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William Pleeth Master Class Video Volume 8 DVD

William Pleeth Master Class Video Volume 8 DVD | WMP8DVD

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About This Item

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.

8. Dvorak: Concerto in B minor, op. 104. Allegro.
Veronica Freeman, vcl; Carole Presland, pno.

Dont restrict yourself, darling. Just be wonderfully rhythmic! Insistence upon absolute rhythm is something which Pleeth comes back to in this volume. Evident throughout is his feeling that respect for the form must be the first thing. He articulates his view that individuality will occur in any case, as each performer has their own temperament, and that to feel that one needs to interfere with the musical form in order to be individual is in a sense immoral or arrogant. They should start with a sense of obedience, before they then marry themselves with that individuality, he says in the closing interview.
Again, a favourite topic of discussion is the choice of fingerings for the left hand. In this volume, there is more detailed discussion behind various rationales informing these preferences. He encourages the student to find more vocally inspired fingerings not Sevcik! Also, the importance of selecting fingerings to reduce friction in the left hand, therefore making it easier to move around is broached. The issue of releasing all other fingers other than the one in use in vibrato is reiterated on various occasions in this volume; another subject which is an ongoing theme throughout the series.
He maintains that one must always be smelling out the physics to do this or that. He does also talk more generally about the vital importance of considering not only the physics of the instrument which he expresses as a system of springs (he bounces the bow on the strings to demonstrate part of this point) - but also of giving consideration to the elementary physics between the instrument and the player.
Pleeths overriding musical guidance for young musicians is articulated beautifully in the final interview. They have to reflect and let the composer guide them. Not the other way. In this simple statement, so many of the themes which have recurred throughout this snapshot window of his teaching are encompassed: the music as the leader; respect for form; receptivity of the performer; and an ability to be with the music, not to impose something else upon it.

William Pleeth Review: Rob Lewis - London
Volume 8 Dvorak Concerto in B minor

Lots of attention is paid to the opening of the Dvorak to make it as dramatic as possible. Pleeth emphasises how important it is for the rhythm to be played correctly and talks about a mistake that is actually printed in the present score, compared to earlier editions.
In relation to the ascending trills at the beginning of the Dvorak, he demonstrates how necessary it is to look at the longer phrase the trills create rather than each one as a single entity. Once the pupil plays the passage without trilling, it is clear what he means.
Every note should speak, regardless of what fingering or bowing is used. Through articulation within the phrases, the cellist begins to have more control of her sound and the music begins to speak for itself.

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