Cello Perspectives With WFMT

I had the pleasure of participating in WFMT’s cello month, which is planning to broadcast Songs My Father Taught Me on January 31st at 10:00 PM Central Time.  Noel Morris published a lovely piece about everything at the WFMT blog, which includes a cello Q&A.

Q: How old were you when you started to play? Why did you choose the cello? What made you decide to become a musician?
A: I was eight years old. I choose the cello because I liked that it was big, and I didn’t like the piano, which my parents wanted me to practice. I fell in love with classical music

Q: Can you name a piece or two of core repertoire that requires extra prep time? What specifically makes it challenging for players?
A: The Schostavich Concerto number two requires extras prep. Shubert Arpeggione Sonata also requires extra prep. Both pieces require great stamina, both physical and emotional.

Read the entire Q&A at WFMT

11 Responses to Cello Perspectives With WFMT

  1. Allan Berggren March 12, 2014 at 6:36 am #

    A note from the past. I met you at Robert Shaw’s house in Cleveland when you first came. I was a medical resident in ear surgery. I admire the courage with which you faced your loss of parents, and your dedication to your career. It’s wonderful to see the pictures of you now, and enjoy your music.

  2. Keith Whitehead March 27, 2014 at 3:05 pm #

    Just finished listening to the Herbert . ( on WRTI ) A pure gift !

  3. Susan H April 24, 2014 at 8:11 am #

    I saw you perform in Memphis in 2004. You brought me to absolute tears. I’d always said I would eventually learn cello, and I finally started three years ago at age 47. Thank you for the inspiration and the music

  4. paul marleyn May 12, 2014 at 8:54 am #

    Dear Mr. Harrell,
    Greetings from Ottawa! I have a technical question for you if I may. As you know as part of the Galamian approach to bowing is the concept of in and out – out on the down bow, in on the up-bow. Is it the same on cello, or the reverse?
    Thanks and have a great day!
    Paul Marleyn.

  5. Rokas May 21, 2014 at 2:36 pm #

    Dear Mr.Harrell !
    Thank You for sharing your knowledge and time and I would like to ask about possibility to take a lesson,or that you listen to my record and say some advises to me.I hope for possibility.
    Best wishes !
    Rokas(cellist)

  6. Christopher Weait October 10, 2016 at 2:44 pm #

    Hello Lynn, In 1958, last saw your Dad in the audience at the Met during a rehearsal of Elektra. I was there as part of a college trip to NYC. He, I believe, was listening to someone singing the role of Joakanan. As he walked up the aisle he spotted me saying, “Why Chrius (Texas accent!) what are you doing here? I told him. Then he said, “You ought to here Lynn play the ‘cello. He’s does it like a house afire”.

    • lynn harrell January 22, 2017 at 11:43 pm #

      Oh, Chris! Thank you so much for this anecdote!! I remember you so well- and that duo that we were going to play! You know that Bud died a few years ago. I would love to be in touch. please write me your email. mine is lynnharrellusa@earthlink.net All love… Lynn

  7. Guy I. Colby IV December 9, 2016 at 7:30 pm #

    Lynn —

    Last night, Peter Van De Graaff led off his late night WFMT syndicated program with a recording of Virgil Thomson’s “Five Songs to Poems by William Blake,” with your father as soloist (accompanied by Eugene Ormandy and the Philadelphia); it was music I had never heard before. He then followed it immediately with your recording of the Herbert 2nd Cello Concerto, with Neville Marriner and the Academy of St. Martin in the Fields. It was a very clever juxtaposition, and it brought back memories of you and your father both.

  8. Joseph Stevenson April 17, 2017 at 7:17 am #

    I have enjoyed your recordings for a long time, especially the Walton Concerto. Just bought one of those monster box sets on Decca and was delighted to find a Rachmaninov recital by you and Ashkenazy that I somehow missed earlier. Looking forward to hearing it.

    This note is in response to a discussion on this blog several years ago about a famous copy violin by the 19th-century luthier J-P Vuillaume of the Guarneri “Il Caonnone.” Paganini, who owned the original and had the copy made, said that the match was so close that the “subtle differences” could only be distinguished by seriously playing both. You wondered whee the copy was. In the unlikely case that you haven’t heard since then, the latest information I have is that it is now being played by Hilary Hahn.

    Since Vuillaume instruments today auction in the $200,00 to $275,000 range. it would seem to be good advice for a player beginning a major career to save a couple million bucks and look for one of these.

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