Born in Madrid in 1991, in a family of musicians, Pablo Ferrández joined the prestigious Escuela Superior de Música Reina Sofía when he was 13 to study with Natalia Shakhovskaya. After that he completed his studies at the Kronberg Academy with Frans Helmerson and became scholar of the Anne-Sophie Mutter Foundation.
Prizewinner at the XV International Tchaikovsky Competition and SONY Classical exclusive artist, Pablo Ferrández announces himself as a musician of stature. A captivating performer, “Ferrández has a lot: technique, mettle, spirit, authority as a soloist, expressivity and charm” (El Pais).
Recent highlights include the debuts at the Hollywood Bowl with Los Angeles Philharmonic under G. Dudamel, with Bayersichen Rundfunk Symphony Orchestra under D. Gatti, with Bamberg Symphony under C. Eschenbach, performances of Brahms Double Concerto and Beethoven Triple Concerto with Anne-Sophie Mutter.
The debut album "Reflections" is out March 26, 2021 - Link below!
Ish! If i played or practiced like that, i would be exhausted. That is a lot of tension you are displaying. You maybe young now and can play like that but you will dearly pay for it in just a few years.
I’ve played both a Haide Goffriller and their Ruggeri model in a hall, directly against an Antoniazzi and a 1693 Brescian Tononi. No comparison, but the Chinese have clearcut and are running low on wood. Necks, etc., are now made of Chinese materials to conserve supply. I’ve also played the Castelbarco Strad, the Sleeping Beauty Montagnana, etc., and can attest to the echelon of instrument the Haide people are producing; with professional sound setups the results are very often superb-not invariably, of course, but more than occasionally.
Just wanted to say thank you. My son is 11 and working on this movement and after watching your videos I think he is inspired to practice like a pro. You will probably never know the ripple effect you have in life!!
Excelente video muy buena grabación, Ayslesford my superior mayor rango de frecuencia mucho más abierto ! ideal sala grande gran cuerpo, probaría otras cuerdas pirazzi o spirocore tungsteno, larsen no tienen la suficiente tensión para este cello. El Boccherini sonido cerrado, rangos medios muy altos, no es un timbre bonito o fino, tiene cuerpo pero se siente abombado, probaría un Puente Frances en este cello .
Thank you for a wonderful performance / evening last night in Straßbourg! Whiel I can't compare the two cellos, I can confirm that the Archinto sounded absolutely astounding!
First, congrats on your great violoncello playing! I see that your right arm is very balanced and well versed. I just wanted to mention a curious observation. I notice that you are mainly using your elbow and for arm in the spiccato of this movement, which is in line with pedagogy of Ivan Galamian, Janos Starker, Leonard Rose and their successors. However, I see that some cellist (I can not belive how they do it) use their upper arm in detache, fast bowing... I see that Kian S., for instance lack flexibility in his elbow and under arm in his Elgar, however, it sounds quite ok. I used to do the same arm motion as Kian, but realize that I get injured and hurt when doing so over time. I just wanted to ask you if you are conscious about how you move your elbow, forearm when practicing this slowly? I realize that this video was published some years ago, however, I am sure that many other cellists would be interested to hear you deliberate on this! Agian, THANKS FOR YOUR OPENESS AND GENUINE INTEREST IN THE ART OF PRACTICING, CELLO PLAYING AND MUSIC!
I like your cello but felt you deserve a still better instrument- I feel you need a cello that has more immediate response- or maybe the soundpost needed an adjustment-
Hey Pablo! I hope you know just how inspiring and amazing it is to watch this as a cellist. I will be studying music in BOSTON this fall for my masters! 😁 v
Me fastina esta obra y shostakovich. Tuve la oportunidad de escucharte en Donostia en agosto. Impresionante. Pero me encantan estos videos del proceso de aprendizaje. Aquí se aprecia la exigencia, el nivel técnico y lo que requiere. Gracias por compartirlo. Sé lo que es tocar un instrumento, y esto está más allá de lo humano.
😂😂 brilliant these 5ths are criminals!! yes they are.... but absolutely astounding and so insipiring thanks so much for the insight and it's just stupendous watching you perform
Boa noite. / Bom dia. Professor Pablo Fernández. Como é a técnica que o Sr usa para casar a respiração com todas as frases musicais,???? Percebo que encaixa no ponto exato cada uma delas. Isso é com treino que o Sr conseguiu essa habilidade,??? Amo os concertos para violoncelo. Pois sei tocar um pouquinho esse instrumento.
Magnífica idea el mostrar el difícil día a día de un músico de tu nivel. Ya conocíamos tu gran valía como músico, pero lo que amablemente nos enseñas nos muestra tu lado humano que, por otra parte, explica mejor lo grande que eres como músico.
This is so helpful-- watching as you practice phrasing/fingering/bowing techniques and then explaining what you would or should have changed in a bowing or fingering as you demonstrate the different sounds achieved. And I like the written commentary you provide as well. It allows me to, first, simply listen and watch you. Then I can go back and dig a bit deeper into the comments, pairing them with your actions and sound production differences on the rewatching. I hope that all made sense to you. :)
You are a generous and excellent teacher. Thank you for taking your very valuable time to share your knowledge with us. I'm an adult who took up cello a bit over a year ago. I live in a place where one cannot find a teacher, nor a string shop, and there is one luthier in town with many health problems. You can't perhaps imagine the impact having someone like you to have so "near" and willing to share advice and demonstrate various concepts/techniques with such clarity and generosity. It is a beautiful thing. And it means the world to so many. Also, your playing is so expressive and beautiful.
I wanted to add, one other solution to the airline flying dilemma is to purchase a seat for you to sit in front of the cello instead of next to it. Cello will be safer in my opinion.
In times of high humidity this too can lead to problems, wood absorbing moisture and swelling in the process, altering string fingerboard height for example. I have been finding the Boveda two-way humidity control packs are a good solution for the high humidity environments (75%+), to bring it down to the 50-60% range. I agree about the damp-it solution for low humidity (35%-). They seem to work well. Although some people make the mistake of adding too much water to the damp it and don't squeeze out the excess moisture before application leading to water stains inside the instrument. I also use Stretto solution in times of extremely low humidity, 25% and lower. It's my understanding ideal humidity condition is 40-70%. It's a good idea to monitor the environment with a hygrometer found a most nurseries or garden shops. I keep one hygrometer in my case and one outside. I am intrigued by the silk covering solution. Thanks for the tip.
