Pablo Ferrández “TALKING CELLO” with Johannes Moser, EP/5, (SUBS en Español)
Hello, everyone today, I. Have, the pleasure of, bringing someone to all of you that is absolutely, no introduction. He's. Johannes, moses johannes thank you so much for being with us wonderful, to be here hi. How. Do you feel the same how do you work understand, that had come from any, particular part of your body how do you look physically. For it yes. What years, well. What really changed for me is when I understood. That the motion, of the arm begins, in the lower back and. What. You know I used, to especially, when I was nervous let me turn around like I used, to push the they, make this really stiff and, just sit really straight you, know like like a good boy playing cello and I, understood when when I, when. I when I would relax that and really use my whole back in my whole body to him. To. To, go. Into, the sound. That. That also with would help my my nerves a lot yeah. So, that that whenever I got tight and I like let's say I got, the world's greatest natural. Staccato. Yeah. That. That, resulted. From from, just my back tensing, up so whenever I. Mean. It's it's connected with breathing, also yeah. This. Kind of thing rather than. Which. Of course is is much more much more stiff and so. Yeah. That's that idea that you that you start with a breath you. Initiate. The motion here and then. It, goes like this is. Sometimes. You tell me oh you move so much why why do you do that why do you have to show off like this actually. Also. When when, I throw the ball like that it. Is if I would stop the ball I would actually hurt my rotator, cuff so, it is it is an initiated, motion, and I. Feel I just need to let it go yeah. Otherwise it's. It's like a race, car that is going a hundred eighty and then just coming to a stop quickly. Yeah. But. Yeah really my my my idea of sound changed with with with. Lower back and the. Idea that, with. Also, going, going, to the right side because everything. Is on our left side yeah the cellos and left side a, string the left side we earn our rent basically, on the left side, and. The. Right side and you know it was a little embarrassing story but the, way I I discovered, it was I went to a physiotherapist, and.
To. A physiotherapist. Okay, and. She. I was, laying on the under thing on the stretcher and she said ah so, you sit on the left side and I was like okay I guess it shows and. So. Then when. I when I was coming back to chill I was like she is absolutely right I'm I am on the, left all the time so, what happens on the right side ah actually, my, shoulder falls down my elbow falls down all. This motion is. Coming down in a natural way so I can hang on the ball and so. It's. Just very. And. It's it's without any energy. Expended, that's the nice thing like. I'm I don't have to put any, crafts. Or any power but, I can actually just hang and and so that's that's, at least how I feel like and I can go forever my. Father is a cellist and he. Thinks, like you. It. Doesn't mean that I'm right it, just means that that this that is of, course your father's right but it doesn't mean that I'm right, but. It it means that, just. From a physiological point. Of view when, you when you, calculate. Back, the muscles where. They were they connect. It. It. Goes back to here and that's, why I find, it also really, important, for some production that you are in control with your legs sometimes. I see people like like maybe they cross their feet or something like that and, I'm like well. With. The tension that you put in your legs that will definitely translate. All the way up here into, the arm I mean it's like the oceans everything, is connected. And and so I. When. It comes to sound as since, you asked the question I think, of it with a whole body approach. Rather. Than. You. Know some of some of the YouTube videos, that I see now is like well you need to stretch this finger and take, the centimeter I admire. All of that I mean if somebody spent, the time to to. Come up with that theory this is it's amazing I just, think we need to think in. In. Bigger connections. When it comes to the muscles. It's. Also it's also healthier, by the way like I think if you always have to hold your back and at some point the muscles I don't think any can sustain it I would like to know, like.
When, Was your last concert, actually when when did you what. Was your last performance. It. Was before. That I already. Got some concerts, cancelled in Italy Wow, and, they were and so, they were saying like. Serious. I didn't, want to believe it still I, got. To. Play two more concerts, and the last one I played was in London, I played, the triple with with. That. Was supposed to be a whole floor right I mean that was also supposed, to go to Asia and. No. No. Okay. Okay well, we've, had 10 concerts in, a row and. We. Canceled them I mean the next thing we were going somewhere else and they come self before. And. Immediately after every, country, just started, to close down so we were lucky to it. I. Was, actually in Germany so so my my. Last performance was in Kiel right in the north and and I'm from the south so I'm free I'm free Munich so. I played in alpha Lamoni the, day before and they closed it and then the next day I was in Kiel and then afterwards, they closed it and. Three. Days before I had a, world, premiere in Vienna and afterwards. They closed it so I was like guys, it's dangerous when I come to your place because they're gonna close. The. Day after patient. See exactly. I'm bringing really not the best luck to you guys. But. It yeah it felt, like it's tsunami wife that is following you yeah and and. It's. It's. Exactly, as you said nobody. Could really believe it at first but then reality set. In set. In quite quite. Quickly how, are you dealing with no. Concerts, all of a sudden Ines the break was so. So. Strong well. I personally, I. Had. Such, just, like you I I had such an intense tour that that for me I felt like it was a bit of a breathing time and of, course it wasn't like I I. Was, stopped working. Completely. Because I also teach in in, Cologne so. That. First. Of all I'm, very grateful because that means that I can put food on the table and I don't have to have, to worry about that but, I see you know I see enough freelance colleagues, that really now have, to think well what what are we doing, I mean you know also people that work in the in the freelance scene. In. Orchestras like in in the London scene and they you know it's incredibly, exciting and you do you. Know three services, a day but, suddenly it's it's it it's, not there anymore and you have to pay rent in London or New York or one of these places I mean this this. Is quite, serious stuff so, what. Are what are you working on then at the moment I are you because I saw a video of you doing Shostakovich, - so, are, you learning that new now or is that that's completely, new for me yeah since since. As you know there is nothing to. Prepare for so I just, decided to read, new pieces I never played so stock of it - and, I never played, a loot of Laskey so, I am reading I'm reading both of them and it's I'm, having a great time because the first three weeks of, this, quarantine, I didn't. Know what was my practice, a little bit Dennehy, so why do I practice you, know I was a bit unmotivated, and. I found, motivation through, so. Through use really new things it's quite challenging though, there's. Laskey I am. I'm. Still really in the very very early stage, I'm just figuring out trying. To make sense of all in the beginning it sounded all completely, random, and now I'm trying to see I'm starting to see like the structure and how it works. It's. Funny how that changes, you've. Played it the lutefisk you write you played it in what. Was in San Francisco, last time or, yeah.
That Was that was one of the last times I I. Played. Little softly a lot in 2013, because that was his centenary, so, everybody. Either programmed, the cello concerto or the concerto for Orchestra or, sometimes chain I also heard the ends of emotive play play chained in Berlin. But. That was really the time when I think 20, or 25, orchestras, they wanted, to have that and I, mean for a piece like that which is not necessarily, with. The audience is rushing, to hear it's. Like yes, finally. But. It's. It's so interesting because with these kind of pieces and you will find that out as. Well when you when you play this particular piece this. Is the strongest piece on any program I find because it's it's just so the. The the. Sense. How the soloist, is battling, with the orchestra and how this is a real, physical. Fight, is. Amazing, and and I I mean it's such a such. An incredible, journey, I find but of course I mean after, a while you you end up with banana fingers no because of all the shorter tones. But. He because, he writes everything over the string right. Then. It sounds like it's a lot of notes but actually it's it's done very well right, I mean it written really fantastically, that's. Where I could tell yeah yeah. Absolutely. How far are you I are you already into the into, the second. Part or you, I. Already read the, beginning. The concerns, for Attila and, I started, with him the. Second part of the pitches. Appear. Yeah. But I'm taking it really slowly I want to have yeah. I read, things or now at least and when. I feel a bit comfortable with certain. Material, then I move on yeah. Do. You have any tips for me for little clasky anything, that comes to mind I personally. Because. I for, me was hard in the beginning to, really. Get into the. Quarter tones and to get that intonation as something that that. I don't have to think about anymore like, not dividing, half steps but but really making, it as something, that. You. Know how how, intonation. Is intuitive, now, and I, try to to work on on this to become intuitive and I went, a really. Stupid. Square. Way by using a tuner and. I was just like you. Know normal. Notes have. Not normal. Not have not and. Just really, slowly. Doing. That and just having a really objective. Measurement. Because when, I, when. You're down here, it's. No problem but when you get up here it gets so tight that usually, the fourth finger. Turns. Into a half-step again rather than a quarter tone that. And that is also, because of the temple when, you have. At. The end of cadenza, when when he um yeah. Almost comes comes to, so. Yeah. I thought. Well. At least I that's what I that's what I heard a lot and it's also what I saw on the tuner that my fourth finger was always in danger, of. Jumping, too high, yeah but just just, because it was jumping back into the normal, intonation, shall we say. But. I think it. Is probably one. Of my if not the favorite, cello concerto I have, to say amazing. Yeah. Just. From, from. The. Journey that that, one can take from, this very, innocent. Beginning. In the in the cadenza like like almost cocky, like you. Know and then then, you go through the different. Iterations. Of, the of the, of. The different very well it's not variation about the different episodes and. It, becomes, darker, and darker and then when the fight happens. It's. I don't know I feel like the. The physical pleasure of going through that through. That storyline is it's, just so strong but. As I don't know how you find but I know you've been playing a lot of a, lot of donkey.
Shot As as. Cellists. We are we, are so blessed to have, pieces. That offer a journey know. Like. The journey of donkey shot when when finally, when you arrive to him I mean. It's it's. The most incredible thing no yes or when. You. It's. Unbelievable. Now, and. Or. When you return to, at. The end I mean the journey that you've taken, is. Is remarkable. Now and and the journey you take through through dvorák when. When the composite, decided. To write a child, masterpiece, somehow there, is a there is an emotional journey attached to it that I find really, really. That we're so lucky to have that. Yeah. It's so, rewarding now when you when, you get to the. End. Of dois shock when, you come down and you're like this. Is how. Does, this compare to anything else, what. Am i working on right now I am. Well, actually I'm I'm polishing a donkey shot again at the moment oh because, I I, have to do. A recording, next year of it. Not. Have to but have the pleasure of doing it and. Then, yeah, I mean nowadays, it's, like you. Know you don't, say anymore I I have, to go back on toward but it's like when, can I go back on. You. Really realize, how lucky. We are in what, we do no I mean it's it's, so so. Great I am thinking a lot about that lazy, him. You. Know sometimes, you get a bit. Carried. Away with like where, you are and you try to feel and, you, start to feel calm how. Can I say this like. You deserve. What's. Happening, to you oh I have a constant and it becomes normal, oh I have a concert, today, I wanna play me. You know and now I'm like while you're so stupid and next on your own states I mean for now on after all this happens every. Single time that I got onstage I'm, gonna feel. Completely. Blessed and thankful. Which I already was. But I had these moments where, I was like I don't want to play today, I. Don't like you like, this, absolutely, absolutely. I have to I. Have. To confess, for. Me. It. Was also in, the beginning mixed, with when I was really nervous that, maybe, I also said, I, don't. Want to play just. To overplay. My nerves because. The truth was, I'm. So, afraid like I don't want to do it but but I I. Mean I I, worked. With with. A mental coach, for. About. About, 10 years ago I worked, with her for two years because, I I. Worked. Towards my debut, of with Berlin Phil and, when. I got the call I was like yeah and then I hung up and was like, because. I I. Don't. Belong there like like my, heroes, belong on that stage I don't, belong there and and, but, now I have the engagement so so what do I do and so. I, was I I reached, out for help, with a with, a lady that works with Olympic. Sports. People and with tennis players and, that. Was incredible, and and I think it was after I did that work that, I really started to appreciate. The concert, in a way that it's that, it's a privilege and a gift. Really. To. Be in that center, of energy, exchange, which it really is I mean you you give energy out and as you know and it comes back in, such an incredible way well. Was she talking about the mental course is so interesting, to me well. Basically. What, we did is that I was going in a. State. Of meditation, or just lowering, the energy a little bit and we. Were we would play through, the.
Day Of the concert but, not just going onstage but really, I hear. The alarm so I wake, up from my nap so, I take the taxi, I go from. The hotel to the stage-door I go, upstairs I go to my room and, all, these things just really step by step and doing, that maybe 50. Times and then when. I was standing. In front of the door and. And, Zubin, meet up with whom you've also played he was. Excellent and so he looks at me like are you okay and I was I was checking in with me I was like yes, because I've done this in, my mind for so many times and now, I'm ready to ready. To do this and, and. So this this, really helped me. Enjoy. So, much more I mean, it's it's not that I told. My trainer I was, like I don't necessarily, just. Want to be able to do it because I think I think, I can but, I want to go, out of this we can't really say I did. This also for myself and I, also also, enjoyed, this because. So much of these high-profile. Dates when. When. We just barely. Make, it kind of thing because the the, pump is going like hundreds, 180, beats per second and all that I, feel. Like what, is in it at the end of the day for us like what do we take home rather. Than just being. Able to write in the in the bio I, played. Such and such concert right so, I, think. If. If. You don't find a point in your career, where. You can really say this. Is the point of my career that I enjoy because you know how it is you go to the airport and some. Man. Or lady yells, at you like put your guitar down and you know. It's. Just really not fun yeah and and then, you get into the hotel and this is the windows to the street and and all that and again. I'm complaining when I shouldn't but, if there is not a point in this whole. In. This whole cycle, where it's like it's all worth for this moment, yeah. Then, then, I don't understand it I have friends I'm sure, you have them too they hate to travel they are super nervous when they get onstage they, cannot, eat the food when they're on the road and they. Miss, their cat so, what, are you doing. Get. A desk job you know like get a nine-to-five if.
You Be much happier and, so, to. Really, make sure to have this one point where it's like it's. Good I'm I, don't know do you have that point I mean to your own state you know like this is the moment. You. Said it brilliantly. It reminds, me, whenever. I had, what. I consider, is a big date. For me I, often. Didn't enjoy as you say I was so in my head. You. Know people in the audience maybe. They don't notice maybe the thing is good or bad or you, know they don't notice the time I feel weird but in my head I am as, you say I'm not enjoying and super, self-conscious, and, I. Often, thought like you like you say then why. Am. I doing this if it's not for this moment, this is like the reward. Of so many years of, work that's. Something. Really to think about I've always done it the night, before of an important concert I'm, say. Seen, myself on stage playing, you. Know playing I'm feeling good, but. Maybe I will do it more actively I think well you see you're already far, far, more advanced. And then I was at that stage because I didn't even do that like maybe I was reading through the music but to really imagine myself in that place I I didn't. Even do that and, you. Know I I wish I had done that work earlier just, because, it. Would have made the journey I, don't, know if it would have made it better but it would have made it more enjoyable it's, so it's so funny to hear because. Here you say this about nurse because, whenever I heard. You and see you play and. You always look so secure. And so confident, I'm so relaxed, and enjoying the moment so it's funny to see, how. Others goes through the same as you and I think it's important to talk about it -, yes, because I think for for decades and, maybe even for centuries it was. It. Was a subject, that was. Not. To be touched because. It meant that it was a weakness. Right. But I actually, believe the. Contrary is the case I think when you when you are able to verbalize it and able. To to share it and now. That I that I have students, I mean I get confronted with that a lot because you, know that, some. Of them, may. May, at this point not play with a New York Philharmonic but they they, play in the class and abent of the colano schule and they. Are just as nervous and I completely, understand, because, because that is that, is where they are and and that is where they want to do their very best I think. This. This is important. Not from, the beginning not to say I you don't, have to be nervous or try to overcome your nervous no don't overcome the nerves like confront, them it confront, the the devil, I can't confront the the the the demons that you have and, and, then maybe you can you, can I don't, necessarily think you can defeat your nerves I think you can learn to live with them and. I. Think that's that's a really important, distinction, because so, often, people. Get nervous because they feel shitty, on stage, and. I. Just, tell my students get. Used to the fact that you will feel bad, on stage that. And that's okay and if you feel great wonderful, nobody's gonna argue with that that's perfectly. Fine feel wonderful, if you want to but, if you feel bad, don't. Let. That be the. Exception. But actually accepted, as the rule I was, going to ask you if you listen to a, lot of music you look like or it seems that you listen to a lot of music do you do you like to do that I know some, some.
People Are like no I pay. They I don't, I don't listen to music me myself I, always, listened, so much to so, many different. Generals. Not. Only of course cello, piano voice a not. Only classical jazz blues, hip-hop. What, about I think I learned so, much from that, oh absolutely. And and I I'm I'm absolutely there with you as. Many, genres as. Many. As. Many things as possible I, do. Have to make a conscious effort to to, sit down and listen I I find it hard to have music in the background but yeah. I have so many DVDs of jazz, greats I mean anything ranging from. Miles. Davis from from his recordings. In the 50s up until like when he was doing the fusion in the 80s and 90s and, and you. Know really. He. Was always he, was always pushing, ahead, and, he was always one step ahead of of everybody's, taste and I think that is, that. Is something that we can really learn from I find, I feel. Like people. Are not listening, as. Much music as before. Is that something, you notice with your students maybe yeah. I I. Noticed, that that, there is not, a lot of hunger, to listen to all. So maybe, let's say the alter masters like to to, listen to John tour to listen to Piatigorsky or, to listen, to. -. You. Know I mean people that that I that. That. Just need to be in your everyday vocabulary I, mean, you can agree or disagree with them but but at least you, need to you need to know and absorb. I. Do. Also find that there's less reading just. Because of because, of this. So. And, and even, even for myself I I have to really make a conscious effort to say okay no social. Media today but today just a book the problem that comes with with. A social medium with with a cellphone culture. And also you know when you order something at Amazon if you like this you, will like this and you. Are not confronted. With the things that you. You don't know this and I'm gonna show you and and. I think that is where inspiration comes from right it comes from the unknown, paired. With the known, and then something third, can come from it and if. You just. Live. Between if you like this and you like this and you try to pair this they, are already of the same gender shall, we say and and, and you. Know it's, very hard to to, have something come out of it like. This. Oh. Absolutely, I. Was, feeling like this two. Days ago I. Went, out for a walk I was listening to. Beethoven. Piano. Concerto, number, four I, did. It because since. I'm not traveling I'm didn't. Listen to music for like two weeks and. I was like as. Soon as he put it I were like wow this feels so good and I started to feel like my my. Brain was a little bit like. Out. Of shape sorry. Like okay from now on I'm. Reading more I'm listening to more music and, spin. But. When you when you when, you listen, to music do, you usually listen when you when you are in the airport or when you when you travel or. Music. When. I was studying I was listening, to music non-stop, I was, always with my headphones. Who. Was like, studying who was your biggest inspiration so, when I was studying I studied with. Scalia. And. She was a student of the board so when I was a teenager that service, was my god absolute. Good because. You know. She. Adored him so. The Russian influence was was, massive. So. He was huge for me. Did. You ever meet her. She. Was on my jury twice, once, in in in. Moscow and then also at. Davidoff, competition, okay, so. But but never, we, never had an interaction and and but I I admire, her for all. The incredible jealous that she's she's. Produced now she was an incredible, musician. She, taught me well. So many things but what's. Really stayed, with me the, most was, how she, liked, this how. To say this energy, between the notes like, how music you know this connection between the notes to. Make a phrase these things it was every. Day focusing. On that I think I was her almost every, single time I I practice, both my teachers feminine and. Some scallion, your. Study I was, with getting us with, with for, eight years. Yes. Exactly is the same same, sort of route. Yeah. So what, you say about. What. Sort of the in between the, notes yeah that's that, sounds very familiar, yeah and and, other than that I mean like. Like other influences, might be a. Inspiration. After that it. Was, more target mm-hm, so. From I was. 20, years old I. Got. Completely obsessed. With her playing so, I used, to listen every. Single study every time I found a new CD of her I was like oh this. Is some anything I would, listen it to. The point that tipsy, would have phrase and I would like to I can appoggiatura that serious and then I would repeat it like, 50, times. Like. This and then say relax here and, I would try to you know learn. How she danced it on cause he makes this phrasing, and I would try to make it myself and, it's you know I would, be a complete.
Nerd And freak. About how. She made music that's fantastic and. Did. You, meet her I I. Did, I, played. With her a once. And that. Was the time that I was so, nervous I think. I play, like actual, crap. And. I think I think there is not I think. That was objectively, but. But. She was super nice. Lately. See. What like, it's. It's incredible but I was just freaking out it for me her she was she was I mean this is so. Huge, and I was, like Oh completely. In. Who. Are. Your idols. Let's, say like this well. Exactly. As you say growing up rostropovich was was, God, I mean, cello. God in personification, and then I. Met. Him once after a concert in Hamburg. When, I was 18, and there's actually a picture which is very cute maybe I'll find it I'll send it to you so there is. The publisher and is getting us in there is me and. Clearly. I'm like you. Know. Completely. Out of my mind. And. I. Just. Didn't know what to say you, know because. Because suddenly you meet. You. Meet the person that that you that you tried to identify with in such a. On. Such a deep level and, and suddenly you realize he's. A human being and he he probably eats, three, times a day and and he has to also sleep eight hours and, you're like God how, is that possible. You know. So. The moments. Like that completely. Yeah. Blew my mind and and and it's, it's good to turn into a fanboy every once in a while you, know just to put things into perspective again, I I. Think after after. Ross Perot which I. I. Decided. That I. Would look for my inspiration elsewhere so so I mean I come from a family of singers so opera. Was always very present in my life and. Song and so. For. The cello of I mean III, preach, to the choir it's, the best inspiration that we can get, and. I. Listen to a lot of, opera. A lot of. Romantic. Over like like like Strauss and. Wagner. Of course but not, as much as for example in ski and. Operas, where. That. Were still tonal but but they're pushing the limit. And also pushing, the limit of expression, I find, they're like, really as, the. Name, implies expressionistic, music, yeah and, I.
Gained. A lot from that I think just. Just off of. Of. Inspiration. Also just, really. Like like listening to two to, thirty seconds, and then trying to recreate, on, the, instruments, I just. It's. Amazing. Celia, Martelly I used to do it a lot. With. So many so many singers I just to put that because, I like how did you find this color how, do you find this this. Expression, so intense, and so pianissimo, so I would put the CD, and then try to play of course it. Sounds. Like, a piece of. But. It's. An education, for the ear no since. When do you teaching in Cologne and there since 2012. Actually. It's it's it's hammer sense position. Yeah. And. I felt of, course like total. Total. Intruder because I mean he is he's the greatest master. I think you know with, all the great people that come from his class and and suddenly. I come and I'm like well playing, tune you, know that's all I gotta say. And. Of. Course, in Germany you have to stop at 65 so and now he's in Cohen back so so all the great people they go there. But. That. Was at, first a little bit of a scary. Moment because cologne has a, great tradition of off of. Cello playing all together I mean fireman was there at some point and. So. He Palin, was there and of course then. Hammerson. And. So many great. People came out of that school and, that's. Where, I did feel some pressure I have to say. Because. Of, course I know what what I would like to do but to really put that into words and to share that is teaching something that that you that you enjoy I mean I'm sure you get asked for master classes when if you go to. Two officers now use the eventual master glass here and there but, I never had. The. Opportunity of, having a student. You. Know see the development, and see how you can actually, make them improve because in a master class there's. Not so much you can do. You can try to pitch, an, idea or, something. They. Take it or not, or maybe, sometimes they. Might in not even understand, or you might not be, able to to. Make the, student. Understand. So. Know maybe, in the future I will I will like, to have a class I'm I'm not sure yet it's. It's, so. Much responsibility. I find. Whenever. If if. One day I want to do it I will make sure that I. Have. Enough time, for. For. Myself because. I would like to. If. I teach I would like to have the. Students have the same. Experience. As I had with stock, of Scalia or with, helmers and you know that they they they really, to feel like they worry about you and that, they are you know put in there, when.
I Was studying with with, Sonya it felt like, my. Life was only. Her. Class and her life, also see was like completely. Focused and she was even, when she was no teaching me she was thinking how can I make power improve and whenever. She came and didn't playing well she was so upset and I was even, more upset to make her upset, and. Wasting her time, that. Was a bit extreme. But I would like to my. Event, to let my students have the the impression that that I'm. Full time with them not. Aside. You. What. I saw your your class on shifting. And I mean you have you have a lot of knowledge just on that. Side really, know, it's really great it's it's it's great for me to see that someone who plays as well as you do. Really. Backs it up with serious. Knowledge. And also serious work, that. That, I find, there. From my point of view very satisfying, because of course you know and, you, will you will experience that tune you're. Turning 30. At some point yeah or. Oh. Happy. Birthday having Earth days so, you you always you always will, have the the. Fact that there are younger. Younger. Guys coming along and and you know they they play now. The elephant times not with eleven but with seven or something like that you know like okay fine so the level has gone up like this again in that in ten years. But. I, at. Least I decided, for myself like if I feel like like someone really backs. It up with, with. Knowing what they're doing and actually contributing. To. To. What cello to. The channel development and also to the musical development altogether and and to reaching out to to to. Audiences. And all that then. Who. Am I to argue that, that is not a wonderful, thing, right. But, I I just sometimes. Get get upset when when, you, know people start having. A career and you're like well what what are you what are you actually contributing. To. To. What we are all what. We are all fighting for yeah. Because, in the end I mean. Let's. Say music. Is is. The, size of his room and then classical music is is that big yeah, and cello has that little corner of my fingernail, yeah. And, like. It's it's such a such. Small. Universe, yet of course for us it's the world that. I feel like if and, there. Are only so many spots in a season where you can put a cello yeah because of course violin and piano and take takes so much more then, I really want to have a thing like if if someone, takes that place that that, they, are contributing. Also, for, the. The, development, of the art form yeah. Because. I mean you, know for example this, channel belong to us cling at some point and and. I and he, I mean he was a pain in the ass but he, really. Contributed, to. The. The universe, the, universe of, cello through his writing, and through, the amazing students, that he had I mean, everybody from from Piatigorsky to Eisenberg to to all these amazing. People. That really then, brought. The playing a level further and further and I. Like. To watch that like, I I like to see. Certain. Things were not possible, 25, years ago and now they are possible, but in a good way yeah. The. Other day I listened to I. Listened. To you know stock I played Dvorak. With. A Japanese, orchestra I think and. You're. Like okay that is very, good, extremely, good but. People. At the very young age can do that now so. Now, that bar, has sort of been been. Taken to a younger age now they can develop, that and and push, the bar even further and I. Think like violin, made that. Violin. Made that development, many. Decades before us and I feel like we are in the middle of of. The. Of the rising, of the level don't you five. Ten. Seconds hundred, meters. Exactly. My neighbor's cat is running nine point five so what are you doing here. Recording. Doing, recordings, contributed, to to, race in the level I. Thought. Like, suddenly. You start to hear that. Something. Sounds perfect, and then. That, becomes your standard, and then, you try to make.
It Sound like how it sounds in, your favorite, recording and then, you, records and to, bring it here and then so Valley Center. Because. Back then the. Record is they were not. I. Think. I think that's a really good point, I mean. Horowitz. Said I think it was Horowitz that said. My recordings, are my biggest competition so. Of course you know after people hit the recording and they were like well how does it sound live and of course I mean you know it's, you, do it in one take but, I think, we. Are also coming now to the crossroads, where. The. Classical, recording, is. I'm. Not saying it's coming to an end but I'm just I'm just saying that it becomes harder. And harder to finance. It just. Because the the the money. That needs to be invested, does, not necessarily, come out in in sales but. I mean people especially, now in this time in Kiruna times are being, so creative with their output and how, to. Bring a. Recorded. Piece. Of music to to people, I don't, think this is the end of anything I just think we need to be a little, bit more creative than rather than just putting music on a disc. But. I do believe that for, as you say for a long time, Recordings did, set. A standard. I. Think, it also has a negative effect that that standard, then sometimes. Became unquestioned. And. Unreachable. Absolutely. Absolutely. I still, think restore its. Rococo. Variations. That. Yeah. Yeah exactly. That. Clarity, and that that. Sort of overtones. In, the sound. Makes. Me cry man it's it's you, know what really makes me cry is there, is the donkey, shot finale. When what's the poverties is playing it oh my god yeah. That's. When. When, he passed away I that's, what I put on because I was like that that for me is like. For. Me is the legacy because, it's, of. Course it's the the incredible virtuosic. Thing but it's also that sound that has warmth, it's like Pavarotti is that, sound that that has warmth. But it also cuts through, like. Like, a chainsaw and, and. It, cuts through any orchestra sound and. You. But-but-but. The nobility. And the and, the finesse that that isn't, that recording. Especially I for. Me is like right. Up there now. Was, being a soloist always your your, trajectory. I mean was that always, what you wanted to do always. Recently. It. Felt like well to, have always, this fear now am I gonna make it am I gonna be. Sustainable. Even if you have you, know I started, to get concerts. Slowly. But you like is this gonna stop, soon or how. Can this work. Forever what's and. Seen. You, know many. Steps of course long, long. Work and. Since. 2015. I said. Things, started to really go. Like this for me. And. Jana I feel like I'm, living my, dream, completely, I feel, incredibly. Fortunate. Now. That we have this crisis and no one you're. Gonna play the concept, I feel even. More thankful. Even. Like if, everything. Stops here now I will. Be already satisfied like okay I, I. Picked, I looked, like. Like. These two to what this world is and yes. Okay. So that was all that we have for you today is so interesting, your highness thank you so much for in here I think people are going to love this episode. We. Have to do one more we. Have to do part two of these because this was for. Me incredible. Yeah. For. Everyone who is watching please. Check. Your Hannah's master, classes in get you there so interesting, you're gonna learn so much also from him. And, see. You guys in the next one have to practice in stay.