Popper rehearsal today: we are starting to sound pretty good when we're on our own; only 2 more rehearsals left with the orchestra before our concert. Playing with the orchestra is so different than playing with just the 3 of us. The first concert is in 3 weeks but I will be in the Bay Area all of that middle week, and will have to practice with the rental cello. I'm glad I have a week back on my cello prior to performing. It takes me a day to switch back to my cello.
I'm still trying to figure out why Cello1's advice rubs both me and Cello2 the wrong way. Her playing is incredible technically; she sounds great. I've learned a lot from her. Her advice is right - what she recommends does improve how we're playing the piece. We are definitely playing and sounding good because of her passion and insistence on how we should play. But there is something about the way she delivers the advice that sets me on edge (and from Cello2's comments after last week and this week's rehearsals, him too).
Today's advice to me was about vibrato. She kept showing me how my vibrato was wrong and then demonstrating how it "should" work. She also wanted me to time my vibrato so that I did 4 vibrations per 32nd note. Now, those of you who have been reading my previous posts may have read about my trials and tribulations with vibrato - I can barely keep my vibrato steady and keep it going through a long note, much less control how many I am doing per beat! We went through some of my bits a few times, with her correcting me every time (showing me what I was doing wrong and then demonstrating how to do it 'right' saying each time, see, it sings better this way or see, it sounds better when you do it this way). I was definitely trying, but...I really need some time on my own to practice. Cello2 got even more of a lesson, on bowing - she kept telling him that he wasn't bowing sections of his solos correctly, and she showed him how she thought they should be bowed (saying, see, this is how to make a beautiful sound) and then kept making him play it over and over again, even after he said, I'll practice it this way this week...
I know we're playing the piece better because of Cello1, but it has been so darn unpleasant. Neither he nor I have any desire to play an ensemble piece with Cello1 again. Ever.
4 comments:
Wow, four vibrations per 32nd note sounds impossible to me. I can relate to what you are saying about Cello1. I play flute with a flute player somewhat like her, but only in the summertime, so it is easier to take. She is also a good friend and a decent person, so mostly everything is ok, except when something strikes someone as too personal or unwarranted.
My playing can use lots of improvement, and I do think such criticism is offered with good intention, but it is sometimes hard to take!
It's always hard to deal with comments and criticism when the source is an unpleasant person. The abruptness seems to negate any usefulness the criticism might really hold.
But, since you said that her suggestions are right and improve how you're playing the piece, then maybe it's a good idea to just look at the experience as a cello lesson that you don't have to pay for.
Maricello, I agree, the criticism is given with good intentions, but I still think criticism can be delivered in a way that isn't offensive.
Cellodonna, that's a nice way of looking at it! I have learned a lot from Cello1, no doubt about it!
It takes all kinds...sigh. You have tremendous patience to put up with someone like that. Sounds like you are learning some useful things, and are making the best of it. Hats off to you!
Post a Comment