HAPPENED TODAY - On September 19, 1969, the composer Jóhann Jóhannsson was born in Reykjavík



David Johnstone (2)

If you had asked me thirty years ago when I was starting to make my way, I would have probably given many answers but today there are not so many differences. The UK scene is still freelance based whilst in Spain it is very contract-based. That means UK cellists are great sight-readers; but in Spain, […]


David Johnstone (3)

Which of your compositions do you like best and which is the most successful? Again too difficult to narrow down, so briefly (some are on YouTube): Sinfonia of Passion, for two soloists (varying possibilities) and string orchestra; romantic, a mix between Bach, Bruckner and Franck. My own 4 Seasons for Violin and Strings (never been […]


Meena Karimi (2)

In your country, are there job opportunities for cellists? It will be hard to say because we only have one music school in Afghanistan and, if you want to be a really good musician, you need to go to conservatories and build a really strong career for yourself. Here we don’t have such an opportunity. […]


Martino Olivero (2)

If you have to do a concert in a primary school, to make her instrument known to children, what would you play? I would look for short pieces with a simple structure, to keep the attention alive, such as the First Caprice of Dall’Abaco, and other classic pieces, such as times taken from Bach’s Suites. […]


Riccardo Pes (2)

How important is the choice of instrument? His, what cello is it? The venue is important to me. In general, I always look for a place that predisposes to the listening. The theater is certainly my favorite, but I also feel very comfortable performing in unconventional places for the inspirations I usually get from. For example, […]


Sandro Laffranchini (3)

Equally important are the collaborations with chamber ensembles. Which ones gave you the most satisfaction and who are the musicians with whom you have collaborated more often and willingly. What are the characteristics you appreciate most in a colleague? For 6 years I was artistic coordinator of the Ensemble of the Teatro Grande in Brescia. […]


Sandro Laffranchini (2)

A small secret, however, I want to reveal in this interview and concerns the use of colors also on the physical part that is being read, in this way the instinctive mental association emotion-color makes the communication of precise emotions more immediate and almost automatic, depending on the color you see. There would be a […]


On The Bridge (4)

What kind of repertoire did you address and what repertoire would you like to deal with? Is there a specific repertoire for your ensemble or do you have to work on arrangements? The infinite expressive potentiality of a cello ensemble allows for great creativity, and among our targets there is the (re)discovery of original compositions, […]


On The Bridge (3)

Why did you decide to begin this experience? Stefano Cerrato The will to constitute a group of cellos comes, in my case, from the passion for this kind of ensemble that my teacher Antonio Mosca passed onto me during my studies with him, through various summer activities in which the didactical core, both with children […]


On The Bridge (2)

Simone Ceppetelli Especially in the last years, my relationship with chamber music has been very intense, since I specialized precisely in this field. As a matter of fact my musical activity is mainly linked to chamber music groups, with which I had the opportunity to create a solid relationship. Among these I have to quote […]