Oswaldo Golijov’s incredibly rich compositions are a perfect match for Alisa Weilerstein’s relationship to the cello. From a pedagogy perspective, Alisa has reached a point in her artistry that transcends traditional ideas of “ideal” technique. I find it fascinating when tone quality, intonation, and musicality are no longer intimately connected to the exact shape of the bow hold or the placement of the left hand, and yet are still strong and fully formed.
You could argue that cello-as-projection-screen is a bit gimmicky, but I find it a cool idea nonetheless, especially for those of us who like some visual stimulation along with our music. Sol Gabetta is also never a bad idea.
Sometimes falling down the rabbit hole of an internet search means being rewarded with a gem like this. I had never heard of the Danish String Quartet, and yet here they are with their unique brand of chamber music from Scandinavia.
I discovered Kelsey Lu McJunkins via Instagram, and I love her synthesis of classical cello sounds and vocals that come from the guts. Add looping and effects, season with dashes of hip-hop/soul/Bjork-like electro synth pop, and you get an absolutely mesmerizing one-woman band.
Over the winter break, Deleine and I played a corner concert in my neighborhood. Deleine compiled a set list of about 20 minutes worth of music, and we set up on the sidewalk to bring music to whoever happened to be around. The response was very positive, and we had a great time. Stay tuned for more corner concerts coming soon!
I was pleased to discover Alisa Weilerstein illustrating one point lessons in her master classes with students from the Rudolfinium in Czech Republic. It’s really cool to see how much of a change can happen in even a few minutes of concentrated work.