Cello recital reflects new trend
Katie Rose McEneely
Issue date: 1/22/09 Section: Arts
Most recitals begin with program notes before performers start the music. But instead of picking up his cello, Music Lecturer David Peshlakai recapped dance music's influence on composers in the 1600s and put on a pair of dance shoes.
Then, with the aid of Assistant Professor of Dance Corinne Imberski, he demonstrated two period dances: the Menuet and the Courante.
"I've always been curious when performing these suites, what these would look like," Peshlakai told his audience. Thus began his first of three recitals.
Although he will play all six of Johann Sebastian Bach's "Suites for Unaccompanied Cello" in his concert series, last Sunday Peshlakai showcased "Suite No. 1 in G major," the simplest in the cycle, and "Suite No. 6 in D major," the most technically challenging.
He began with the first and last pieces of the cycle in hopes of giving the audience a better idea of how the suites contrast, he said.
Peshlakai enthralled the listeners in Conrad Recital Hall. His fingering and bowing looked effortless during the first piece and the second piece noticeably required more effort, longer extensions and more complex bowing.
Despite a slip-up during the demanding "Suite No. 6," the audience sat quietly and listened to the rich music. Once Peshlakai finished his final flourish and took a bow, they responded with thunderous applause.
The sixth suite is tough, he said, because it's written for the five-stringed violoncello piccolo, a 17th-century instrument. Modern cellos like Peshlakai's have four strings.
"There are chords that require a five-string," he said of the sixth suite. "I had to decide what to play and what not to play."
Peshakai also faced a physical obstacle: Saturday, he sprained his fingers while doing laundry.
"Everything was fine except for extensions, which there are a lot of. Not fun," he said, rubbing his hand.
Cellists often play one of Bach's cello suites, which each last 20 or 30 minutes, but rarely do they perform all six of them at once, Peshlakai said. Audiences tend to get impatient if music goes on much longer.
Then, with the aid of Assistant Professor of Dance Corinne Imberski, he demonstrated two period dances: the Menuet and the Courante.
"I've always been curious when performing these suites, what these would look like," Peshlakai told his audience. Thus began his first of three recitals.
Although he will play all six of Johann Sebastian Bach's "Suites for Unaccompanied Cello" in his concert series, last Sunday Peshlakai showcased "Suite No. 1 in G major," the simplest in the cycle, and "Suite No. 6 in D major," the most technically challenging.
He began with the first and last pieces of the cycle in hopes of giving the audience a better idea of how the suites contrast, he said.
Peshlakai enthralled the listeners in Conrad Recital Hall. His fingering and bowing looked effortless during the first piece and the second piece noticeably required more effort, longer extensions and more complex bowing.
Despite a slip-up during the demanding "Suite No. 6," the audience sat quietly and listened to the rich music. Once Peshlakai finished his final flourish and took a bow, they responded with thunderous applause.
The sixth suite is tough, he said, because it's written for the five-stringed violoncello piccolo, a 17th-century instrument. Modern cellos like Peshlakai's have four strings.
"There are chords that require a five-string," he said of the sixth suite. "I had to decide what to play and what not to play."
Peshakai also faced a physical obstacle: Saturday, he sprained his fingers while doing laundry.
"Everything was fine except for extensions, which there are a lot of. Not fun," he said, rubbing his hand.
Cellists often play one of Bach's cello suites, which each last 20 or 30 minutes, but rarely do they perform all six of them at once, Peshlakai said. Audiences tend to get impatient if music goes on much longer.
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