Cello Master Class with Daniel Müller-Schott

from the Library of Congress in Washington DC you you so good afternoon we're going to do this very informally thank you very much for coming we are very very pleased to have Daniel Muller shot who performed a concert last night under the auspices of the Kendler cello society and we are very grateful to the society for making possible this class and a whole history of many significant cello concerts over the years so thank you for being with us this will be a performance by Maggie Hummel strong she'll be playing the first movement of the Dvorak cello concerto break wonderful I just grabbed a chair or rock cello concerto yes you you good very good so until here I mean that water concept is always of course a special piece and special piece of music and I think you do many very good things you play you know the opening after that long tutti of the orchestra you you somehow have to increase the energy of that cello entrance and I think that's what you what you do that that when you put the bone the string that you really have an immediacy of you know energy and emotion and boudic rights yeah cuisine movies and oh but at the same time it should be his elute oh what he also wants and quotes in the in the score and I think the energy to comes actually from that beginning from the smaller notes from the sixteenth the two and so maybe can you just start there and try to really hold the energy from the from the upper when you start bottom so to the two sixteen notes let's try that again and also I mean the gesture you know should be just grandiose oh I think that's very important in this piece because it's you can imagine I mean it was such an innovation at the time when I created this piece for you know symphonic writing for the cello so you have to somehow yea represent the cello as an orchestra in itself that's my imagination would I have so also the gesture is really like this you present the concerto to whoever sits there and and that's the you know the gesture that you should have very extrovert and proud try to it's already better but you're losing energy already when you play the long note so if you I mean it's just a my idea if you breathe in fine so that kind of that kind of energy so don't stop your ball you know when you when you put this can you just make that movement just just like this yes exactly and that's that's how you should start really much better it's actually sounding more open the the cello immediately you know comes out more the sound goes out more and then once you reach the dubs lobster but in padam there's actually you know not each double stop should have the same dynamical range it should be also direction but you got arm forearm game bum bum bum to the last one and so maybe you can also try to you know every chord that you play should increase in the speed a little more so maybe you try that more can you do even more and let's continue it's the same it's the same thing here that the long note is really you know pushing the energy to the short notes so try to really watch your bow also that once you put it on the string that it has kind of crescendo feeling or yes just a increase of tension and you just play the e from there yes and I mean once you reach the tip of course you have to increase the arm weight a little bit and really try and watch your bow that you don't you know once you start that it doesn't go up totally aboard that it just stays stays there yeah it's much better and that's actually this is the moment when you sort of invite the orchestra to play with you I mean talking about the atmosphere of the trailer opening but what do you think what is this for you okay okay it's very good I mean that's a good picture and and since everything you do is actually you know very much control technically it seems secure so you can actually go to the next step and forget about you know forget about all the course you have to have some control technique in technical voice but just to have some kind of a picture in mind and flying or or you know presenting something very important that's I think the that really helps the atmosphere and to create an atmosphere there and and I think you know there are so many contrasts I mean what rocky has he has been in his times when he was director in New York he had been inspired by folk music American folk music by folk tunes and everything that he he composed somehow is very natural and very simple and and this and that they are very clear moods where in the beginning you have this very extrovert and passionate opening and then the second theme is very thoughtful and more inward and and these clear moods these clear contrasts I think we need to bring out a lot and and work on this that you know everyone who listens to this music and experiences it clearly understands the music and and it helps at the opening as I said I mean the energy to keep that element and also when we come now to this place sorry Papa Papa Papa home so there I think it's important to have that clear rhythmical element and don't sometimes you're a little lazy with your bow and then you're stressing it a little bit too much that once the orchestra is there they can't really pick it up clearly a soul so that's something to welcome to be very clear about that reading rhythmical element so let's go from there from the that place so what is what is the most important note that you were describing exactly yes five points yes yeah and that's a thing that you have to be clear about it and once you start with a Yara P pum if you make a diminuendo already at the start then it's the message is already not as clear as it should be so you have to keep the bow you know very close to the string and not shift again once your shift towards the thing aboard it's just the tension is loosened up yes I'm on a plane yo yes their accents on the data data yeah pop up upon it he also writes passante so that means to hold it back a little more and that also could mean that morbo morita-ya pop up I think you could use a little more speed in the ball fight young so that yeah also you have more of energy more energy there can you just play that one time slower papa yes if you carefully listen you're 3/16 that there are 13 pom it's not exactly clear ba de ya the G da da ba da da bomb can you just really listen to that yes so you always release the ball once you play the e ba ba bum but it should be bad daddy come here are are so don't lose the contact can you hear it yes I know it's very loud in vibrant but um yeah um just focus more on the G or so but I can tell you yes without accent yes can I just one try it so what what I think is that that you don't lose it here just to keep the contact there yes then you then you also rushing that I add another ID ID payaso they should be still still a bit that's that's much better okay so let's go on maybe no temple yes that now comes me yes what happens here what's happening here in the orchestra oh so it's actually the first time that you are having that wet with the flute so you are more or less accompanying the food and there should be more direction in there you know once the drill start out at it already neat alright so then you are really focusing on the direction and try to really have a very very tight legato or bow change especially at the tip Bom Bom that it's a longer line no percent or the gear and why are you stopping the the first note so much any reason for that or you have no it's just it just happens yes just to have the control for the second note or because I think here that's really it's like a variation of the opening right so Baram young but arrrrr so here I think yeah it should be since it is going I mean sequence compared to the beginning so it should go actually even more enthusiastic or it should be more enthusiastic so I think you're just helping if you if you hold it a bit more and then connect connected to the second and I would suggest here errrrr that once the sixteen start yet at a particular of them just go down in the dynamic bit and then you know you you crescendo again to the next it's really sing yeah yes so here I mean it's very nice that you that you really change between you know the rhythmical alright so it really opens up and then once you go back to da da da da da ta da da da dee that you have to be in temple again otherwise you're just not together with the orchestra so you're you know just once you reach the D then you're a little bit later on the errr you or our team so then you have the direction again Shindo and most you yes that was very good that really be brave and just try to bring more sound to the music so yada and then once you reach the G the Hydra boy I think you know the demon when door that connects them with the second theme over few bars should actually also be a long phrase so you are starting your do not harden Adam so the tension is still there and because now you're relaxing you play the G and then somehow the the energy is a bit less so try to also here hold it and make a longer phrase with the Tim mmm yes yes that's good that you keep the tension first but then you have to fade yes or maybe just from the b-boy and also take it sorry one more remark take your time there that's time you know like a singer would reach is not a high yeah it's better I mean still it's a bit you know et no duh you know don't give it up make sure people are what do you know hold it up I'll be like so that's kind of you know they're longer on our line can you try again I think it's easier if you take time on the D the Lawson but I mean what's the what is the question I mean what are the possibilities to create or yeah create a new atmosphere here what what do you think what can we do we chalice that's a very good thing to do here and especially for the upbeat so it's a it's a new it's just a new time for him here and that's what we want to feel that so it's a sort of moment of peacefulness and you know more relaxed than before but before it's very energetically strong here um yeah for shock at his very you know intimate personal human side comes out and that that's much easier or it's just clearer if you take some time there and and also from your left hand try to you know have a more kamar quality and that also concerns the vibrato should be little comma and just take more time for the UH people even even one of those so the eight notes also they it's what I said before the the shorter notes they they can create energy like BAM Baram or also here and the second team they can actually create calmness and that's what you what you want so no nothing is hectic here it's already been can you try to play the F sharp and Link it to the next eight notes you you so here I mean it's if you look at the shape of the phrase you know what odd the second one I mean the first one is calm and then it should go up a little join you and then it comes down again so those curves and need to be audible somehow and they are not yet still connected more so just more concentration on this DF shop yes what would happen minutes just just one idea what would happen if you play everything softer just more piano more inward you okay that's much better I like it I think it's very good that you keep you know the quietness and then once you reach the the sequence Assad oh you got me the second one I think should be a little more you know it's like you're telling a story and then someone you know tells you something very intimate and then once you reach time you know on you know it's like securing oneself rd by repeating it one more time and then it's opening up you're not here or on so it's kind of relief there and I think also dynamically you can open up there a little more and especially if you play the beginning of the steam so quietly then I think the effect will be even bigger so okay um you want to go on bit more yes just from body or here or D or there I think here also the quavers should be more equal but especially the second one you tend to be to play the first one long than the second short and the next one long short long short so it should be near or so the second one also and we always connect the next note so just pay attention that that it doesn't get too short but just I mean now the phrase should be still there now it's a bit note by note I mean um if you put your bowl here because it's more speak out all right lady already look at them because he writes this slur and three dots so if you place your ball towards the bridge I think that that gives a much better sound it's even more even more yes it's almost Pont I if you think of ponticello and then you reach exactly that you know border and I think you're right there just that point when when the pole starts to bounce you also technically this passage gets much easier if you focus more on the on the melody which is the a string that's all so we a Sharpedo are you know are together with the winds in the orchestra and yeah so but it's sounding much better like that okay let's go on yes so this is another example of Dvorak having you know having been inspired by some folk tunes da da da da dee da so it should be again it should sound completely completely natural you do not even Adam nothing too tens or I don't know the word but try to really also be the boat have more more freedom there maybe you don't need this light there to are you maybe you can stretch and I mean rhythmically haughty but um so if you keep that house in mind what how do you know the triplet always comes a bit too soon so you play either a yard still um still it's not quite clear getting there yes a bit better yeah yes yeah well it's uncomfortable I think because of the many changes in the left hand you got you down so I think it helps also if you play it you know with metronome just at a slow speed so then yeah you will you will find it also the second phrase could be actually less than immigrants like an almost an echo of what happened before and even more is the contrast then when you get back to the rhythmical young Papa Papa okay one last time here it's also I mean immediate right there the difference and the the attack should be really there ROM can you just play the chord yeah yes and more into the string Wow yes that's the spirit I don't lose it in the up for so just stay at one one place No yes and once you you play it up or up eat up Adam when it goes to the harmonica changed here on power up evil power that could be less and then you can grow dynamically even more so but that was that was all very good so the little phrase before the Tootsie yes I would go down I mean I would play the see still imported heat up on our data on important Thank You Shannon good I mean here the last phrase Papa p-bar poppy pop up deep arm so that should be actually expending more so and and I would I would play theme the upbeat dumb bomb with the with the orchestra together because you're just you are playing that with the first one in or looking at the first one in there so just play from the c-sharp da da yes that should be more even broader even brought a young puppy it's another suit the up it could be even broader um also everything unusal much better okay good thank you very much this has been a presentation of the Library of Congress visit us at loc.gov

Channel: Library of Congress

Views: 76,272

Rating: 4.6279068 out of 5

Keywords: Library of Congress, Daniel Müller-Schott (Musical Artist), Class, Cello (Musical Instrument)

Id: -KtkHfi5Sw0

Length: 44min 27sec (2667 seconds)

Published: Wed May 20 2015