Envy the Cellist

JanetHorvath_019Guest Blogger: Janet Horvath, author of Playing Less Hurt. Read more about cello envy on her blog at Interlude.

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.

Keep reading at Interlude!

Playing Less Hurt

Making music at any level is a powerful gift. While musicians have endless resources for learning the basics of their instruments and the theory of music, few books have explored the other subtleties and complexities that musicians face in their quest to play with ease and skill. The demands of solitary practice, hectic rehearsal schedules, challenging repertoire, performance pressures, awkward postures, and other physical strains have left a trail of injured, hearing-impaired, and frustrated musicians who have had few resources to guide them.

Playing Less Hurt addresses this need with specific tools to avoid and alleviate injury. Impressively researched, the book is invaluable not only to musicians, but also to the coaches and medical professionals who work with them. Everyone from dentists to orthopedists, audiologists to neurologists, massage therapists and trainers will benefit from Janet Horvath’s coherent account of the physiology and psyche of a practicing musician. Writing with knowledge, sympathetic insight, humor, and aplomb, Horvath has created an essential resource for all musicians who want to play better and feel better.



Hal Leonard Performing Arts Publishing Group, the trade book division of Hal Leonard Corporations, publishes books on the performing arts under the imprints Hal Leonard Books, Backbeat Books, Amadeus Press, and Applause Theatre and Cinema Books.

Posted on August 7, 2013, in Music Fans and tagged , , , , , , . Bookmark the permalink. Leave a comment.

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