This prompted Deryn to bring out the Vivaldi concerto which didn't even occur to me to consider playing. I brought in the sheet music for Deryn and we played it through, even tackling fingering for the treble clef bits that I've been struggling with, with optimum results. I'm actively looking for cello duets to play with my sister and one of our favorite pieces to play is Shostakovich's Preludium from 5 pieces for 2 violins transposed for cello.
I hope they do this every year but all around the country, not just London.
Wish I was able to attend his shows at the Cello Unwrapped Festival! This cello focused year-long festival sounds insanely unmissable but sadly, all the way in London. This recent piece by David Watkin on the art of continuo playing echoes my thoughts about this. Deryn was in the school of always using a music stand, much like the quote above. When you play a sonata for cello and piano from memory, he said, you change the listener’s perception from ‘chamber music’ into ‘soloist plus accompaniment’." ~ David Watkin, The Art of Continuo.ĭeryn spoke about this briefly when we discussed the relationships of accompanying mucisians. " When playing cello sonatas, my teacher William Pleeth used to insist that you use a music stand, even if it was empty.
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