Conversation with Bernard Greenhouse

 Reprinted from Internet Cello Society 11/28/98

By Tim Janof:


greenhouseTJ: You studied with Felix Salmond who also taught Leonard Rose.
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The Spine: Our Very Own Superhighway

I only learned about the importance of the spinal column to cello playing as I was introduced more deeply into the Alexander Technique. Of course I knew the superficial facts about the spine and especially how vital it is to the health of the nervous system. But its particular relevance to cellists was not brought home until I began training in the work of teaching the Technique. Continue reading

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The Rep…More than Quartet

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More or Less…
String Trios, Quintets and Beyond 

It is generally agreed that the string quartet is the ultimate chamber music idiom. While there are surely those that differ with that assessment, I confess that I agree from my perspectives as both a listener and a performing artist. Many of the greatest composers from Haydn to the present day have tried their hand at quartet writing. Many have succeeded in giving us their best creations, some of which are regarded to be some of the greatest creative work of human kind. Continue reading

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Yo-Yo Ma on Intonation, Practice, and the Role of Music in Our Lives

Reprinted from Strings Magazine, September 17 2015

By Martin Steinberg:


A cellist walks on a beach and picks up a bottle. A genie pops out and says, “I give you two wishes.” 

The cellist says: “Wow, I’d like to have world peace.” 

The genie thinks for a second and says, 

“That’s too hard! What’s your second wish?”

The cellist says, “Well, I’m turning 60 and I want to play in tune.” 

The genie thinks for a second and says, “What was your first wish again?” 

Musicians, take heart. That joke was told by the cellist Yo-Yo Ma during an interview ahead of his 60th birthday on Oct. 7. After 55 years of playing, yes, even Yo-Yo Ma needs to practice. Continue reading

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Opening the Beethoven A Major Cello Sonata: Obsessing Over the First Five Bars

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By Brian Hodges:

The five Beethoven Cello Sonatas are iconic for a number of reasons. First and foremost, they’re some of the first pieces to include the cello in a true duo partnership, something the violin had been enjoying for a long time.

While the first two sonatas (Op. 5, 1 and 2) are actually listed as Sonata for Piano and Violoncello, things have changed by the third sonata, Op. 69 in A Major, with the cello now getting top billing. The sonata was written during Beethoven’s middle period and immediately one can sense his expansive creativity at work in full force.

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Petition to Change British Airway’s Instrument Baggage Policy

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Reprinted from The Violin Channel on 6-11-2016

A change.org petition has been launched today calling for British Airways to change their instrument baggage policy – following a June 4th incident at Amsterdam’s Schiphol Airport where Dunedin Consort Concertmaster, Cecilia Bernardini was refused entry inflight with her 18th Century violin and case. Continue reading

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Some Hassles of International Cello Travel

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By Zachary Mowitz:

Curtis Institute cello student Zachary Mowitz tells the story of his recent travel to Europe, and the stress and aggravation caused by inconsistent cello policies between airlines, and untrained and uninformed airline personnel.

As a student cellist I’ve had several occasions to travel by plane with my cello, both domestically and internationally. This is the first journey where I’ve had any difficulty at all– every time I’ve traveled before, I’ve always been let on (I even traveled to Europe with Lufthansa a couple years ago, and they were one of the most helpful back then), with at most a look of incredulity at my bringing a big guitar on board. Continue reading

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Curtis on Tour is Stalled by Airline Refusal To Take Cello

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Reprinted from Slipped Disc May 21, 2016

Students from the Curtis Institute were boarding a plane at Philadelphia this weekend at the start of a tour of Spain when a Lufthansa official refused to take a cello on board.

The cellist, Zach, had to take another plane – American Airlines, no problem with cello – but he could only get a flight to London and spent many hours trying to connect up with the others in Valencia. Continue reading

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Great Chamber Music Reading and Watching

Besides enormously enhancing listening skills, chamber music study also develops a players’ ability to sight-read, note read and watch. These are skills that are vital in orchestral situations as well. However, this is not about that kind of reading and watching! This is about books, movies and videos that will also greatly enhance the skills of anyone playing chamber music. Continue reading

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So Why Is Improvisation So Important?

Like so many classically trained cellists, improvising was never something that I felt very comfortable trying. And although most of my professional life has been in the world of new music, improvisation was not something that I had explored in depth until a few years ago.

My improvisational journey began literally the day after my final day with the Kronos Quartet when I played a concert at The Stone in New York with John Zorn and several others on one of his monthly improv nights. For those of you who have never been to one, the way that these concerts work is that everyone sits downstairs in the basement and one by one people decide in the moment who plays with whom. It can be duos, trios or quartets – you literally have no idea what you are playing or whom you are playing with until two seconds before walking upstairs. Everyone then comes together at the end to play in one giant improv. I didn’t realize it at the time, but I was taking my first step into a new world that, over time, has increasingly become a large part of my performing life. Continue reading

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