2018 - A Year to Remember?

Another year has come to an end, 2019 has dawned. I always find this a good time to reflect, the warmer weather is here, we are stuffed full of treats from Christmas and probably indulging in a few wines in the back yard.

As I recall this past year, there have been many ups and downs, my teaching practice took off, there were many interesting performances, and, having set substantial goals for myself, I was very motivated to practice.

A highlight early on in the year, was playing in the theatrical piece "Think of a Garden", met some fabulous people, played some interesting music and was honoured to be involved in such a dramatic production.

To get some of the lowlights out of the way. I was a little what one might call 'a victim of my own success'. I was called upon at the last minute to take over cello lessons at 2 new schools, that alongside an increase in private students and a period of intense rehearsals, I was totally exhausted, resulting in a (very minor) car accident, it was the shock more than anything. At the time I was averaging around 220km per week in my Honda Logo, such a great little workhorse. It got a much needed wake up call, that we cannot do everything and we need to make sure we are looking after ourselves, especially when our schedule is full to bursting.

Another thing of equal parts plus and minus, was that surges of new private students meant that I actually had to make a waiting list and even turn some people away. I did consider extending my hours, but decided it would be counterproductive - I didn't want to risk any more accidents!

I guess THE highlight of the year, was playing the Saint-Saens Cello Concerto with the Philharmonic Society Orchestra in August. I'm the type of person that needs concrete goals to work towards, and for a performance musician, that means... performance. I can learn a particular piece, or work on technique, but if I don't have the culpability of actually performing soething in front of an audience, I find it difficult to stay motivated.

Believe it or not, this is the first time that I have learnt a work of this magnitude in its entirety and to performance level. There is an awful lot of work involved. Which I put in over a long period of time. My timetable as it is, this seemed the most reliable plan of attack, not to mention a work like this needs an element of maturity, much like a good Bordeaux, to be truly at its best.

In preparation, I found it best to look at it from many angles, the concerto, while not in movements as such, has several distinct sections, which can be worked on as bite size chunks. Rhythm, tone, style and speed were all elements that needed attention. There was a lot of work done with the metronome, which paid off in the end as far as the orchestra were concerned, however some may have considered it a bit too square.

In the process I sought out to have some lessons. Sometimes you just need someone else to point things out. Andrew Joyce, principal cellist in the NZSO, was so inspiring, his enthusiasm and passion emanates in all directions. He was very helpful in giving some ideas for the quick passages, preparing the left hand better and deciding on some phrasing right from the outset, often this is something I add in later on, especially for technically tricky bits. I also had the pleasure of working with Edith Salzmann, cello professor at the University of Auckland. She too was very encouraging, pointing out how there comes a point where we should shift the focus from the left hand to the bow, the fingers can do their thing essentially  on autopilot, and sound production will be optimal. She also advised me on the importance of 'leading' the orchestra.

As the concert date drew nearer there were many times of doubt and nerves, but finding the will to keep chipping away, I knew somehow it would all come together.

The performance itself was the most emotionally and physically draining thing I think I've ever done. By no means perfect (at the previous rehearsal, I'd peaked too soon), but good enough. The audience loved it, I was literally trembling at the end, played a short encore of Bach Sarabande from Suite II, then as recent tradition dictates (round the cellists I know) I joined the back of the orchestra for the second half - a symbolic effort only, as my brain had crashed entirely.
In the days following a serious come-down ensued.

So now looking ahead...

As far as performance goals, I do have something in mind and will certainly be sharing that with you as it unfolds.
My main goal for 2019 is to keep on top of my timetable, being rigourous with planning and organisation, so that I minimise risk of things falling through the cracks, also benefitting my students, and being careful not to take on too much. And, just as importantly, keeping fit and healthy, more regular exercise (also for my poor somewhat neglected dog), and eating healthy which also requires forethought and preparation especially on those rehearsal heavy weeks.

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As always if you enjoyed this post please click the like button at the bottom and subscribe to my feed. If you'd like to share your goals for the coming year or you have any questions, just add them in the comments section below, I love to know what your big plans are for 2019. Let's make this another great year to remember.

Review - Johannes Moser plays Shostakovitch with the NZSO

This last month I've had the good fortune to be able to satiate my appetite for the works of Shostakovitch. Firstly with the Borodin String Quartet on their New Zealand tour, with a fabulous performance of Shostakovitch String Quartet no.9 at Auckland’s Town Hall. On this occasion I was lucky enough to get seats in the circle overlooking the stage, here we could really feel a part of the drama, the serious determination and passion really gave the impression blood had been spilled. I was particularly drawn in by the extraordinary cello solo accompanied only by the light tremolo of the upper strings.

I then attended this past weekend's performance of the Shostakovitch Cello concerto performed by Johannes Moser and the NZSO.
Once again at the Auckland Town Hall, the city’s premiere classical venue. Tickets are pricey though, especially with all the added fees, so this time we were at the back of the stalls, but it didn’t matter, the sound was great and although I do like to observed peoples technique, I couldn’t help but be overwhelmed by the energy, even at that distance.

The concert started with the Borodin Overture to Prince Igor. This was a delightful entree, as with any fine meal, the entree should be not too heavy but enough to whet your appetite for the main course, this did exactly that. As someone said to me, it could have been the soundtrack to a western, it did have that kind of feel.

Johannes entered the stage to great applause wearing all black, his top, half something shiny (vinyl maybe?), reminiscent, I thought, of Star-trek, a welcome variant to the traditional tails. My thoughts were that this guy is a bit of a rock star, I would not be disappointed.

This first concerto by Shostakovitch was written for Mstislav Rostropovitch in 1959, who remarkably memorized it in just 4 days. There is so much complexity both technically and emotionally in this work, listening to it I find myself being put through the ringer, to play it, undoubtedly even more so.

From the first opening theme, the passion and vigour with which Johannes plays is evident. He is an extraordinarily physical payer, but not in a forced or pretentious way. He appears to be enacting the music, he and his instrument are one being, and the sound and energy is mind-blowing. Fairly near the opening, one particularly wide and energetic bow release knocked the concertmasters stand, recovery was instantaneous, there was an authenticity to it, sometimes unexpected stuff happens, I like that.

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The second movement follows with a dreamy folk like melody, where the first movement was smacking you in the face repeatedly, this has a weeping, heartfelt type of intensity. Johannes transitions seamlessly between the light, almost hopeful and innocent themes, to those darker and more intense, his presence soaring above the orchestra even in the most delicate of moments.

The movement culminates in the theme once again but this time as flawless and haunting harmonics. When I’ve taught my young students to play harmonics for the first time often their reaction is that they sound scary, like a horror movie. I don’t recall ever hearing them that way, until now. It was terrifying!
Clearly not everyone around me was as transfixed, with all the shuffling and wriggling and squeaking chairs, it was quite off putting.

The cadenza which follows essentially takes the form of an unaccompanied third movement. Critic Lev Ginzburg reportedly described it as a monologue-recitative and a deep meditation. I really felt it, more so in this performance than any recording I've heard, perhaps that is the magic of live performance. This was a truly magical performance, I was mesmorized (restless wrigglers notwithstanding)
I'm not sure if it was written to be comical, but the jumping five note runs leading in to the 4th movement lead me to start giggling. I wonder if it was more a reaction to the nervous energy, the way some people start laughing as a defence mechanism when witnessing something gruesome. Johannes and the NZSO had me so immersed in this music that this type of visceral reaction was inevitable.

The final movement burst forth with the same, if not more, raw passion and energy as the first. There was a fabulous connection between the soloist and the orchestra. Johannes physically connected with the a players, they were connected as people as well as through the music, we don't always see that, and it really elevates the overall experience.
At the conclusion, to a rapturous applause, the only word I could utter rhymed with duck, it was such a phenomenal performance, I was otherwise speechless.

The encore came shortly after, apparently to "clear the air" They played Elegy by John Williams, indeed a very beautiful work, still full of sadness and anguish. But on second thought anything lighter and more uplifting would have been incongruous.

The second half the NZSO played selections from Prokofiev's Ballet Romeo and Juliet. I am a big fan of Prokofiev and love to hear the Dance of the Knights. But for me there was something lacking in this as a programme choice, despite the intention as a stand-alone work, it felt disjointed and long. I would have preferred maybe one of Prokofiev's Symphonies to keep the momentum going.

All credit to the NZSO it was a massive play and under the baton of Peter Oundjian, his debut performance with the orchestra, they gave us a stunning evening out.

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Courtesy of RNZ National

After the weekend of concerts, Johannes did a great interview on RNZ with Kathryn Ryan that you can listen to here. What in interesting person, his character clearly comes through in his playing.