Cello Life - Jonathan Simmons

              Developing as a musician requires learning from the greatest pedagogues and performers on your instrument, often taking place through public masterclasses and private lessons. Sometimes these events can be quite pricey as sought-after teachers can charge hundreds of dollars for a lesson. Below are five nuggets of advice that I have gleaned from some immediately recognizable cellists from whom I have had the privilege of learning. I will share their words followed by how I applied them to my own playing. You will notice that a few of these quotes are not original to the teachers from which I first heard the quotes. Where possible, I have attributed the quotes to those believed to be the original author. I do trust that I am not revealing any trade secrets that were meant to be kept for a select few. Enjoy learning from greats!     “It’s not the thing; it’s the thing before the thing.” Dr. Melissa Kraut That’s it? I ho

           The following post is adapted from the notes of a lecture recital cancelled due to COVID-19. I am happy to now share with you this research regarding a neglected composer and his life's work.   Emanuel Moór Self Portrait Hungarian composer Emanuel Moór (1863-1931) was the son of Jewish cantor Raphael Moór. Found at an early age to have an aptitude for music, the young Emanuel studied piano, organ and composition. His notable teachers included Franz Liszt on piano, Robert Volkman for composition, as well as a few composition lessons with Johannes Brahms. As a boy he performed in both Europe and America to much acclaim. However, today he is remembered mostly as an inventor. Moór invented a new design for both violin and piano. His piano featured two keyboards, similar in concept to the multiple manuals of a pipe organ or harpsichord, yet still with one set of hammers and one set of strings. Steinway produced a single prototype which is now owned by the University of Wisc