The Way I Play

Interview by Laurinel Owen

The Strad, March 2006 Vol. 117 No. 1391 page 51

The German cellist explains how developing accurate intonation gives security and confidence to her playing

When performing I want to say something and make it convincing immediately, not at the third attempt. Each passage must be perfect every time, so I need the knowledge and training to back up my musical decisions. Janos Starker taught me what freedom sounds like being very critical by learning to identify and solve problems. Read more…

Interview by Laurinel Owen

The Strad, June 2004 Vol. 115 No. 1370 page 596

Joan Jeanrenaud on pizzicato, a rarely analyzed technique that is so vital in modern repertory

Most of us learned our instruments playing works written before the Twentieth Century. However, composers of the last 50 years or so have developed expanded tonal palettes that require string players to use techniques that go far beyond the ability to simply play in tune with a beautiful sound in 4/4 meter. We have to strike, strum and drum the instrument, stroke, tap and rap with the wood of the bow, play behind the bridge, use electronic devices, and accompany computers all while counting like mad. When approaching contemporary music it is easy for the uninitiated to think, “this is loud and weird”, but in fact, you have been given a chance to open a toolbox containing more tools. Through the process of analyzing you will find effectiveness and beauty. A classical background shouldn’t scare you off – but should give you the best foundation in which to listen with open ears and explore the sound world of your instrument. Read more…

Interview by Laurinel Owen

The Strad, July 2006 Vol. 117 No. 1395 page 35

We’re always told that keeping the bow parallel to the bridge makes the best sound, but it’s actually more complex, says a leading European cellist

Many years ago I realized that the traditional method of teaching sound production is limited to a scientific axiom: keep your bow in a straight line parallel to the bridge. I became intrigued by the credibility of this statement as well as by the fact that we all ‘know’ that the fundamentals of shaping dynamics are bow speed and pressure, and the placement of the bow on the string – but this last aspect is not entirely clear.

For instance, if the music calls for a note to be played pianissimo, I position my beautifully straight bow at the fingerboard. Let us assume that this note is followed by a rest, and that next note is forte. I pick up the bow and play near the bridge. All is well. However, what happens when I deviate from the 90-degree angle? What is the possible range of deviation (bow angles)? Is there a connection between movement and deviation? Is there a difference between positioning the bow at a 90-degree angle and pushing or pulling the bow at 90 degrees?

Slow motion photography of a vibrating string reveals that its motion is not back and forth, as it would appear to our unaided eyes. Instead, it moves rapidly between the bridge and the nut (or your finger) in complicated irregular vibration patterns that include, as partial vibrations, the whole harmonic spectrum. So when a bow slips down towards the bridge, it is moving in the same direction as the vibrations, which stops the string from freely vibrating and chokes the sound. Read more…

Interview by Laurinel Owen

The Strad, December 2004 Vol. 115 No. 1376 page 1292

Heinrich Schiff explains why he is still practicing scales

Twenty-five years of teaching have taught me that we must always define what each of our motions at the cello represent in order to be efficient players capable of technical ease, great stamina, physical power and musical depth. To have control we must develop the ability to use our physical gestures economically and unconsciously. Craftsmanship, or the non-musical aspect of playing, such as velocity of fingers, bowing technique, shifting, et cetera should be studied separately from the musical expression. Expressive possibilities are limited if the player is not at home with the instrument and the further one goes away from “home” the more the basics are needed. Read more…