What are your favorite cello strings

Creatortheme »Order the contribution as a subscription    

Status: Offline
Registered since: May 18, 2009
Posts: 14
Send Message

Hello everybody,
Since I'm a bit depressed about my foreplay yesterday at the moment, I thought to myself, I'll open a new thread. what was your worst foreplay / your most terrible performance and above all how was it received?

I had a student prelude myself yesterday. I was planning a piece for violin and cello, but unfortunately my violinist canceled me last week at short notice. that's why i decided to do a sonata for cello and piano, which i couldn’t do well until last week. I was convinced that I would have the piece on it in a few days ... but that wasn't the case. With the feeling that I could only do 70 percent of the piece, I was more excited than ever before, so that I had to fear that the bow would slip out of my hand, my intonation was unclean, my playing dogged and cold and also I had sweaty hands. in between I even got so angry inside that I would have loved to slap the cello against the next wall (unfortunately the piece was a contemplative Largo excerpt) ... I totally beat up the end in the thumb position, suddenly accelerated because I did just wanted to finish the piece (unfortunately I didn't think about the pianist who didn't pull along: /). I didn't bow at all, but angrily took my cello with me.
I don't know what happened. but suddenly I felt like crying. it was possibly the uncertainty that the piece could not be 200 percent. i was so dogged about the technology that the feeling fell by the wayside and even small insecurities annoyed me so much that i wanted to stop. it just pulled me down and I've been feeling so bad since yesterday that nothing can cheer me up. I was (am) so depressed and disappointed in myself that I couldn't think of anything else. I haven't touched my cello today, it would just scratch me too much: ´ (

have you ever experienced something like this? that you suddenly no longer recognize yourself and completely lose control and composure during the game?

lg amicelli

been there for a long time

Status: Offline
Registered since: 05.06.2005
Posts: 75
Send Message

Hi Amicelli,
As a senior cellist, allow me a few "wise" words, so to speak, "spoken in the wind":
- for all the importance of your foreplay, it wasn't about life and limb, the future is not over now, the cello continues to be played, hopefully tomorrow it will be happier again than maybe tonight.
- yes, the cello-piano piece was a wrong decision, the preparation was not optimal, especially with the demands you place on yourself. So what? Unfortunately, we all look too often at faults and far too little at what is successful. Even with your prelude, a lot was still successful, some passages came across, the piece was not interrupted, it's not that bad at all.
- no, fear, anger and disappointment are not part of playing the cello, because these impulses make us small, pull us together, "doggedly"; rather, the music opens up, gives width and space.
So head a little higher again, a little more ...
(who never had to audition)


This only happened to me once (not counting the performances as a small child), but it was well received because fortunately I had played a "concert" at a music school where something like this is the order of the day. Well, unfortunately I hadn't tuned my cello again right before the game - the C string was about half a tone too low. That contributed to quite a restlessness in me, I tried to compensate for it by slightly deliberately unclean playing etc ... well as you write, it then became callous, hectic etc ... I should of course have voted beforehand or even in the piece abort, immediately after the first bars and retune would have been better. You only learn from mistakes. Short-term rescheduling often makes you insecure, and at least I feel that I can only concentrate really well on expressive, relaxed play if the technical part is mostly right. I think you often set yourself too high standards, but well, it should also sound good ... Actually, one mistake wouldn't be bad, or even several, only then you try mostly compulsively to play technically well. and that is the end of a soulful performance, because you don't concentrate on anything else than bringing the piece to an end with as few errors as possible. What is easy to say, you have to try to implement when auditioning: focus on the music, ignore mistakes, let the music carry you .... Well, everyone knows what I mean. And surely everyone knows that it is sometimes a problem to really implement it, especially when you are playing around with something.
Best wishes

[This post was updated by Sammy5 on 02.26.2010 - 19:28]

been there for a long time

Status: Offline
Registered since: 01/24/2008
Posts: 60
Send Message

I once had to perform Bach ... by heart ...
The only problem was that I didn't know it until the rehearsal and therefore never played it by heart ...
and there was just the place where I always lost myself ...
how will it have turned out?
due to a knock-out coincidence I grabbed the spot only 3 lines underneath I always "played in the Kries" because I no longer knew what to do next ...
after repeating 3 times I gave up and with a loud "MIST!" I skipped 3 bars or so ^^
so I was annoyed!

otherwise almost all prelude evenings went smoothly ...
only once did I shiver so much that it could end up as a bow vibrato ... I don't even know why ... but the whole evening was pounded ... if the right hand is no good, the left can still be great be...

otherwise .. well ... since i'm older (from 16 or so) i'm rather the type who don't care about technical and intonation-related deficiencies, as long as i can still say, musically it was ok, it didn't bother anyone, but I think that if I don't stick to it consistently and hone my intonation and technique, it will pull through and that would be a shame ...

The music is the melody to which the world is the text
been there for a long time

Status: Offline
Registered since: 06/17/2008
Posts: 103
Send Message

Well, I only had such a pain recently, but for the first time.

I played Bach's Ave Maria with a classmate as part of a school project, which is actually not a particularly difficult piece (you only need your thumbs once).
The project lasted 2 days on Donnertsga we had the whole day for rehearsals and on Friday the last 4 hours because I had to see an orthodontist beforehand.
Well, I wasn't a rhythm kid by nature ^^ I had rhythm problems ... stronger than ever before, but we still had to perform the piece. To make matters worse, I was at a party from Friday to Saturday (there was the performance [at 11 o'clock]) and only got to bed at 4, after I was a bit late to school, we rehearsed it very quickly then we went to the potted ^^

Strangely enough, I was able to set the rhythm all at once, but I was so tired and unprepared that I was totally excited. As a result, my right hand was totally disoriented, I played pppp, I was hardly heard and I also messed up a change of position ud from d (4th finger, 1st position) to d in the thumb position, well, but I don't think anyone noticed that, because there was a lot of applause, but my ego was very hurt ... and my classmate must have thought "You play the cello so long and you are so bad"
But what the heck, as long as you know yourself that you can do better, everything is good =)
But I learned from it and did a lot of rhythm exercises, also in the U-class, now I have zero problems with the rhythm =)

been there for a long time

Status: Offline
Registered since: 01/19/2008
Posts: 62
Send Message

Can't you ask what was your most beautiful, best performance?

In addition, one should bear in mind that the examples mentioned were live performances and not canned music, as we know it from CD's, etc., without blame or blame, but also produced with a high level of technical effort.
It's all about the atmosphere, and it's only available live.

CelloCharlie wrote:.. Defects don't really matter, as long as I can still say, musically it was ok.

I agree.
There are certainly also successful appearances, but one hears less about them. Why actually?

Maybe it helps after a bad game, when you're really depressed, to put your feet up and get off your favorite cello CD
to be sprinkled until you say to yourself, you want to be able to do that too.
You become active again and take up your instrument with determination and joy. As always.

Take it easy, people have short memories!


been there for a while

Status: Offline
Registered since: 06/17/2008
Posts: 103
Send Message

I always listen to Shostakovich's first cello concerto, played by my favorite power woman cellist Han-Na Chang.
I can only recommend:


been there for a while

Status: Offline
Registered since: 06/20/2008
Posts: 33
Send Message

surely everyone can tell of terrible performances .. For me it was a piece that I had already played inside and out x times (Vivaldi E minor sonata) and in front of a large audience in the 2nd movement I got totally tangled ... Until at the end, including the slow movement that I particularly love, the bow trembled like mad.
Incidentally, one often makes the statement that the listener does not notice the messed places at all, and also that one can get a more positive impression even after a period of time.
My most beautiful concerts were always those in which I was able to perform the pieces from within and consciously play the next note even in difficult passages - this always leads to a positive overall experience for the listener, and gives you the security, even if you make mistakes To be able to get back into the solo part - that also takes away the nervousness! In the end I had this nice feeling when playing the Myaskovsky Concerto, which makes up for all the practice.
LG Edzard

been there for a long time

Status: Offline
Registered since: 07/10/2006
Posts: 57
Send Message

Achjaaaa, bad auditions ... ... nice thread.

By far my worst was when I played Brahms Sonata in E minor several years ago at Jugendmusiziert in the state club. I was much too excited from the start, and so it happened that the first thing I did was forget several bars in the first movement. Fortunately, the pianist jumped without anything really bad happened. It got strange a few bars later: I knew exactly what I had to play (better: how it had to sound), except my fingers. I then sang 1 1/2 bars, as I was told later by the audience.
That the competition was over is clear. Today I laugh about it, but then I really thought I was dying because of it ... ... well, it only happens once.