practice

October 17, 2020 by Jonathan

Pedagogy, Practice

“Practice slowly.” It’s something we have all heard from our teachers, but all too often this advice comes without demonstration of different types of slow practice or how our practice goals should differ from fast practice. Despite the countless hours we spend practicing slowly over the course of our lives, do we truly understand how to get the most out of our slow practice?

Only after several years of playing cello was I introduced to two different types of practice: slow practice and slow motion practice. Today we will focus on how we practice, specifically how we practice slowly.

Slow Practice

Slow practice helps us to learn music accurately no matter whether our current playing level is beginner or professional. As we will define it today, slow practice is not only under tempo but also commonly narrows our focus by removing certain aspects of the music including bowings or dynamics. With these factors removed, we are free to narrow our focus to other aspects of the music. For example, we can simply focus on finding the notes. Especially in the early stages of learning a piece, we need to devote slow practice time to just making sure we can hear the piece in our heads and have ideal fingerings for finding the notes. This is often easiest at a slow tempo with free rhythm.

As a subset of notes, intonation can be another focus of slow practice. Slowly practicing with a tuner without vibrato develops our sense of equal temperament, giving us opportunity to go back and forth in between notes that we miss. We can also check fingered notes against harmonics and as double stops with open strings to test the intonation.

In addition slow practice aids our ears in developing good tone. Practicing slowly magnifies our idiosyncrasies, so any weaknesses in technique or phrasing becomes much easier to hear. For this reason, many students do not like to practice slowly, thinking that they make more mistakes when they practice under tempo. In reality playing slowly only exposes what was there all along. When we practice slowly, we actually make fewer mistakes in general, although our ears pick up more of them.

Slow practice also gives an opportunity to work out tricky rhythms using the metronome. This can happen while sitting at the instrument, but just as often, try clapping and counting away from the cello. When unencumbered with thoughts about all the technical details described above, our full focus is free to tackle the rhythmical challenges we face.

Slow Motion Practice

Learning the difference between slow practice and slow motion practice was a game-changer for me. Practicing in slow motion differs from slow practice in several ways.

In contrast with slow practice, slow motion practice observes all the markings in the music as in a performance. In essence slow motion practice would appear as if you were playing back a recorded performance of the piece at a fraction of the performance tempo. All musical elements would remain the same, and even more importantly all your motions would be identical. When playing slowly, we have a (healthy) tendency to use larger motions. In slow motion practice, we want to be attentive to and imitate the motionsused when playing quickly. If you use one inch of bow per note at tempo, you will still use that same amount of bow when playing slow motion. If you prepare your left arm for a shift two notes before the shift, you will do the same in slow motion practice. Below is a written example of a passage as it would be practice both slowly and in slow motion.

Valentini Sonata

This first picture shows the passage (an excerpt from the Valentini Sonata) as written along with the notes that we will emphasize in slow practice. I can attest that these measures require some practice! Next let us look at how the first measure might look when practiced slowly.

Slow Practice

Notice a few things – first, the slurs and articulations are gone. As we focus on the notes, we don’t need to think about everything at once. Second, notice that we are playing very slowly, approximately four times as slow, because the first measure is stretched into four measures. The notes don’t line up exactly, and that is one of the joys of slow practice. They don’t need to! The first two notes line up with the previous example. However the first bracketed note is longer. This D# is a bit of a stretch on cello, so it is good to check it for intonation. That note is repeated again for good measure before the notes go back to straight quarters. As we reach the D# again in the third measure, we again repeat it searching for perfect intonation. After that the notes again line up with the above example until the final bracket. Note that the bracketed notes are repeated. As we feel confident, we can speed through the notes, assuming they are accurate. Finally let’s see how slow motion practice might look.

Slow Motion Practice

Both bowing (slurs) and articulation (staccato) have returned. In addition, the notes correlate exactly to the original excerpt one for one. This version of slow motion practice happens to be in half notes instead of quarter notes, but this does not necessarily need to be so. What we would also keep consistent beyond the notes is identical motions. Because the passage will be played near the balance point when up to tempo, when played in half notes, we will also play it in the same part of the bow. Whether we choose to play the passage on or off the string at tempo, the same style will apply when practiced slow motion.

As you play slow motion, as yourself questions about the music and the movements you make. How high am I lifting my fingers above the fingerboard? Am I pacing the crescendo the way I would like? Does my bow hand tense at the thought of fast passages? The answers will illuminate what needs further attention and will help you play faster and more accurately than trying to blaze through the piece at full tempo. Practicing this way brings to light not only what sounds we produce but also how we physically generate the sound.

I hope these insights are helpful to you in practice. I know the transformation they made was astounding for me. Consider recording yourself in slow motion practice. You will gain even further insight into the habits you never even knew you had.

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Learning Extensions Forward and Backward

October 10, 2020 by Jonathan

Extensions, Left Hand, Pedagogy, Technique

String pedagogy tends to lump all extensions into one large animal. As cellists know however, not all extensions are created equal but rather are divided into two completely different categories of forward and backward extensions. Let us explore the similarities and differences below.

Jonathan Simmons Cello

Extensions

To begin, we need to set two ground rules.

#1. Extensions always occur between first and second fingers in the neck positions.

Once we understand this concept, extensions become more manageable. All the fingers remain half-steps apart from adjacent fingers with the exception of the first finger that will be a whole-step away from second finger. No need to worry about your short pinky not reaching forward far enough on its own. Rather allow the movement of the second finger to push the other fingers into position.

#2. The thumb remains under the second finger at all times.

This rule is fairly self-explanatory. No matter whether we shift or extend, the second finger and thumb move as a unit in the neck positions. We will flesh this rule out practically later in the post. Now on to the two types of extensions.

Backward extension

Although nearly all orchestral string method books begin with the forward extension, we will begin with the backward extension instead because it is easier both to explain and to perform. This might raise the question of why the method books teach the harder concept first. My personal opinion is that many orchestral method books are designed with the upper strings in mind and subsequently are adapted to fit cello and bass. Many other factors in addition to extensions lead me to this conclusion.

Enough of the rant. Let us continue.

The backward extension is simply the action of straightening the first finger to reach a half step lower, what Wesley Baldwin of the University of Tennessee, Knoxville calls the “waiter, check please!” position.

Of course, much more goes into the process than that. At least two things could happen instead of an extension forming. First, you might straighten your first finger, and instead of reaching an extension, the finger points straight into the air (fig. 1).

Figure 1

If you experience this phenomenon, all you need to do is angle your hand back so that the finger touches the string (fig. 2).

Figure 2

This exercise demonstrates one of the benefits of the slanted hand position. Many teachers and performers fall on either side of the square versus slanted hand debate, but this ease of extensions for me is definitely a positive advantage of the slanted hand.

Perhaps you straighten your first finger only to find that it is touching a lower string (fig. 3).

Figure 3

In this case, all that needs adjusting is your elbow. Simply move your elbow forward until you find the correct angle to reach the desired string.

One thing you will notice about this hand position is that it is sustainable. Instead of the fingers spreading left and right across the palm (fig. 4), the movement is the common motion of opening or closing the fingers.

Figure 4

If your hand is like mine, you may notice that, in addition to being easier on the hand, the distance between the first and fourth fingers is equal to or greater than spreading across, allowing us to reach larger intervals.

You can tell the backward extension is being executed correctly when only one finger moves. Notice also that the wrist does not move, but that the uninterrupted straight line from the elbow to the base joint of the pinky remains unbroken (fig. 5).

Figure 5

Forward extension

In contrast to the backward extension involving only one finger, the forward extension involves movement not primarily of the hand but of the arm. Whenever the left arm moves, I personally define that movement as a shift. For this reason, I consider the term forward extension to be a misnomer (though I will continue to use the term for the duration of this post). In fact the forward extension, as it is commonly known, should rather be defined as the combination of (1.) a forward shift and (2.) a backward extension. In other words, a true forward extension does not actually exist, only backward extensions! Allow me to explain by demonstrating how this change in thinking will solve some common errors in executing forward extension.

The first of these common errors is extending forward from the wrist. The resulting position breaks the previously mentioned line from elbow to pinky. A negative example looks like this (fig. 6).


Figure 6

From this position, students often complain of being unable to “reach” far enough. This is the consequence of the hand and/or fingers attempting to move forward without the arm. Can you imagine reaching for an object six inches away moving only your wrist? Of course you would be understandably frustrated! Yet this is how many students try to “reach” for the notes forward extension. Have students try the following exercise to develop better habits for forward extensions.

Another error that students are prone to make is to extend forward without the thumb moving with the second finger (fig. 7).

Figure 7

As mentioned earlier, the thumb and second finger should move together. An immobile thumb is uniquely a problem to the forward extension because only in the forward extension does the second finger move. Of course backward extensions can be hampered by a tense thumb, but the shifting portion of the forward extension becomes absolutely impossible because it prevents the arm from moving. The immovable thumb can also be considered a subset of shifting (extending) from the wrist. For this reason, I consider the forward extension a combination of both a forward shiftand a backward extension. Practice the extension in two distinct parts of (1.) a forward shift followed by (2.) a backward extension of the first finger to develop this sensation.

I do hope that you work through these exercises and experiment on your own to find the extension technique that allows you the most mobility and the least tension. I have heard other excellent ways to explain extensions recently and am constantly seeking to add more ways of thinking about this universal concept. Please feel free to add a comment and share what has worked for you!

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Inside the Right Side

October 2, 2020 by Jonathan

Pedagogy, Right Hand, Technique

As with any aspect of cello playing, the bow hand serves us best when used in line with our anatomy. Not only will we avoid injury by using the body in the way it was intended to be used, but our sound will ultimately improve, as well. Let’s start the discussion by looking at a skeleton.

The Arm Structure

Take a look at three of the joints that we commonly think of in the arm structure, the shoulder, elbow, and wrist. Notice the order of the joints from highest to lowest – shoulder joint (glenohumeral joint), elbow, and wrist. Maintaining this position takes little to no energy as the arm dangles at our side, and this ordering of joints from top to bottom in space should be the default position of the arm when playing cello. More on this later.

In addition to the three joints already mentioned, our arm structure also includes one more joint that is often overlooked. To find this joint, raise and lower your right shoulder while touching the right collar bone with your left hand. Move your left hand until you find the place where the movement originates. Your left hand should now be touching the joint connecting your sternum with the collar bone, the sternoclavicular joint.

The sternoclavicular joint – the fourth arm joint

Maintaining an awareness of this fourth joint of the arm will give you more freedom of movement and will likely free up tension held in the shoulder. Our 4D movements require freedom in this joint to experience our full range of motion. For a more involved look into how an understanding of anatomy can positively impact your playing, consult Body Mapping resources available online and in your local area.

Adding the Bow

Watch your language!

In my teaching, I often remind students that “press” is a bad word (this applies equally to both the right and the left hands). Instead of pressing, we want to use our natural arm weight to produce the desired sound through the bow. Our arm weight flows naturally in the above mentioned order of joints, shoulder, wrist, and elbow through pronation, the same motion we use when pouring out a cup of water. The following video demonstrates the difference between pressing and pronating.

The Elbow

Bariolage, or repeated string crossings, are one example where cellists must be aware of the motion of the elbow. For our purposes, we will be considering bariolage between two adjacent strings, not across all four strings. Three possible options exist for the movement of the elbow in this case. The elbow can (1.) alternate levels based on the string being played, i.e. when playing on the A string, the elbow will be higher than when playing on the D string. Otherwise the elbow can (2.) remain on the level of the higher of the two strings with the forearm dropping to reach the lower string, or (3.) the elbow can remain on the level of the lower string with the forearm lifting up to reach the higher pitched string. The first two of these three motions are useful in varying types of passages, and the third motion should be avoided. For slower passages, the first motion of allowing the elbow to move between strings will produce a wonderfully robust sound as demonstrated below.

However quicker passages often do not allow enough time for the elbow to move such distances. In these instances, the elbow must remain on the level of the higher string, allowing the forearm to drop the bow to the lower string as in this example from the Haydn Cello Concerto in C Major.

Why is choosing the elbow position of the higher string preferable to the lower string? This is because leaving the elbow on the level of the lower string necessitates a forearm movement that lifts the wrist above the elbow. This position breaks the natural order of the arm joints discussed earlier (shoulder, elbow, wrist), thus hindering the transfer of weight into the strings. This often results in weak or scratchy tone.

The wrist

Another instance in which we are often tempted (or taught) to raise the wrist above the elbow is when playing at the frog. I humbly acknowledge that many fine teachers encourage a supple wrist at the frog. Indeed a stiff wrist will cause tone to suffer in any part of the bow, and a higher wrist can be advantageous in order to take weight out of the bow. What I caution you to avoid, however, is habitually raising the wrist higher than the elbow. Try the following exercise to better understand why. First form a fist and place it on the nearest surface such as a table as if you were punching downward into the table.

As you lean into the table, notice the feeling of stability in this position. Next place your forearm on the table so that both wrist and elbow are flat on the table.

Again lean your weight into the arm and notice the stability in this position such that it takes virtually no energy to maintain this position. Finally place both your elbow and knuckles on the table so that the wrist is raised above the table.

Notice the immediate uncomfortable sensation when you lean into the table. Once the wrist is above the elbow, we have little hope of transferring weight through the wrist into the string. The late violin pedagogue Trevor Williams agrees. In the December 1985 Strad magazine, he writes, “I believe it is not good to raise and lower the hand to compensate for the strength and weakness of the nut and point of the bow. The varying quality of sound thus squeezed and floated, however slightly, in alternate bows is noticeable.”

In addition to the above exercise, also consider the hanging position as in the bottom of a pull-up. Trying to complete a pull-up with bent wrist would be next to impossible. Conversely completing a pull-up a stable, flat wrist is definitely within the realm of possibility for most people, even musicians!

The above exercises demonstrate why we must develop the habit of a stable wrist even at the frog of the bow. A raised wrist is a very weak position, making us prone to injury. Again flexibility is most definitely encouraged, but always with the natural ordering of the arm joints.

As you practice this week, raise your awareness of the arm. Notice how the collar bone moves when you play and be sure you are not holding it in a rigid position because it is in fact designed to move. Also remind yourself of the natural order of the arm joints and play within the framework of your body. Continually experiment to find where you can eliminate tension and add a sense of ease into your playing. Happy practicing!

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The Most Expensive Advice I Ever Received

September 25, 2020 by Jonathan

Inspiration, Left Hand, Masterclasses, Musicality, Pedagogy, Right Hand, Shifting, Technique

Developing as a musician requires learning from the greatest pedagogues and performers on your instrument, often taking place through public masterclasses and private lessons. Sometimes these events can be quite pricey as sought-after teachers can charge hundreds of dollars for a lesson. Below are five nuggets of advice that I have gleaned from some immediately recognizable cellists from whom I have had the privilege of learning. I will share their words followed by how I applied them to my own playing. You will notice that a few of these quotes are not original to the teachers from which I first heard the quotes. Where possible, I have attributed the quotes to those believed to be the original author. I do trust that I am not revealing any trade secrets that were meant to be kept for a select few. Enjoy learning the most expensive advice I ever received!

“It’s not the thing; it’s the thing before the thing.” Dr. Melissa Kraut

That’s it? I hopped on a plane, paying for an extra cello ticket to learn that? Of course I learned much more in the lesson than this simple statement, but this one memorable quote has stuck with me and influenced my teaching and performing in countless ways. Let me explain.

Many musical elements combine to make for specific climactic arrival points and thus deserve our attention and emphasis. A cadence, the top of a crescendo, and the culmination of an ascending line are just three of a myriad of examples. However as Dr. Kraut pointed out, what draws our attention is not only the event, “the thing,” but also the precursor to the event, “the thing before the thing.” We must take care to build to a climax and increase the anticipation by all the means at our disposal. Primarily this remark was meant to highlight musical elements, but preparation is also crucial in technical matters as well. A smooth string crossing requires preparation from the right side, and a successful shift requires preparation on the left side. Consider not only the end result, but also how you arrive there.

“I wish I had not known you were going to do that.” Zuill Bailey

Mr. Bailey said these words after I had given what I considered to be a successful performance of some solo Bach. Indeed my performance was technically proficient, and to this day I still believe that I played very well. However this statement is not referring to technique but rather to musicality. I had played well but had committed a worse offence – I had played predictably.

In music we often become stuck in the rut of playing musical ideas the same way consistently. Whether a sequence that we play with the identical inflection (which is what I had done in said Bach), or a series of repeated notes played in a monotone dynamic, our habits often override our musical sensibility and imagination. A way to rephrase Mr. Bailey’s meaning might be to say, “Never play things the same way twice.” Music making requires an endlessly fertile imagination, and we must never stifle the sense of discovering new ways of playing merely because one way is easier than another.

“Don’t shoot for a hole in one. Aim for the green and putt it in.” Lynn Harrell as quoted by Zuill Bailey

Truth be told, I never actually had a masterclass with Lynn Harrell, but I did have the opportunity to see him perform Schelomo and to meet him afterwards.

He was a generous person and a wonderful musician. (As an aside, on this particular performance, he began the first note of Bloch’s Schelomo on an up bow and used at least seven bows on that first note. Who else could get away with that?!) This quote comes via Zuill Bailey, and I take his word for it that this is an accurate quotation.

This golf analogy has to do with our method of shifting. Instead of using only larger muscles to propel the hand forward and hoping for a lucky result, “a hole in one,” we should rather use the back muscles to get us close to our target note followed by minute adjustments in pitch using the finger once we arrive in position. This requires a loose hand frame in addition to a sensitive ear. So grab your putter and watch your shifting improve!

“Don’t press. Pronate.” Stephen Balderston

Cellists hear about pronation beginning from the earliest lessons. However differentiating between pressing and pronating can take ages to truly understand. I would like to demonstrate the difference between pressing and pronating using the following video because words alone might not suffice to explain.

The first motion demonstrates pressing, often confused with the second motion of pronation. In pronation, the elbow is near the level of the higher string, allowing the arm to drop and pronate sufficiently. This is demonstrated by the bow beginning on the A string and rolling to the D string using primarily a drop of the forearm. Notice that the bow hair does not necessarily need to be pressed closer to the stick when pronating, yet pressing will nearly always result in the hair coming closer to the stick. More on this in a future post about the bow.

Properly understanding pronation makes a world of difference in stamina and tone. As we learn to use right arm weight and leverage to coax sound from the cello, we save energy, making cello playing a physically sustainable activity. In addition, a discerning ear can tell the difference between the sound produced through pressure versus pronation. As you explore the physical freedom that comes with learning this technique, also revel in the world of resonant sound that opens to you.

“When you first look at the music, it seems impossible, but the impossible just takes a little longer.” Wendy Warner quoting Nell Novak

I leave you with this quote from my current teacher. The more I reflect on this statement, the more I find it to be true. No matter what your current skill level, you will come across some piece that seems impossible to play. However rarely is the barrier a physical barrier. You and I have the same number of fingers as Yo-Yo Ma (albeit mine are shorter than his!), two arms, two ears, etc. Our inabilities can be overcome as we learn to train our ears and to use our bodies in the same ways which the great musicians of all generations have learned. With training yesterday’s impossibility becomes today’s victory, and then you are off to conquer the next impossibility.

I hope you enjoyed these glimpses of the most expensive advice I ever received. If you like, check out the links below to learn more.

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Emanuel Moór – Composer Profile and Cello Sonata, No. 2 in G Major, Op. 55

September 18, 2020 by Jonathan

Composer, Repertoire

The following post is adapted from the notes of a lecture recital on the life and work of Emanuel Moór which was cancelled due to COVID-19. I am happy to now share with you this research regarding a neglected composer and his life’s work.

Emanuel Moór Self Portrait

Hungarian composer Emanuel Moór (1863-1931) was the son of Jewish cantor Raphael Moór. Found at an early age to have an aptitude for music, the young Emanuel studied piano, organ and composition. His notable teachers included Franz Liszt on piano, Robert Volkman for composition, as well as a few composition lessons with Johannes Brahms. As a boy he performed in both Europe and America to much acclaim. However, today he is remembered mostly as an inventor. Moór invented a new design for both violin and piano. His piano featured two keyboards, similar in concept to the multiple manuals of a pipe organ or harpsichord, yet still with one set of hammers and one set of strings. Steinway produced a single prototype which is now owned by the University of Wisconsin Madison.[1]Although in addition to the Steinway, Bosendorfer produced four, and other manufacturers including Pleyel and Aeolian produced several, Moór’s poor business sense throughout his life and the outbreak of WWII following his death combined to halt production before the instruments could become widely accepted.[2]

https://www.nytimes.com/2007/07/15/arts/music/15barr.html

As a composer, Moór did enjoy much success during his lifetime. His orchestral works were performed across continents by such distinguished ensembles as the Boston Symphony and the Berlin Philharmonic, and his concerti and sonatas were performed by eminent soloists including vioinists Eugène Ysaÿe and Carl Flesch, pianists George Enescu and Alfred Cortot, and cellists Pablo Casals, David Popper, and Alfredo Piatti, among others. Despite these accomplishments, Moór was easily affected by criticism and often reacted to harsh reviews with bouts of depression and compositional inactivity.

Though he composed in a late Romantic style, Moór always cast his works within established classical forms with a strong influence of the folk music he often heard during his extensive travels as a child.[3] These folk like qualities include “long, almost improvisatory melodic lines,” and a “looseness of structure and a rhapsodic quality,” which many critics denounced as flaws in his compositions.[4]As an example, when Russian cellist Anatoly Brandukov introduced Emanuel Moór to Pablo Casals in 1905, he characterized Moór as an “amateur composer.” In Casals’s biography, Joys and Sorrows, Casals disagrees with Brandukov’s assessment. Recounting his first hearing of Moór’s music, Casals says “His music was overwhelming….and the more he played, the more convinced I became that he was a composer of the highest order. When he stopped, I said simply, ‘You are a genius.’”[5] Although it is uncertain whether Moór introduced Casals to the Op. 55 sonata at this meeting, the Cello Sonata No. 2 in G Major, Op. 55 was one of the first, if not the first, of Moór’s works that Casals added to his repertoire. Casals gave four performances of the sonata in December of 1905 alone following his initial meeting with the composer earlier in the year. These performances are noted both in Max Pirani’s biography of Moór and in H. L. Kirk’s biography of Casals. Casals’s first noted performance of this sonata came during a Russian tour (pianist not noted) followed by two performances with Marie Panthès in Geneva and Lausanne and one performance in Paris with Alfred Cortot at the piano.[6] Casals also championed other of Moór’s works, performing multiple sonatas, a concerto that Moór dedicated to him, a double cello concerto, and a triple concerto for piano trio with orchestra.

Moór’s works have no drastic change in style periods throughout his career as do some composers, so the Op. 55 sonata can be said to be representative of his output in general. As we will see later, several of his style traits stemming from his early training and experiences are evident in this sonata.

Even before Casals performed the work, the Op. 55 sonata bears an interesting history. In 1905 when Casals met Moór, the composer indicated that he had already ceased composing for a decade. However, the first publication of the sonata, which bears a dedication to M. er Mme. Brandoukoff, the cellist who introduced Moór and Casals, dates from 1902 or 1903, depending on the source, just two or three years prior to their meeting. Whether the sonata, Moór’s second of four cello sonatas, was finished at an earlier date and published later or composed in 1902 is unknown. Of note, Moór’s 1959 biography by Max Pirani lacks the dedication in the listing of compositions and does not record any instances of Brandukov’s performing the work.

Since the turn of the 21st century, the sonata has enjoyed increased popularity, including two commercial recordings. The world premiere recording came in 2005 by Hungarian cellist Péter Szabó and pianist Zsuzsa Kollár on the Hungaroton label, and a second recording was published in 2007 with cellist Gregor Horsch and pianist Carole Pressland on the Cello Classics label. These recordings preceded a further revival of interest in Moór’s music in 2013, coinciding with the 150th anniversary of the composer’s birth.

By way of formal analysis, the first two movements are the mostclear to analyze while the third and fourth movements, though still in classical forms, are less strict in their formal structures and exhibit more of the rhapsodic quality mentioned before. The primary tonal centers of the four movements outline a C minor triad, G-C-E♭-G respectively. All four of the movements make use of pedal tones, perhaps a sign of the composer’s early training as an organist.

Movement I. Allegro moderato

Movement I, Opening

The first movement, Allegro moderato in G major, is cast in sonata form. The first theme of the exposition remains open without a single authentic cadence in the tonal center of G major. The movement opens with a single four measure homophonic piano phrase which leads to a six measure parallel phrase with cello, both phrases ending in half cadences. Moór’s genius as a composer is seen in his beautifully simple melodies even more than in his developmental procedures. Following two half cadences in G major, the first authentic cadence comes in C major. This cadence is weak, being an imperfect cadence, a passing tone D# in the soprano resolving to an E, the third of the chord. In addition, the resolution is to a major seven chord, the seventh of which descends a half step to make it a dominant seventh quality. This D# to E motion proves to be a recurring motive through the exposition, appearing twice at crucial points during the exposition. The first D# in measure 13 represents the first cadence outside of G major. The final cadence of the theme is a half cadence in the tonic, G major. Following this, the G major harmony which we would expect is altered instead to a G augmented chord with the D# now functioning as the leading tone to E minor, the key of the transitional passage preceding the second theme. The movement as a whole features frequent modal borrowing and unexpected modulations to distant keys, often facilitated by chromatic bass movement. The movement is unified through transitional passages that feature walking bass lines through tonally wandering sections.

Movement I, Measures 13-14

Movement I, End of First Theme

The second theme transitions to the third theme with unison piano and cello in octaves. Moór uses a B♭7 chord built on the flat 2 scale degree of the 2nd theme in A minor as the V7 of E♭, the beginning key of the third theme. The third theme is the first of many uses of pedal tone in the sonata. The free development section showcases the freedom which Moór’s detractors criticized.

Movement II. Scherzo


Movement II, A Theme

Movement II, B Theme

Movement II, C Theme

The second movement, a Scherzo in C minor, is the most formally and tonally stable movement of the four. In 7 part rondo form, this 3/8 movement features syncopated refrain full of hemiola figures and humorous chromatic trills. Unlike the first movement, the Scherzo features more consistent phrase lengths, even if asymmetrical. The first two phrases are nine bar phrases elided with the beginning of the following phrase. The piano and cello alternate melodic roles in these phrases. The third nine-bar phrase again elides with following phrase, but this time modulates to the chromatic mediant key of E♭ minor, foreshadowing the tonality of third movement. The first episode features asymmetrical phrase lengths of five-bar phrases. Modal borrowing is prevalent in the refrain sections as they wander between C major/minor and E♭major/minor.

Movement III. Adagio

The third movement, Adagio in E♭minor, lacks the tonal stability and formal clarity of the second movement. Because the themes of the movement shares similar motives, discerning where one theme ends and another begins can be challenging. The most promising way of understanding the movement’s form is as a 5 part rondo. Viewing the local and background level bass lines can shed light on the identity of the themes in this movement. The initial three-note descent in the piano, namely E♭-C#-B, is seen at a more background level as the key centers of the refrain and following episode and transition. This movement clearly begins in E♭minor despite chromaticism and enharmonic spellings. The fact that the first modulation in measure 35 is to C# minor gives likelihood that Moór had this larger tonal plan in mind. Admittedly, the B in the third chord of the piano is not in the bass, weakening the supposition. However the next modulation for the transition between the refrain and the second episode is to B minor. The transition is preceded by the same three note descent of E♭-enharmonically spelled D♭-B, this time in the bass. This transition features a repeated three note ascending motive derived from the refrain. The third movement is the most vocal in nature of the sonata movements. The sonata also spends time in C minor, hearkening back to the key of the Scherzo.


Movement III, Initial Descent

Movement III, First Modulation away from E♭

Movement III, Second Modulation away from E♭

Movement IV. Finale

The Finale, marked Allegro con brio and again in G major, is in a loosely organized Sonata Rondo form. In this major key movement, after a short piano introduction, the second of the two phrases of the principal theme repeats the first phrase but modulates to the parallel minor. Both the refrain and every episode are developed, again showing the rhapsodic side of Moór’s compositions. Walking bass lines in this movement are used to accomplish modulations to distant keys. This movement also makes the most extended use of pedal tones, with no fewer than eight over the course of the movement. A three note ascending motive from the refrain is repeated in the episodes and the transitional material. The sonata does not feature any cyclic themes returning between movements.

This sonata is a worthy addition to the slim cello repertoire. Although its loose organization can make it difficult to analyze formally at times, the work finds its strength in the memorable melodies it presents and in the vocal rhapsodic quality it exhibits while remaining within classical formal models. Perhaps the formal criticism that would best apply is not that this composition is so rhapsodic as to be devoid of form, as some of his detractors argued, but rather that the final three movements of this particular sonata are so similar in form, being a 7 part rondo, a 5 part rondo, and a sonata rondo respectively. The work also has pedagogical value in that it is not overly challenging yet introduces upper register of the cello. Each movement features interplay between the instruments and develops critical listening skills. Emanuel Moór’s Cello Sonata No. 2 in G Major is gaining a well-deserved place in the repertoire from the pen of a forgotten composer.

Bibliography

Barron, James. “Let’s Play Two: Singular Piano.” The New York Times. July 15, 2007. https://www.nytimes.com/2007/07/15/arts/music/15barr.html.

Boston Symphony Orchestra concert program, Subscription Series, Season 27 (1907-1908), Week 22, Boston Symphony Orchestra Program Books, Boston Symphony Orchestra Archives, Symphony Hall, Boston, MA. Accessed on December 27, 2019 at https://cdm15982.contentdm.oclc.org/digital/collection/PROG/id/96502

Casals, Pablo, and Albert E. Kahn. Joys and Sorrows: Reflections by Pablo Casals. New York, Simon and Schuster, 1970.

Corredor, J. Ma. Coversations with Casals. New York, E.P. Dutton & Co., Inc., 1957.

Gersing, Dorothea. Emanuel Moór: Eine Einführung in Leben und Werk des Pianisten, Komposisten und Erfinders. Kester-Haeusler-Stiftung, 2005.

Kirk, H L. Pablo Casals. New York, Holt, Rinehart and Winston, 1974.

Le Temps Archives. Le Temps. www.letempsarchives.ch/recherche?q=emanuel+moor+55. Accessed January 20, 2020.

Library of Congress. “Moór, Emanuel, 1863-1931.” Library of Congress. United States Copyright Office. 30 July 2013. id.loc.gov/authorities/names/n87822142.html. Accessed 22 Dec. 2019.

Meszto, Richard. “A Forgotten Composer in England: Richard Meszto Writes About Hungarian-born Emanuel Moór.” Classical Music Daily, edited by Basil Ramsey and Keith Bramich. Classical Music Daily. Mar. 2019, www.classicalmusicdaily.com/2019/03/moor.htm. Accessed 23 Dec. 2019.

“Moór [mohr] Emanuel.” Baker’s biographical dictionary of musicians. 3rd ed., 1919, p. 621. HathiTrust Digital Library, babel.hathitrust.org/cgi/pt?id=hvd.32044040982001&view=1up&seq=647. Accessed 19 Jan. 2020.

Oron, Aryeh. “Emanuel Moór (Composer, Arranger).” Bach Cantatas Website, edited by Aryeh Oron, Bach Cantatas Website, July 2007, www.bach-cantatas.com/Lib/Moor-Emanuel.htm. Accessed 19 Jan. 2020.

Pirani, Max. Emanuel Moór. First ed., London, P. R. Macmillan Limited, 1959.

Ring, Rita, et al. Henrik und Emanuel Moor Stiftung, edited by Rita Ring, Nikolaus Turner, Hermann Nehlsen, and Klaus Wollenberg, Henrik und Emanuel Moor Stiftung, Mar. 2014, emanuel-und-henrik-moor-stiftung.de/. Accessed 19 Jan. 2020.

Shead, Herbert A. The History of the Emanuel Moór Double Keyboard Piano. Old Woking, Unwin Brothers Limited, 1978.

Waters, Edward N. “Reviewed Work: Emanuel Moór by Max Pirani.” Notes, vol. 17, no. 2, Mar. 1960. p. 243. JSTOR, doi:10.2307/893233. Accessed 23 Dec. 2019.

Worldcat Identities. “Moór, Emanuel 1863-1931.” Worldcat, edited by OCLC, OCLC, Inc, www.worldcat.org/identities/lccn-n87822142/. Accessed 19 Jan. 2020.

[1]James Barron, “Let’s Play Two: Singular Piano,” The New York Times, July 15, 2007, https://www.nytimes.com/2007/07/15/arts/music/15barr.html.

[2]Max Pirani, Emanuel Moór (London: P. R. Macmillan Limited, 1959), 160.

[3]Max Pirani, Emanuel Moór (London: P. R. Macmillan Limited, 1959), 20.

[4]Max Pirani, Emanuel Moór (London: P. R. Macmillan Limited, 1959), 29.

[5] Pablo Casals, and Albert E. Kahn, Joys and Sorrows: Reflections by Pablo Casals (New York: Simon and Schuster, 1970), 138.

[6] H L Kirk, Pablo Casals (New York: Holt, Rinehart and Winston, 1974), 208.

Thoughts on Shifting

September 17, 2020 by Jonathan

Left Hand, Pedagogy, Shifting, Technique

Shifting

Following on an earlier post about the left hand, today’s blog will explore some of the mechanics of shifting. How do we shift while maintaining an effective hand position throughout not only the neck positions, but also in thumb position. Let’s get started.

The Shifting Mechanics

The Shortest Distance Between Two Points or Lines and Circles

The left elbow’s position is not static as we play, but rather the elbow moves based on the needs of the music. The elbow moves to allow us to play in tune, to extend, and to shift seamlessly to wherever we need to go across the fingerboard. Today let us consider the action of shifting specifically, building on the concept mentioned in the last blog that extraneous motions should be eliminated, especially in fast passages.

That the elbow “leads the shift” is one point of technique about which many cellists agree in terminology, but in application this maxim can look quite different from one person to the next. A popular idea is that the left elbow leads the shift as the left hand moves by travelling in the shape of an arc, a smiley face, or even in the circular motion of a baseball pitcher’s windup (fig 1). From my understanding, this movement is intended either to add or remove weight from the fingers on the strings during the shift in order to produce the desired sound.

Figure 1

Whenever I hear this advice, my mind immediately recalls the truism learned in geometry that “the shortest distance between two points is a straight line.” In the interest of removing extraneous motions, consider allowing the elbow to travel to its destination via a straight line. As an example of this kind of elbow movement, watch Yo-Yo Ma in the first three shifts of the following video. Notice that his elbow moves from one point to the next in a straight line free of unnecessary motions.

https://youtu.be/57TURi_EXRo?t=86

So if the elbow “leading” does not necessarily involve an arc motion in everyone’s terminology, what else can the phrase imply? In my own terminology, the elbow’s leading refers to the order of movement. The elbow arrives at its post-shift position one or more notes before the hand ever shifts. In other words, shifting is a two-part process. First the elbow leads, and then the hand follows one or more notes later. If this is the order of movement, the arch shape the elbow makes in movement is inconsequential because the elbow will not be moving while the hand shifts. Oftentimes shifting in this manner is so subtle that to an observer, a shift seems to be over before it started.

Lest I seem to be devaluing the teaching of such great string educators as Paul Rolland who encourage round shapes in movement, let me confirm that round motions are to be encouraged more often than not in strings playing. However shifting is one instance in my own experience and observation where accuracy of intonation is aided by thinking in terms of straight lines instead of arcs. My assumption is that this has to do with the accuracy of measuring a line as compared to an arc. A straight line between two points will always be the same distance, but the path of an arc can be slightly larger or smaller without our noticing, thus causing our minds to measure them less accurately. In addition, hitting two moving targets at once, the correct elbow position and the correct finger placement is fraught with more challenges than finding the spots individually.

That being said, how does one know when the elbow is correctly located for a given position? In short, a range of acceptable positions exists. Wherever your hand can achieve the correct frame without undue tension can be one of many correct positions.

Landmarks

In our search to shift accurately and consistently, the elbow remains only one piece of the puzzle. Ultimately our hand must arrive at the correct spot on the fingerboard. The following three types of landmarks serve as aids in our quest for dependable shifts.

The End of the Neck

Both fourth positionand upper third position (also known as 3^rd ½) rely on the thumb being placed at the very end of the neck to easily find the placement of the four fingers. I am amazed at how many students do not know this fact. I am equally amazed at the immediate progress they make in shifting gracefully and accurately once they make this one small change in awareness, namely using their thumb as a reference for these positions. The thumb always goes directly under the 2^nd finger. So to find upper third position, the thumb goes as far as it can down the neck and 2 goes down on top of it, like this (fig. 2):

Figure 2

As the one exception to the rule, fourth position is the only neck position where the 1^stfinger is placed directly above the thumb. So for both third and fourth positions, the thumb shares the same spot. However in fourth position, the 1^stfinger will be will be placed above the thumb replacing where the 2^ndfinger was in upper third position like so (fig. 3):

Figure 3

Substitution Shifts

A second aid in shifting, substitution shifts promote accurate shifts using a note from the current position as a reference. The following video demonstrates literal substitution shifts where on one note two fingers are substituted to play the same pitch.

The sheet music for this exercise would be as follows in fig. 4.

Figure 4

Notice that the final and highest note of this exercise is an F, a minor third above D, the highest note of first position. To find even higher notes, this substitution shifting process can be repeated beginning on higher notes, shifting up a minor third each time ad nauseam.

Harmonics

Finally most positions have harmonics that we already know and use which can serve as reference points for our shifts. As an example, take the ending of the Ligeti Sonata for Solo Cello. The penultimate measure has an A# that is incredibly tricky to find for many. However using the octave harmonic on the D string, we can shift early and help our chances of nailing the note (fig. 6). Below is written first the suggest practice method sounding the harmonic audibly. Eventually take out the harmonic but still place the finger as demonstrated in the following video.

Figure 6

Until I discovered the invaluable tool of using harmonics as guide notes in shifting, watching performers seemingly leap into thumb position and find a note out of thin air astounded me. As I think back, the shifts still impress, but they do not seem unachievable anymore because I know one of the secrets of their shifting: they were shifting to harmonics along. With an awareness of where harmonics are in any given position, shifting accurately to distant pitches becomes possible. This is an example of shifting to the position instead of to the note (more on this later in today’s post). See the exercise below I have developed to help me grab the same notes in basic thumb position out of thin air (fig 7). Accompanying the music is a video of my demonstrating the first line of the exercise. Notice that the thumb is placed on a lower string than the higher goal note in order to develop the habit of keeping the thumb over two strings. For another exercise geared specifically to the neck positions, see last week’s blog here: https://jonathansimmonscello.com/left-hand-habits-for-success/

Figure 7

If you are not yet fluent in locating the harmonics on the cello, let me recommend the book The Secret Life of Cello Strings: Harmonics for Cellists by R. Caroline Bosanquet. This book thoroughly and concisely explains harmonics in an easily understandable way. It is truly one of the best resources I know of on the subject.

Habits

Shift Early, Shift Often

In addition to utilizing the inherent landmarks on the cello itself, good habits can also facilitate more accurate shifting. One of the best shifting habits any cellist can develop is the habit of shifting as early as possible. If you noticed in the Ligeti example (repeated again below), an open A string preceded the shift.

Open strings are an excellent time to shift. If you arrive in general vicinity of the position early (not merely the note. Remember: Shift to the position, not to the note.), you have a better chance of landing in tune. More advice on that from Lynn Harrell in a future blog.

Shift to the Position, not to the Note

As has already been mentioned multiple times, shifting to the position as opposed to only the note we intend to play is critical. This concept involves multiple factors. First the hand must maintain its correct shape and orientation to the string. Stretching a single finger to reach a note does not constitute a shift. Rather a shift is a whole arm movement as discussed at the beginning of this post. Second we must develop an awareness of what some call “fingerboard geography,” an intimate knowledge of what notes lie under each of our fingers on all strings in any given position. Knowing the note corresponding to each finger in every position enable us to utilize the three reference points. This assumes a thorough knowledge of intervals and left hand frame that can be learned from a competent teacher.

I hope this post has been helpful to you. As always, feel free to comment and to subscribe. I would love to hear what has been beneficial to you and what I can make more clear. Updates will be posted on my professional facebook page at www.facebook.com/simmonsmusic.

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Left Hand Habits for Success

September 12, 2020 by Jonathan

Left Hand, Pedagogy, Shifting, Technique

Solid left hand technique is vital to a cellist’s intonation, musical precision, and long-term physical health. However one technique does not fit all, in more than one way. Not only do many accomplished cellists play with vastly varying techniques, but differing types of passages require us to move in different ways. This blog will cover three habits necessary in playing in tune and with efficiency of movement, the latter a habit that is paramount when playing quickly.

Many highly recommended methods and etude books exist to promote good habits in left hand technique. For example Janos Starker An Organized Method of String Playing, Hans Jørgen Jensen and Minna Rose Chung Cello Mind, etudes by Cossman, Popper, and others to name but a few. May I submit to you that many of these technical books do not explicitly define the left hand alignment with words but rather model it in visual aids or infer the shape by the demands of the exercises. Of course a qualified teacher is indispensable in every student’s quest to develop good habits. This introductory blog to the left hand is designed not to replace a teacher but rather to clarify some concepts necessary for getting the most benefit from the previously mentioned resources. It can serve as a point of discussion for further learning in lessons. The following approaches spring from habits I have learned from lessons, masterclasses, reading, and personal practice over the years that can help you revolutionize the way you think about your left hand.

String Crossings

String crossings on violin family instruments can be an intonation nightmare. Every time we move a finger from one string to another, we incur the risk that the finger might end up in a different place than the one we intend. I remember vividly a lesson in high school when my teacher stopped me at the top of a particularly out of tune scale. “I would be rich if I got paid for every out of tune first finger I have heard in this room,” she claimed. Knowing that string crossings pose such a great intonation hazard, how can we practice them to gain more reliable intonation? Here is one exercise I have found helpful in my own studio.

Measuring the Distance

Take a scale, say the two octave C Major scale beginning on the open C string. We will stick with first position fingerings for this example. On C 0-1-3-4. Once you have reached the F, continue to let it sound with all fingers down on the C string as you add the open G. The result will be a double stopped major second between F and G. As you prepare to play the first finger A, let fingers 2, 3, and 4 continue to rest on the C string resulting in a double stopped third between F and A (fig. 1).

Figure 1

After you have placed the first finger A, the fingers on the C string may be lifted to prepare for the following notes. Repeat this pattern going up each string of the scale. Once you are comfortable with this procedure, let the bow return to playing single notes as normal so that the lower bracketed notes do not sound. However continue to let the fingers gently rest on the string as before.

What about going down the scale? All the left hand fingers must be lifted to allow the open string to speak, so can we still apply this principal? Yes! When coming down the scale, the fourth finger must be prepared two notes early. For example, coming down the C scale starting on the A string would look like this:

Figure 2

Repeat the pattern as before, initially sounding double stops and later silently placing the fourth finger on the lower string. Once this skill is mastered on the scale, apply it to arpeggios, broken thirds, and repertoire. Incidentally this exercise often has the added benefit of making string crossings smoother for beginning students, as well as more in tune. This is in part because a truly legato string crossing requires an almost imperceptible moment of double stopping to connect the sound of the two strings.

Hand Frame on a Single String

Quiet Hands

In addition to aiding in good intonation across strings, our left hand alignment also affects our intonation and physical endurance on a single string both when playing in position and when shifting. Today we will address primarily the hand frame only in terms of playing in position. A good left hand philosophy for playing quickly can be summed up in the adage “quiet hands.” In other words, a movement should consist of the minimum of motion possible like a golfer seeking to sink a putt from the green. Any tense or extraneous movements should be eliminated. These extraneous movements manifest themselves in several ways.

First consider the motion of lifting the fingers from the strings. Think back to the scale exercise. Were you aware of how fast or how high you were lifting your fingers from the string? Likely not! When thinking about left hand movement, most string players automatically think about putting fingers down to depress the string. Just as maintaining a sufficiently light touch is crucial to maintaining a loose hand, equally as important is the motion of lifting the fingers. In general, strive to keep the fingers just clear of the string when lifting them. Overly exaggerated movement leads to excessive tension such as hyper-extension (fig. 3) and slows us down tremendously.

Figure 3

This bad habit of lifting the fingers excessively high manifests itself both when playing in position and when shifting. The faster the tempo of the music we are playing, the more important this becomes because the closer the fingers are to the strings, the more quickly and accurately they can execute passages. Strive for quiet hands when lifting the fingers from the strings.

Alignment

Just as the movement of the fingers up and down can be optimized, so movement to the left and right should also be brought to our best advantage. Perhaps the most common misalignment is the left hand knuckles angling away from the fingerboard so that the pinky knuckle is furthest from the fingerboard. Although this positioning can be a very advantageous for vibrato, as advocated in David Finkel’s Cello Talks, we are considering only the factor of efficiency today. Notice in fig.4-5 below that the pinky is in a particularly poor position and would need to move a considerable distance to even reach the string. Students often strain and straighten the pinky in order to reach the string from this disadvantageous position.

Figure 4

Figure 5

This position commonly occurs after ascending shifts when the elbow either does not move at all or does not move enough (more on that in a future blog post). Not only can this alignment change the hand frame and interfere with good intonation, it also requires an additional motion of the arm in order for the fingers to reach the lower strings. Let me recommend the following exercises to remedy this habit.

While in first position with the 4^th finger on the C string, place the 1^st finger on the A string as shown in fig. 6. Notice that the knuckles are not parallel to the neck but rather that the pinky knuckle is closest of all the knuckles. This position is somewhat of an exaggeration, of course, but it is helpful in maintaining a strong, rounded 4^th finger, the pinky being the shortest finger.

Figure 6

Next bring fingers 2, 3, & 4 to rest on the A string moving only from the knuckles, not the wrist or elbow. The following video demonstrates two motions. First the video shows an incorrect motion from the wrist that takes the knuckles out of alignment followed by the correct motion from the knuckles. Repeat in all positions ala Starker’s Organized Method of String Playing.

As a brief introduction to maintaining this alignment while shifting, practice the following exercise (fig. 7) shifting between 1^st and 4^thposition. Keep the 4^th finger rounded as is often necessary. Notice that the 4^th finger is placed on the lower strings when possible. Keeping the pinky is rounded while on a lower string assures that the alignment will be correct. When bringing the pinky to the next string to the left, the pinky will still be round, assuming the correct motion from the video above. Again, repeat this exercises on all strings and in all positions to gain facility.

Figure 7

In one of the next blog posts I plan to apply these principles further to shifting and thumb position. Thank you for reading, and please be sure to comment below and to subscribe to the blog for notifications of future posts.

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A Guide to the Cello/Organ Repertoire

September 4, 2020 by Jonathan

Organ, Repertoire

As a cellist, great chamber music partners are one of the many joys of life – strings, winds, and piano pair beautifully with the cello in many delightful combinations. However, one of the less often heard combinations is the cello/organ duo. As infrequently as these two instruments are heard as an ensemble, the duo boasts a surprisingly wide variety of compositions written for them. So often the organ is showcased as a solo instrument or relegated to an accompanimental role behind the choir that giving the king of instruments and equal footing with another instrument in a chamber music setting is a refreshing change of pace. In programming recitals, my search for repertoire proved that a comprehensive collection of repertoire for this duo has not yet been compiled. Here I hope to create this long overdue listing and share the gems of the repertoire, many of which I have already had the joy of performing in recital myself. Suggestions on where to purchase the sheet music for each piece will also be provided as well as a sample of the professional recordings available (or the lack of recordings when none exists). Many parts come as a piano score from which the organist will need to adapt. Although it is possible to transcribe works originally written for different instruments yourself, special emphasis is given here to those pieces originally written for cello and organ with a select few transcriptions. Many of the wonderful transcriptions have been omitted for sake of space.

Baroque

In the Baroque era, nearly any sonata with basso continuo will transcribe nicely to a smaller organ or a portative. Two that work especially well are Antonio Vivaldi’s Cello Sonata in E Minor, RV 40, and Benedetto Marcello’s Cello Sonata No. 4 in G Minor. Both of these works are available on IMSLP, but if you prefer to purchase a physical copy and would like to give the organist a chance to realize the figured bass for themselves, facsimiles of the Vivaldi VI Sonates: Violoncello Solo col Basso can be purchased from Broude Brothers as well as many editions with realized bass including the Bärenreiter Urtext. The Vivaldi is a favorite standard in the cello repertoire, and many cellists will know it because of its inclusion in the Suzuki method books. The Marcello is not as well known to cellists, but it is nevertheless a wonderful sonata. The instruments exchange primary roles and echo and imitate each other making for good interplay. Physical copies of the parts are available from Edition Peters.

Transcriptions of Baroque violin sonata and individual movements of Baroque sonatas also work well for cello and organ. For example, J. S. Bach’s Sonata for Viola da gamba in G Major, BWV 1027 lends itself perfectly to this instrumentation and can be purchased from G. Henle Verlag. The haunting Largo from Francesco Maria Veracini’s Violin Sonata in D Minor also fits wonderfully on cello and organ. International Music Company offers the sheet music for both this movement alone as well as the complete sonata edited by Janos Starker. In addition to purely baroque music, another single movement Toccata once attributed to Girolamo Frescobaldi was later determined to be written by 20^th century cellist-composer Gaspar Cassado, the work’s major proponent. One of the first Youtube search results yields a performance by none other than Mstislav Rostroprovich & Herbert Tachezi in a lighthearted performance of the work. A whole recording with these two performing this and several artful arrangements is offered by Teldec under the title Cello & Organ. The short and sprightly character of the work makes it fitting as an opener of a recital program. The parts are available from Universal Editions.

Jonathan Simmons Cello Life Blog - A Guide to the Cello/Organ Repertoire

Romantic

Although the Classical era is sadly lacking in compositions for the cello/organ ensemble, the Romantic era more than makes up for the lack with an abundance of suitable repertoire. A set of works by Jewish Romantic composers has been compiled by Bärenreiter in a collection entitled Jewish Prayer. Perhaps the work best suited to these instruments is the familiar prayer Kol Nidrei by Max Bruch. To my ears, the organ admirably emulates the full orchestral score from the solo notes opening the piece to the harp solo and contrasting brass tuttis. Incidentally this piece will likely take the most effort to set fitting stops, but the end result will prove to be worth the effort. Other composers represented in the Jewish Prayer collection are Albert Kellermann, Friedrich Gernsheim, Joseph Sulzer, and Fernand Halphen. Among these, Halphen’s angelic Prière stands out as the most serene. Audiences often hold their applause for what seems to be an eternity after the final note, reluctant to break the tranquil silence.

Another work likewise entitled Prière by Camille Saint-Saëns contrasts with the Halphen in that it is longer and more varied in its emotional nuance so that it would not be redundant to program them together on a program or even back to back. In addition to Rostroprovich & Tachezi recording the Saint-Saëns Prière on the Cello & Organ recording mentioned previously, Steven Isserlis and Francis Grier have also professionally recorded the work. Parts are in the public domain and can be printed for free from many sites such as IMSLP as well as a cleaner edition through Stretta Music. In the vein of French composers, see also Gabriel Fauré’s single movement Andante. Although often heard with piano as the later version entitled Romance, the original version was written for cello and organ. You can hear Steven Isserlis perform this work with Francis Grier on the recording Fauré – Complete Cello Works on the RCA label. Sheet music is again available through IMSLP and in an Editions Peters collection entitled Fauré: Complete Shorter Works for Cello.

Works by 20th Century and Organist Composers

Lacking thus far has been organist composers in this list of works. However, that will be rectified in the next few works. First Marcel Dupré’s Sonata in A Minor for Cello and Organ, Op. 60. This three movement sonata was originally written for cello and organ so there is no need to do any arranging. One note regarding this piece is that it lacks a slow movement, all the tempos being in the Allegro category. This is perhaps the most often professionally recorded work for the duo with at least four commercially available recordings. Sheet music is available from Alfred Publishing Co.

If the Dupré sonata is the most recorded, the Oskar Wermann Sonata for Cello and Organ, Op. 58 is the least recorded with no professional recording of which I am aware. This three movement work does include a slow movement in the middle. To my knowledge, the music is out of print but is still available on IMSLP. Although not composed by a professional organist, a third sonata for the two instruments by 20^th century composer Günter Raphael also deserves mention. I hesitate to bring up this work as performable because the music is out of print, but if you are willing to put the effort into finding the music, you will find it worth your while. Donald Moline and Randall Swanson have recorded the work on a recording collection entitled The Last Song of Summer, the title coming from a movement of a larger work described later. In contrast the Wermann, this sonata consists of two Largo movement surrounding a middle Vivace molto movement, so consider that it may not be effective as the final piece of a recital program. In addition to the sonatas, a single-movement work by an organist composer to be considered is Joseph Jongen’s Humoresque. Music is available both on IMSLP and through Castejon Music Editions.

Contemporary Works

Thankfully composers have continued to write for cello and organ to the present day. One such composer is Peter Mathews. His Four Seasons for Cello and Organ is fittingly varied and challenging. Though the four movement work as a whole tends toward flowing melodic lines and a very audience-accessible style, the dissonant Winter Lament movement contrasts with the rest of the piece such that it is, in the composer’s own words, “in a category all of its own in my writing.” MorningStar Publishers publish the music for the Matthews. Another work by a contemporary composer is Musique du Soir by Latvian composer Pēteris Vasks. This work perhaps out of all the afore-mentioned works allows this organ its moment of glory. When playing chamber music, it is my experience that the organist complains of feeling stifled because of the need to play soft enough to let the cello be heard. That need not be a concern in this piece because the composer gives the organ a grandiose solo in which there need be no concern of drowning out the cello which is resting. A mother-daughter duo of Sol Gabetta on cello and Irène Timacheff-Gabetta on organ can be heard performing this work on a recording of Vasks’s music entitled Presence. Alphonse Leduc publishes the music in France.

Many works suitable for the cello organ duo have been purposefully left off this list, for example works with electronics, modern works with extended techniques like Sofia Gubaidulina’s In Croce, arrangements of pieces such as the Albinoni Adagio and Respighi Adagio con variazioni, as well as chamber music with additional instruments. For sources of these and other works, see recordings by established performers such as the Syvati Duo which can be found here at this link. Also view the Wikipedia article on the subject. I’ve added some of the entries myself.

I hope this list is a help to you as you explore the world of chamber music in organ and cello. If you are familiar with additional works written for the ensemble that you feel should be added to this list, please list them in the comments below!

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Introduction

August 31, 2020 by Jonathan

Introduction

Hello, and welcome to the blog!

My name is Jonathan Simmons, and I am a cellist, as you might have discerned already by the title of the blog. At the time of this writing, I am currently studying with Wendy Warner as I pursue an Artist Diploma from the Schwob School of Music at Columbus State University in Columbus, GA.

Through this blog, I hope to share some of what I have learned and continue to learn about the cello, its repertoire, its technique, and many other sundry topics. A few of the topics in which I believe I have as much or more experience than most include the cello/organ repertoire and online instruction. I have been teaching online for several years before the COVID-19 pandemic moved everyone online! If you have ideas about future blog posts, please feel free to leave them in the comments; I would love to hear from you!

Jonathan Simmons

M.M. B.M.

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