Envy the Cellist
Posted by HLPAPG
Why I Love the Cello
Because it is me. Because it is the closest sound to the human voice. Because I can engulf it with my body in an embrace. Because when I tell people that I play the cello they say, “ Oh! I love the cello. It makes me cry.”
The demeanor of the cello is complex and varied. The room resonates with the low baritone counterpoint notes; sears the soul with amorous melodies. The cello can dazzle with virtuosic flights of fancy in its uppermost range. The cello soothes and inspires; stirs and arouses.
Our playing position is quite natural. We don’t have to contort our bodies to play the cello — not like poor violinists who must unnaturally twist their left arms, and on top of that, hold the instrument under their chins.
Other performers have cello envy. They even steal our repertoire. It is not unusual to hear the Bach Solo Cello Suites on — heaven forbid — the trombone, or The Swan, from the Carnival of the Animals by Camille Saint-Saens on the double bass. (Shouldn’t they just stick to The Elephant?) The piccolo player must play shrill high passages; some people snicker at the bassoon players — leaving so bassoon?
If your electronic device goes off you will be forced to play the bassoon!
The violists are typically relegated to play the oomm- pah-pah of a piece of music and other boring accompaniment figures. Rarely does a composer throw them a bone — a short melody once in a while. Viola players are the brunt of jokes too — How is lightning like a violist’s fingers? Neither one strikes in the same place twice.
And pity the pianist who has to learn a vast repertoire of music, performing entirely from memory.
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