In 2011, declaring that "our art is passed from one generation to the next, not by books but by mentoring," NEC faculty member Paul Katz launched CelloBello, a website designed to connect cellists of all ages and performance levels. Among the site's resources are "Cello Lessons," consisting of footage filmed in Katz's studio with NEC students; "Legacy" videos from Katz's own mentors; and the blog streamed through this page, and coauthored by more than a dozen prominent cellists.

The Rep…More than Quartet

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More or Less…
String Trios, Quintets and Beyond 

It is generally agreed that the string quartet is the ultimate chamber music idiom. While there are surely those that differ with that assessment, I confess that I agree from my perspectives as both a listener and a performing artist. Many of the greatest composers from Haydn to the present day have tried their hand at quartet writing. Many have succeeded in giving us their best creations, some of which are regarded to be some of the greatest creative work of human kind.

When asked about repertoire for other combinations of strings, most musicians can come up with a relatively small list of trios, quintets, sextets and more. However, in reality, there is a lot of music for string ensembles that are not quartets. Although the most well known examples are in general the best pieces for those combinations, a lot of the lesser-known works are quite good. These pieces are particularly useful to use with student groups. Much the same as there are pieces used as “preparatory” concertos and sonatas for string players, these lesser known chamber works can provide all of the same challenges and educational benefits as the great masterpieces without the pressure of having the performance compared by audiences to performances and recordings of great and famous ensembles. In addition, whereas audiences of chamber music too often and unfortunately tend to want the “standards” and might be leery of going to concerts with works they don’t know, student groups do not have that pressure.

Knowing about these pieces, or at least knowing where to look to explore the possibilities and obtain parts can be enormously helpful to a coach in choosing repertoire for a group. For example, if the group happens to be a quintet with two violins, one viola and two cellos, the work that will come to mind is Schubert’s Quintet in C. But, perhaps the group is not really ready to tackle that type of monumental masterpiece, or some members of the group have already worked on it. Most students don’t know that piece very well, and might be just as happy to play the Quintet by Dotzauer or Berger, or perhaps one of the thirty-odd cello quintets by Onslow (!) or one of the over one hundred by Boccherini (!!!). In other words, there is a ton more music out there to choose from than is generally thought to exist, and a lot of it is great learning material for student ensembles.

STRING TRIOS: The number of trios that are well known by a lot of musicians is small compared to the string quartet literature. Nonetheless, there are several standards, most notably the five trios Beethoven wrote before his Opus 18 String Quartets. After that, many people get stumped about the repertoire and often skip forward to the Serenade by Dohnanyi. For me, there is one really great masterpiece for string trio that is often overlooked: Mozart’s Divertimento in E-flat, K.563. This is a magnificent six-movement piece that is technically difficult and surprisingly virtuosic, especially for the viola and cello. So what else is there for student groups to explore? Of the better-known composers, there are two trios by Schubert and over twenty by Boccherini. There are also trios by Haydn, Reger, Sibelius, Strauss, Villa-Lobos and many, many more.

The most common variation on the standard string trio is the version with two violins and viola. Dvorak’s Terzetti (op. 74 and 75a) are probably the best known of these works, but there are other choices. The trios by Kodaly and Fuchs are wonderful but difficult. Other composers include Frank Bridge, Martinu, and arrangements of other notable composers such as Beethoven’s Opus 87 Trio for Oboes and English Horn.

If the group consists of two violins and cello, there is music by Haydn, Boccherini, Borodin, CPE Bach, Mozart, Pachelbel, Tartini, Vivaldi, Hoffmeister and others. There are even trios for two violas and violin. Have a look into the trios by Hummel.

STRING QUINTETS: The most common version of five string instruments is string quartet plus an extra viola, also known as the viola quintet. There are a number of wonderful works for this combination. Most notable are those by Mozart (6), Brahms (2) and Dvorak. More overlooked but excellent pieces include those by Beethoven (op. 29) and Mendelssohn (2). Beyond that, there are many works by quality composers that can be great choices for student groups. Some of the more notable composers who wrote for this combination include Boccherini, Bruch, Bruckner, Martinu, Nielsen, Resphigi, Spohr (7) and Vaughn Williams. There is also an excellent Quintet for three violins, viola and cello by Loeffler. When it comes to string quartet plus an extra cello, also known as cello the cello quintet, nearly everyone knows of the Schubert previously mentioned. Few works in any genre can compare favorably to that amazing piece, but the next best known is probably the Glazunov and Boccherini’s A major Quintet with the famous last movement. However, there really is a lot of music written for this combination, and most of it compares favorably with the last two works mentioned. Besides the over 100 quintets by Boccherini, the music of George Osnlow (1784-1853) has a lot to offer. He wrote over seventy works of chamber music including many cello quintets. His cello quintet in C Minor, Op. 38 is especially interesting. Known as “The Bullet Quintet”, it was written after a hunter apparently shot him in the head while he was sketching music themes in the woods. The piece chronicles the drama of the event and his recovery! Other notable composers include Bax, Borodin, Goldmark, and Milhaud. The quintets by Berger and Dotzauer are also interesting and there are two arrangements of the Brahms Piano Quintet for cello Quintet. That work was originally a cello quintet, but Brahms re-wrote it for piano quintet and destroyed his manuscript of the string quintet version.

If there is a double bass involved, the most famous and best work is the Op. 77 Quintet by Dvorak. Some other pieces can work substituting a cello part with a bass. This can work well in the music of Haydn and early works of Mozart such as the “Early” Quartets and Divertimenti. There are also quintets by Boccherini (3), Dittersdorf (6), Milhaud, Hindemith and the Rossini String Sonatas.

In many cases, where to get the music is as big a problem as what to choose. Thanks to the Internet, there are now many easy ways to find music, and much of it can be free if you have a printer and Internet access. All one really needs to do is type in queries such as “string quintets” or “string trios” to find a tremendous amount of information. To purchase music and get specific editions quickly and reasonably, one website I find very useful is www.sheetmusicplus.com. Besides having a huge selection, throughout the year they have excellent sales on various editions such as Henle and Barenreiter. One site in particular is extremely useful and well known. The IMSLP/Petrucci Music Library has free downloads of a vast amount of music (both scores and parts) that are in the public domain. This includes many well-known masterpieces, but also includes many of the more obscure works by less famous composers. The site is www.imslp.org. Once there, simply click on the Petrucci Music Library box and you will be sent to an amazing site that might actually convince you that computers aren’t all bad!

Yo-Yo Ma on Intonation, Practice, and the Role of Music in Our Lives

Reprinted from Strings Magazine, September 17 2015

By Martin Steinberg:


A cellist walks on a beach and picks up a bottle. A genie pops out and says, “I give you two wishes.” 

The cellist says: “Wow, I’d like to have world peace.” 

The genie thinks for a second and says, 

“That’s too hard! What’s your second wish?”

The cellist says, “Well, I’m turning 60 and I want to play in tune.” 

The genie thinks for a second and says, “What was your first wish again?” 

Musicians, take heart. That joke was told by the cellist Yo-Yo Ma during an interview ahead of his 60th birthday on Oct. 7. After 55 years of playing, yes, even Yo-Yo Ma needs to practice.

“What all string players have in common is that if we don’t play for awhile, we actually start from ground zero,” Ma says. Ma was four when he started the cello.

At seven, he was performing with his big sister for an audience that included two US presidents. Now nearing his milestone birthday, he’s ever youthful, always learning, asking questions, constantly building bridges.

And striving for perfection.

Despite all his achievements—more than 100 CDs, 18 Grammy Awards, and other honors, including the Presidential Medal of Freedom and the National Medal of Arts—he’s going full tilt toward more accomplishments.

In the weeks before his birthday, Ma’s agenda was packed. At Tanglewood, his scheduled performances included all three Brahms trios with Emanuel Ax and Leonidas Kavakos and the six Beethoven cello sonatas with Ax. That was followed by a six-country European tour with Andris Nelsons and the Boston Symphony, featuring Strauss Don Quixote in advance of next year’s 400th anniversary of Cervantes’ death. At the London Proms, he was scheduled to play all six Bach Cello Suites in one night. In September, his new album, Songs from the Arc of Life (Sony Masterworks), with long-time accompanist Kathryn Stott on piano, was to be released, as was a documentary focusing on musicians in his Silk Road Ensemble—a collective of musicians, composers, visual artists, and more that explores Eurasian culture.

The journey began in 1955 in Paris, where Ma was born to immigrant Chinese musician parents. His sister, Yeou-Cheng Ma—a violinist, pianist, medical doctor, and children’s orchestra administrator—remembers that their father started Yo-Yo on the violin at age two and a half, then piano, but he didn’t like them.

“He didn’t want to do something that I already did because he could see that I already knew how to play,” Yeou-Cheng Ma says. “He was a very smart kid, very intuitive . . . and a charmer, even at a young age.”

So he didn’t play any instrument for the next year and a half, during which time the family moved to New York. One day, he saw a newsreel about a New Orleans jazz band and noticed the double bass. “He was thrilled,” his sister recalls. “He said, ‘That one! The big one! That’s what I want!’” But since he was so little, he was given the second-biggest one, a cello. Their father, Hiao-Tsiun Ma, taught him the Bach Suites, measure by measure. At age seven, Yo-Yo and Yeou-Cheng performed Breval’s Concertino No. 3 at a fundraiser for the Kennedy Center. The audience included President John F. Kennedy and former President Dwight Eisenhower.

Ma went on the study with Leonard Rose at the Juilliard School, but dropped out and entered Harvard at age 16, majoring in the history of science. Since then, he has been on a magic cello ride around the world, figuratively and literally. As he approaches the start of his seventh decade, Ma says he is swimming and walking, watching what he eats, and assessing his goals—“What’s worth really, really trying hard for?”

About the genie joke. You don’t have intonation problems. What are you talking about?

Mark Salzman wrote this wonderful book about a cellist (The Soloist) . . . seeking perfection. Of course, you cannot achieve perfection and you kind of get paralyz

ed, so you have to find equilibrium between the possible—what’s realistic and what is ideal.

What is your proudest accomplishment?

Family. I love my family. They’re great people, and I’m just so, so lucky to have them. That’s by far.

In your career?

To have been part of these children’s television shows Mister Rogers’ Neighborhood, Sesame Street, [and] Arthur, because what happens when you go on a child’s show is that they’re not a guest in my world, but I’m the guest in their world. If they accept you, it’s permanent, it’s theirs. And that is so important because to me that is the basis of all cultural understanding, or any artistic understanding, which is you have to stand on the inside. So if you’re accepted into a child’s world, that’s the greatest gift of all.

I’ve had the great luxury of meeting kids who saw [me] many years ago, and I see them as teenagers, 20 year olds, 30 year olds, and they can tell me, “This did this to me at that time and therefore I did this at that time.” And that’s incredibly rewarding.

I didn’t expect that answer. You never fail to surprise.

I think that, and probably being part of building the Music Garden in Toronto [as part of Ma’s “Inspired by Bach” series]. There’s a music garden that Julie Moir Messervy based on the First Bach Suite. Because that’s another symbol of what culture means to me . . . . Culture is kind of like a living seed and it can grow in places that are not fertile . . . . Gardens are not just existent in nature, but somehow there’s a human element of tending it, caring for, of enriching, of selecting.

And then, of course, the garden is there to be enjoyed, to be used, to be part of people’s lives in different times and seasons. To me, it is the ultimate metaphor for culture. And for culture, I would say, what we tend in our human garden is probably things like the arts, the sciences, and philosophy.

I’ve been thinking of these things because I’ve always wondered, what is music for? And lately, a lot of musicians are interested in music and health. What is it that actually becomes a passion? Is it the sound, is it the activity, is it what state of mind you get to, where you are actually in the activity of teaching music, of playing music and joining with others into creating music? What part of the brain does it use? How does it affect your state of mind? How does it affect the other things? And so whether you’re a child or an adult [or] a retired person, what do these things do to your brain?

And what are educational systems based on? Where did our high school subjects come from? Our studies are from 1910, so [do] we need to reboot that? How does art fit into that, how does that fit into arts funding and science funding? What are we educating our children for? Is it a transactional thing? Do you pay that money in order to get better jobs or is there something about education that is different?

I think those are serious questions that the nation’s considering. Not just this nation but every nation. “Oh, we’re falling behind in the sciences! Oh, we have to do STEM [science, technology, engineering, and mathematics]!” But wait a minute? Do we have common philosophy? Is it e pluribus unum, which is on every quarter, or is it “all for one and one for all?” Or is it just for me? Because is what’s good for me good for everybody?

So these are the questions and when we think about them it affects the sounds that we make. And I think for Strings, and the edition of Strings that you are writing for, I think that’s something—yes, strings are like vocal cords and how we use our voice, whether we use it to alert, warn, soothe, pacify, communicate, what are we communicating, who are we communicating to, what’s the purpose of the communication? Is it to join, is it to separate, is it to point to something larger, is it to something in the micro world, in the macro world?

I think those are incredibly interesting things that I would like to continue to consider after turning 60, because by many standards, I’m old. I’m part of AARP [laughing] and I can get a discount on the bus. So is my contribution less now that I’m old, or what is it that I can contribute for certain? Whatever I do is becoming less interesting than what other people do . . . . I’m less at the center of my world than when I was 20, when I was trying to say: I can do this, I want to do this.

This seems to be fodder for a very important book on society.

No, just musings of a middle-aged person going through what everybody goes through. I’d like to be able to think about these things, but also be able to try and play in tune. But while I’m playing in tune, not to obsess over intonation, but the obsession of trying to play in tune because transcending technique allows me then to communicate the content.

Do you still practice a lot?

I actually enjoy practicing more and more . . .  as a child, I practiced because I had to practice and you didn’t want to mess up. But that’s not a good thing. You want to please your teacher, you want to please your parents, you want to please your peers. And now I practice because I’ve experienced so much love that you practice out of loving a phrase, loving motivic change, loving a structure or harmony change or the way a sound can get to something.

I think that part of practicing is great because it unites what you want to do in engineering, as in technically, where do you put your arms and your fingers and your body—micro movements—with that desire and the feeling of what it needs to be. That’s a wonderful process because it’s a constant of going toward something bigger than the notes and yourself, and very lovingly so.

Whenever I catch myself playing something that sounds mechanical but dead, it’s because either I’m not paying attention or it’s something difficult that I haven’t solved. Sort of like a physicality issue that, you know, sudden tension, so I freeze up and become more internalized, so I can’t love it. Loving something implies going outside yourself and fear means retreating into yourself. I’m scared. Well, go back into yourself. That’s a metaphor for societal fears when a whole people are scared of something that they can’t control and sort of hits them, what do they do? It becomes more tight, they will make much, much more conservative decisions. The counteracting of that is culture. Hey, wait a minute, I want to know what that fear is. I’m going to research that fear. What exactly is that fear? Is it exactly what I think it is? Is that what I feel or can I analyze it? What’s the truth behind the fear? So you kind of have to look at that—that’s a key in performance. When someone performs, you want that person to be open and not to have any barriers. Any barriers that are set up between the performer and the audience actually impedes the communication of what needs to be.

I often tell people the world needs more Yo-Yo Mas, and this is a perfect example. Just these ideas alone, if people could hear them, everything that’s headed in the wrong direction can turn around.

I don’t know. We’re so invested in thinking, in trying not to screw up. Basically, I have your back. We don’t want to make obvious mistakes, so we cover up. But actually, to really create trust, you have to trust that it’s OK to make a mistake, and you’re not going to be punished for it. We acknowledge and do better the next time. It’s one of the hardest things to do because we don’t want to look like fools. [New York Times writer] David Brooks has been talking lately about what we work for: our CVs or do we work for our eulogies? There are different things that you work for, curriculum vitae, and people talk about a person differently in the eulogy. There you talk more about character—this and that—and so which one are we working for? That’s a kind of philosophical question, isn’t it? That comes with a philosophical part of culture. What are we as a society working toward? So what are we working for in a community, what are we working for in a political party, what are we working for in classical music?

You’re about to perform the Elgar Concerto, and have done so many times. How much time must you devote to it at this point?

The thing is, you know, there is engineering, neuromuscular finger work, and there’s head work. So for anybody who’s really really passionate, basically it’s whatever it takes and it’s also head work. It’s kind of all the time. It’s sort of like you’re downloading a program in your computer, it’s in your brain. When I go on to do the Elgar, I start thinking about it, on and off, all the time. So I’m thinking, “Huh, how about trying it this way?” So you’re always in some ways trying to hear something a certain way, solving a problem a certain way, and rethinking it and thinking there’s a better way to build this mousetrap. So you want to align your physical self and your mental self into the state of mind that is required of that piece.

Do you ever envision your life after cello?

Like après-ski, hot chocolate by the fireplace, with pizza?

You’re not going to lose any weight like that. 

You’re right. Maybe a cup of herbal tea and some nuts. Well, I’ve always been interested in people and culture and arts and sciences and philosophy and typology, so I think I’m always going to be thinking about it, and the older I get, the more I’ll get interested in young people because that’s another form of culture.

The young people’s world—we may occupy the same space, but they will think differently and have many different reasons to do what they do and I’m deeply curious about that. I like to think of it in K through 12 and beyond and how people learn—why they learn—and so I will always be thinking about these things.

 

 

Opening the Beethoven A Major Cello Sonata: Obsessing Over the First Five Bars

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By Brian Hodges:

The five Beethoven Cello Sonatas are iconic for a number of reasons. First and foremost, they’re some of the first pieces to include the cello in a true duo partnership, something the violin had been enjoying for a long time.

While the first two sonatas (Op. 5, 1 and 2) are actually listed as Sonata for Piano and Violoncello, things have changed by the third sonata, Op. 69 in A Major, with the cello now getting top billing. The sonata was written during Beethoven’s middle period and immediately one can sense his expansive creativity at work in full force.

The opening is one of the more notorious openings in all of the cello literature. It starts with the famous melody played by the cello alone, like a soliloquy.

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What looks simple contains a host of difficulties and issues to work out.

Tempo

As seen from the example above, Beethoven indicates Allegro ma non tanto for the tempo indication. ‘Tanto’ means “not so much”, so the implication is fast, but not overly so.

Whatever your exact tempo is, securing a consistent and correct tempo at the onset is quite difficult given that Beethoven starts with two half notes and a dotted half. It’s tricky to feel just exactly where the pulse is. Generally, players tend to take the first three notes in one tempo, then when the quarters start, they blend into a different tempo altogether. Next, in bar 4, and the end of bar 5, there’s a strong temptation to slow down. So, with all that, we’ve now had roughly 4 different tempos in the first six measures.

The key is to subdivide. Put the metronome at either a quarter pulse, or even an eighth pulse. Feel the smaller divisions in the half notes and dotted half, which will then transition smoothly into the quarters without changing the tempo. Even in performance, always think subdivisions. This will keep you honest and give a clearer sense of the opening melody, not to mention giving your pianist something to grab onto.

Despite keeping a steady pulse through the first five bars, many cellists slow down a tiny bit before the low E in measure 6. Their rationale is that it’s the end of the phrase, so it’s appropriate to set the downbeat of the sixth measure. But, in actual fact, it’s not the end, it’s just the beginning, and the cello part neatly hands off the melody to the piano. By slowing down, you’re making it difficult for the pianist to come in with any stability, especially since they’re coming in on the fourth beat.

Fingerings

While fingerings are entirely personal, there is a general consensus that one plays the majority of the opening theme on the G string. Many players start in first position, then shift up to fourth position by the second note. Some performers, however, play the opening A in fourth position on the C string, preferring to cross over a string rather than shift. The thing to keep in mind about whatever fingering you decide to use is to keep it simple. Keep the shifts silent, and string crossings as smooth as possible. Listen to when the piano has the theme in measure 13. Emulate the sound of the piano, in order to keep it as straightforward and pure as possible.

Assuming you are using the common fingering of starting in first position on the A and shifting up to fourth position for the E, make sure you prepare your left arm for the impending shift. During the last third of the A, your left arm should be starting the shifting motion and initiating the shift. Your second finger (as well as the rest of the hand) can start to open up once the arm starts to move and take over the shift, once you leave your first finger. Practice this slowly and keep the movements as efficient and smooth as possible.

Vibrato

Many cellists forgo vibrato on the opening theme to create a more “pure” tone. As is well documented, vibrato did not have the ubiquitous presence it has now in string playing, serving as more of an ornament than a constant. Of course, this is a personal choice, but a little vibrato can be nice and shouldn’t disrupt the line too much.

The real advantage to using vibrato is that it can mask the wolf-tone that can crop up on the F# on the G string (third note of the theme). It’s a real let-down for that beautiful theme to be corrupted by a stuttering wolf-tone.

Bowings

Beethoven’s slur markings, if taken at face value, can be very impractical. They can often stretch over entire phrases, leaving one to think he wants the entire passage slurred. Generally speaking, those long slurs are more phrase markings than actual specific slur markings.

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From the manuscript, we see that the first bar is slurred, and the next two bars are slurred. If we were to follow that exactly, you’d need to get way out to the tip for the second bar, if you’re starting down bow. Beethoven’s slur doesn’t work the best in that scenario, so many players break the slurs up.

An interesting alternative is to start up bow. Change to down bow on the second bar and keep Beethoven’s original slur intact all the way to the fourth bar. I find that it supports the phrasing quite nicely.

Of course, there are numerous solutions and possibilities, and it’s inevitable that you’ll change your mind, as I have, many times. Whatever your decide, it should support the phrasing.

Phrasing

For something so simple, this opening theme can be very frustrating; a fair amount details to keep track of in just five measures. Like the fingerings and bowings, there are a variety of ways to shape this passage.

The general shape of the phrase shows the notes moving up, gradually working their way down, a little coda, before finally setting on the low, pedal E. My advice is to get out of the way of the notes—go with the shape. We can very easily over-phrase it making it incomprehensible. Beethoven has done most of the work for you; allow the notes to go where they want to. Use your bow speed and variances in arm weight to define the shape as you want it.

It is very possible to obsess over these five bars and turn it into something that it’s not, when, in reality, it’s a simple, catchy tune. While keeping track of the details, don’t forget to step back and see the bigger picture, and enjoy this gift that Beethoven has given us cellists.

 

Footnotes

1 Ludwig van Beethoven Werke, Serie 13: Fur Pianoforte und Violoncell, Nr. 107, (Leipzig: Breitkopf und Hartel, n.d. [1863], 65-94. Public doman.

Ludwig van Beethoven, Sonata for Violoncello and Piano in A Major, Op. 69, scan of manuscript facsimile, Beethoven-Haus, Bonn.


 

IMG_4394Cellist, Brian Hodges is an active soloist, chamber musician, and teacher. With his wife, Betsi Hodges, he has given recitals across the US, Canada and Italy. Brian is Associate Professor of Cello and Coordinator of Chamber Music at Boise State University and is principal of the Boise Baroque Orchestra. He performa regularly with Classical Revolution: Boise, which has been featured at the Idaho Shakespeare Festival and on Radio Boise. Originally from San Antonio, Texas, he soloed with the San Antonio Symphony as a winner of the Young Artists Competition. He went on to study at the Eastman School of music earning his Bachelor of Music degree in cello performance and stayed on to complete his Master of Music degree in cello performance where he was the teaching assistant to Marcy Rosen. He recieved his Doctoral Musical Arts in cello performance from the University of North Carolina at Greensboro where he was a member of the graduate piano trio in residence. He has been on the faculties at the Townsend School of Music at Mercer University in Georgia, as well as Spring Arbor College and Albion University and has served as co-director of the Jackson Symphony String Academy in Jackson, MI. During the summers, he has been on faculty at the Green Valley Chamber Music Festival in Las Vegas, the Summer Music Institute in San Antonio, TX, and the String Camp of Rochester.

Petition to Change British Airway’s Instrument Baggage Policy

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Reprinted from The Violin Channel on 6-11-2016

A change.org petition has been launched today calling for British Airways to change their instrument baggage policy – following a June 4th incident at Amsterdam’s Schiphol Airport where Dunedin Consort Concertmaster, Cecilia Bernardini was refused entry inflight with her 18th Century violin and case.

‘This is unacceptable behavior by the BA staff,” the petition reads, “ … while of course we musicians understand the many stresses associated with working at an airport desk, we believe that BA needs to understand that the instruments we carry around are not just the tools of our trade but also priceless works of art.’

“I call on BA to institute a policy to clearly allow musical instruments to be carried on as hand luggage – otherwise musicians will be forced to go to other carriers which allow us to carry our instruments,” petition founder, London-based violinist Paula Muldoon has said.

Currently almost 1200 signatures have been collected.

The Violin Channel’s October 2nd, 2014 coverage of Air Canada’s inconsistent viola policy received over 4000 social media shares, 200,000 page views and 33,000 Facebook likes –leading to the airline promptly readdressing their stance.

The Violin Channel’s February 3rd, 2016 coverage of Norwegian Air’s instrument cabin policy received over 5000 social media shares, 360,000 page views and 40,000 Facebook likes – leading to the airline also promptly readdressing their stance.

Some Hassles of International Cello Travel

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By Zachary Mowitz:

Curtis Institute cello student Zachary Mowitz tells the story of his recent travel to Europe, and the stress and aggravation caused by inconsistent cello policies between airlines, and untrained and uninformed airline personnel.

As a student cellist I’ve had several occasions to travel by plane with my cello, both domestically and internationally. This is the first journey where I’ve had any difficulty at all– every time I’ve traveled before, I’ve always been let on (I even traveled to Europe with Lufthansa a couple years ago, and they were one of the most helpful back then), with at most a look of incredulity at my bringing a big guitar on board.

In fact, everything looked all right, at first, for this flight. Lufthansa let me check in (at Philly for a flight to Valencia, Spain, with a layover in Frankfurt) without any real difficulty. It wasn’t until we reached our gate that the same woman who had checked us in met us to inform me that I could not be let on board because the cello ticket was not “associated”; correctly and consequently was not registered as having been paid for. After about two hours of calling everybody we could think of– all of which amounted to our travel agents saying the tickets were definitely paid for and booked correctly while the gate agent kept insisting it wasn’t associated correctly, without explaining what that meant– the gates were shut and our tour manager and I were left to find a new flight (the rest of our group continued without us).

We were lucky enough to find a flight through United just a couple hours later, with a connection in London through British Airways. Their employees were among the most helpful I’ve ever encountered. In London, however, the ticket again wasn’t showing up correctly, but after about 20 minutes, they fixed the booking and explained that every airline has a different policy for these things. We ended up arriving in Barcelona, driving down Spain’s stunning Mediterranean for four hours to arrive in Valencia about 23 hours after we first showed up at the Philly airport. When we flew out about a week later from Valencia to Berlin with Swiss Air, we ran into yet another issue, which was that my cello’s ticket was not showing up at all. The clerk said that it must have been cancelled because we didn’t get on our initial flight in the itinerary for the tour (although my personal ticket and the tour manager’s ticket were just fine). We rebooked all three tickets (mine, my cello, and the tour manager’s) and ran into the same problem, which they couldn’t explain, so we just proceeded to the gate hoping that there would be an extra seat and the flight attendants would be accommodating. Everything turned out fine and we learned during our layover in Zurich that the additional seat did not show up because Swiss Air’s policy was to book one ticket and then have an extra seat with no name. The clerk there knew this instantly, whereas nobody ever figured this out in Valencia.

What I took away from all this is that, as they said in London, it’s different for every airline– but not just every airline, every airport. The policy is there and seems pretty clear for every airline, but not all clerks at every airport are trained well enough to find it. Valencia is a relatively small airport, so they probably don’t run into as many cellists as Zurich or London. Philly is not small, but as one of the Lufthansa employees very earnestly told us as we were figuring out our new ticket with United, their airline has relatively few flights out of Philly and this likely contributed to the problem.


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Born and raised in Princeton, NJ, Cellist Zachary Mowitz currently studies at the Curtis Institute with Carter Brey and Peter Wiley.  Previously he worked with Lynne Beiler, Efe Baltacigil, Dane Johansen and Priscilla Lee. Zachary has performed as a soloist with several orchestras in New Jersey and Pennsylvania and has attended summer programs at Kneisel Hall in Blue Hill and Taos School of Music, where he co-founded the St. Bernard Trio.  He served as Principal Cello of the Curtis Symphony Orchestra and was featured in Curtis on Tour in Spain and Germany during the Spring of 2016. Zachary plays on a cello generously loaned to him by the Carlsen Cello Foundation.


LIFE IS A LOT LIKE JAZZ. IT'S BEST WHEN YOU IMPROVISE. GEORGE GERSHWIN