My god, this is mindblowing. What a marathon of a performance and so clean from start to finish. I can see the last bit of energy as you get to the end.
Omg I can‘t believe what I just heard and saw 😱 That‘s incredible, that unbelievably hard level of technique and it still sounded good and clear! You have my immense respect
thanks for watching Abhi! by some coincidence, I read an article a few months ago on Goldwater winners and I remembered your name; looks like you’re the same guy - congrats!!
Great playing of a fundamentally silly piece, but all due credit to the player and Hans Jorgen Jensen -- the last runs from 10:30 will be useful when this cellist is looking for another gear at the end of Shostakovich Concerto no. 1 when he inevitably appears as a soloist with orchestra.
Thanks! Yeah, there is no denying that this thing is goofy as hell. Because I didn’t want to use the preexisting transcription of the piece, I thought Hans would’ve helped me with the part editing aspect of this project (especially because his name is on one of those Zigeunerweisen parts), but he didn’t really want to get in the weeds with it. He basically just entertained the idea that it was possible and was willing to put up with me hacking through it for a few months while I figured it out. Thanks for watching and I appreciate the comment!
haha, I'm certainly not a master at either of these things, but -- Clean shifts: decide the fingering, what kind of shift you want, and how want it to sound. If it doesn't work, build a clean foundation through slow practice, and accelerate back to tempo. If it still doesn't work, change it. Good tone: imagine the sound you want, or find one that you like, and experiment to find the combination of bow pressure, contact point, and bow speed that produces it [sometimes it's impossible to recreate someone else's sound exactly, but you can certainly try]
Sure, to be overly specific: The idea of learning the piece popped into my head on August 12, 2022, while backstage after I had just finished a performance, listening to a violinist play this piece. I first intended to just play the already existing cello transcription by David Grigorian but I couldn’t find the music online. So I started looking at the violin music (which you can buy online, but there are also PDFs floating around) on August 16, 2022, and I first read the notes on August 23, 2022. After doing this, I also realized that some of the virtuosic details that the cellist transcriber removes to make the part more playable on cello are actually possible on cello. So I decided to commit to playing my own ‘unique’ version for cello sourced almost entirely from the original part, but some additions here and there of my own or from other parts (I also considered adding elements from Kogan’s version of the piece, which is different from the regular violin part), with the goal of playing it as similar to the violinists as possible (in terms of the score itself, but also in terms of sound, retaining fast tempos, etc. I succeeded in some parts of this goal more than others). I later found and bought the music for the cello transcription out of curiosity, but in the end I ended up using the violin part as a base for my edits. It's important to note that in the three years prior to this, I had developed a nerve injury in my right hand from unnatural bow technique, and at this time I realized I should commit some time to recovery. So from August 23 to December, 2022, I practiced the piece/played cello infrequently, but thought about the part/analyzed the music quite often. By December, I still hadn't recovered fully, so from December 2 to March 20, 2023, I didn't play the cello at all, but I didn't stop thinking about the part/how I would it learn it. By March 20, I no longer felt the same discomfort in my hand, so I started playing again. But due to my academic schedule I didn't begin committed practice until June 25, and the time in between then and September 8th (the date of this recording) is when I really learned and polished the piece to a satisfactory level. TL;DR: I edited the original violin music that I bought from the internet. From beginning to end, the process took me a little over a year; in that span there were 3.5 months of spare practice, 3.5 months of total silence, 3 months of mediocre practice, and 3 months of committed practice. Thanks for watching!
Thanks so much, one of my main goals is to play this piece at like 17 yrs old ( I’m 12 currently or practically have just done Moses fantasy by Paganini)
Thanks! For the recording I used a Jargar Classic A and D, Spirocore Tungsten G and C. I usually use Versum Solo A and D, but I snapped one Versum A (and a week-old Larsen Solo as well) after another with this piece, in exactly the same way (point of failure at the bridge, likely has to do with the really high notes). I figured it wasn’t about the brand of string itself, so I would just go with whatever cheaper thing I could find quickly, which happened to be the Jargars (but they’re a solid choice regardless). To my surprise, despite the Jargars being cheaper, I didn’t snap a single one.
Well, you certainly make them sound good! Do you still prefer the Versums over the Jargars, or will you keep the Jargars from here on? Also, lol at breaking that many strings! Whatever the reason may be, Paganini would have been proud ^_^ What are your plans for the future: music or maths? Or both?@@noamginsparg92
@@CelloTube-vs7mf I think I prefer the Versums still; they have this bright sharp edge that I'm really fond of, but maybe this comes from familiarity. I used that setup for so many years; it's just default. That being said (and maybe this is because I'm not selective/perceptive enough in this sense), I haven't found the need to think that deeply about string choices yet. It's so difficult to legitimately compare different setups, and after a while, even when I can tell that the sound is noticeably different, I don't know how exactly to form an opinion about what makes a "better" sound. So it's easy to go with what I know. [You must have found my LinkedIn :) ] I'm conflicted. I have a list of interesting cello projects I want to perform & record, and of course there are always competitions, but I'm not sure what I want to do with it beyond that. I don't think I want my life to be dedicated to teaching cello exclusively or playing the same small set of things over and over again, and at this point I certainly don't want an orchestral career (although a cello career doesn't necessarily have to be any of those things, I know). If I were to have a career in music, I would combine performance with composition and production (I have done a fair bit of composition, and I love the idea of composition for film, but I have no experience). The cello can do an unimaginable amount of things, but I don't think it would be fulfilling for me to only be able to produce classical cello music, or to only ever have produced classical cello music. I am most inspired by people who introduce 'new' to the world, and while it can be done with classical cello music, I am not sure exactly what that would mean for me, or if it is ultimately what I want to do. At the same time, classical cello is just a lot of fun, and there are almost too many things that I want to do with it. So in the next few years, I plan to at least record and perform as many of those items on my list. However, it's difficult to play an instrument at a high level when I'm trying to legitimately develop skills in other areas both within and outside of music, and do those things at the same high level. In general, I just have too many interests. In high school I found most fulfillment from humanities, so I've got a lot of catching up to do with CS/Math. In the next year I have to decide what path it makes most sense for me to continue; although I'd much rather dedicate my college years to developing my CS/math knowledge, I've considered returning to humanities to allow for more time to play/create music ("It's easy to go with what I know"). So the short answer to the original question is both for now, but it should (and probably only could) be one or the other later.
Compared to Evah Pirazzi's (assuming you have tried them), are Versums brighter? I am asking since my own cello is very dark souding and I am constantly looking for the brightest strings I can find. I can relate to your experience of having many different interests and being torn between them. Sort of a blessing and a curse. I simply hope you come to a satisfying conclusion soon. In the meantime, I am looking forward to hear your upcoming projects! If it is not a secret, what plans do you have regarding those?@@noamginsparg92
@@CelloTube-vs7mfHaven't tried the Evah Pirazzi's yet. But I would definitely recommend trying the Versums (Solo). They don't work for some people because they can sound a little 'thin'/too focused, but sometimes that's what a cello needs. Thanks, I hope I reach a conclusion as well. The list is supposed to contain everything that, if I were to not be able to play cello anymore, I would want to hear myself play again, at the highest capability. The standard fare, not so "interesting": Dvorak Concerto (this is likely the very next thing), Prokofiev Sinfonia, Schumann Fantasiestücke, and so on. Unique: my own transcriptions, a particular virtuosic thing that I wrote for cello and piano, etc.
Much appreciated. A cellist (David Gregorian) made a transcription a while ago; although good, it doesn’t quite capture some of the violinistic details and energy that are actually possible to recreate on cello. Seemed like a missed opportunity. So I thought I would “make my own,” which basically amounted to reading from the original violin part, deciding in some places to play an octave down and in others to just play it as written. In other places, I couldn’t decide, so I just played both (i.e. octaves). Thanks for watching!
@@litoboy5Stjepan Hauser of 2cellos fame? He’s a little goofy, and he recently released a Christmas album, which probably everyone expected he would do, at some point
My god, this is mindblowing. What a marathon of a performance and so clean from start to finish. I can see the last bit of energy as you get to the end.
Cleanest playing. I didn’t know the possibilities on the cello until I saw this video. Bravo!
I can only imagine the calluses o.0
So much talent and hard work
Bravooo!
Omg I can‘t believe what I just heard and saw
😱 That‘s incredible, that unbelievably hard level of technique and it still sounded good and clear! You have my immense respect
Amazing Noam!!!!!!
That is insanely good. Great performance Noam
Incredible!!
Bravo!!!!!!!!!
this is insanely good, technical prowess fr
Bravissimo!
GREAT PERFORMANCE !!!
glad you found the channel lol
Wow!!!
King ❤
from 10:05 on is absolutely insane. great job noam
Amazing performance, Noam!
Also, nice shirt!
Bravo
thanks for watching Abhi!
by some coincidence, I read an article a few months ago on Goldwater winners and I remembered your name; looks like you’re the same guy - congrats!!
Beautiful... hope all is well Noam
thnx for watching man; appreciate it very much that you're still finding these things :)
Merry Christmas 🎄🎄🎄🎄
Same to you!
this is so insane, OMG
Crazy
Mr. Yu has entered the chat
this is insane what
Great playing of a fundamentally silly piece, but all due credit to the player and Hans Jorgen Jensen -- the last runs from 10:30 will be useful when this cellist is looking for another gear at the end of Shostakovich Concerto no. 1 when he inevitably appears as a soloist with orchestra.
Thanks! Yeah, there is no denying that this thing is goofy as hell. Because I didn’t want to use the preexisting transcription of the piece, I thought Hans would’ve helped me with the part editing aspect of this project (especially because his name is on one of those Zigeunerweisen parts), but he didn’t really want to get in the weeds with it. He basically just entertained the idea that it was possible and was willing to put up with me hacking through it for a few months while I figured it out. Thanks for watching and I appreciate the comment!
5:28-5:38 Holy shit if you told me that was a flute and I didn't have the video I would totally believe you!
Also 7:05-7:12
how do u get such good tone and clean shifts
haha, I'm certainly not a master at either of these things, but --
Clean shifts: decide the fingering, what kind of shift you want, and how want it to sound. If it doesn't work, build a clean foundation through slow practice, and accelerate back to tempo. If it still doesn't work, change it.
Good tone: imagine the sound you want, or find one that you like, and experiment to find the combination of bow pressure, contact point, and bow speed that produces it [sometimes it's impossible to recreate someone else's sound exactly, but you can certainly try]
Great! Can you do Rondo Capriccioso?
lol, I can certainly try
Long time no see! Hope you’re doing well
Aw I miss you
Hope things are well for you too
.... 🔥
Noam could I ask , where did you acquire the music and how long did you have to practice to get this piece to this standard
Sure, to be overly specific:
The idea of learning the piece popped into my head on August 12, 2022, while backstage after I had just finished a performance, listening to a violinist play this piece.
I first intended to just play the already existing cello transcription by David Grigorian but I couldn’t find the music online. So I started looking at the violin music (which you can buy online, but there are also PDFs floating around) on August 16, 2022, and I first read the notes on August 23, 2022. After doing this, I also realized that some of the virtuosic details that the cellist transcriber removes to make the part more playable on cello are actually possible on cello.
So I decided to commit to playing my own ‘unique’ version for cello sourced almost entirely from the original part, but some additions here and there of my own or from other parts (I also considered adding elements from Kogan’s version of the piece, which is different from the regular violin part), with the goal of playing it as similar to the violinists as possible (in terms of the score itself, but also in terms of sound, retaining fast tempos, etc. I succeeded in some parts of this goal more than others). I later found and bought the music for the cello transcription out of curiosity, but in the end I ended up using the violin part as a base for my edits.
It's important to note that in the three years prior to this, I had developed a nerve injury in my right hand from unnatural bow technique, and at this time I realized I should commit some time to recovery. So from August 23 to December, 2022, I practiced the piece/played cello infrequently, but thought about the part/analyzed the music quite often. By December, I still hadn't recovered fully, so from December 2 to March 20, 2023, I didn't play the cello at all, but I didn't stop thinking about the part/how I would it learn it. By March 20, I no longer felt the same discomfort in my hand, so I started playing again. But due to my academic schedule I didn't begin committed practice until June 25, and the time in between then and September 8th (the date of this recording) is when I really learned and polished the piece to a satisfactory level.
TL;DR:
I edited the original violin music that I bought from the internet.
From beginning to end, the process took me a little over a year; in that span there were 3.5 months of spare practice, 3.5 months of total silence, 3 months of mediocre practice, and 3 months of committed practice.
Thanks for watching!
Thanks so much, one of my main goals is to play this piece at like 17 yrs old ( I’m 12 currently or practically have just done Moses fantasy by Paganini)
@@ZebChen Great plan; I hope to hear your rendition some day!
MORE MORE MORE MORE MORE
appreciate you (did you reach 12:08?)
@@noamginsparg92yes 🎉🎉🎉
@@noamginsparg92
What time is? it's 01:36 here
12:08 minutes into the video, I mean
@@noamginsparg92
😆😆😆 YES, OF COURSE
Terrific playing!
A boring question: what strings do you use?
Thanks! For the recording I used a Jargar Classic A and D, Spirocore Tungsten G and C. I usually use Versum Solo A and D, but I snapped one Versum A (and a week-old Larsen Solo as well) after another with this piece, in exactly the same way (point of failure at the bridge, likely has to do with the really high notes). I figured it wasn’t about the brand of string itself, so I would just go with whatever cheaper thing I could find quickly, which happened to be the Jargars (but they’re a solid choice regardless). To my surprise, despite the Jargars being cheaper, I didn’t snap a single one.
Well, you certainly make them sound good! Do you still prefer the Versums over the Jargars, or will you keep the Jargars from here on?
Also, lol at breaking that many strings! Whatever the reason may be, Paganini would have been proud ^_^
What are your plans for the future: music or maths? Or both?@@noamginsparg92
@@CelloTube-vs7mf I think I prefer the Versums still; they have this bright sharp edge that I'm really fond of, but maybe this comes
from familiarity. I used that setup for so many years; it's just default. That being said (and maybe this is because I'm not selective/perceptive enough in this sense), I haven't found the need to think that deeply about string choices yet. It's so difficult to legitimately compare different setups, and after a while, even when I can tell that the sound is noticeably different, I don't know how exactly to form an opinion about what makes a "better" sound. So it's easy to go with what I know.
[You must have found my LinkedIn :) ]
I'm conflicted. I have a list of interesting cello projects I want to perform & record, and of course there are always competitions, but I'm not sure what I want to do with it beyond that. I don't think I want my life to be dedicated to teaching cello exclusively or playing the same small set of things over and over again, and at this point I certainly don't want an orchestral career (although a cello career doesn't necessarily have to be any of those things, I know). If I were to have a career in music, I would combine performance with composition and production (I have done a fair bit of composition, and I love the idea of composition for film, but I have no experience).
The cello can do an unimaginable amount of things, but I don't think it would be fulfilling for me to only be able to produce classical cello music, or to only ever have produced classical cello music. I am most inspired by people who introduce 'new' to the world, and while it can be done with classical cello music, I am not sure exactly what that would mean for me, or if it is ultimately what I want to do. At the same time, classical cello is just a lot of fun, and there are almost too many things that I want to do with it. So in the next few years, I plan to at least record and perform as many of those items on my list.
However, it's difficult to play an instrument at a high level when I'm trying to legitimately develop skills in other areas both within and outside of music, and do those things at the same high level. In general, I just have too many interests. In high school I found most fulfillment from humanities, so I've got a lot of catching up to do with CS/Math. In the next year I have to decide what path it makes most sense for me to continue; although I'd much rather dedicate my college years to developing my CS/math knowledge, I've considered returning to humanities to allow for more time to play/create music ("It's easy to go with what I know").
So the short answer to the original question is both for now, but it should (and probably only could) be one or the other later.
Compared to Evah Pirazzi's (assuming you have tried them), are Versums brighter? I am asking since my own cello is very dark souding and I am constantly looking for the brightest strings I can find.
I can relate to your experience of having many different interests and being torn between them. Sort of a blessing and a curse. I simply hope you come to a satisfying conclusion soon. In the meantime, I am looking forward to hear your upcoming projects! If it is not a secret, what plans do you have regarding those?@@noamginsparg92
@@CelloTube-vs7mfHaven't tried the Evah Pirazzi's yet. But I would definitely recommend trying the Versums (Solo). They don't work for some people because they can sound a little 'thin'/too focused, but sometimes that's what a cello needs.
Thanks, I hope I reach a conclusion as well.
The list is supposed to contain everything that, if I were to not be able to play cello anymore, I would want to hear myself play again, at the highest capability.
The standard fare, not so "interesting": Dvorak Concerto (this is likely the very next thing), Prokofiev Sinfonia, Schumann Fantasiestücke, and so on.
Unique: my own transcriptions, a particular virtuosic thing that I wrote for cello and piano, etc.
actually sick. genuinely ill. you are so talented bro. where did you find the score?
Much appreciated. A cellist (David Gregorian) made a transcription a while ago; although good, it doesn’t quite capture some of the violinistic details and energy that are actually possible to recreate on cello. Seemed like a missed opportunity. So I thought I would “make my own,” which basically amounted to reading from the original violin part, deciding in some places to play an octave down and in others to just play it as written. In other places, I couldn’t decide, so I just played both (i.e. octaves). Thanks for watching!
Hey i know this is a weird question but who is your cello teacher?
see credits (11:43, 11:47) for basically full list of teachers, but I currently work with Hans Jensen
Woah he is amazing
просто как
I'M WATING FOR YOU FIRST CHRISTMAS ALBUM
Interesting idea; maybe I should take a leaf out of Hauser’s book
@@noamginsparg92
YESSS !!!!
WAIT: WHO IS HAUSER?
@@litoboy5Stjepan Hauser of 2cellos fame? He’s a little goofy, and he recently released a Christmas album, which probably everyone expected he would do, at some point
@@noamginsparg92
... AT SOME POINT... LIKE YOU
HELLO, HOW ARE YOU?
You use more the thumb than the pianist 😂
Incredible!