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William Pleeth Master Class Video Volume 3 DVD

William Pleeth Master Class Video Volume 3 DVD | WMP3DVD

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William Pleeth, teacher of the legendary Jaqueline du Pre' and many other internationally-recognized cellists, celebrated his eightieth birthday in 1996. To mark the event, a series of eight, one-hour films were made of his cello master classes at the Britten-Pears School for Advanced Musical Studies in Snape, England. The filmmakers captured William Pleeth in some of his finest work ever as a master teacher, in the best-known and loved repertoire for the cello: the Elgar Concerto, Beethoven, and Brahms Sonatas, the Hadyn D Major Concerto and the Tchaikovsky Rococo Variations.

William Pleeth Books & DVDs: Synopsis/reviews
Reviewer: Helen Neilson, London.

In 1996, Selma Gokcen produced a series of Books & DVDs recordings of William Pleeths masterclasses at the Britten-Pears School for Advanced Musical Studies. This unique series is an important addition to the historical cellistic literature, celebrating the life and work of this highly respected cellist and teacher who influenced the paths of numerous cellists around the globe. He is perhaps most famously known as the teacher of Jacqueline du Pr, but led a life where he helped generations of developing cellists. He also enjoyed an illustrious performing career based in the United Kingdom, following his Leipzig Gewandhaus debut aged fifteen.
3. Elgar: Cello Concerto in E minor, op. 85. Adagio moderato.
Kate Bennett, vcl; Frances Angell, pno.

William Pleeth emphasises the importance of observing every little detail of what is written in the score in his discussion with Kate Bennett of the first movement of the Elgar Concerto. He talks in particular about giving absolute value to the rhythms, and also demands acute observation of the articulation markings in the opening sections. In particular, he draws her attention to the tenuto lines over the third and fourth semiquavers in the ascending second passage, which he then mentions again in the interview at the end of this episode. His comment on giving the full love to the quaver in the rocking crotchet/quaver rhythm of the main theme is an endearing way of describing something to which often insufficient attention is given by developing performers.
One cannot help but wonder what he would have thought of the work of Rudolf Laban, whose development of movement in dance was founded so strongly upon the relationship of the gesture to the inner impulse. Laban took this to such lengths that he attributed qualities of space, weight, time and flow to various internal impulses in an attempt to broaden his dance students awareness of and connection with different inner sensations. In cello playing, this idea of the inner impulse as the leader of gesture can be directly attributed to the use of the bow arm. He relates this directly to the parallels with dance, after he comments, Gesture of the arm is the physical imprint of a feel.
Again, he comes to a point which in more recent times has been explored more thoroughly in academic papers, but from a place of practical experience and intuitive thought.. He talks about the use of the left hand by cellists in the higher positions, where we can so often constrained by the idea that we must train the hand to play in octaves. He quite rightly asks why it is that we cannot think more in the manner of pianists, who can stretch or contract the hand easily, and still retain confidence in reaching the notes aimed for. This, and further ramifications of comparing the use of the left hand of cellists with that of pianists has been discussed more recently in great depth by Tania Lisboa.2 His observations tend to draw upon witnessing and believing in human possibility in the first instance, as well as a desire to gain musical freedom in every possible way on the cello. He also strongly encourages more active use of the fourth finger on several occasions.
An interesting point which he addresses in particular in this volume is the idea of natural aural receptivity. The trouble is that the ear, from babyhood, has never been enticed or seduced into, literally, RECEIVING. He talks about the qualities of passive receptivity inherent in the nose, and our attitude in general towards our sense of smell. Why should the same not apply to the use of the ears, he asks? The main thing is that receiving is EVERYTHING. He encourages the cellists to be aware of developing their aural sense in relation to what they are doing on the cello in order to fully utilise this natural sense.

Wliliam Pleeth Review: Rob Lewis - London

Volume 3 Elgar Cello Concerto in E minor
Here Pleeth emphasises the importance of making the opening passages speak in the Elgar concerto. He talks about creating a dialogue within the first few lines, where rhythmic emphasis in the short phrases combines to paint an overall accurate picture or landscape within the music.
He focuses on being relaxed and present when playing the first subject so that the mood of the music is expressed in harmony with the artist playing it. This idea seems to bring a different quality to the music, as the sound created projects in a more natural way and ideas are expressed more clearly.
Singing the phrases in the context of a strong rhythmic framework is important. It helps to project the sound through drawing the string, which has an instant impact on the pupils sound.

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