Cellist Jean Hatmaker is a founding member of the Kontras Quartet and the principal cellist of the Elmhurst Symphony Orchestra. She teamed up with pianist Michael Finlay to play music by Brahms and Coleridge-Taylor.
Keegan Morris and Michael San Gabino | March 25, 2020
In 2018, 1.9 billion people around the world watched the young cellist — he was just 19 years old at the time — perform during the wedding of Prince Harry and Meghan Markle. Now, he’s released his second album, a collaboration with Sir Simon Rattle and the London Symphony Orchestra.
“I would not consider myself a composer at all,” says Kian Soltani, shortly after playing a piece of music that he composed called Persian Fire Dance. “I’m really a cellist first and foremost, but I try to be creative also.”
It’s not every day an artist can re-discover a piece of music by a master from the Romantic era. Yet this was the enviable privilege of cellist Juliette Herlin, who in 2017 gave one of the first performances since 1919 of a lost cello sonata by Camille Saint-Saëns.
In a moving sidewalk tribute across the street from the cathedral, cellist Gautier Capuçon performed Gabriel Fauré’s Après un rêve as the fire was being subdued. In the video captured by Europe 1, the fire department can be seen across the street as they work to contain and extinguish the fire.
What makes a piece popular? How does a piece survive its first few performances? What makes something a warhorse, played over and over again, easily marketed from decade to decade? Who decides what’s good, anyway? Here are 18 underrated concertos – ones that don’t get played all that much, but maybe should be more widely known.
Yo-Yo Ma, the CSO’s creative consultant, learned about the decades-long commitment to social justice and outreach within the Faith Community of St. Sabina, and wanted to see how he could honor its work through music.
Franz Joseph Haydn’s Cello Concerto No. 1 collected dust for nearly 200 years in the National Museum in Prague before it became a staple of the cello repertoire. Music historians had always known of the concerto’s existence, thanks to Haydn’s diligent records: the work is included in both of his personal catalogues, dating it circa 1765. Beyond those brief mentions, …
“I try to take Rostropovich’s example, who had incredible relationships with composers and of course was the muse to Shostakovich and Prokofiev,” Alisa Weilerstein said. “Without him, we might not have these titanic 20th century cello works.”