Ive been playing cello for almost 4 years, decided to take a chance on this piece, man, the thrills on the 1st movement are a pain to play in tune, and the entire 3rd movement is a fucking nightmare, never tought id say this but im balding ever since i picked up this piece...
It’s funny how sheet music is so different for each instrument. Pianist: *looks over music “a good sight read practice, yes, yes indeed” Cello player: “no thank you”
I'm Hungarian, my brother played the cello for like 14 years but I never knew Kodály has a cello piece. Neither did my brother until now I just told him. I did, however play a lot of Kodály on the recorder. It's mandatory. Especially if you go to a more music oriented primary school like I did.
Thank you so much for sharing this online. I am working on the Kodaly after 30 years away from my cello (had to change careers due to an injury from a car wreck). Now I am retired so I'm giving it another go. Your playing is completely inspired. Thank you for the gift of sharing.
Wait what, 30 years of no playing at all, or just not working with it? Just checked your latest video and you play beautifully! How exactly did this accident stopped you from playing back then? I thought my 3,5 years not practicing were a lot already. A few factors plus the pandemic made me go for another career too, now I'm at the orchestra again, and practicing again.
@@boyisun Here the 3rd and 4th strings (lower two) are tuned a semitone lower, from G and C to F# and B. The score is still written in G and C for the lower 2 strings and cellists read score as usual but sounding lower (Just like transposing instruments like the clarinet, player reads/plays one but sounds another)
THAT is annoying(for me) as ALL CAN BE. There's a guitar piece that when played you hear it's tuned to C# G# C# G# C# E but if you take a look at the sheet music the composer just decided to write like it's a semitone higher but most people don't play it like that cuz the composer doesnt(yep, the composer's still alive) play with D A D A D F. I only barely sightread the 1st movement of that piece(cuz it's in my opinion the hardest guitar piece ever) and after like 9 or 10 bars I was already like "ok, that's it, I'll wait 10 years before I touch this again"
@@ylizi6324 I was wondering why the lowest note on the clef was only a C haha... I kept waiting to see a low B on the bass clef, but swearing what I was hearing wasn't a C... thanks for explaining 😊
Graham Thomason yes and you can also do vibrato on the 4th finger G to while playing the C string. This will allow you to get vibrato playing an open C. I don’t believe you tune the string down in this piece
A remarkable work for displaying the range of the cello at virtuosi level. The changes in clefs and time signatures alone are forbidding to even a reasonably seasoned cellist. As always, thank you for wonderful posts.
This is a real treasure. Every time I hear the name Kodaly I think of the duo for violin and cello and have always associated his music with Bartok. Hungarian music is always so charming - the exoticness of that gypsy sound is always creeping in there - a sound I have no doubt the great Brahms found so intoxicatingly charming.
This piece (and in general Kodály’s music) is based in Hungarian (often pentatonic) folk music, (or any folk music in the Carpat besin) and not in gypsy melodies which are remarkably different rhytmic or mode point of view. That of Brahms inspired by gypsy music, thought. Very big difference!
What can I say- I've recently picked up this piece for a competition next year, and wow what can I say it's definitely different then what I usually play and a new challenge. That third movement has got some interesting fingerings that might be hard to get down pat.
This score is absolutely outstanding. More and more works for cello solo have been written in the XX° century and are being written now. I think that the first important composer to break the "Bach complex" was Mas Reger, but this sonata is a major milestone on that rich pathway.
How is it hitting the notes that are astronomically higher than E6?? An A6 I can understand but higher than that? It doesn't even touch the fingerboard? I am seriously debating if I should still play cello after this lol
Sincerely, in my opinion this one edges out everything has been written for either accompained or unaccompained solo cello, probably even Bach's Suites (probably the only time Bach is in my opinion beaten by another composer...).
It is a truly tough call. Bach was so prolific and expert in his compositions that they remain exquisite and mostly uncontested to this day. Yet, Kodaly wrote this singular tour-du-force that competes well with Bach's work. I struggle to think of any work that is comparable to either. Many others have produced admirable works, but the unaccompanied repertoire lacks much of the gravity and interpretive freedom found here and in Bach's Suites. Even the cellist virtuoso composers, like Goltermann, Boccherini, Popper and Piati, did not produce comparable depth. I think I agree with you, that Kodaly edges out Bach, if only because Kodaly also explores the full virtuosic and expressive range of the cello, which Bach does not. That being said, I don't think we'd have gotten Kodaly's sonata without Bach's suites and Casal's work with them.
*Is an intermediate cellist about to go to a pretty good music school* *Hasn't been totally confident in abilities lately* *Hears this piece for the first time* *Downloads a copy before the first page is even over*
I didn't notice that. For me, the distinction is clear when it comes to the difractal partition between the -r and -FG scales, and this piece is heavy when it comes to the transitioning.
@@nathanrock9269 I respectfully disagree. For me, the distinction is clear when it comes to the difractal partition between the -r and -FG scales, and this piece is heavy when it comes to the transitioning.
ich höre seit jahren dieses werk immer wieder extremst gerne: mitgeriisen bin ich jederzeit mehr als beim erstmakligen hören: also das ist einfach excellent gut
First of all, I'm ashamed that I didn't know cellists had to read into treble clef ~~ I thought they only read bass and tenor (maybe I'm thinking of Trombone). I'm a clarinetist and woodwind player but I'm thinking of learning cello and taking some lessons. I already know how to read and theory and such... does anyone have suggestions on instruments etc?
Brilliantly played - with a technique that verges on the nigh impossible! What commitment is required to master such a monstrous piece! Yet was it all worth it? The musical value is questionable..... I was captivated by listening to the performance and watching the score - but - will I ever wish to hear the piece again? I doubt it somehow!
