![]() Some of the challenges were immediately clear, particularly in the middle section. Having played the original piano part many times, I relished the opportunity to bring out inner voices and little shapes that I had discovered in performance. Even with such excellent players, too many open strings in an arrangement give a brightness to the sound that we didn’t want in such a warmly expressive piece. ![]() In the original Eb major, Sheku would have had to play in an unfeasibly high register (even for him!), or an octave lower, considerably reducing the power of the climax. The choice of key (Bb major) was important here. The great dynamic range of the ensemble is also effectively used in this performance-the multi-cello ensemble can generate a unique intensity. In an orchestral context it’s much more rarely used, seen as an intrusion into violin territory and carrying risks of intonation embarrassment when played as a section. The full-throated soprano, which Sheku deploys movingly in this performance, is really effective here. The cello is the only instrument that encompasses the entire range of the human voice (low C is the darkest Russian bass-note, high C near the top of the coloratura range), and I find it useful to imagine bass, tenor, alto and soprano sounds from the cello, differentiated and blended simultaneously, as in a great choir. There was very little rewriting involved since the chorale-like orchestral texture translated easily for cello ensemble. ![]() My arrangement of Edward Elgar’s Nimrod for five cellos (with a sixth reserved for a bottom Bb in the very last chord) was the first arrangement I did for Sheku. The more the commissioner trusts you, the more freedom you can have, which is why it’s important to collaborate closely at the beginning, show work in progress, and take advice on board. You can stay as close as possible to the original in sound, texture and atmosphere, or you can rework and reinterpret with varying degrees of creative freedom. Through my marriage to the cellist Hannah Roberts (first piece of advice to anyone serious about writing for the cello: marry a great cellist!) and my more recent professional relationship with Sheku Kanneh-Mason, I have been able to develop a nice range of techniques, had the opportunity to learn from my mistakes, and feel I am now in a position to be able to distil a few generalisations.Īs an arranger, there are basically two ways to tackle a new commission, and it’s important to find out which approach the player has in mind. Discover more Featured Stories like this in The Strad Playing HubĪs a pianist, composer and arranger I feel privileged to have been invited into the inner sanctum of string playing to share some thoughts on composing and arranging for the cello.
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