Musician Profiles

The Strad, February 2006 Vol. 117 No. 1390 page 28

As they celebrate their 30th year together, the members of the Kalichstein-Laredo-Robinson Trio reveal to Laurinel Owen the secrets of a long working relationship.

Their name sure is a mouthful. ‘I suppose it bites us now,’ admits pianist Joseph Kalichstein, ‘because presenters call us KLR, which we hate.’ ‘We have always felt that we are three separate voices and we want to stay that way,’ cellist Sharon Robinson adds. ‘Besides if we were, let’s say the Van Gogh Trio, one of us could leave and we will never let that happen,’ concludes violinist Jaime Laredo.

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The Strad, January 2006 Vol. 117 No. 1389 page 54
 
Bernard Greenhouse is one of the last surviving links with Salmond, Feuermann and Casals, yet as he celebrates his 90th birthday he’s more interested in the future than in the past. Laurinel Owen Meets a cellist for whom there is no such thing as retirement.
 
 ‘I used to think that when I got old, I would relish looking at the old photos I had saved. I thought that I would sit back in my rocking chair and remember the various moments in my life. But now I find that it is the future I am interested in – my work, my playing, and my teaching. I never look back, I always think ahead.’ It is this sentiment, as well as his vast knowledge and experience that keeps the cello world clambering for Bernard Greenhouse. Celebrating his 90th birthday this January, he is still going strong – traveling the globe to give master classes, teaching ‘anyone who will make the arduous trip’ to his home in Wellfleet, Massachusetts, playing chamber music and practicing – everyday!

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The Strad, August 2003 Vol. 114 No. 1377 page 810

Philip Sheppard is a cellist with diverse interests – and almost boundless stamina.
Laurinel Owen went to meet him.

A little wrinkle of disdain creased my brow as I stolidly sat preparing to hear Royal Academy professor Philip Sheppard give a presentation at the Oxford Cello School. It was the blue five-string electric cello attached to speakers, notebook computer and numerous toys and gadgets that tweaked my slightly arrogant scorn. Silently I thought, “Show me”. In my experience classically trained players pick up such an instrument only to noodle a Bach sonata or suite, which for me is comparable to performing Crumb’s Black Angels with a viol consort. Read more…