The Swedish cellist shared his insights on playing and teaching in the May 2011 issue of The Strad
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This was first published in the May 2011 issue of The Strad
Rostropovich showed me how to unlock my potential. He said: ‘You imagine you’re a car with four gears, but in fact you have five!’
I advise all my students to identify the weakest aspect of their playing and to attack it with honesty.
When making a recording, block out the artificial environment of the studio and imagine you are giving a concert before an inspiring audience.
When choosing a cello, look for one that triggers a special kind of physical response in you when you play.
Nothing comes close to the cello’s incredible register!
It’s a humbling privilege to be able to express emotions, character and energy – through the genius of composers – in such a unique form of human communication.
This was first published in the May 2011 issue of The Strad
Watch: Cellist Frans Helmerson on bringing out the separate colour of each string
Read: ‘Strength of sound in a grumble of cellos’: Kronberg Festival 2022
Read: My Heroes: Mischa Maisky on Mstislav Rostropovich and Gregor Piatigorsky
Discover more Featured Stories like this in The Strad Playing Hub
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