In the February issue of The Strad, I reflect on the plight of cello soloists whose agents try to make them play the same three concertos, year in, year out, regardless of creative atrophy.
There’s the Dvorak, the Schumann, the Elgar and if you’re
lucky, from time to time, the first Shostakovich or the sticky-sweet
Of course, there’s also chamber music – but that’s not a
living. A patient agent will sit down with our Curtis or Academy award winner
and explain the facts of life. A concerto is a thirty-k date, fifty if you play
the yo-yo (did I overhear that right? maybe she said, play like Yo Yo).
Doing the Judas Mac variations or the Kodaly sonata at the Weill or the Wigmore
is three-k if you’re lucky, and don’t expect a limo.
So what’s to be done? Three or four young cellists I know are trying to break the mould, but what can be done to support them? All ideas and suggestions gratefully received.