tag:blogger.com,1999:blog-3421320789142508382024-03-12T18:51:57.665-07:00Clare DenizClare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-342132078914250838.post-12023235049438489822022-08-09T12:42:00.000-07:002022-08-09T12:42:22.975-07:00Great Acts of KindnessA random subject to write about and do believe me everything is honest and true and not elaborated for effect. The first act of kindness which lives in my memory is the occasion when I was driving back from Southampton.The last week of the tour and as I live in the home counties not an impossible commute. I was driving my Citroen Dyan (an unusual sort of car with many little quirks about it). I had planned to drive to the South of France to the Tortelier classes to which he had invited me, which was pending and I was SO looking forward to it with nervous trepidation.It was mid week and I was happily setting off for home from the theatre where we had been performing the opera for the week and we had just a few more days to go. It was raining stair rods and I pulled into a garage outside Southampton to get petrol. Those indeed were the days as someone scuttled out and came to my car I asked for petrol and an oil top up. Fine, I did not need to get out of the car I was comfortable and dry and I had my Hill cello with me.Note, not left at the theatre.
Off I drove,.... the plan was to take the A303 and I was beetling along until the most horrendous grinding noise came from under the bonnet of my car the dark the lonliness of the road nothing to see in either direction. Every Womans' dread......I opened the bonnet and there was oil absolutely everywhere. like everywhere. The quirky Dyan has an oil filling tube which has a clip that must be pressed down and locked.The 'helpful' garage man did not do this probably because he was being soaked through.Of course it was not an easy situation. These are the days when I belonged to the AA and I knew that I needed to find a phone. (The car I own now has its own rescue service) Anyway back to the story..... After getting really upset I thought and looked again at where I was, fortuneatly the rain storm was a summer rain storm and I was not wearing a coat and the rain had stopped. What to do, what to do,? Ah, thank goodness I see a house further up the road with some lights on, It was a tidy step but I could do it.I left lights on inside my car and outside of my car and locked it with my cello inside and strode toward the house in the distance.The car looked like a little bubble of light. As if by magic a little black mini pulled up travelling in the same direction I was walking. They leaned across to speak to me. 'What happened?' I said 'I wasn't sure but I needed the AA and the car was not going to move as it was' They said 'Hop in, we can take you to a garage' I said that they didn't need to do that but they insisted that I got into their car. They drove me some little way and the garage was open but just about to close and they were not enthusiastic to come out to my car but said'You can phone the AA from here'.. I did just that and I waited and waited and felt lonely and worried.Eventually a little grey Morris Minor with a gantry arrived and I was relieved. I explained what had happened and we drove back to my car. I was met with a horror because one side of my car was missing.So I had a crippled engine and half a car and believe it or not my cello was still in the car untouched happily in the case.The significance is that the drivers side was missing and we know that the AA ask you as routine to go and sit in your car.I know that the little black mini unbeknown to them saved my life. Had I gone to the house I saw up ahead to phone, I wouldn't be here now.We called the police( from somewhere?) to report everything and they came and said that the A 303 is one of the most dangerous roads in the UK and someone had been killed on the very spot where we were standing a week before. The name Sutton Scotney still gives me the shudders years later.
You may wonder what did I do after crying to the AA designated garage man that had come to help, I was driven to a Citroen garage eight or nine miles from where I live it was the nearest one and then I was then driven home.I arranged accomodation for the rest of the week in Southampton and booked a ticket to the South of France and my ticket was charged at a heavily discounted student rate so a partial win.Cat taken to the cattery in a rush. if only the car had been totaled but it wasn't it needed to be fixed bit by bit..... Groan and it was. The chassis of the Citroen is two long iron/metal bars from front to back and the wheel hubs and doors are bolted on therefore the side was easily ripped off by a passing lorry it was suggested to me.
I enjoyed my train journey and life changing sojourn to the South of France and had a day in Paris killing time on the way there until I was to catch my train at 8pm to the South. That day was SO eventful but that is another blog.
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The second act of kindness is strange because there were multiple kindnesses on that particular day. A friend was going on a trip to her family in New York and asked me to collect her from Heathrow on her return.For some reason as the day to collect her approached it became clear that my car would not get me to Heathrow possibly due to some fault or legal requirement with which my car temporaily did not comply. It could have been fixed but there wasn't time and quicky I should add, it was not the same car, not a Dyan.A very kind and efficient man who used to repair my car I phoned and asked him what I should do. Without a second thought he said (let's call him Fred) Fred will drop you off to Heathrow . No! I exclaimed 'really that is amazing are you sure? That would be fantastic I'll pay for the petrol'. He said 'No need don't worry Fred doesn't mind'. So that is what happened I checked on the arrival time for the plane and we were there waiting and the surprised look on my friend's face when she saw a completely different car to mine waiting for her.We arrived back at her home and she had been away quite a while and we were drinking coffee and it became apparent that there was something wrong with her fire.I am not sure whether it was a wood burning stove or just an ordinary fire place but to get to the point . This angelic transport 'angel' asked if my friend had chimney sweeping brushes and she said yes and the transport angel immediately set about cleaning/sweeping the chimney. We were highly amused at the bizarrenss of the situation so many good deeds done by one very kind gentleman who did not think it was such a big deal by the way, but we were astounded, and delighted and grateful.'No charge my dear,happy to help' was his attitude and philosophy for life. Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-72298144059494931982022-07-30T13:04:00.000-07:002022-07-30T13:04:59.962-07:00Admin plus Originally written before the pandemic and left as a draft and now it is time for this brain child to be born.I have decided to write again and let you in to another little part of my life. I have been in a period of ordering the past and registering arrangements I had made for cello and classical guitar duo. I spent some considerable time going through the processes. The most interesting was the recordings finalising track lists on which I played in the 70s and how the process of logging who played where and when has now become much more ordered.It was originally in the hands of the Musicians Union to locate people sometimes ten years or more after the recording in order to pay them their royalties it has happened to me on two occasions.However the extraordinary fluke was that I had studied at universities, I had packed up my home in boxes it had been stored in an acquaintance's home in a spare room and locked and then after that put into 'professional ' storage. Just a few weeks ago there was a question about my playing on an iconic recording (I didn't know that it would be iconic at the time) however the writer of the music was a person who had written more that 3.000 adverts for television which you would have been bound to have seen. I certainly played on the Martini advert in any case and maybe one or two others. See my blog on recording...you go there, you play the music, you leave.There was some question about whether I had in fact played on that recording. I had all sorts of ideas as to how I could prove it. My diary for that year was one that started in mid year and went through the following year complete, conveniently leaving the first half of the year missing.I don't know whether such diaries are made now. It is lovely and has a red leather bound cover. Anyhow the important point I am making is that I went to a box opened a file and on top was the remittance for the very recording I was needing for proof. Everyone, even the Musicians Union were astounded and so was I quite frankly.... so fortuneate!. Why would I have kept the remittance for something that I did in the 70's I do not know but it was WONDERFUL to behold!!
Regarding my cello and classical guitar arrangements each one needs to be traced so that if they are out of copyright the coast is clear to make arrangements of compositions. I have spent literally yonks in the British Library doing my homework looking at the original editions of works by composers that are out of copywrite seeing best how I can arrange them. Some works have been arranged many times by others already and that is something to be very careful about. Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-64249199923108395032015-02-06T16:06:00.001-08:002022-07-26T11:17:55.410-07:00After thoughts on my blog 'thoughts on colour'I feel obliged to add an apology for my rather glossy over view of race in my 'some thoughts on colour and other things' blog. I have learnt since writing that blog that on the internet there are some examples of black and mixed race people who have 'suffered' prejudice and inspite of being overly qualified and suitable for what ever post were not accepted.How hurtful and unjust.I feel ashamed that I gave such a philosophical unfeeling explanation for what I genuinely believed at the time.I can be accused of being an ostrich here burying my head in the sand.<br />
Let's look at it this way, there is a grain of truth in everything that is stated, so I am not entirely wrong in what I wrote, but neither are the people who have written of their difficulties which I trust and sincerely hope have resolved to some extent now. Since my writing my original essay a few years have passed and there is such a cause for people to be happy for the creation of the Chineke orchestra along with the work both behind the scenes and in the foreground done by Chi-chi Nwanoku and the vision that propelled it into existance. It is so right that there should be opportunity and credit given for artistry. Times are changing and long may they continue.Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-12538180784368245602014-04-25T05:22:00.001-07:002014-04-25T05:22:27.760-07:00Some thoughts on colour and cultureHi there,<br />
It has been a while since I have written about any thing that has struck me as important enough to ask for your attention. However, since last week I have been trying to get onto my blog site(with some difficulty) I am now 'granted' access through the original e-mail address that I used.<br />
Anyway enough of that, my reason for writing was the full page spread of no doubt heart felt opinions on racism in classical music made by Candace Allen in the Evening Standard edition Wednesday 4th July.<br />
Her beef is that there is snobbery, also there aren't sufficient 'black' people in orchestras/classical music etc etc.Further more she described her discomfort at feeling out of place in the Barbican Centre (a place where I have performed numerous times if only in humble fashion as one of the quite nicely paid, thankyou very much, foyer events.In addition I performed some wonderful pieces which included unaccompanied Bach suites at the Basically Bach at the Barbican Festival.<br />
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It was always a joke of the now deceased, Sammy Davis Jnr (cabaret/jazz singer and dancer member of the 'rat pack' of Sinatra and Dean Martin) when on television on stage at the Palladium or wherever, to look into the orchestral/band pit and ask loudly why there weren't any black musicians there.I suppose I am saying that these remarks made by Candace Allen are by no means new and do not only pertain to 'classical music' Yes in Jazz and popular music these days and athletics and football,Formula 1 racing and golf, tennis and dance, fashion design/haute couture, and modelling, the paths are trodden already by black people and now thank goodness in Opera, but that has only been relatively recent, in fact, since the 1950's in the USA.<br />
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I am dismayed that the televised amazing performances given by predominantly black/mixed race and white european classical musicians of many creeds/ethnicities myself included was drawn from many parts of the UK,for the nationally recognised Celebration of the Abolition of Slavery at Westminster Abbey, two years or so ago,given before Her Majesty the Queen and Prince Philip and decendants of William Wilberforce and others, does not seem to have registered on her radar.We are about you know. We performed music written by Chavalier St.George a baroque black virtuoso violinist and composer, amongst other music. I am fully aware that one swallow does not make a spring however maybe it is nicer to be dotted about in various quarters of the music profession rather than be part of a militant onslaught.I illucidate my views as to why music recruitment is as it is, further on in this blog.<br />
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More to the point.I think that Candace Allen is perhaps looking down the telescope the wrong way. Sparceness of people of colour performing in high culture is only partly to do with race, but it is also mainly to do with 'culture'. Classical music for many children of <span style="font-weight: bold;">any</span> race in today's musical climate is very often a no go area.Sometimes, because there is no interest or encouragement at home for them to play violin, clarinet or anything else,This is in spite of relentless start up programmes devised by educational departments of borough councils, and programmes organised by our leading orchestras to have open days and programmes going into schools to reach children,which are intended to sow seeds of interest.With many of the borough councils, the aim is to make playing an instrument accessible for everyone and to a small degree it does but by no means does it go far enough. Strumming guitar and piano,have not suffered to the extent that other instruments have, in their take up numbers by children of any race.Rock and pop have never been short of wannabees and lets face it, how many start up guitar playing boys and girls are sorted out enough in their minds to organise and be in performing bands.<br />
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Perhaps the bar has been set too low. Simply giving children an 'instrumental musical experience' and not teaching them the 'real thing' is a huge cheat.This view is echoed by some teachers of sports such as cricket for example.The youngster participants do not get the same 'thrills and spills' with a watered down quick fix one size fits all approach.Therefore the elitism that is levelled at classical music anyway (lets leave colour out of it for the moment) continues because it comes back to there being only insightful/music loving/educated/ financially comfortable parents being in a position to send their children to private 'proper lessons' with a teacher who will do the correct job of teaching them the essential ground work in an easy manner on which everything can be built.<br />
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Ideally, the home is the hub of the childs centre of approval/disapproval and taking this one stage further, if there is a total lack of interest or understanding of what the child might be trying to achieve in its weekly shared lesson of twenty minutes or half an hour the seeds are ending up on stoney ground in the home where the lions share of the work is done.There are tales not myths,of state school children of primary school age being ridiculed at home when they are taking their baby steps on instruments where there has never been a tradition of study be it academic or otherwise and/or practise.<br />
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With both my performance experience alongside my Masters in Ethnomusicology I feel that I can state that quoting/citing the Sistema programme as an example of musical excellence is worthy. However, this said system I understand is one that has not just appeared over night but has taken twenty five years to build. In other words to transfer this to the UK which people have sought to do, it would be the children of current ones who started and gave up but put their children to music, and then the next generations' children's children would be the vibrant rearing to go members of a Sistema style UK orchestra.The core sentiments of the Sistema system is to embed the orchestral group with a sense of worth, and of life affirmation away from the environments of poverty and lack of hope.The orchestra is a life line albeit a cultural one, and a huge transfusion of positive energy and care for each of the participants.The children are 'hungry' I believe is the correct term for the experience of performance and of all that the music and the life within the music has to offer, which is emotional breadth and beauty and of course the camaraderie and discipline.<br />
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Now my final point relating to colour is this, quotas are really awful. No one wants to be a token number in any organisation. We want our credit and worth validated. The focus on colour could be put in perspective by asking 'How many Tasmanian musicians are there in orchestras or in classical music? How many Sami musicians are there in classical music? Do you see my point?.<br />
Not only is colour kind of a limiting gauge, black people or mixed race people are not a block group, that is racist thinking,I refuse to adopt this hegemonic manner of thinking. We are made up of many strands and ethnicities and are not all the same, any more than 'home counties middle class are not the same as upper crust Edinburgh dwellers or folks from Gottenburg or Sydney Australia.<br />
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To develop musically aware people, teaching and demonstrating will pay off ultimately, I am convinced. By going into state schools and developing huge drives to bring all young people into contact with the performers and performances of classical music will win in the end but it is thankless to begin with, but will pay off. However, not yet but in the future.Please note I have left out the work of private schools, specialist schools and the Junior Departments of the colleges of music in London and the UK.I can breathe easily here as music is thriving and elementary hurdles I have outlined concerning lack of parental encouragement and non positive environments for learning, are long ago and far away in such vibrant lively places.The assumption of support is a given if the child has got that far.<br />
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I was interested to read the comments made by concert violinist Nicola Benedetti which were given front page publicity in The Daily Telegraph yesterday the 10th July 2012.She upholds the view that young people need culture. In the BBC Radio 4 programme 'Front Row' which is an Arts review and events calendar and is broadcast each evening at 7.15pm. The same day 10th July 2012, Wynton Marsalis was featured and interviewed on the 'Front Row' programme, as he currently has a residency at the Barbican Centre London. He also affirmed her words and lamented the limitation of youngsters tastes.<span style="font-style: italic;"><br /></span>We should seek to <span style="font-style: italic;">BROADEN</span> their tastes<span style="font-style: italic;"> </span>and I emphasise the following word, <span style="font-style: italic;">LEARN </span>with an open mind, to enjoy <span style="font-weight: bold;">all </span>music not just one tiny prism of sounds and words.<br />
My thoughts on 'culture' are as follows and can be summed up in a few words.Culture is not one thing.It is every aspect of creativity in language in both the spoken and the written word,in art, dance, music. In other words it is everything we uphold in this country and society.<br />
*It might be good at this point to ask you to re- read again my Blog on <span style="font-weight: bold;">Values</span>.<br />
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Short of a dictatorship (joke), we are not able directly to influence others tastes in what they uphold as long as they are on the 'right' side of the law of the land. Initially we start out with the idealist view, believing that all tastes have equal worth in a democratic society. How provocative is this comment I have made.<br />
I respond to this provocative comment by stating that certain activities are more enriching than others.'Who says?' the dissenter cries.<br />
Marsalis in his interview touched on the point I am about to make.I am stating now that some things in life, improve, enrich, inspire, uplift, encourage, create positive attitudes to life and others, and engender some self-reflection and self respect and create a life affirming sense of wellbeing in some cases.<br />
Whilst people are young and hopefully open to hear wisdom from others (now there is a bone of contention).Our youth culture has created in some cases, not all, a group of people who are catered to as a separate group(teenagers) they are a distinctive culture with their own language clothes, styles etc.<br />
Reverence and appreciation for things of quality is developed over years and is an expensive process. It requires consideration and in my blog <span style="font-weight: bold;">Values </span>see what the Pakistani businessman said in general, and in particular, pertaining to me, that I dutifully copied and added my own thoughts to my blog.<br />
I do not think that appreciation of culture can appear over night, not even in one generation.<br />
***Please note In the same 'Front Row' programme we were informed that funding for musical instrument teaching in secondary schools has been cut.Pick yourselves up and carry on reading.<br />
I wonder what has happened to the drive of the previous government to ensure that primary school children have a quota of 'culture' each week/month which involves trips to art galleries etc etc.The platitudes about what would be nice and what is ideal are still in la -la land as they sound good and the process to bring them about must be powerful in order to make youngsters or anyone else step out of their familiar comfort zone to what is an exciting and interesting artistic world. Is it not wonderful that there are scientist music composers who are composing using the scientific components of DNA. Barrier down!<br />
Is it not important to appreciate music, fine art, architecture and language all that has created the European world in which we live and have inherited?.<br />
I find it curious that many young people are not curious and live in closed worlds . Yes culture is a slow and deep and expensive process and is for many unfamiliar and challenging.<br />
It is such a pity that 'classical' music lives in one place on our radios. Many would never go there. I remember as a child between programmes instead of trailers for programmes there would be an excerpt of exquisite music. Orchestral or piano or what ever. By default people were familiar with the sounds they flowed into their consciousness and were as much part of peoples lives as anything else on the radio. Would a revival of this, help?I remember my mother calling me into the house when I was in the garden playing as a very small child, just so that I could hear a particular piece of music.<br />
The market place is another problem. As long as popular music and popular anything is worth squillians of money and that being sometimes the only consideration, but if it is <span style="font-weight: bold;">the </span>primary consideration of some individuals, of what has worth and value, the values are skewed from the offset.Culture is a refinement and none of us are not born naturally refined. It must be an acculturation of sorts, yes that is it. It is learning to be appreciative of European culture that has come to us through the generations.Then there can be appreciation of what is current today in a proper context and an understanding. It should then be apparent why the music, painting, literature, dance of previous times is important to keep alive (notice I did not say preserve) Each performance is a re- birth of a work, and each generation looks upon artistic endeavour hopefully in a fresh way. We appreciate context and culture more easily in hindsite.This acculturation process is education of course.Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-1497294180762041942013-08-06T12:56:00.001-07:002013-08-23T05:42:46.430-07:00Regenerate,regenerate,regenerate<div class="separator" style="clear: both; text-align: center;">
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The subtitle of this blog is 'Unexpected item in the bagging area!'<br />
Those who know me well are aware, I sometimes have a surreal sense of humour.Joseph Spooner's hilarious blog entry 'answers to usual questions you are asked when you are carrying your cello about',(which can be found on the august London Cello Society Website), has done even more to encourage me!.When I'm travelling about, I am often asked 'Do you play THAT? by the general public I'd come into fleeting contact with on trains or escalators or anywhere in fact.This question, depending on what sort of frame of mind I'm in,offers a lot of scope for fun. When the cello was being carried on my back I'd pretend I didn't know to what they were referring. If I was not feeling particularly charitable I'd fix them with a mock frown and question the questioner in return 'Do you know what it is?' Mostly they'd think it was a guitar or a double bass,Ooh dear! <br />
Now I can move on to the main point of this blog. Yes, I was there really, and having a wonderful time. I took part in the regeneration of part of the London Borough of Havering. The whole day was dreamt up by the Arts Officer Mark Etherington who is an extremely live wire full of ideas and this was his brain child Music of many genres was being performed in many different places throughout the area and I was delighted to have been asked to take part and though the full day and its events gave the appearance of 'busking', in fact it was a commissioned engagement for each of us, for which I for one received payment as for a recital, from the borough council. I thought I ought to clear up that point.<br />
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I was placed in a safe place i.e not in beating sun nor on a quiet street where I, alongside my cello, could have been vulnerable. As it happened the shopping trolleys passed with a vengeance as I sat in the foyer of one of the entrances to the major food store whose name begins with an S. Comments were made. Many looked shy as they passed, not knowing how to react.I was aware that people are not spacially aware as I needed to keep watch on my bow so the tip did not get knocked by any one passing too closely.<br />
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When I performed the Boccherini Rondo( by way of a change from unaccompanied Bach and some beautiful Schubert lied such as An die Musik) I was delighted that one lady.bounced along with the pa pa pa pa pom-pom,pom-pom PA! of the opening phrase of the Boccherini. She also smiled and looked really happy. It was a spontaneous child like reaction which was delightful.<br />
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It was interesting to read German cellist Alban Gerhardt's similar project/ experiment performing in railway stations. I have performed in open urban areas before this occasion. Curious and surprising. for me in Havering, was an interesting experiment of my own which was to play part of the 6th Bach Suite for example to a changing environment where in some cases with the listeners I was sure it was not understood.<br />
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After his railway station experiment Gerhardt concluded that he could play Bach anywhere now.It was a test of strength for me as the audience part of the equation was not consistantly there. They were moving about to and fro in and out of the store and were not still and receptive as they would be in a concert setting.I found this subjectively very interesting and strange!..<br />
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My efforts were ultimately rewarded through the session with increasing strength in compliments.Remarks from people entering the store grew from Good to Wonderful in one hour! Quite honestly, I was really getting used to the accoustics and the flow of people passing. You can see from the pictures below I really was taking it seriously. A very dear couple,to whom I am so grateful for taking such nice pictures, who were members of the local camera club had their cameras to the ready and snapped away merrily as I played.I had explained to them that people when playing, sometimes, do not look as good or facially relaxed as they might, hint... hint. What do you think of the results? Hopefully you'll catch the atmosphere.The bustling shoppers were passing behind the photographers.A new environment, a new challenge. hope you like these pictures as much as I do!.<br />
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Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-82467429098285398342013-07-31T07:57:00.002-07:002022-07-26T11:56:19.251-07:00Cello and Nightingale duets: a la mode Beatrice HarrisonI shall clarify and explain; I became involved in what resulted in a wonderfully aesthetic experience.
It was the most extraordinary situation..My late mother sent to me an article written in a daily paper, which discussed the memorable Beatrice Harrison recordings with Nightingales in her garden in Oxted; the 20's and 30's.The newspaper article displayed twentieth and twenty first century cynicism, for the reason that there were certain persons who had tried to cast doubt on the genuineness of the Nightingale's singing; with Beatrice's cello playing.However, Beatrice's violinist sister May, also an eminent performer, readily dismissed the doubts, describing them as 'tosh!'.<br />
Following on from this and just three years ago, I read an article about Beatrice on the BBC blog. quite by chance and; felt compelled to recount the cynics viewpoint in the paper that my mother had sent to me.
Of course, I intended by this to put the record straight.The BBC's first live outside broadcast was of this very phenomenon, Beatrice's cello and the nightingale.One can also read in great detail in the autobiography of Beatrice written by Patricia Cleveland-Peck, documenting just how many performances were given in the family garden.Through her wanting others to share the experience 'The Nightingale Concerts', as they became known, were open to the public with coaches full of children arriving coming from as far away as Stepney and other parts of the East End of London..Many composers attended the concerts to include Sir Arnold Bax, Master of the King's Music,Roger Quilter, Delius,York Bowen and others.
Beatrice has been one of my cello heroines and especially; as I was fascinated by her profile photograph as she was seated with her cello with Elgar playing the piano that I saw when I visited Elgars Birthplace in Broadheath Worcs. (before it became a visitor centre).I thought it was a 'good look' and had taken a publicity profile photo of myself as a sort of homage which has remained one of my favourite publicity photographs.. <
I have been interviewed twice about the first experience on both internet radio and for the BBC Oxford. Both of these interviews can be found on my website in the audio and video section.; www.claredeniz.com
The feature film made about Beatrice in which I took part can be seen on You Tube.I shall provide a link for anyone reading this to see the second programme it is as follows.In my part of the film for The One Show there was a lot of filming done.Having seen the film I realise what an artistic skill is involved in the editing of such a lot of film footage. I did see another film the crew made again with television presenter John Sargeant in the Outer Hebrides and once again it was magnificent.Just the colours of sea, flora, etc and yes the poetry of the narrative, and a concise piece of information which was incisive but laid back, but that is John Sargeant exercising his distinctive and exceptional interviewing ability alongside the production and editing team collaboratively showing the beauty of the surroundings.<br />
For the film that I was involved with which related to Beatrice Harrison and the nightingales, we had hoped to film at Beatrice's house, where the nightingale recordings had been made, indeed, the current owners were very keen to meet me and have me play my cello there. I have an invitation to visit (I shall take my cello, too) The film makers thought that sadly there would not be any nightingales there any longer in Beatrice's beloved wood and garden.
You will see in the film that there was an exceptionally blustery wind, and of course we were right on the Thames Estuary there.A very 'old' part of the UK; a region that Dickens used as one of his settings in his great novel Great Expectations.
The RSPB reserve is an amazing place,with such perfect trees as nesting sites there for the birds that return year upon year.The specifications for a nightingale are fascinating. Their song is magnificent and yet they are shy birds.They nest in what appear to be extra large bushes and that is why for some of the filming I was right up close to the bush and the bird was singing; very loudly in my left ear. We did not include that part in the film.I don't know whether I was more touched or amused at the power this small creature was putting into making himself heard along with my cello.Probably a combination of both, however I was obliged to keep my chuckles inside in secret so as not to spoil the film.
; This year 2013 the BBC SE Re-creation of the first BBC outside broadcast came as a result of the resourcefulness of the Communications Officer at the Reserve. Mr Rolf Williams. I had no idea that this would be happening as I was simply initially going to be part of The Walking Festival taking place in North Kent, playing my cello to nightingales for the public to witness the phenomenon.However things moved on a pace and this re-creation of the Broadcast took place with presenter Caroline Feraday. The siting for the filming was magical and I sat in the crown of a massive fallen oak tree that was alive and still green and lush and it was a perfect back drop for a 'natural' concert hall. The bird sang too.<br />
It was magical, and I should add that the television appearance has been seen by hundreds of thousands of people and close to my heart it was approved and commended by none other than Norman Lebrecht the foremost arts critic who speaks about Beatrice and mentions me on his blog 'slipped disc' saying this about BBC SE Re-creation of the First Outside Broadcast.
'Watch this.........Just lovely'
WOW!!.(that is my response)
You can view this too, just Google Clare Deniz cellist.Then scroll down to:
BBC SE Nightingales Featuring Cellist Clare Deniz
I was delighted when I saw the finished product of the BBC SE broadcast film and by my arriving having travelled some considerable distance by train and then simply unpacking my cello,tuning and playing, that the pitching matched Beatrice's exactly. Of course you would expect this in normal circumstances except that it should be considered that her archive recordings have most probably changed the sound she produced, What pleased me even more was the perfect tempo match between Beatrice's performance and my performance; making it possible for the film editors to simply connect them up.It really appears seamless and I can put my hand on my heart and say I had not listened intently to her playing before this particular broadcast, as I wanted to be me and not be influenced unduly.There are schools of playing which seek to resurrect earlier styles of recorded performance of the thirties and earlier.However,you can hear my playing is very much of today .Even if I say so myself, I am SO proud of how it all worked out.and everyone involved loved my playing and my interview.in the programme....
I should mention St Marys House Bramber in my newsletter but I should add that this dream of a house near Steyning has a wonderful concert series in which I was priviledged to have been asked to perform a Celebrity concert.It was a dream,as I have said, and the accoustics were perfect and not only that but the promoters put on nightingale song in the interval.I included two salon pieces not heard today which Beatrice performed, and spoke about her and my television appearances. Every one was captivated and transported.I could have performed a bigger un accompanied work such as the Bax Rhapsodic Ballad but it would not have worked as well in the programme.I shall keep you informed of any other nightingale duets I am playing.
Further update. Apart from a beautifully recorded performance given by myself and my duet partner, a nightingale at Highnam Wood Gloucestershire at 8.30am. I say beautifully recorded because the professional sound engineer Colin Rae of the BBC outside broadcasting department captured both the sound of my cello and the bird song to such a perfect level.The space and the antiphony almost of the cello and the nightingale is captivating. I realise that bird had flown 3,000 mile to find love and was singing to find love and I felt something and that something/warmth and yes love, stayed all day til 6pm. Do look on You Tube Rare Woodland Duet. I am performing Londonderry Air otherwise known as Danny Boy and Farewell to Cucullain which was one of the tunes along with Chant Hindu that Beatrice recorded as a nightingale duet.
Let's fast forward a little while to 2022 and I read that it has been 'confessed' in the newspapers in the manner of 'tell all' that the Harrison nightingale recordings in her Oxted garden were fake inspite of the book written by her and photos of BBC staff setting up recording equipment. So the magical fairy tale intended to lift peoples' spirits during and after the war was brought under the microscope of reality, However I state emphatically that maybe the first night that Beatrice Harrison played her cello it is possible that the nightingale was scared away due to there being many people in the Oxted garden and Beatrice had so many visitors and there were coach trips visiting her garden,I would emphatically say that in the two television filmings/recordings I made with the BBC and the separate Highnam Wood recording the nightingale can most definitely be heard singing with my cello.Do Check on You Tube Rare Woodland Duet. I rest my case.Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com4tag:blogger.com,1999:blog-342132078914250838.post-63819436870141885292011-02-22T15:08:00.001-08:002022-07-26T11:59:03.894-07:00The 'Music as Food for the Brain' debate We are now in 2022 and I still standby what I wrote here in goodness me 2011.Deep research done in USA on the benefits of music education on the mind.
I feel obliged to put this information before you. I have gleaned it from the internet and I am not claiming authorship in anyway but I believe that it is a worthwhile area to bring to your attention and I wonder what you might think from the research done by an august set of scientists and summarised by Wendy Harris writing under the title of 'Childrens Music Workshop and Music Education Online that I have reproduced here and I hope that I have by quoting the pros and cons or rather the qualifying statements she has written about, given a balanced overview of the scientific accumulated current opinion on the subject as formulated and stated by Ms. Harris.
There is an interesting debate still raging and yes as stated in my previous paragraph, it is on the internet too and that is about Music making you smarter' Indeed there is a music shop not nine miles from me that has adopted this wonderful statement as part of its publicity for the sale of instruments and sheet music.I have read a great deal on the subject and although I am inclined to agree that good practise takes on the air of the laboratory and certainly involves problem solving and solution finding.This is especially in the area of objective appraisal of ones work and with the process of finding decent fingerings for passages.However, neuroscientists have found that in performing musicians that the membranes that connect the left and right sides of the brain are thicker and thereby the interaction between those parts of the brain is heightened.
Harris shows in her paper that in the primary and secondary educational level the falacy about children missing out to leave classroom lessons to go for instrumental lessons is also spurious as it has been found in research in the USA that children who leave class to go to lessons are in fact getting higher marks in tests and are not lagging behind.
Harris has observed that the overall sweeping statement that children are smarter who learn instruments has been agreed by certain psychologists but also it has been noted that schools in the USA that have strong music programmes i.e instrumental lessons and general music singing etc, have better exam results over all. Even more stunning information was made about medical students the highest grades all had some musical abilities.
Harris has taken the Music and brain research of Professor Donald A.Hodges Covington Distinguished Professor of Music Education and director of the Music Research Institute at the University of North Carolina at Greensboro, and has demonstrated his findings which are 'that music activity takes place in the right hemisphere of the brain, the activity occurs with equal vigour in the left rational hemisphere.Music is both emotional and intellectual activity.'
Wendy Harris states that Hodges is also notable for stating that in the superficial sense music does not make a person smarter but continues to state that in 1993 experiments claimed that listening to a Mozart Sonata would make your IQ increase by eight points.She continues outlining that through subsequent work Hodges explained 'proved that such listening would sharpen a subjects spatial-temporal relationships momentarily.After a short while, the subject would go back to being just as smart as before or dumb. A rich environment makes a difference. The slogan was used Use it or Lose it (referring to the brain)The more education you have ,the more the interconnections in the brain. Music changes the brain.'
Harris also cites Patricia De Corsay,Co-ordinator of Lawrence University's Early Childrens Music Programme in Appleton, who was aware over a number of years that 'with the introduction of music to children many areas of the brain were benefitting like the mathematical language centres. Music was seen as a super-advantage.The Lawrence classes led by trained professional musicians introduce basic music concepts and give hands on experience for children to play with a variety of folk, instrumental and percussion instruments.
She continues stating,Hodges further discusses brain activity in performance and states that during performance there is no activity in the front lobe where conscious thought takes place.'In other words performance is not a thinking activity.All the thinking takes place earlier.Performance can be seen as being similar to the activity of a highly trained athlete. Music is always a physical activity. Musicians are small muscle athletes.
This very observation relating to musicians being small muscle athletes I have taken as dictation in William Bruce's class for The London Cello Society the observations are published on the internet.
Reference and Bibliography 'Summary' by Wendy Harris Childrens Music Workshop and
Music Education OnlineClare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-52733046771600422572010-12-27T05:43:00.000-08:002011-02-08T16:38:47.120-08:00Values<div align="left"><strong>I discussed this subject of 'Values' a month ago with a businessman on one of those train journeys.He explained, and on total reflection on his words I discover that I am in total agreement with him with the sad but true viewpoint that values and their presence are not a given attribute in any persons character.</strong><br /><br /><br /><br /><strong>This was a surprise for me to hear at the time, as I believe I have values,others who meet me affirm that I most certainly have them, but why do I have them, is the next question and why are they not universal? Good upbringing is good soil for this kind of discernment to develop, however, values are acquired through colossal personal investment he pronounced .....Wow, did this chime with me, you betcha!!I've done this (invested) starting at school and it has continued throughout my life. </strong><br /><br /><br /><br /><strong>Values can develop through reading wonderful/great writers and thinkers.(Aristotle and Plato just for a start,)Embarking on some really deep thinking and in the light of this followed by some objective self examination brings about changes in our mindsets. We are touched by situations portrayed in the great classics of fiction. If we have read classics ancient or modern,from many cultures, and studied aesthetics stepped out of our comfort zone to observe ourselves and our response.We may be prompted to think about ethical issues.We are hopefully rounded at the end of all of this, and not pidgeon holed.Our inner life is not a static pond, but a treasury.</strong><br /><br /><br /><br /><strong>Life is NOT trudging down the endless road of our existance only thinking about what is on the television or what our next meal might be.</strong><br /><br /><br /><br /><strong>Here is the BUT.I believe it is beholden to each human being that has access to these treasures I have mentioned above, to enrich themselves and thereby by default, enrich others about them etc. However, the draw back is of course that certain people would never ever bother to do it. They have no interest in philosophy, transcultural interchange of ideas, aesthetics, classics Why other cultures do what they do Can anything be learnt from them. If not why not? If so , why not?</strong><br /><br /><br /><br /><strong>Values are food for society.If we are secure in our values we have nothing to fear from other peoples, we are not shaken. With our values we can even comfort one another.There are some connections in what people say about politeness the same thing has effect on many people.Having a sense of humour the same is said about that too :'a sense of humour oils the wheels we are travelling on'. But back to values; all of the benefits of other attributes of humour and politeness can be applied strangely enough, to values.With our values in place we can admire without fear or threat, we know what it has taken to produce whatever and are grateful for it.</strong> <strong>We don't want watered down versions of manipulated falsity because the real thing is too strong to stomach. A wonderful comparison is like that of being babies and adults.Tiny babies cannot take meat only milk the same applies to powerful thought and great culture they are the food of adults similar to meat. Mankind must move from 'milk' to 'meat' (or the vegetarian equivalent)</strong></div><div align="left"><strong></strong> </div><div align="left"><strong>I have noticed that having posted this blog in the latter part of 2010. Now with the BIG discussion on cuts in spending in the public sector relevant points of view not too dissimilar to my views on values are being aired because of the threat of closure of the public libraries across the country. Of course the true value of reading and as many spokespersons have stated that they more or less educated themselves by use of the public library. One person on radio 4 today said that her home lacked books through the lack of funds in her family home when she was just a child growing up and through her own diligence and study she managed to get a place at Oxford to read English. This spirited and clever woman said that it came about solely because of her use of the library and of course through reading. She stated exactly the same things that I have said previously.Through reading fiction one learns about consequences and the possible outcome of certain situations. One also learns philosophy and also closer to the 'earth' many fables to do with culture, let us call it the wisdom of culture is passed on through 'story telling'. Hopefully then coming back to my views on values,one can learn to evaluate and learn to judge circumstances and situations with greater wisdom.One can also learn to understand oneself through this very same acquired judgement. </strong></div><div align="left"><strong>We are thereby enriched and are in a better position to enrich others lives that we meet. </strong></div>Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-10577629113328284182010-07-30T05:56:00.000-07:002010-07-31T06:42:21.999-07:00Additional protection for my name and valuesHey I've just spent time trying to inform:<br />newsroomnews<br />and Google about something that has been written NOT BY ME which has appeared on Google with my name beside it. This is dreadful. I have followed somebody for the the first time in my life. It is a good thing to do. It is fun and nice. I followed another blogspot blog of a fabulous designer.... loved the work, seriously. My comments to the artist were encouraging on his blog I hoped, and equally I was so impressed. However...but there appears on Google, a load of abusive garbage which honestly I could not believe my eyes. I have complained and I have twittered <a href="mailto:twitter@claredeniz">twitter@claredeniz</a> and I hope that the artist/designer blogger will know how I truly feel about his work. Because I am confident that my single handed campaign against the abuse will prevail. What do you think? I'm not a pollyanna Miss Nicey nice but equally I have something which I have been wisely informed is not common, and that is common sense (there is not much about,,apparently really) It is a gift and if you also have a mind/brain and sensibilities together they are priceless /invaluable equipment for life.Therefore knowing as I do the processes of being creative and the inner 'sturm und drang' of the process ( invisible to the world, after all, it is what we produce that is important) I am the last person to abuse someones work. I know about these things. the guy sees beauty like really lovely things and the photos are evidence.As he sees I said to him, so I hear.I hear what people normally do not hear, he sees what people do not see, even though the things are before their eyes. Even if people are at the same place, they do not hear what I hear. Only other equally trained musicians. In his case only other designers. but his photos are saying can you see this? Do you get it?A bunch of faithfuls have said Yeah we do. I'm one of those. So get my name off that garbage the guy Andrew Lim is great. As I said, Ho Silver!!<br />Well Chapter 2 is about to be revealed. Street language translation? I am a tiny bit better informed than I was this time yesterday.<br /> N.B. Sick means unbelievably incredibly wonderful.Hence the description made by another blogger of the work of Andrew Lim as being of that quality. Herumm! followed by a polite cough and a change of subject.<br /> Anyway this blog and several tweets gave me a chance to say and express the core of my beliefs and I hope that you faithful followers will generously grant me a bit of slack and say "Fine whatever".Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-10825143295376054212010-06-28T23:58:00.000-07:002010-06-29T00:18:42.429-07:00I haven't written for some little while.However, I have been thinking. Has anybody else seen the similarities in the mythological story of King Midas and the BP oil flood into the ocean? It struck me almost immediately. The whole sorry saga has gone from the Eureka moment to total saturation if something isn't done about it. (Or on another level, but equally iconic, remember Mickey Mouse as the Sorcerer's Apprentice in Fantasia.)We (the human race) should be so careful when 'tampering' with nature and its natural inbuilt balance whilst enjoying all of the wonderful benefits offered to us in such plenty, not to go 'over the top'.<br /><br /> I am also put in mind of the wonderful cards with words of wisdom written on them that you see in charity shops and I quote (maybe not exactly accurately here but you will get the idea).<br /> ' When the last leaf has fallen off the trees. When the last blade of grass has died.When the last fish has died when the last river is totally polluted.Then, will man realise that you can't eat money'. <br />How daunting and how true!Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-49245354354918995402010-04-07T17:49:00.001-07:002010-04-09T15:36:25.889-07:00Don't be fooled by eclecticism I'm classical and for realIt is very strange to see the extent of the musical eclecticism many musicians experience there before me on the internet.I am reflecting on the tiny amount of time I spent in recording studios on backings of 'popular' music, possibly two years? That is in relation to the time spent recording film music and adverts.<br /><br /><br />I studied at the Royal Academy of Music and I should honestly state that for all of my life I have continued to study and continued playing to many eminent teachers. Yes I was studying when I held the posts of Sub Principle of the English National Opera(there were two Sub Principle posts and I auditioned for the first and was a short while later promoted to the second Initially Seat No 4 and then promoted to seat no 3,respectively, however,I mostly sat on the front desk, as inside front desk as we had principle and co-principle cellists who shared/took it in turns to occupy the first or principle chair).<br /><br />As for performing with some folk or pop after being principle solo cellist with the Royal Ballet but before broadcasting recordings in Bristol with the BBC Training Orchestra (later to be known as The Academy of the BBC)and then Welsh Opera tours and before my post at English National Opera I can state with great pride that my Royal Academy Professor Derek Simpson,concerto player, professor at the Royal Academy of music ,cellist with the Aeolian string quartet (the person we were honouring at the Tribute See YouTube Tribute to Derek Simpson Klengel whereby 22 of his pupils performed the work. (I am playing too, I am seated beneath his photo at the back) Derek Simpson is the cellist on the Eleanor Rigby record of the Beatles.Many have claimed that honour but we know it was DEFINITELY Derek Simpson! Yes music takes many forms and Andre Previn said there is only good music and bad music. These are subjective statements of course.<br /><br /><br />The recording session, well very often a phone call asking can you make .........studios 2pm til 5pm?. then the date.... yes you can .Fine, see you there. End of.'...<br /><br /><br /><br /><br />At this point I would have concurrently been hard practicing for my next cello lesson (keep up!...... I said that I was still studying privately)and so on I would have been prepared for what ever might be waiting for me to play in the studio. This would be either me on my own. The artist or producer wants a cello sound and I'm it. Ear phones on. playing to what I hear .One ear phone on its easier to hear myself. Two tracks ...done ....thankyou ......sign this here.. Bye .<br /><br /><br /><br /><br />For me that was the recording world, unless it was part of a grand scale orchestra say for a film backing track.Or an advert say Martini etc,Very often, due to multi tracking when one is phoned as I have described I didn't see any one else at the studio. Just the cello, the booth, the head phones and the track to play to. So I hate to disappoint anyone who thinks that every day was a 'party'.Recording studio work is NOT being in a rock band. Studio time is money here, so book people who get it right and quickly too! It is playing on a track recorded to be added or mixed, onto music already recorded, the other players frequently not present.It is a very unnatural way to play as music requires connection with an audience but we musicians do it and the results are very pleasing. From what I could tell, it was very much a blokes world and I only dipped a toe into the proceedings as did many other women players. The work requires superb standards of sight reading. Most guys who live on studio work are supremo sight readers. <em></em><br /><br /><br /><br /><br />The continuity of my private study enabled me to take up the personal invitation from<br />Paul Tortelier to attend his masterclasses in Nice. He remained a mentor until his death and even acknowledged me as a pupil, an honour indeed. As I stated I was a subprinciple at the English National Opera and it was an opportunity not to be missed.From there I was able to play to Raphael Sommer (a pupil of Tortelier sadly no longer with us, taken at a young age).He telephoned Jacqueline du Pre to recommend me for study with her whilst I was sitting there.<br /><br /><br />I was pinching myself as I found the whole situation so unbelievably magical I was so delighted and overwhelmed. I then went through the correct proceedures sending all of my information to Jacqueline's secretary, and the rest you know if you come to my concerts and read the biographical blurb about my first steps on the concert platform.Over a period I completely rebuilt my technique and this was with Antonia Butler a pupil of Klengel at Vienna with whom she studied when she was 16 years of age and then Alexanian a disciple of Casals.There is that man's name again, Casals. He is the source and fount of all I have learnt.<br /><br /><br />Hopefully there will be some further thoughts and or musings to be continued on this subject.Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com1tag:blogger.com,1999:blog-342132078914250838.post-81563621247103874162010-03-24T17:19:00.000-07:002022-07-30T13:11:15.271-07:00Honouring Jacqueline du PreI cannot claim to have thought of the title of this blog. In fact it is taken from the very event that I attended on Sunday,21st March at the Queen Elizabeth Hall South Bank London, organised under the auspices of The London Cello Society.Those of you who heard my interview/ broadcast on Brooklandsfm.co .uk (type in listen again and scroll to 28th Feb 2010.)Will have heard the respect and gratitude I felt to have been taught by this 'wunder kind' for two years at both private lessons and masterclasses. Even though she was ill at the time though not desperately ill (just greatly incapacitated but in excellent spirits)I was one of the privelidged few afforded this great experience and inspiration.
I feel it is important for me to use my blog to say this may sound as if I am stating the obvious but I do believe that there are remarkable people and the most remarkable sometimes don't even know it. It is just how they are. It was both riveting and extremely saddening to see her on film playing with such beauty and with the interpretation so utterley complete, for want of a word to describe the maturity of her performance. Pinchas Zuckermann stated that she was born 'already done' meaning as I interpret him to have stated that everything she played was at its zenith of intellectual or emotional magnitude.I think that her emotional intelligence was supreme. The interpretation for which she is most greatly known and naturally revered was the Elgar Cello Concerto which she made her own.To such an extent that many people the world over claim that they don't want to hear another version.This young girl found the key to this music and what is so remarkable about true wunder kinds as Jacqueline was,is the maturity of the understanding which was way beyond her own personal experience. Like many wunderkinds instead of generating a jealousy in people she somehow tapped into the love that people wish to share.I have seen it before, the somewhat disarming true innocence (not play acting) and running alongside that the deep maturity it is quite disarming. I never saw a negative side to Jacqueline she was totally unselfish this was evidenced with her teaching and her weekend masterclasses.
My experience on two occasions of performing for the Jacqueline du Pre Appeal (in what was a small way in comparison to the full on dynamism that is Daniel Barenboim and Andras Schiff who both performed at the Royal Festival Hall for the fund.)My contributing performance was as soloist at a completely sold-out concert (I was told afterward that we broke fire regulations because so many people were there)performing a concerto in Oxford, the Haydn C major for which I wrote my own cadenzas.I was honoured by being nominated invited and then elected a Fellow of The Royal Society of Arts a month later.I connected the concerto event to the nomination, but The Royal Society has strict protocols and one is never told the why, how, what about the nomination. I do know that everyone is vetted which is also interesting. Another concerto performance was given in the South West for the du Pre fund this time I played
The Rococo Variations by Tschaikovsky this time,again the concert hall was packed out. What was apparent to me in performance was the love that came from the audience for her, I am sure. I felt so touched by it, knowing that I had just a peep into the world that she had occupied.I perform with that experience locked up safely in my heart, and it comforts and encourages me.
The excellent films made by Christopher Nupen who filmed her over a number of years are available on DVD and should be bought as they are truly wonderful.These were discussed and shown by him on Sunday at the Queen Elizabeth Hall.
Jacqueline du Pre in Portrait (CN0902 D)-Portrait film plus Elgar concerto and Beethoven 'Ghost' trio.
Franz Peter Schubert (CN0903D)-Schubert film and performances of 'Trout'quintet.
Jacqueline du Pre: A Celebration (A07CN D)-the films Who Was Jacqueline du Pre?and Remembering Jacqueline du Pre,plus the famous 1980 interview.
I felt so inspired to write this blog as I feel so strongly that since Jacqueline died that the time has flown by.We are so lucky to be able to see and hear the wonders of people no longer with us and everyone should see that the 'one size fits all' education system of music or anything else could never work for highly gifted people.Even in my own small way I have to contend with people wanting to metaphorically 'put me in a box' or label me or only see a part of what I am, so heaven knows what these 'limiters' would have made of Jacqueline du Pre.
It was a delight to read the interview given by Christopher Nupen for Elizabeth Wilson written in the London Cello Society Newsletter edition 14 for all those eager to read more.He describes his impressions of Jacqueline and these range from his first impression of her appearance to the lengths to which he went to capture her in as an authentic truthful way as he could. This includes the numbers of cameras used to film her performance of the Elgar.Here I cite the words used by Christopher Nupen in his interview 'The contradictions showing over what she might say was an insurmountable difficulty whilst music making'but the very next minute she played the passage superbly with no problems.She manifested these enormous abilities and carried them in a joyous and wondrous manner.
She was ( and remains on film for all to see),unbelievable, formidable, unlike any other. How wonderful it was to have known her.Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-86548773138136583942010-02-08T08:41:00.000-08:002013-08-06T12:53:10.177-07:00Newsletter<div align="left">
Well this is the first attempt at creating a newsletter for the concert attenders and followers of my concerts, and interests in general.The feed back I received from the wonderful Sunbury and Shepperton Arts Association concert last Saturday 6th Feb 2010,was most helpful and very interesting indeed! Cello and Guitar is a surprise for many people. It works beautifully. A little about the two duos I have formed at present. The first more traditional one is cello and piano this is with mostly Hisayo Shimizu a wonderful pianist who is a graduate of Julliard School of Music New York.I must add that I have been fortuneate in my performing career in that I have always worked with such amazing pianists. Michael Dussek;Pamela Lidiard; Ann Martin;Kate Elmitt; Kathy Gilbert;Virginia Hanslip;Paul Turner;Gill Ford;Paul Comeau;Mark Fielding;Peter Fielding.Hisayo Shimizu;;Marlene Bowden and Stephen Rose. Whilst performing piano trios with Katharine Ellis (violin)whilst she was preparing her Doctorate at Oxford University our pianists both Oxford Doctoral students like Katharine were Nigel Scaife and Philip Shannon..... Absolutely wonderful..</div>
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The other duo which is also very very nice is with Guitar cello/guitar, with Rose Andresier. I love working with different sounds and I have enjoyed working with harp Jean Price(we performed a lot as a duo) Keziah Thomas and Danielle Perret, (both are harpists) and violin with Barbara Desimpelaere (very limited amount of music for this harp violin and cello combination.) It is surprising how many considerations there need to be made when working with different instruments with different timbres. Speaking of timbres. My cello has been restored/refurbished by an absolute whizz!! I am now advised to use particular strings. The lower two strings are Tungsten and the top two are of equal special quality. If you want to know I shall tell but for now I want you to consider Tungsten strings. Which are the G and the C. My cello is heaven to play, and it sounds wonderful according to the audiences who have heard it. It has been 'set-up' (bridge sound-post strings string height etc etc )several times for me in the history of my ownership. It is really such a pleasure to perform with the instrument as it has been set up and restored now, thanks to the very specialised work done. <b></b><b>Events for your Diary</b> :<b>Interview</b> <b>On Feb 28th</b> at 6pm. I am interviewed on Brooklands FM Radio. I can take music with me (music that I love to listen to ) or play my cello, it is my choice. In April (I shall confirm the date) Rose Andresier and I shall be interviewed together on Brooklands FM. We shall perform as well I SHALL CONFIRM THE DATE IN A FEW DAYS TIME.!!! WATCH THIS SPACE. The date is now confirmed and is T<b>he 11th April</b> for myself and Rose Andresier to play and talk on Brooklands FM. DO LISTEN Both dates should be fun!!<b>On the 28th Feb</b> I've decided to play recorded music instead for my appearance.Some lovely cello music and perhaps a surprise I haven't decided yet. <b>NB.The listening must be done on the internet!!! </b><b><a href="http://www.brooklandsfm.co.uk/">http://www.brooklandsfm.co.uk/</a> is the place. The interview will be uploaded in a day or so.The presenter will e-mail me with the info about it.</b> <b>Music Choices: </b><b></b><b>Paul Tortelier's performance of the Haydn cello concerto in C major with the Wurttemberg Chamber Orchestra (considered by Rostropovich to be the best recording)</b> <b>The Beaux Arts Trio playing the last movement of Ravel's Piano Trio</b> <b>Janos Starker performing the Gigue from the Bach 6th Suite.</b> I explained that I had performed the Haydn C major concerto for the Jacqueline du Pre Appeal Fund in Oxford.The Ravel Trio which pushes all three instruments to their extremes in technical demands,I have also performed many times. The Bach 6th Suite was one of the several major works that I studied with Jacqueline du Pre. UnfortuneatelyI am given to understand that when the programme is uploaded on to the net the music will be faded out once it has started I don't know whether it is because of Performing Rights matters. I sense that it might be the case. What a miracle these radio stations are!! <b>When you find Brooklandsfm.co.uk go to 'Listen Again'.You will see the date of the broadcast Feb 28th interview</b><b> with cellist Clare Deniz'.Click on that and away you go! It will be on the web, forever so brooklandsfm have told me!!!</b> <b>Up date of dates for your diary</b>:I am performing unaccompanied <b>Cello in Hornchurch</b> on the <b>1st March</b> in the library there. I've played a lot in libraries I shall be performing at the <b>National Portrait Gallery on 2nd April</b> Cello and piano beautiful Chopin and Schumann I believe it is a comemorative year. 20th May in the evening, I am appearing at the <b>Du Maurier</b> <b>Literary</b> <b>Festival </b>in Fowey Cornwall (cello and organ and cello and piano duo). I am appearing at <b>Leonard Stanley Priory</b> in Gloucestershire on the <b>4th July</b> in the afternoon with Hisayo Shimizu my pianist a cello and piano duo, a Romantic programme I shall be performing a cello and guitar duo concert with Rose Andresier at <b>Hebden Bridge</b> <b>Festival</b> on <b>11th July</b> (Calendar Girls) country.It is the last concert of the Festival and it takes place in the afternoon. ------------------------------------------------------------------------------------------------- Another date for your diary: <b>Guildford Summer Festival:</b> <b>15th JULY at 1.pm GUILDHALL GUILDFORD</b> <b></b>The cello/guitar duo described as; "a revelation and a delight to the ear" <b>To book tickets:</b> <b>The Guildford Tourist Office. I shall inform you on the day the tickets are released for sale, and the telephone number of the Tourist office. There are limited spaces so early booking is advised.</b> <b><span style="font-size: 130%;">Tickets will now be available from the Guildford Tourist Office to buy online!!Details to follow soon.!!</span></b> <b>DETAILS: ADVANCE SALES TICKETS TEL: 01483 444333</b> <b>TICKET SALES ON LINE <a href="mailto:tic@guildford.gov.uk">tic@guildford.gov.uk</a></b> The Guildhall is really neat and very beautiful and will work brilliantly with our classical accoustic programme. --------------------------------------------------------------------------------------------- The idea that the cello seems or at least is thought of as elitist is a curious one. 'Posh' I believe was the expression used in the comment box. It really is no more 'posh' than any other instrument. However, I think that people believe that they need vast knowledge about 'classical' music before they <b>begin</b> to play, which of course is simply not so. You absorb more and more of the field you study, as you go on. Now, the matter of pushy parents making people /children play instruments, well you do see a lot of this all over the place, as well as getting children to play take part with tennis, football gymnastics, swimming, horseriding. However, I do not think that 'pushing' ever works. Encouragement, enthusiasm, interest from parents definitely, but pushing, NO! It always back fires not only because if the child does not want to do whatever it is that the parents have set their heart upon the child studying, it creates misery. But sometimes the child will excel at the field the parents have chosen and STILL hate it. How complicated is that?I am eternally thankful for all the music making I have made and shall make in future. I was never ever 'pushed' as a child. I did it because I wanted to do it. NB.Please note this newletter is for bulletins about my work and where I am at the present time with my work plans. Please note information about the <a href="http://www.brooklandsfm.co.uk/">http://www.brooklandsfm.co.uk/</a> interview as of Sunday 28th Feb just past I have placed info about it <b>if you scroll back up.</b> <b>My HORNCHURCH concert</b> had a very good response. The usual description of my playing is 'Beautiful' especially always the Bach.My feedback leaflets are going a storm. I really feel that I am hearing a genuine response to my performance and it is good for the newsletter publication. Had two excellent rehearsals this week. One with my guitar duo yesterday, and the other with my piano duo,today. Just a thought:Why is it that when people ask me where I am performing. When I tell them they inevitably exclaim, "That's a long way". I suppose,by their understanding it would quite acceptable for me to have a career performing, say, at my neighbours house perhaps, or maybe, in a house or concert hall just down the road.Please note:Part of the job spec, if you like, is, "have cello will travel".However, all saying that, it is nice to play somewhere not too far away from home from time to time. I think that the concert dates are clear on this newsletter.<i> </i>I don't think they require an extra separate blog. <b></b><b>A very big THANKYOU to all of you who have responded to my FEED BACK leaflets to date</b>. I think that they are such an excellent idea and I shall definitely continue to bring them to concerts. The information contained in the filled out form is tremendously helpful to me. Audience perception is very important and extremely interesting.I can get a gauge on my performance and also obtain good strong ideas about repertory which come from <b>you</b>, the audience. <b>The excellent audience</b> at the National Portrait Gallery 2nd April 2010,went well beyond capacity.Seating was all taken and there was standing room only both in front (behind the seated audience) and still more people standing and seated on floor both near my cello and in the salon adjacent but behind us, as we performed. Furthermore a dear lady did a wonderful drawing of me playing. We were further blessed with three page turners for the piano!!. One definite and two spares, who were dear friends of mine,who were coming to the concert anyway. Such kindness of people to agree to such a demand. Believe me I'd much rather perform than page turn any day. <b>Don't forget to listen live to Brooklandsfm.co.uk on Sunday April 11th at 6pm for an hour.</b> Both Rose Andresier and I shall be interviewed and we shall also play music.We are looking forward to it very much. If you were at the recital we gave for Sunbury and Shepperton Arts Association in February, it will be some of that music which people loved (according to the FEED BACK information)with some solos. <b>ANOTHER EVENT DATE: 21st April commencing at 8pm</b> <b></b><b>VENUE: Fulham Library Exhibition Hall 598 Fulham Road SW6 5NX</b> <b></b><b>The Exhibition Hall is on the top floor of the library.</b> <b>The Event is a Book Launch naturally the book will be on sale there.</b> <b>with the title of: Anthology 11 (two) organised by:</b> <b>'WOMEN'S INK' writers group.</b> <b>The event will comprise of readings, live music and light refreshments. </b><b>( myself Clare Deniz cellist and Rose Andresier guitar), and an exhibition of Art by local artists.</b> <b><i></i>It is perfectly allowed for people to just turn up and enjoy the evening.Some will have received invitations. However I have been assured that it will be perfectly possible to attend if you wish to hear me and the readings. we are not playing so very much, but it is always nice to contribute to the proceedings. </b><b></b><b>Don't forget to follow and read me somewhere new too!!</b> <b>twitter @claredeniz</b> <b></b><b>Du Murier Festival:Yes the concert with cello/organ, cello/piano was so interesting. This is an understatement as I discovered later as a tweet from someone who attended the concert who found it amazing!However, things like Accoustic balances, positioning of instruments.Aural perceptions.Music and rehearsal time.</b> <b>A great deal to consider.</b> <b>Inspite of the 'newness' of every single aspect of the context of the music, but not all of the music itself there was some extraordinary results. The concert was terribly well received Twittered about even and we made a profit, competing if you like against a much more 'commercial' outfit appearing at the same time somewhere else in the vicinity. Our concert was meant to be, if you believe these things. During the Bach Suite I peformed, you could hear a pin drop, a totally different reception and atmosphere to the rest of the concert. The audience seemingly was enraptured.Thanks to all of you who were there. </b><b></b><b>I am still receiving feed back from the concert and it only goes to prove that one has many inner feelings which through experience one learns to 'mask'; use constructively and so forth and then WOW what a lovely feeling one has to learn that many people have been greatly moved by ones playing. It is really an astounding feeling and responsibility. </b><b>July 4th Were you watching tennis? We(Hisayo and I ) were playing in Leonard Stanley. Yes there were avid tennis fans who came to our concert, the venue is adorable really rural and pretty with the church St, Wilfred's Parish Church being in the middle of a semi circle of the prettiest grey -stoned, flower covered front walled cottages. Postcard pretty. We gave a shortened version of the full concert and enjoyed a delish cream tea.!We know from my feed back forms that many of the pieces were really enjoyed especially the works by de Falla and Chopin and we were truly appreciated as we walked to get our cream teas the audience made many lovely comments. As we were leaving to get changed for our journey back to the smoke' in Hisayo's case and the relative smoke in my case, a lady member of the audience reminisced about one of my teachers Derek Simpson now sadly passed away, who had taught on a course near by, some while back.It is nice to be reminded of the great work my teachers have done.</b> <b>This rural idyll was really cut off from hustle bustle and traffic. But they do have a bus service (probably not on Sundays though)</b> <b>Next was the momentous undertaking (or so I suspected it was going to be)to get to Hebden Bridge Yorkshire and back on the same day by public transport.I did it and Rose Andresier guitarist and I played the final concert of the Festival at 3pm.Rose chose to travel by car with her husband the day before. However for me,the journey was picturesque and the venue was absolutely beautiful.The concert went absolutely to plan with a packed house.The venue was a chapel which had one beautiful feature after another.The craftsmanship that went into some of these old industrialists chapels was breathtaking. The tiny little box pews that would hold maximum 3people each. The brass fittings to lock the pew. The marble front to the pulpit and the choir stalls which were high up behind the pulpit with brass stands for holding the hymn books.The alter rail had carved wood which entwined at each balustrad holding the rail. One could not be inspired by the surroundings, and the love and care that has gone into preserving this chapel and many others in Yorkshire, by the Trust (name unkown at this stage) I was informed which made it possible for lovers of these buildings to work on them to preserve them that they might be used more for the community and be appreciated.</b> <b>I was inspired, and all went well. I was complimented on my Bach (again) and I hope to play there again.I was home and in my house by 11.30pm. Very good and I was NOT TIRED.I took the artistic directors advice and travelled back via Manchester which saved a great deal of time.Travelling is nice, it really is. You can chat with interesting people or read and eat of course or simply snooze. Excellent!. I was really looking forward to the concert and the whole day was such a wonderful experience altogether. </b><b>More news re Guildford Summer Festival to follow, watch this space!</b> <b>The venue was absolutely adorable.The Guildhall Guildford is so full of character.We had people wanting to enter after we had started but it was beholden for the staff at the door to send them back to the Tourist Office to buy their tickets. The weather was good to gently walk from the station to the venue. I was able to put a couple of extra flyers up at the venue. </b><b>We had been greatly encouraged and guided by the overseeing organiser regarding all of the proceedures that needed to be carried out to publicise the concert (this is on top of the 18,ooo festival brochures that were posted around and about by the distributors (nothing to do with us but we were in the brochure)..... it is truly a bogglingly large number! I also knocked out an article for the local paper which was pretty extensive. </b><b></b><b>Very nice feedback from the Guildford concert. There was also a mention beforehand in 'Surrey Life'We (cello and guitar duo)were listed as one of the ten things not to miss at the festival.Returning to the feedback, it took the form of an</b> <b>e-mailed ethnography, and the writer went into elaborate detail about the venue and described the paintings on the walls as well as our various activities surrounding the performance of music apart and of course the performance of the music.I found it extremely interesting to read.So much so that I wrote back to the ethnographer (informing him that his writing style was quite a well established form he did not realise that he was writing an ethnography).My experience of this came from my post graduate studies at Queens University Belfast where I was required to write an ethnography of any chosen musical event. I decided to attend a broadcast of a lunch time piano recital that took place at the beautiful Ulster Hall.The pianist performed 'Annees de Pelerinage' by Liszt. It is music which has a stream of classical references, and I was acutely aware and was noting every muscular movement of the pianist during performance, this included face and neck and feet of course, and interestingly,also his general deportment between each piece in the recital.A very difficult but interesting exercise. It is not an obvious or an easy choice to observe a recital of western music as if observing a ritual of a north american Indian group. </b><b>The unaccompanied Bach that I performed later in July for the National Trust went extremely well according to the feed back from the custodians of the property. I can only presume that the patrons must have passed on their compliments which is so nice. I was seated not in a Gazebo (yes I have played in a Gazebo!!Nor was it beneath a wonderful rampant ancient wisteria on a pergola with oriental lights twinkling around me!! Lovely!!) It was in front of the property's own version of the magnificent Trevi fountain in Rome.(I'll check the spelling)So I was not enclosed but people came toward me as I played and it was the most extraordinary sensation, and very interesting too. Audiences are usually quite 'static' being seated of course. However these were smiling and moving up in waves and it took me a while to get used to this and I became increasingly more and more comfortable as the playing time continued. </b><b>Please note:-I am the first comment writer on the BBC Blog. Yeah!!!. I have made a small contribution to the information about Beatrice Harrison one of my 'inspirational idols' as I have described her. If you go to the Blog you can read it. There is a very small 'typo' but it does not prevent the meaning or the general flow of my writing to be impeded so for now I have left it. I did type it in rather a hurry. When I have a little more time it might be worthwhile to go back and make a further comment and correct the sentence to my true satisfaction. </b><b></b><b>St.Cuthberts Church Wells 6th September 2010:</b> <b>In a word. WOW! What a stunning building and a great accoustic. Fabulous audience, seriously! You could almost feel them breathing with every phrase. The whole atmosphere of Wells is steeped in beauty and a sublime majesty because as I was informed it is the smallest city in Great Britain, and the Cathedral is fabulous. Both St Cuthberts church and Wells Cathedral being a 'stones throw' from one another are somehow the guardians of all that is good there. I should have loved to have a look around the Wells Cathedral School of Music, but that might be for another visit. My/our concert was FULL of variety and that I believe is a great strength and it takes inner resources etc to play a succession of such contrasting pieces. The audience loved us and the vicar said to us and the audience in the 'thankyou' speech after the concert, that we were great and that we had started the festival off magnificently!!!</b> <b>It is really strange how ones own perceptions are always somehow detached from the real experience of the audience. We played well but we were oblivious as to the level of response that it was creating in the hearts and minds of the listeners. We wanted to reach them and really convey the music and were delighted to be told that we had.</b> <b>St.Cuthberts Festival in Wells was very lovely for a number of reasons. I was so happy to play in such a lovely building for starters. Secondly the programme choice was great for the venue and occasion. We were told this quite vorciferously and it matters so much for an audience to not be subjected to a programme lacking in imagination.We certainly ticked all of the boxes for them and were highly praised at the end of the concert, and subsequently later in phone calls and e-mail.My feedback leaflets went down a storm, and that was good too. I stayed with friends over night and I was thoroughly spoilt and that is always very nice as you know. Great to see them and spend time in their company.</b> <b>It is nice to combine work with social if they can be fitted together.</b> <b></b><b>In the same month on 19th September 2010 I performed the first concert at</b> <b>Clair Hall Classical Sundays concert series. A new concept and one that has taken a great deal of thought. The venue want this venture to succeed.Publicity is always a tricky subject as it can be costly and fortuneatly it is not for me to worry about. There are more concerts to follow. </b><b>Do check the Clair Hall, Haywards Heath itinerary.</b> <b></b><b>Fairfield Hall concert,my third, went very well.The hall concert organisers were delighted and I hope to be performing there again. We paid for our page turner and I understand that this is sometimes</b> <b>the case</b>. <b>Theydon Bois:Hey, what a lovely music society.</b> <b>I loved playing there,the sound was great, with a nice new hall, and the audience were wonderful. PLUS FLOWERS, terrific. I hope to return there too.It is something that they would like too!</b> (<b>Always a good sign when the promoter arrives with refreshments and your absolute favourite biscuit is sitting there in splendour on the top of the other biscuits.! Of course I offered it and then ate it, naturally!)</b> <b></b><b>Stop Press:</b> <b>There is a photo of Rose and myself in the building I have been praising in Yorkshire where we performed at Hebden Bridge. It is both beautiful and amusing as we with our accoustic instruments.I must look into whether it is possible to up load this photo into the Blog for you to see! Watch this space!! </b><b></b><b>Stop Press: Rose and I shall be intereviewed at Brooklands fm.co.uk Yeah!!! Remember we did some playing there and our playing is to be re recorded on the.....</b> <b>28th November, Yes!!</b> <b></b><b>Super concert: I am really looking forward to at Hatchlands Park ,where three of Chopins pianos are kept and Elgar's piano, too and I understand one belonging to Her Majesty the Queen. </b><b></b><b>The concert is to be cello and piano, naturally, with a wonderful pianist,</b> <b>Stephen Rose: </b><b></b><b>Who I have worked with before. He teaches at Guildhall School of music and accompanies Cardiff Singer of the Year and also plays for Glyndbourne. I am pleased to have some specifications for this concert and it must be said that this year (2010) of Chopin and Schumann commemorations, the pianos at Hatchlands Park must have been Chopin'ed out !! </b><b></b><b>So, breathe and think ...and so another programme was borne. I love music the idea of new programmes making them is so stimulating.</b> <b>Watch this space for news of my web site claredeniz.co.uk and also for further concerts that may be happening near you.</b> <b>I am awaiting to hear from a concert promoter regarding a specific concert in 2011. As the area in which the concert is to be held has had severe flooding I can appreciate that the people in that area have other things to contend with.He has said that the church is not flooded but the surrounding area has been flooded badly.He has been helping people.</b> <b></b><b>It puts me in mind of an occasion when I performed on the Welsh Marches Shrewsbury/Shropshire area and I received a telephone call from the promoter informing me that there had been flooding so bad that it was impossible to get to where they were,(unless I had an outboard motor vehicle, said as a joke but was truthfully depicting </b><b>the extent of the flooding ) and would I mind postponing the concert for 5 months.This was absolutely fine by me and my accompanist Ann Martin.</b> <b></b><b>What transpired for the concert when it finally occurred was terrific. Chris Eldon Lee, the now BBC producer (he was something very big in radio in the area where the concert was to be held) and he contacted me on the telephone and a kind of three way radio conference and chat was held by Chris myself and Paul Ives a terrific cellist and a dear Royal Academy friend.We studied at the Royal Academy at the same time, he had been a pupil of Florence Hooton.He lives in the Welsh Marches and I believe he is still teaching at Shrewsbury School.It was such fun and whenever there was a break for a trailer of some sort Chris would encouragingly say .'You're fine, that's great etc.!' Naturally this was out of 'ear shot ' of the radio listeners.I expect he was saying similar things to Paul too.</b> <b>The visit was really good with a well thought out co-ordinated travel plan. This involved Ann leaning out of the train door at Wolverhampton for me to see where she was sitting, and getting on board there as I had travelled up via Oxford and Ann had travelled via London. I naturally returned home a different route via Birmingham but be that as it may.(Interestingly enough returning via Birmingham I was to wait for forty minutes for my connection but a train came in almost immediately. Not my scheduled time of travel but as it was going where I needed to go, I caught it. this train was so late I can't even bring myself to say. It had travelled from Edinburgh and it was two and a half hours late at the time it arrived in Birmingham.I got on and arrived at my destination at my desired time even though I was forty minutes ahead on a different train. No complaints. The train was going on to Poole and I dread to think what time it arrived there or even whether the journey still exists on The British Rail timetables.!)</b> <b></b><b>The best thing next to the joy of performing in the Shrewsbury area occured during our reheasal break in the afternoon whilst looking out of the window and seeing some one there in a Corracle stylishly manoevering in very choppy water.It could not have been planned better, just to see that, just by chance I suppose it was all in a days work for the chap in the boat, but it was special for us the visitors to witness. That is what I love about moving about the country and performing, even more so abroad except that 'glistening' hotels do not always give you the flavour of a place.Visiting venues and breathing the new air. and mentally gauging the sensations of a new building and a new audience is both demanding but at the same time really energising. I really love it. </b><b></b><b>Hiya!Not gone away!!! Just want to let you know that the Website is now </b><b><a href="http://www.claredeniz.com/">http://www.claredeniz.com/</a></b> <b>Yes, it has been born. I have some tweeks to make such as additions of info and photo changes but there you are, take a peek and...</b> <b></b><b>Do make a comment in the comment box as they will automatically sent to my e-mail address so they are not there for all to see!!</b> <b>The photo of the venue in Yorkshire is on there see picture with Rose Andresier.</b> <b>I was 'posing' in fact as I wasn't sure when the photo would be taken.</b> <b>Brooklands.fm.co.uk the playing happened OH YES!! and it is my performance of Bach Prelude to Suite No 1 that you will hear on the first page of the website. </b><b>Listen in do.</b> <b>Memorising music at present and preparing.</b> <b>Loved Christmas really did.....Was invited to friends for the day..... wonderful.Which means I have all my own Christmas food to eat TO~DAY!! YAY On Boxing Day I ate Salmon (to make a change) and now, practise. </b></div>
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<b>Did I really stop at Christmas SO SORRY I should be keeping you up with all of the news. Well I have performed at Hatchlands Park perhaps I have mentioned it ,yes? Prior to that the trip to Fowey to prepare for the Du Maurier concert was a VERY WISE MOVE. Apart from the fact that I really love the rail trip to Cornwall it is gorgeous especially the part after Exeter. Love the Dawlish Warren bit and Saltash over the Brunel Albert Bridge SO wonderful. Any way the rehearsal in Fowey went well and the estuary was utterly beautiful as usual.When I returned to perform for the concerts, I stayed in Fowey for two nights and then spent two nights in Lostwithiel which apparently is the ancient capital of Cornwall. The concerts went exceptionally well and I was delighted with the Du Maurier concert which was FULL full meaning very full and an audience that thoroughly enjoyed the music and their enjoyment was palpable.I received some e-mails later from some of them to confirm this from both concerts in fact which is terrific really.</b><br />
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<b> I am now updating you all as to the latest playing that you will be interested to know about.I was invited back to the du Maurier Festival the following year and played in Lostwithiel this time. Once again to a full audience capacity. The flower festival had just taken place and therefore the church was utterly beautiful and full of flowers. The children of the town had put flowers in shoes along the pathway to the church door. It seemed reminiscent of a sort of scandinavian Christmas custom to do with shoes etc I played at Sterts Arts Centre the day before and then at Lostwithiel the following day, and I was accompanied by Fowey based pianist Marlene Bowden.</b><br />
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<b>In the afternoon at Lostwithiel,I was rehearsing
by myself for a while in the church having rehearsed with Marlene
already.People were wandering about as there was an exquisite floral
display in the church and an elderly man lost his footing and I just
managed to snatch my cello out of the way as he fell heavily and would
have fallen on top or through the instrument. It was strange that he
chose to walk behind me and past me to my left whilst I was playing!
Free to roam etc !!!</b><br />
<b>No harm done though I think that he was a bit shaken.</b><br />
<b>I should add that the concert was a great success. I had hoped for posters about the concert and fortuneatly eventually I received one sent by Marlene to me. </b><br />
<b> I was interested to learn that Lostwithiel was once the capital of Cornwall in days gone by.</b></div>
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<b> Thinking along the lines of unusual events in which to be appreciated and involved, I was delighted to be asked to perform at Hambledon Boat Yard in the summer of that same year, alongside quite a number of other people who donated their time and art works for sale to raise money for a Junior Olympic rowers boat. The whole event was a great success and I acquired an enthusiastic pupil from the event. </b></div>
<b>I performed with Rose Andresier at Evesham Festival cello/guitar duos. The concert was a great success. We were located at Hampton Church which is just on the outskirts of Evesham. We had an excellent appreciative audience.I performed unaccompanied again al fresco at Greys Court National Trust once again and the weather was very good. I was seated by the mini Trevi fountain once again and people perambulated about.</b><br />
<b> </b><br />
<b> I gave a cello/guitar duo concert at a delightful house in the woods the 'cabin in the woods' really near my home in which I was able at the end of the concert to try out some of the arrangements of carols that I had made for cello and guitar. </b><br />
<b>Hatchlands Park with Stephen Rose was also sold out two and a half months before the concert date with a waiting list for tickets. Absolutely fabulous venue and a superb lunch afterwards. Some really beautiful photos were taken afterward in the venue. by Stephens wife and friends. The concert was highly appreciated and we felt so pleased to have played using one of Chopins pianos. The programme was one that I felt happy to have put together.The audience was transported judging by their stillness and eyes closed in repose through the concert. I was delighted to have such an ecstatic reponse to the first piece the Boellmann which delighted me as it was its first performance by me.The cello is still developing which is wonderful.</b><br />
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<b>As I have stated I LOVE my train journeys so much and really relax when travelling and if I can get advance savings better still.</b><br />
<b> Not only have I not been keeping the newsletter blog up to date for which I am truly sorry , but I have also had a brief period in which I have not tweeted as well!I intend to keep both continuous as well as the tips regarding playing. That is another blog to which I have not been attending. This will be dealt with . </b><b> </b><br />
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<b>Was really happy to visit Evesham again and in particular the Festival this year with a greatly appreciated programme of cello/guitar duo music. We were told by the taxi driver whilst driving us to the venue that the Asparagus Festival was now over !! They also have a plum festival as well. We were a bit early in the year for that however. The concert was introduced by a Festival committee member and </b><b><b>the concert was a great success. We were located at Hampton Church
which is just on the outskirts of Evesham. We had an excellent
appreciative audience</b>.</b><br />
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<b> Culottes at the Town Hall:</b><br />
<b> We have just played at Cheltenham at the Town Hall. I have performed numerous times before at this venue and the audience is truly wonderful to play for. However I left a belt behind in the 'green room' which appears to have gone to the great wardrobe in the sky. Hey why should I worry I shall simply tie a sash on the waist of my culottes Yes I said culottes and I am not saying it for effect. They were great to wear and were given me by my sister and proved to be Very useful indeed. I believe I wore them in Amsterdam once for the concert there. The sash will be a sensation but more importantly I am still developing repertory and yes the cello is STILL developing. Read my tweets at twitter @claredeniz.</b><br />
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<b> If you may remember my sheer delight at being the FIRST comment maker on the BBC blog and I remarked about Beatrice Harrison. It then transpired that I was telephoned a year later.</b><br />
<b> Early in May 2012, by BBC 1 TV, THE ONE SHOW and to maker it more exciting still I was asked to play to nightingales 'a la mode de Harrison'.I cannot tell you just how absolutely amazing an experience it was. The programme which went out on air on the 15th October 2012 was watched by zillions!!.I had told numbers of people friends as well as music profession persons and they in turn told zillions!!Amusingly the programme was rescheduled a couple of times before it finally landed on the 15th October and it meant ringing round and letting people know etc etc on loads of occasions. It was amusing. Then the programme was delightful quite magical, according to everyone who saw it. </b><br />
<b> You can see it by going to THE ONE SHOW website and clicking on the date the 15th October 2012,as the programmes are archived as far back as 2007.</b><br />
<b> I did not go to Beatrice's House and wood in Oxted, as there was no guarantee that there would still be nightingales there ! A sad consequence of ecological changes and destruction of suitable habitats. Instead, it was decided that we went to a nature reserve in Kent and was there with John Sargeant who was presenting the programme, and the nature reserve warden Rolf for the early evening with the film crew (after a delicious supper).</b><br />
<b> write more re habitat and feed back and Tyntesfield LOVED the concert at Tyntesfield . Oh how I love playing music in such amazing places. This large Victorian Gothic Mansion was built by an extremely successful business man so much so that he had his own railway stop. However the performance was given in an unconsecrated chapel as part of the house. I loved the atmosphere and the general lay out of the whole house was astounding. The original owners were so resourceful so much so, that the 'back' stairs 'servants staircase' was magnificent with panelling and 'barley sugar' balastrad rails. This beauty had been taken from the main staircase and not to waste it so to speak, had been installed for the servants.It is hard to believe that only about a hand-ful maybe four people lived in this massive house with the servants etc.</b><br />
<b> We performed some of my arrangements of carols for cello and guitar and I am SO proud of them.</b><br />
<b> In 2013 I was on television again playing my cello with nightingales again, really. I cannot really believe it.It was a longer spot and I do speak more and it was generally absolutely fantastic. More details to follow. If you go to the blog </b><br />
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<b> Cello and the nightingales a la mode Beatrice Harrison </b><br />
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<b> you will see the link to the 2012 film and on my web site on the audio section the film of the second appearance for BBC South East. </b><br />
<b> Concerts have been given in Kimbolton, Stowmarket, Chichester, Wood ville Halls and Fairfield Hall, </b><br />
<b> In the 'Cello and the Nightingale Blog' I also mention how promoters have loved the romance of the nightingale connection with the cello. At an adorable house St. Marys House Bramber near Steyning, nightingale song was played in the interval. It was magical and beautiful. </b><br />
<b> More information soon. </b><br />
<b>In my Regeneration, regeneration, regeneration Blog (subtitle Unexpected item in bagging area!) seated in a foyer of a Supermarket. Hopefully changing peoples thoughts on 'classical music' the as part of the outreachand regeneration movement in one of the London Boroughs.I was delighted to have been asked to take part. It was fun and for me but also an interesting opportunity to test myself performing in an ever changing environment.Which of course is the opposite of a concert hall environment. </b><br />
<b> See nice picture below I was advised to put photos in both blogs So here goes:</b><span id=":u6"></span><br />
<b><span id=":u6"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7n-Y455SDOLAy5Um5DFy7HN4W-n8LWOCXz0hOmoledqWh-Gm2ORnZ8sqoxFim-pndxOxNjeCKd1qZEltUqqoYYlGXvnEfGiCmB_PL63D1mmReTX5BzPRjHw7B010ynhJu6HLV5x9h5Go/s1600/a_003.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7n-Y455SDOLAy5Um5DFy7HN4W-n8LWOCXz0hOmoledqWh-Gm2ORnZ8sqoxFim-pndxOxNjeCKd1qZEltUqqoYYlGXvnEfGiCmB_PL63D1mmReTX5BzPRjHw7B010ynhJu6HLV5x9h5Go/s1600/a_003.jpg" /></a></span> </b><br />
<b><br /></b>Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com2tag:blogger.com,1999:blog-342132078914250838.post-16522560797532668012010-01-30T08:12:00.000-08:002010-01-30T08:21:10.791-08:00BlairWhat about Blair?,<br />Peter Schaffer (excuse spelling of surname, literary buffs),writes in some of his plays about people who have good intentions but do the wrong things believing themselves to be right about them (excuse the sweeping generality, but you get the general drift)<br /> A human condition for some it would seem. Not a good place to be, methinks ?<br />I am not judging the war or indeed the necessity for or against it, but I am considering the beliefs that are prevelant about it. More philosophical views, really.Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-21517567195282879092010-01-12T08:01:00.001-08:002010-03-03T10:29:18.342-08:00childrenI thought and believed seriously aged six, that people should take exams before they had children. I believe parenting classes now exist. Whether there is a bench mark of ability before children can be safely allowed to certain parents is a bizarre notion but one wonders in the light of the abuses and also the deficiencies some children lack in their sometimes brief lives. Lack of LOVE being the biggest crime of all whether there could be an even greater overseeing of the future generations wellbeing in the nurturing years<br />Thanks for the response. I've thought a little further and I agree, people do need to take responsibility for themselves. However if the 'hardwiring is not put in place as little children by care and interest and of course the occasional 'telling off'' etc. How can people learn values.<br />I was truly horrified at the latest batch of inhuman injuries done to defenseless children.Again, I must have picked up the stream of consciousness from the cosmos! (joke)<br />How? why? what for?Surely if a person truly can not cope with their situation be it parenthood or whatever. For goodness sake get the children fostered. Why batter, starve murder etc etc. If a person feels uncontrollable emotions GET HELP surely.<br />But perhaps emotional awareness comes from insight and a sense of balance within, in the first place. If that is missing or was never there in the first place .A person wouldn't know if they were off the wall or not.To monitor oneself is indicative of some sort of personal boundaries. If these are broken say through abuse, either emotional or physical in childhood then having a child and a responsibility, and not restraining the tongue for starters, and then physical strength secondarily and more importantly the crux if the matter being the underlying emotions,there is a disaster waiting to happen.<br />I read somewhere that emotional abuse is one of the worst things as it is undetectable, that is until sometime later on. The perpetrator feels powerful and controlling and these feelings are apparently addictive. In other words the perpetrator 'gets off ' on it.How ghastly not to know that the cycle of behaviour is abnormal. Poor kids struggling in homes where this is happening.Thank goodness for Childline.Does it get enough financial support?I can only hope so.Goodness this is a dark and sad subject.Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com1tag:blogger.com,1999:blog-342132078914250838.post-69172775364483737162009-12-22T03:54:00.000-08:002010-12-29T19:57:31.548-08:00Reality tv's impact on the artsThe rise of instant fix reality programmes Arts are seen as an easy option. It can be agreed that we all have music in us however ….we can all run, but not everyone with the best will in the world can be a premier footballer or an Olympic athlete. Why music? Why not blanket History or blanket Geography?<br />Hey, since the knowledgable response I have received to this opening posted blog I must add that money was not really a consideration in my original supposition.I can see that it is a major factor but great thought and great humanity are not financially quantifiable are they? What do you think? I know NGO'S working in war zones and giving food distribution in areas of famine etc need money BUT the qualities and motives that make an individual want to work for or in such organisations cannot be essentially financial, for there could not be money enough for such dedication.<br /><br />Am I glad? No,I am delighted, as I have learnt that there is an 'Architecture for All' Programme which is functioning at the present time which is run under the auspices of Harvard University it is an highly intensive Summer Schools. I think the Steven Lawrence (excuse spelling ) foundation have something to do with this.This is to discover whether people can be further encouraged to embark upon architecture as an area of study after a period of intensive submersion in the field. In addition there is a female playwriting competition/programme in which the winner has their play produced at the Royal Court. YEAH it should be like this spread the abilities about a bit. The 'arts' as they are called are seen as easy and they are not!! I have s<a href="mailto:not!!I@ve"></a>aid this already so no more now. The Beeb (BBC)is also getting going again now there is something new from them called'My Story'which is a competition encouraging people to WRITE and the winner wins a book deal. Not bad,eh? Please, this has got to be better than singing a recorded artist's hit song on the television. Surely?<br />Come on people what do you think?<br />This 'spreading the abilities about' is certainly catching on, I heard on Material World'<br />Radio 4.Oh alright, yes I know, please allow me, I do like radio 4. There was mentioned a competition<br />'Amateur Scientist of the Year' entrants must be 16 years or older, naturally.<br />Methinks I must be in tune with the cosmos. (joke). Maybe what I said needs to be said and said LOTS.<br />Thanks punters for replies its good to have the backup/ feed back and extra info etc.<br />Now I must go and practice repertory for my future recitals.<br />I wondered having written the last comment whether I should have written it however, it is true!!<br />Whilst practising I also think and I realise that something must be said about 'high horses' I wondered when the specific high horse relating to 'Arts' would appear on the horizon. I hate to say this but the field we are standing in is full of 'high horses'The Arts high horse seems to be a cause for mis- interpretation and misunderstanding. Look, I'll explain,Airline pilots (top of the tree, certainly around the airport anyhow(joke) and of course the engineers that service and repair the planes, are they not on a 'high horse' how about Neuro-surgeons, Judges as well, are they also not on high horses or even Astro Physicists how high are their horses I wonder?<br />You see, I restate my first statement. The arts (I hate the word with an S on the end)are seen as easy and that any one should be able to do it and I agree people can, but not to the level of High Great Art. A course in Aesthetics might be the answer. Can we compare Great painting with great writing with great design and great dancing well in the 'western culture we do we call them all Art and the bar has been set very high indeed historically and just by dint of the fact that human nature strives to develop and improve.<br />Bye for now!<br />I think that generally the appreciation of Art must be taught/learnt or if there is more time, nutured. But definitely taught.<br />What is <strong>really</strong> happening when someone dances or paints or plays music? it is a revelation to classical performers the insight that a single great artist has to offer about the preparation of great music. I was going to write the meaning of music but that is not wise to state as it is SO profound a question and plunges us into philosophy.<br />A friend of mine observed that for some one to better feel 'akin' to a performer rather places the emphasis upon the person that is performing rather than the music or performance they are creating. That is an astute observation.Not to notice the music and the interpretation voice production. Well, it is a bit like simply looking at a horse whilst it is jumping in a competition rather than the overall conditions, its rider's best time to date, the difficulty of the course and the other competitors.<br />Also the idea of 'coolness' is an interesting one. If a general consensus of opinion in any field is taken from a standpoint of not knowing enough about a matter/subject or based on feelings of adversity to a projected idea of elitism I don't think that it really has a strong grounding.<br />I don't know of any revolution 20, 30, or 40 years ago. One needs to go into Europe to the Berlin Philharmonic concerts the Vienna Philharmonic concerts etc or any of the great orchestras in USA and of course the Festivals taking place everywhere to see if anything is flagging. I really don't think so.Maybe in England where youths are a bit disenchanted about many things but as I have said no revolution that I could speak of.<br />I've just realised that the last comment I received about 'coolness'etc really belongs in response to my third blog about the marginalisation of classical music. My opinion remains the same however.<br />The idea of 'stuckism' or to use the adjective 'stuckist', is interesting. I suppose the whole of life contains elements from the past and the transformation of those elements to something new, fresh and so on. These elements can be philosophical thought, scientific thought modification of certain inventions , developments of musical styles, fashion styles etc etc. cities re-thinking themselves. Modes of transport.<br />No we are not stuck however the 'newist' philosophy or the newest science can only work using what exists already.Even if the discovery is new (it has always been there to be discovered) reminds me of the Beatle song.Therefore the idea that acknowledging the beauty of music of the past should not really be a problem.For we are surrounded in the world by evidence of the glories and otherwise of the past. We rever the triumphs,architecture, painting discovery of the world, creation of maps, writing, mathematics etc etc why not music. How can acknowledging the beauty of music be a problem.Surely it can't be. No, roll on museums and art galleries and anywhere where the work of the past is revered in the midst of the hurly-burly of the pressing forward present day life.<br /><br />I am officially apologising for not writing my responses to followers in the comment box. I hope that you all do not think that I have not responded because I most certainly have and most importantly I welcome all of your thoughts that have been expressed.Any future responses will be written in the comment box as mentioned. You will have to read through the blog to see that I have written my responses there up to now.<br /><br />Hey did you hear the Moral Maze on BBC Radio 4.Norman LeBrecht the respected journalist critic made many salient points to the panel about what is in fact the limitation of music experience that much popular music engenders.Naturally there are some people of genius in the world of popular music BUT he correctly stated that an audience would never know in truth and honesty the ability of the performer competing.Intonation (playing in tune/singing in tune)is the major concern and preoccupation of every artist.The contestant's sounds are, according to LeBrecht (but I have heard it said elsewhere) corrected/realigned to be in tune, digitally. Therefore they are in fact, a con or deception. I quote Le Brecht'The people that take part are made to sound 'bigger and better' than they really are'.He was rightfully concerned that due to musical illiteracy the difference between say a plumber and Luciano Pavarotti can't be discerned by 'an average audience ' because they are musically illiterate.This dreadful combination ripe for 'rip offs' of the audience knowing little and the product being judged having been nobbled and distauted beyond its real ability is worrying to say the least.<br />It is SO strange as I have said in my blogs that 'Good old Music' is seen to be ripe for this kind of caper. Not sculpture or well we've had dancing, haven't we. Not really watched it, but people can discern someone not moving smoothly, not looking right not being comfortable dancing in fact. The digital expertise must be there to superimpose some excellent dancers feet or legs on the pathetic contestants body.<br />Music has the most extraordinary ambiant delussional nuances surrounding it in some amateur quarters,I have observed as a professional musician.For example, some people have been told that they are not sensitive and therefore they are going to jolly well show the world that they are!!!Instruments and the power of certain strings instruments are discussed in the same manner as weapons or powerful motorcars.The true extent of musical capability is to such people beyond the dizzy heights of Everest. We remain in the land of ABC and come on every one it's fine!! (joke) In another example,allowing every one have a go no matter whether they can or not for the cynical purpose of MONEY is frankly strange. Art has existed in western culture for centuries, it is being encroached upon and by little steps taken from its sacred place and manipulated.It is not the outcome I am judging it is the intention that is skewed wrongly.<br /><br />OK legitimate artists make money of course but they create from a true place of well grounded pedagogy. They think about their creations they are not limited to imitation like many contestants in reality music shows. Another wondrful comment made by LeBrecht to the panel of Moral Maze was in response to the statement that many people watch and enjoy the X factor and Has Britain Got Talent type of programmes. LeBrecht responded to the subject of numbers not being an indicator of quality.For he said in so many words that Macdonald's has more patrons world wide than any other restaurant that does not make Macdonalds the best possible place to eat. I thought to myself very well said,BoBoom!Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com4tag:blogger.com,1999:blog-342132078914250838.post-49159000499187150822009-12-22T03:27:00.000-08:002014-08-09T16:12:21.254-07:00Cello Tutorials<span style="font-weight: bold;"></span><br />
<span style="font-weight: bold;">LEARN CELLO,HAVE FUN AND GET SMARTER AS A BONUS.</span><br />
<span style="font-weight: bold;">BERKS/BUCKS/OXFORDSHIRE Borders and LONDON of course.</span><br />
<b>contact me through <a href="http://www.claredeniz.com/">http://www.claredeniz.com/</a> </b><br />
<span style="font-weight: bold;"></span><br />
<span style="font-weight: bold;">LESSON 1: Acquiring an instrument is probably the first imagined daunting task.</span><br />
<b>I say this as it is really very easy. However, don't be in a hurry!!!Fortuneatly there are many shops that offer a hire service for quarter, half and three quarter and even seven -eighths size instruments for children and full sizes for adults.In London there is Kensington Music shop and Dulwich music shop, these are very reasonable.Guivier also hire out, they do have however a heftier deposit these days,more than the other two shops. I think that Foote in London also have a hire service. </b><b>I shall need to check on this.</b><br />
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<b>Please note sadly:DULWICH MUSIC SHOP IS NOW CLOSED due to the proprieters retirement.</b><br />
<b>It only remains for us to thank the proprieter for years of excellent service for performers/ teachers and pupils alike.</b><b></b><b>Please do not hesitate to ask any questions about acquiring instruments.You can contact me in my contact space on my website <a href="http://www.claredeniz.com/">http://www.claredeniz.com/</a></b><br />
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<b>Do check out <a href="http://www.celloeverything.com/">http://www.celloeverything.com/</a> </b><br />
<b>They are based in Philadelphia USA but easily reached.This is about adjustable cello chairs and other useful artifacts. Let me know what you think.!! </b><br />
<b>PLEASE NOTE:The appropriate size of a cello is dictated by the size of the span of the left hand and NOT the actual size of the 'body ' of the cello.</b><br />
<b>For an Adult Beginner to buy outright I was extremely surprised at the resourcefulness of one of my adult pupils who went on line to Gear 4music and found a 'shiny' new cello plus bow plus two cases one soft and well padded and one hard case for well under £5oo.I am speculating the price increase now as he originally paid nearer £350-£400.The instrument did have HORRID Strings on it and an awful bridge however he took it to Dulwich Music Shop(London) who transformed it into an instrument that produced a nice tone and was satisfying for him to play.</b><br />
<b>For a more up market starting instrument I should recommend the Paesold instruments that have gained in value a great deal over the last years and there is quite a nice range of them now.These are selling at around £1,600.Even Stentor have a number of ranges which children like.The prices start very low. There are several different grades of manufactury of their instruments.Some are around £800 for what seem nice sounding quite presentable instrument for the serious pupil beyond beginner. They appear to be made with care with nice appearance and good tone.I am adding that I do not know whether they 'play out' ie lose their quality after a while (so many years)but I can say pupils that have appeared with these instruments have been able to produce a good sound for Grades 6,7 and 8. Must dash ,more information to follow soon. </b><br />
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<b>Cheers for now. Good hunting.</b><br />
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<b></b><b>Do not hesitate to ask me any questions about your choices.</b><br />
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<b>I understand from Dulwich music shop who specialise in beginner instruments that Chinese instruments have improved beyond recognition in fact they are made to look 'old' antique which is a desirable appearance for some people. It is also possible to buy tuning pitch pipes for the nervous adult beginner. Other essentials are peg paste (in case the pegs get stuck) and it is always handy to have some chalk about the place in case the pegs are too firmly stuck.</b><br />
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<b><span style="font-size: 0pt;"><i>May I add that I have not mentioned any of the higher quality instrument dealers at this stage of the proceedings. Some instruments and bows being great articles or artifacts of antiquity hold the most astonishing value in the auction houses and amongst collectors connoisseurs and dealers.Thereby within this strata of instrument /artifact there are often considerations of investment and in some cases collective ownership for the purpose of investment with instruments,due to their appreciation in value and rarity.</i></span></b> Biddulph, Beare, Adam Whone, in London. For highly priced beautiful instruments. Woods as well.I know of another in Ely which I shall disclose in the next issue of my blog. Here it is ...Aitchison and Mnatzaganian.This last shop organises string workshops. ie You can try strings if you need to get the very best balance with the instrument. Naturally a sensitive good instrument can be transformed with the right balance of strings. Each sort of string has its own pressure and it is very worth while understanding how your instrument works best, naturally.For excellent bowmaking and bow restoration, Mathew Coltman of Chiswick.<br />
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<b>Teacher Hunting.</b><br />
<b><i></i>First and foremost<i> </i>I must state that I am more than happy to discuss tuition possibilites with any one who is looking for a cello tutor.</b><br />
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<b>I should also suggest that you look at the The I.S.M. The Incorporated Society of Musicians. They have a register of Professional teachers and it is a very good place to begin.</b><br />
<b>The Musicians Union likewise also have a register of professional teachers. </b><br />
<b>I can offer telephone numbers on my next blog.</b><br />
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<b>Assuming that you now have an instrument.</b><br />
<b>Chair:</b><br />
<b>The next concern is that you have the right sort of chair on which to sit.</b><br />
<b>I prefer wooden chairs and I have a beautiful one for my practice. No sloping seats or metal sides and definitely no arms on the chair. </b><br />
<b>Sitting:</b><br />
<b>You should ideally sit half way on the chair certainly not fully on the seat. No further than half way back on the seat. </b><br />
<b>Shoulder:</b><br />
<b>Once seated with the cello resting on your LEFT Shoulder. Note that the top of the back of the instrument is resting against your chest. </b><br />
<b>Knees:</b><br />
<b>Your knees should be holding the instruments lower ribs and NOT visible through the 'waist' of the instrument.</b><br />
<b>Arms:</b><br />
<b>Try breast stroke (seated at the cello) then arms as weighing scales (one arm high whilst the other is low and then the other way round).</b><br />
<b>Now this may seem a bit 'new age' just sit for a few moments. Morning and evening. </b><br />
<b>Some people suggest watching the news on the television in this position.For a child I suggest they watch or listen to their favourite programme for a short while in this position.</b><br />
<b>RELAXATION CHECK</b> : <b>What are your shoulders doing?</b><br />
<b>Try this, whilst sitting with your cello as outlined above. Raise your shoulders to you ears five times, do this gently. You should discover that after the fifth drop of the shoulders they will be lower than they have ever been within your living memory.! They are in their natural comfortable position. Which is a very good place to start. </b><br />
<b>Bow: You do not need copious amounts of rosin on your bow at this stage of the proceedings, it is a common mistake people make. I suppose they feel they are 'equipped' when the bow and everything else within an area of five miles is covered with rosin dust. </b><br />
<b>Speaking of Rosin: I have known some players who are allergic to rosin I believe there are Hypo -Allergenic brands available, definitely in Germany and probably in the UK now. </b><br />
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<b>Check up on this, I shall certainly look into this for you.AS PROMISED!!! See here I have discovered the Hypoallergenic rosins below.,</b><br />
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<b>CLARITY Hypoallergenic Rosin (definitely available for violin check up on the cello variety.AVAILABLE FROM <a href="http://www.sdlmusic.com/">http://www.sdlmusic.com/</a></b><br />
<b>look up the make KOSTEIN Anti-Allergy Rosin the web address Ihave is not so good so check by the name of the product it is available in the UK so, go look!I'll also check up some more, as well. </b><br />
<b>Let me know in the comment box of anything that you might have discovered worth sharing with the 'cello fraternity'.</b><br />
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<b>Bye the bye I shall discuss the 'cello fraternity' in my next blog.Where they hang out.</b> <b>Also I shall mention a few wonderful pieces for you to listen out for which contain passages of exquisite writing for the cello. </b><br />
<b>Bye for now </b><br />
<b>Here are a few places that amateur cellists hang out.</b><br />
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<b>London Cello Society Amateur department: see their web site</b><br />
<b>Morley College: I believe there is a course on a Saturday mornings.</b><br />
<b>Benslow Hills Tring, Hertfordshire(one of the ARCA colleges that run adult day and weekend courses)</b><br />
<b>Dartington International Summer School in Totnes Devon UK.If you have a chance to visit,try to do so, as you will be bound to enjoy the atmosphere and the multivarious strata of abilities of music making from beginner to International concert artist. These are all there, pick the right week check on their web site. I believe day visits are also possible.and the food of course!!</b><br />
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<b>STOP PRESS* *** Having just returned from two weeks as an Chamber Music Associate I am both tired and extremely happy and can confirm that, yes,Dartington International Summer School IS VERY MUCH ALIVE AND WELL and is going a storm. </b><br />
<b>It is a truly unique institution of the UK and is of great importance not only because of the work it is doing now but it has an archive and an historical cultural legacy dating from its inception which is quite extraordinary.It would be a tremendous exercise for some keen person to make a list of the names of all who have had connections with DartingtonJust off of the top of my head as I write now.Maxwell Davis, Imogen Holst, Tortelier, du Pre, Karine Georgian,Ricci etc etc this is just the tip of the iceberg there are hundreds of wondrous people who have been and learnt and contributed etc etc.. </b><br />
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<b>To continue: Adult instrumental music making and lessons;ELLSO this is a wonder. The East London Late Starters Orchestra.</b><br />
<b>They, the organisers are so ingenious in that the orchestra has a cache of its own and people get so much out of it There is also a Summer school called COMA which is enjoyed by amateur players and would be an input of inspiration for you to keep going.</b><br />
<b>Mary Ward Centre this is in Queen Square London. There are group evening classes that take place here for beginners. </b><br />
<b>City Literary Institute in Holborn London classes here are during the day and in the evening I do believe </b><br />
<b>Oxford Cello School. this is for young people and is truly dynamic.</b><br />
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<b>****Another orchestra for beginner/late starters in the Thames Valley area</b><br />
<b>(Uxbridge -Marlborough to include Reading, High Wycombe Maidenhead Newbury and other places in between meetings held at Theale info of phone numbers and contact name to follow later today......</b><br />
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<b>Please please let me know if any of the information is 'out of date'or is no longer happening. This is turning into the Cellists 'Rough Guide' or Lonely Planet where people contribute and up date information please let me know</b><br />
<b>now if you know of further places out of London especially for adult or children.</b><br />
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<b>Practising Tips:</b><br />
<b>1.Practise little and often</b><br />
<b>2.Change the place where you practise sometimes. If you have a nice view from your window work so you can see it</b><br />
<b>3.Early on with the cello try to recognise specific notes, naturally open strings to start (the strings played without fingers being placed on them) The open strings should be an Oasis for you ,then learn the 1st finger notes and then 4th finger notes and so on. </b><br />
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<b>Tip for very helpful and NICE beginner Music next time.Do not hesitate to ask questions if you need to.</b><br />
<b>Bye for now </b><br />
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<b>Try, Stepping Stones ,</b><br />
<b>Waggon Wheels,</b><br />
<b>Fast Forward</b><br />
<b>Easy Classics for Cello Book </b><br />
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<b>I trust that you are enlisted in a group lesson in say Morley College. Individual lessons to continue soon.</b><br />
<b>Bow Work</b><br />
<b>The design of the bow (modern as opposed to the Baroque bow) is misleading. Most people imagine that the beautiful sweep of the dark wood beneath the stick at the Frog,(the part you hold) is designed for thumbs only to discover that the thumb does not fit there.</b><br />
<b>I have heard some very fine playing made with the thumb 'straight' the cushion part or pad of the thumb against the Frog. Well this is one of my pet bugbares and I don't like it at all. the thumb should be bent crooked if you like so that the tip is touching the frog.</b><br />
<b>Exercise.A</b> <b>Writing in the air.</b><br />
<b>Words such as Moo; Boo; Should. Dog etc. But this is the key part to this Only the fingers must move the bow. Do not move the arm up and down and out etc. Draw around articles that are in your practise room such as the door frame draw around the outline of a person in the room.</b><br />
<b>Remember:</b><br />
<b>1)Keep the arms still.Only the fingers manipulate the bow.</b><br />
<b>2) Remember to breathe out . Very often when concentrating, people hold their breath. </b><br />
<b>Exercise B Silent landings.</b><br />
<b>Usually I mark the bow with small coloured dots you can purchase them in</b><br />
<b>WH Smith or any stationers. Divide the length of the wood stick into thirds. The middle third is the area we are to concentrate upon. The bow must land in the area halfway between the end of the finger board and the bridge. Imagine a white line or ribbon running across all the four strings and aim to land on it which ever string you are landing on. It is possible to make magnificent sound by not being exactly in this place but that is for when there is greater proficiency with the bow. </b><br />
<b>Lifting the bow in the air gently and silently land the bow on the string between the middle third dots marked on the bow. Remember to start with this middle third and then progress to all three thirds and try to move from with only one landing on each string, We are aiming at going from the top string A at the point of the bow for example to the middle section of the bow on the C string . The lowest string as quietly as possible. This technique requires control and concentration. I suggest that you slow the bow descent at the last minute to control the landing imagine a helicopter landing. The last part is very controlled just before touch down.</b><br />
<b>When this is proficient it will be only a short step to making a sumptious first sound on the cello and with this Silent Landing exercise it will be certainty.</b><br />
<b>Produce Bow Sound.</b><br />
<b>The bow movement from right to left should make the shape of a saucer.Proceed to make your silent landing on the first dot nearest the frog sink the bow into the string as if pushing gently into a cushion and draw the bow ONLY AS FAR AS THE SECOND DOT. You will have played in the middle section of the bow.</b><br />
<b>Lift the bow.</b><br />
<b>Land the bow on the upper dot nearest to the point of the bow.(Still only playing in the middle section of the bow). Proceed to make the saucer shape again by gently pushing into the string and push the bow along to the lower dot on the bow stick where you began.</b><br />
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<b>This should take a little while to accomplish but it does work as long as the point at which you land on the string you do not press on the string too hard. It is a question of balance Not too much pressure and of course not too little.</b><br />
<b>The left hand :</b><br />
<b>The hand postion is very natural in 1st Position. </b><br />
<b>Place your hand over your knee cupping your knee in your palm That is the shape that your hand and palm will take when in 1st Position.</b><br />
<b>In this position we do not use the second finger on the lower two strings to begin. The finger pattern is One , Three, Four. However, be aware that the 2nd and 3rd fingers work by gently pressing the strings together. So in practise it is 1. 23 together then 4. The thumb rests on the neck of the cello and is crooked (similar to the thumb on the bow) It is positioned between the first and second fingers on the neck of the instrument.</b><br />
<b>Wood peckers next time </b><br />
<b>WOODPECKERS:</b><br />
<b>Resting the left hand in the position 1 34 on the cello.( It is good to get pitch pipes to check that your strings are in tune. in fact to be perfectly honest turning the pegs for tuning is one of the most nerve- racking experiences for people just starting out playing. YOu can be forgiven for asking your teacher at Morley or City Lit., for help.)</b><br />
<b>Once the fingers are resting in their places lift each one in turn whilst leaving the the remaing fingers on the finger board. !st finger wriggle in the air 2nd finger wriggle in the air 3rd finger wriggle in the air and 4th finger wriggle in the air.</b><br />
<b>NOW: whilst all of the fingers are at rest on the strings:</b><br />
<b>Tap the 1st finger three times and place it back in its place</b><br />
<b>then Tap the 2nd finger three times " " " " " " " </b><br />
<b>Tap the 3rd finger " " " " " </b><br />
<b>Tap the 4th finger " " " " "</b><br />
<b>For the BOW:</b><br />
<b>Trains and stations: Silent exercise</b><br />
<b>To gain an awareness of the direction of the bow.</b><br />
<b>Hold the wood of the bow near the point against the string. the D string is best (2nd string as you are sitting at the cello.The string next to the highest one which is on your far left.)</b><br />
<b>Hold the bow in the normal way with your right hand.TRAVEL the right hand along the wood to meet the other hand holding the bow.NO SOUND please. </b><br />
<b>Tip Do not pull the hand along toward the other hand and then pull the hand back into its original place. KEEP RIGHT HAND FINGERS PERPENDICULAR TO THE WOOD OF THE BOW.They should be vertical. It is good to do this exercise on all the strings and it is fun too. </b><br />
<b>Yes, you are practising. </b><br />
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<b>Now, for some of those wonderful pieces of music that contain exquisite writing for the cello.</b><br />
<b>Well, of course listen to the Sonatas of Beethoven,Boccherini Shostakovich (and the concertos of course),and at this present time I am not thinking of the music especially written for the instrument (which I shall discuss later)</b><br />
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<b>Schubert Unfinished Symphony</b><br />
<b>Mendelssohn's Hebrides Overture (Fingal's Cave)</b><br />
<b>Dvorak Serenade</b><br />
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<b>Opera: </b><br />
<b>Puccini Tosca (last act begins with a cello quartet!!)</b><br />
<b>Verdi Don Carlos wonderful writing for the cello</b><br />
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<b>Ballet: </b><br />
<b>Tschaikowsky Swan Lake (famous cello solo follows the famous violin solo)</b><br />
<b>Sleeping Beauty</b><br />
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<b>String Quartet Borodin</b><br />
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<b>NB.This is just a little 'taster' of some music. I shall add to the list over time. </b><br />
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<b>NB. THE CELLO CLUB the brilliant brain child of William Bruce its director has been incorporated into the London Cello Society,in which William Bruce plays such a major role. </b><br />
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<b>Look up William Bruce on the internet. You will find notes written by me taken and written at his cello class on one of the London Cello Society Cello Days.</b><br />
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<b>In these you will find great insight, intelligent wit and most of all excellent thought on all aspects of cello playing. He is very interested in the muscular neurological aspects of good performance. He is also acutely aware of building in good habits for the body for a sustainable performing life, be it as an amateur or a professional cellist. </b><br />
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<b>N.B.See above starred information relating to DACAPO Orchestra for beginners and late starters in Thames Valley Area( Uxbridge-Marlborough) info for contacts to follow asap........Here is the contact number below</b><br />
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<b>Contact PATSY MOORE: <a href="mailto:patsy@mooremusic.org.uk">patsy@mooremusic.org.uk</a> for DACAPO Orchestra. </b><br />
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<b>Stop Press: EARLY MAY BANK HOLIDAY CELLO COURSE in W. Yorkshire</b><br />
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<b>DATE April 30th -May 3rd. 2010This course is now over.</b><br />
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<b>Standard Grade 6 up. </b><br />
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<b>Specifically for Adult amateur cellists. Run by Kim Mackrell</b><br />
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<b><a href="mailto:k.mackrell@virgin.net">k.mackrell@virgin.net</a> there is a resident shiatsu masseur and these sessions are inclusive.</b><br />
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<b>Full inclusive price £285.00</b><br />
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<b>Home cooked wonderful food. Glorious views. Own Rooms.</b><br />
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<b>Programme Mozart Flute concerto:Villa Lobos Bachianas Brasilieras No5 1st Mvt</b><br />
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<b>Venue: HEWENDEN MILL, Collingworth, W.Yorkshire BD 13 6 BP</b><br />
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<b>more about Kim: <a href="http://www.chambercellos.co.uk/">http://www.chambercellos.co.uk/</a> Telephone: 0208 693 541</b><br />
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<b>mobile: 07919 030749</b><br />
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STOP PRESS,PLEASE NOTE:Any questions that you may have related to the cello and strings and technique or your lessons.There are many approaches and you may need reassuring about your playing.<b>Please</b> <b>do</b> <b>not hesitate to ask me.</b><br />
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<b>Practise, I have said, should be little and often at the beginning.</b><br />
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<b>WHAT IS PRACTISE? Here are a few examples of common mistakes and misunderstandings or assumptions.</b><br />
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<b>Is it: 'Sit there until you get it right'?</b><br />
<b>Endless finger waggling repetition? </b><br />
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<b>Finally </b><br />
<b>Playing over and over in desparation at performance speed.?</b><br />
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<b>The answer as you would expect I hope is... NO! NADA! NIENTE!</b><br />
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<b>***To achieve a goal as quoted in 'Blackadder' You need a plan!</b><br />
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<b>Begin with points of focus.</b><br />
<b>Identify: Bow </b><br />
<b>Fingering (is it good or okay i.e.just a bit tricky)</b><br />
<b>phrasing and musicality.</b><br />
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<b>WELL HERE ARE SOME SOLUTIONS:</b><br />
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<b>Can you sing the music? Can you sing the awkward bit.?</b><br />
<b>Can you mime it?</b><br />
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<b>We can learn from pianists</b><br />
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<b>How about as a start : Left hand, right hand separately.</b><br />
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<b>let your left hand have a rest.Rest this hand on your left knee.</b><br />
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<b>What does the bow do in that passage. Try it on its own.SLOWLY.</b><br />
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<b>Then: Plucking the passage with the right hand fingers. </b><br />
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<b>*** Only when you are confident of these separate practises you can then put</b><br />
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<b>them together, Voila!</b><br />
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<b>N.B."I must apologise for not getting on with this course. I have been totally over whelmed with the amount of work I have needed to do both with 'admin' and practise. I have also been in Cornwall at the Du Maurier Festival performing amongst other places." </b><br />
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<b>The course will be resumed.</b><br />
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<b>I want to draw your attention to some very good events/courses.</b><br />
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<b>Do look up the wonderful annual event that takes place at Hindhead for children and young people,ie. teenagers. This course is bound to have its own website and is the brain child of William Bruce.From any photos I have seen it looks amazing fun and most of all extremely good.</b><br />
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<b>There is also the Oxford Cello School which takes place in Abingdon. This has been running for some while and again 'caters' for youngsters and teenagers.</b><br />
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<b>There is a further course run by a friend of mine in a most adorable region of France.The course director is Lowrie Blake and I shall direct you to her blog site with this blog.I need to read it again to make sure I know to whom the course is directed.</b><br />
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<b>Thames Valley Alert :There is another course starting up for adults grades 0-3 and for others beyond grade 3 again I shall re-read my e-mail and get you up to speed with that.</b><br />
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<b>WATCH THIS SPACE!</b><br />
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<b>HERE YOU ARE:- INFORMATION AS PROMISED:</b><br />
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<b>THAMES VALLEY: ABINGDON area:</b><br />
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<b>1) String playing course and with the same people </b><br />
<b>2) In OXFORD Weekly evening classes.</b><br />
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<b>See:</b> <b>stringsmakemusic.com</b><br />
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<b>A workshop is taking place on:</b><br />
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<b>SATURDAY 25th SEPTEMBER 2010.</b><br />
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<b>This bit is important for all beginner 'stranded whales' without anywhere to play.</b><br />
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<b>Standard: All levels welcome, Yes, complete beginner novices to ensemble playing welcome. Yes, complete novices to playing welcome.</b><br />
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<b>Now this venture has absolutely nothing to do with me. I do not get a commission for sending you there.But one thing is for sure you will have FUN, and meet likeminded KEEN beginners and you will be encouraged and be even more motivated to keep going and to 'p word'... </b><b>practise.You will notice that playing will develop through these sorts of events. Do look these people up and see if it is to your liking. I am more than convinced that you will enrol once you have seen what is on offer and what it is all about. So now </b><br />
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<b>Two courses in South West France one for adults the other for youngsters.</b><br />
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<b>29th Oct -1st Nov 2010. Remember I mentioned Lowri Blake well this is her course.You can find all the details you need at: </b><br />
<b><a href="mailto:lowri@lowrirecords">lowri@lowrirecords</a> tel 05 63 35 68 46.</b><br />
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<b>I believe they are very successful and there are bookings already for next year. Importantly she states that it is a beautiful area with lots for non playing accompanying spouses to do. </b><br />
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<b>Back to our online cello course:</b><br />
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<b>If you remember, I suggested the following music:- Stepping Stones and then when they are all learnt you can follow up by Waggon Wheels.</b><br />
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<b>They are very usesful as starting pieces for one thing they are progressive in the demands that they make from the student and they are designed to be progressive from one book to the next.</b><br />
<b>Further recommendation:The music is very attractive for want of a better word with unusually good harmonic structure in the piano accompaniament parts and as the little pieces have character, because in many cases the title of the piece of music gives a clue to the rhythmic pattern that is integral to the piece.</b><br />
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<b>Left hand shapes are very important.By shapes I mean extended positions.</b><br />
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<b>To build a good left hand you need to first have a very secure first position.This is where these beginning pieces Stepping Stones and Waggon Wheels are so good.They are reinforceing the correct left hand position, in a pleasant way.</b><br />
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<b>First position: Remember 0134 is first position.</b><br />
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<b>From this strong starting point one can move on to extending the first finger back for extensions back (for flat keys and half position) and from first position we can extend forward our little finger for sharp keys. </b><br />
<b>This is a very broad sweep, for in fact, the hand has more fluidity ultimately.In reality for forward extensions the whole hand has opened from the first finger forward so that the second finger is now where the third finger is normally placed.For people with small hands there are one or two tricks that enable you to get round the lack of stretch. However, your fingers should begin to stretch more, in time. Not immediately please note.Never force this process!!</b><br />
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<b>The principle is that the hand should be opened so that even if the natural stretch of the player is small there is the possibility of negotiating the distance with fingers poised in an open position. Naturally, all stretches happen rapidly but it is good at the beginning to get used to the idea of negotiating stretches if you have a small hand. Many pianists learn to negotiate stretches on the keyboard</b><br />
<b>More information about the bow for next time:</b><br />
<b>Bowing Tips.</b><br />
<b>Do check the bow hold. I learnt after many years not to spread the fingers on the bow. In fact, I was imitating the person who was teaching me at the time whose hand was considerably larger than mine and I was attempting to cover the same amount of the 'frog' of the bow as he was .... curious isn't it? This replication of body language, posture etc.Well that was cleared up for me and I was able to find resoution with what was right for MY hand. </b><br />
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<b>Bowing:Practise with different volumes of sound.Not always the healthy mezzo-forte,please. As you must be aware by now, playing different volumes (louds and softs)affect the body differently (the upper and lower back, and the upper and lower arms, and be careful of the position of the neck which should be in a natural place comfortable and not taut or taking the strain that strong back muscles are built to do. Don't clench the jaw or jut it in any way, and watch out for teeth clenching,or biting together, and lastly holding of breath .... and breathe out (joke!) No pursing of lips either (this is purely cosmetic)Tense lips I've never heard of it but believe me its probably a problem for someone, don't make it yours.</b><br />
<b>The muscular changes required to make vastly different volume of sound need to be practised too.</b><br />
<b>Another exercise: Try playing in the upper part of the bow(upper quarter) Even if </b><br />
<b>you start on simple notes or a a simple study and scale.This will help bow control.</b><br />
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<b>Another exercise is a development of the silent landings that we began with:</b><br />
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<b>After dividing the distances along the bow into four. You can use tape or little coloured dots for this. Land on the string at the start of the second quarter. Draw the bow along past the middle of the bow to the end of third quarter of the bow and lift .Remember to push into the string as is pushing into a cushion whilst drawing the the bow.Making a lovely contact sound.If you're nice to it, the string might purr as you do this. Lift the bow and replace it in the position of end of the third quarter (where you have just arrived and lifted the bow) and push the bow back to the starting place at the start of the second quarter of the bow. </b><br />
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<b>Useful merchandise:</b><br />
<b>An excellent invention LED light that fits onto a music stand for all of you who play at dusk or need to play in semi light.Neat highly portable and very good light It is called 'Mighty Brights' some one brought it to a rehearsal. I highly recommend it.</b><br />
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<b>Here I am again with further information about courses in the South of France run by Lowri Blake. I promised her that I would mention the course in my blog and I am about to do so. I understand that they are a great success and well attended and are comfortable the standard ranges from elementary to advanced.</b><br />
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<b>There is an entry on Facebook titled: Cellos at Belle Serre </b><br />
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<b>Hold on,t</b><b>he DATES ARE TO FOLLOW :Do also check out her' buzz buzz busy line' blog </b><br />
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<b>(this is a tune my mother and I knew yonks ago originally sung buy Nellie Lutcher) I think that is how Lutcher is spelt. I suspect this is one of Lowri's cabaret songs when she performed as 'A girl, a cello and a double bass' </b><br />
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<b>STOP PRESS: FAB website based in USA hold on, hold on.Guess the name of this website </b><br />
<b><a href="http://www.everythingcello.com/">http://www.everythingcello.com/</a>.</b><br />
<b>My reasons for mentioning this is that they sell cello chairs and importantly adjustable cello chairs for children advertised at $49. The price obviously climbs for the air frieght to UK,however, it would certainly be a solution for parents worrying about suitable chairs for their cellist children.The adult chairs are much more expensive in the region of $139 and above. However look for yourselves and assess your needs and decide what you think is best.You may have a wonderful 'hall chair' as I have, or a dining chair that doesn't slope.Interestingly, the problem that was identified in the advert for portable chairs is that players can be 'obliged'to sit on chairs of different heights, taking this idea further should it occur within the space of one week for instance, this could be the start and ultimate cause of physical problems for the back limbs and neck. It is best to have a proper chair. I shall add this information earlier in this blog. It does not appear in my websites cello tips however.</b><br />
<b>Stop Press:</b><br />
<b>Any one living in the Marlow, Bucks area. A new music shop that also hires instruments called Westmount Music and can be found at</b><br />
<b>www. westmount-music.co.uk telephone number: 01628 481510</b><br />
<b>The proprieter is a very nice man Mr Paul Coombes and I should very much like some feed back if you have dealings with the shop. They offer lessons there but as yet not cello tuition. Things will improve. </b><br />
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<b>SOME THOUGHTS ABOUT THE BOW ARM:</b><br />
<b>I have done Alexander Technique in the past and also worked with the late great Jean Gibson in Holland Park London as have many musicians and actors. Jean's class was really her own personal development of the Alexander Technique. She was excellent in helping people use their bodies to the best advantage for performance, and it was she that informed me that through her work with individuals that had parts of their arms missing through the Thalidomide tragedy and through other circumstances that she really began to think about what each section of our arms true purpose was. </b><br />
<b>The conclusion was as follows, and I shall explain in my own words:</b><br />
<b>The bow arm is really the upper arm( shoulder to elbow)which commences its wonderful flowing journey with the elbow being close to the cello for the Down Bow and moves away from the cello as the bow travels towards the point, but taking care to follow the angle of the bridge.What ever the upper arm does the forearm and hand follow on after it.Imagine you are playing with water. Either with the bath water or perhaps letting your arm drift over the side of a gently moving boat on a river, moving your forearm backwards and forward in that lovely free way that is possible in water.The arm flowing from right to left feeling the gentle resistance of the water.</b><br />
<b>It is the upper arm that initiates the movement for the rest to follow Naturally this is easier to demonstrate but I think that I have made a good attempt at describing the movement. Be patient and it should gently come right. </b><br />
<b>More tips to follow. Watch this space.</b><br />
<b>Another tip for practising. Do alter your mind set when you are 'working'. Even that word can be a hang-up for some people. So sometimes you are 'working', that is you are regulating your hours at the instrument and keeping a record or tally of the time spent. A bit like calorie counting or press-up counting or jogging pacing . This is great for encouragement. You can see what you have done and you can feel good about it. </b><br />
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<b>Then I also suggest that you do not 'set to work' but think of it as spending time with your cello and enjoy playing the instrument. The enjoying/playing is of course another way of thinking about practise. But the emphasis is about playing and freeing your bow, your sound and generally approaching the time spent as totally free and enjoyable, but of course it is still practise because you are playing exercises or music or technical passages but the difference being that you are in a different frame of mind, which should be a productive aid.</b><br />
<b> So often busy people sit down with a beat the clock mentality to their practise. This automatically creates a pressure and I believe under pressure of time it is EVEN MORE important to play the instrument as if time is not in the least bit imperative and that you are in a pleasure zone anyhow.This is beginning to sound just a little bit 'new age' so I'll stop there, but just the same it is certainly worth thinking about and experimenting with for a period of time to see what change and effect it has upon your playing. </b><br />
<b>I should be greatly interested in any feed back from any of these tips. Cheers for now. </b><br />
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<b></b>Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com0tag:blogger.com,1999:blog-342132078914250838.post-4573793498135495712009-12-22T03:16:00.000-08:002010-12-27T08:51:21.556-08:00The marginalisation of Classical Music<span style="font-family:';font-size:12;"><span style="font-size:85%;"><span style="font-family:arial;">Classical music has been pushed into a niche taste through populist tastes being given priority over those tastes honed through education, discernment and artistic judgment.</span></span></span><br /><span style="font-family:';font-size:12;"><span style="font-size:85%;"><span style="font-family:arial;">As stated in my first blog post, appreciation of Art/music comes through education or guidance, if you like, and even better still nurture, which is much more subtle,also environment. However many people love artistic matters without being grilled nurtured or steeped in such matters. They are rare and wonderful creatures, non practitioners who have a 'connection' with creativity which they have nurtured and explored and developed <strong>themselves.</strong></span></span></span>Clare Denizhttp://www.blogger.com/profile/15468755401250054184noreply@blogger.com2