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fedora strings performance

Concert at Wadenhoe Church

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We’ve just given a concert at the 12th century Wadenhoe Church.  The programme was of our own string duet arrangements plus the first performance of a piece I composed for solo cello called Morning Prelude.

concert at wadenhoe churchThe audience at Wadenhoe were very welcoming and feedback has inspired us to plan a recital programme – and cd – of English folk music ( plus some of our own pieces.)

We have often recorded music at Wadenhoe because it has ideal acoustics for chamber music and a beautiful sense of calm. The church is currently recovering from having had their roof vandalised, but it’s good to know that repair work is taking place and should be completed by the end of October.

 

Composing for Cello and Guitar

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I’ve recently been composing for cello and guitar with the guitarist and songwriter Spencer Price. Spencer had written six songs for guitar and voice and always envisaged them with cello parts. He contacted me to ask if I’d like to compose cello parts. A few months later we recorded the results with Carlos Parlato at El Tano Recording Studios in Peterborough. The songs have both pop and classical elements and the guitar and cello work beautifully together. Each part will be recorded separately – which is standard in the pop world – and the voice and drum parts still need to be added to complete the project
composing for cello and guitar

About the songs

Spencer’s songs are imaginative and gentle. The titles are: Mind’s Eye, The Old Man and the Sea, Death of a Salesman, I Still Believe, The Spy who came in from the Cold and Tears to Dry. I will include a link to the songs once the project is completed.

Music Narrative

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Music narrative is an essential part of great interpretation. By narrative I don’t mean something you could necessarily put into words, rather the performer having a clear idea of what the music is about and what it has to say.

Examples of Music Narrative

The example above  – though crackly – is a superb example of performers who are completely at one with the mood of the music ( Massenet’s Elegie )  and convey its character wholeheartedly and beautifully.

Stanislavsky

Here are some relevant quotes from the great Russian actor Stanislavsky:
” Create your own method. Make up something that works for you. Keep breaking traditions, I beg you.”
“You’ll never see any two great actors approach a role in the same way.”
“Play well or play badly, but play truly.”

The overall point is that if you come up with imaginative ideas that are true to you they will breathe life into the music  – just as an actor hopes to breathe life into a character he portrays.

Opera has its own narrative

One of the easiest ways to respond to narrative is when playing opera arrangements, where there is a defined story. Our arrangements of Toreador Song and Habanera   –  from Bizet’s opera Carmen – are good examples of this.

 

La Cumparsita Sheet Music

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Our filmed recording of La Cumparsita sheet music has just received 1000 ‘likes’ on You Tube. This great tango is immensely popular and our arrangement has now been viewed by more than 137,000 people.
Kirby Hall

We filmed the video in 2011 at Kirby Hall – a beautiful stately home owned by English Heritage.

About our arrangement of La Cumparsita

The setting for the film was a partly covered courtyard, which had caught the eye of one of our  Lux Technical film crew who thought it would be especially suitable for the character of the music. Today our sheet music arrangement of La Cumparsita is the most popular piece we sell, and it’s also one of the least complicated to play. Our aim was to project the darkness and sensuality of the tango mood. I hope we have achieved some of this.
La Cumparsita sheet music

Music Recordings

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We have just completed some new music recordings of the pieces we sell online.

The recording session took place at Wadenhoe Church. The acoustics here are ideal for chamber music because the church is not too big. It’s also fairly isolated from roads and potential traffic noise.
Wadenhoe Church

Our new music recordings

The pieces we recorded included Scarborough Fair Dark Eyes, Variations on a Christmas Carol and one of Roger’s tangos. We’ll be adding the recordings to our website next month but meanwhile you can find out more about the music by clicking on the highlighted titles above.

music recordings

Warming up on the cello

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Warming up on the cello used to be quite a boring process for me. I would usually try a few scales and shifts or perhaps technical exercises. While there is nothing wrong with any of that, I now begin warming up by inventing a tune or playing by ear and then improvising – including improvising in thumb position. I have found this to be 100% more beneficial. For me it reinforces  the pleasure of feeling at one with your instrument, of realising that you too can compose – and that interpretation is most effective if you make the music you are playing sound like it is your own.
warming up on the cello

General creativity

If you want to practise a particular type of bowing when warming up on the cello , why not invent your own series of chords to try it with? If you want to practise a particular shift – say a major 6th –  why not also invent a short piece based on that particular interval? In the past I’ve found that if you give a first performance there is a relaxing sense of freedom. None of the critics or audience know how it is meant to go,  so you have a completely free hand as long as you look confident! Why not apply that same confidence to unaccompanied Bach?

Escaping confines within the classical

Have you ever been struck but how much more relaxed folk and pop musicians usually look in performance? Some of this is because the music is easier and more repetitive. But is it also because a lot of the music has been composed or arranged by the performers themselves? How wonderful it would be to be able to carry that sense of pleasure in performing into the classical world.

Our own improvisation

Roger and I have found that improvising and composing music definitely helps our arrangements and keeps creativity alive. You can hear some examples of our arrangements on our Moonlight and Music cd which you can buy by clicking the link below:
https://www.fedorastrings.com/product-category/cd-sales/

Does style matter in unaccompanied Bach?

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Does style matter in unaccompanied Bach?  This may seem an almost sacrilegious question, but I think strong feeling is far more important than style.

Apart from the fact that no one knows exactly what baroque style was, there is no such thing as perfect interpretation. Like Shakespeare – Bach is good enough to cope with any number of imaginative ideas.The key thing is to have creative ideas and project them strongly.

unaccompanied Bach

What makes a performance hold the attention?

There are so many wonderful performances on unaccompanied Bach around, and each one is different. Those using early instruments could be said to be more authentic – but what value is style if you don’t feel the music that way? Who says Bach would not have loved rubato and passion, and didn’t play like this himself? Listen to Casals’ performance of Bach and the idea of authenticity goes out of the window. Ultimately you can only play as you are and be guided by what is true to you.

The 5th Cello Suite

I will be recording Bach’s 5th suite for unaccompanied cello in a few weeks so all this is very much on my mind. You can purchase the my cd of the 1st and 3rd suites here
https://www.fedorastrings.com/product-category/cd-sales/

Here are some superb , but very different – recordings.

Choosing Cello Strings

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Choosing cello strings is a tricky and expensive business. It’s so expensive, in fact, that it’s rare to able to afford to experiment much. All the more reason, then, to have unbiased feedback about strings from the start.

Steel Strings

I can only speak from my own experience. For many years I used Jargar A and D strings. I was then advised to change Jargar for Larsen and the improvement was huge.For me, Larsen strings are more sensitive and responsive and more immediate in sound. Larsen soft soloist suits my cello well and I can truly recommend them.

choosing cello strings

Covered Gut

I have always used Pirastro covered gut on my lower two strings. I love the feel of the strings under my fingers and I think the sound is warmer and more subtle than even the best steel. I am currently using Pirastro Eudoxa, which matches the Larsen strings well. However, my cello was made in 1855, so is not modern.

Do modern cellos need modern strings?

I have been told that modern cellos can only use modern strings. I have no idea if this is true, but it is certainly the current way of thinking and steel is easier to play on.

How temperamental is covered gut?

Covered gut strings are more responsive to temperature and slip out of tune more frequently. But the lower strings, being thicker, don’t slip that often and rarely break.choosing cello strings

What sound do you want?

Not only does the choice of string depend on the cello you are playing on, it also depends on the type of sound you want. And it is all in proportion. So an expensive string may improve the tone, but will not hugely change the  sound of the cello overall.

Help!

If you want to experiment with different strings and are a music college student or professional player you can arrange a free trial of strings at Stringers music shop in London and Edinburgh. More details are available here:
http://www.stringersmusic.com/services/larsen-string-trials.html

And to test out your new strings why not try playing our cello duets, which you can buy here:
https://www.fedorastrings.com/product-category/cello-duets-all-styles/

 

 

 

 

 

What Cello Rosin is Best?

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Although I am a professional cellist I have often not been sure what cello rosin is best and have sometimes suspected the whole subject is spurious. Mostly I have used a variety of high quality rosins – including Laubach gold, Laubach non-gold and sometimes borrowed violin rosin –  and have never noticed much difference.

Rosin problems

 

Recently though,  the rosin I was using ( Laubach) didn’t seem to stay on my bow easily or have much traction. I had read that Andrea cello rosin was excellent and for best results should be used  just after the bow has been rehaired, so different brands are not mixed.
cello rosinI was due a rehair anyway so I tried the solo dark variety and the results have been good. So far I am using far less rosin than I was before, the articulation is immediate and clear and there is a definite improvement in traction. Although this cello rosin is expensive – it cost £35 for a full  cake – it should last a long time.
You can buy it here http://www.thestringzone.co.uk/andrea-solo-rosin

 

Other views

The brilliant cellist David Finckel has strong views on this subject and devotes a five minute video to it in one of his 100 cello talks – which you can view below:

https://www.youtube.com/watch?v=qTNrhYHwlPo&list=PLAE1ED06AB33DF65D&index=11

The results for him are convincing, but this doesn’t mean it would be right for everyone. Luckily, buying rosin is less expensive than buying new strings and so it’s easy to experiment. If you are looking for a mid-price option my bow rehairer strongly recommends Art Craft no 7 dark rosin by Kaplan which costs around £7 a cake:  http://www.thestringzone.co.uk/kaplan-artcraft-rosin
cello rosin 2

And why not try your new rosin out by playing our cello duets? The link is below:
https://www.fedorastrings.com/product-category/cello-duets-all-styles/

Accord Cello Case

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I have had my Accord cello case for three years  now and it is almost unbelievably light.

Finding a dealer

Accord cases are hand made in Croatia so buying one here, in Cambridgeshire, was quite a challenge. Very few companies stock Accord and when I eventually found one dealer  who did, he proved unreliable. Finally my cellist friend Mark Bailey recommended talking to Stringers in London – and they were extremely helpful. They asked for detailed measurements of my cello, and arranged for  Accord to make a bespoke case.
Accord Cello Case

Was it worth it?

The whole process was not cheap – it cost £2400 – and it took two months for the case to be made. But this ultralight, carbon fibre  case weighs only 4.9 pounds and it is now hard to imagine ever using anything else. It is a very snug fit and there’s limited room for any extras like rosin or spare strings, but that doesn’t bother me as the lightness is a joy compared to my previous fibre glass case. This will certainly last my lifetime and for me the money has definitely been well spent.The link to Stringers is below:

http://www.stringersmusic.com/