tayacss.blogg.se

I was very lucky to play the first Shostakovich concerto for Rostropovich when I was twenty two, but unfortunately I never got to play the second one for him. How conscious are you of famous interpreters such as Rostropovich? This season you’re going to play Shostakovich’s Second Concerto. So when I was 12 and started learning the piece on my own, I forced myself to put those recordings away because her playing is so seductive and so wonderful that I was afraid I would start to copy some of her idiosyncratic touches. I really love the piece and Jacqueline Du Pré was always my favourite, and her recordings of that work have always been my absolute favourite. I didn’t really consciously try to make it sound fresh. How did you approach a piece like that and make it sound fresh? The last time we saw you in Scotland you played the Elgar Cello Concerto which you’ve recorded to great acclaim. He is a highly in demand teacher but he was really amazing because there’s always the issue of whether can a child really practise with their parents, but he was amazing at creating a very healthy distance between us when we were working together. He had this combination of being very kind but very demanding, which was perfect for me at the time and I also worked a lot with my father, maybe two hours a day between the ages of 9 and 16. I had many teachers but my first long term teacher was Richard Weiss (First Assistant Principal Cellist of The Cleveland Orchestra). Mstislav Rostropovich and Benjamin Britten I said “Mummy, I want a cello and a cello teacher” and she said ‘no, you’re too young’ but I kept on at her until she realised I was serious about it and then relented. In fact, I kind of demanded one from my mother when I was about four. I also travel with a large suitcase that has most of my things with me so I don’t feel like completely disconnected, and technology these days means I’m in contact with my husband all the time.īoth my parents are musicians, so I had wonderful music constantly in the house, but no one told me that I should pick up the cello. So by the time I was really travelling quite a lot it really didn’t feel overwhelming in any way. I’m very grateful to my beginnings, because even though it was just one week a month, it was amazing training because I was also a student at Columbia University and I had to juggle a lot of things at once, from a very early age. I started out doing maybe one week a month in the US, then in past six years I’ve been travelling in Europe more frequently, and I visit Asia and Australia once a year as well. Crazy – but in a nice way! I’ve actually been building this kind of life since I was 14, and my career was always very much ‘step by step’.