Yes, the Cello is harder than the violin, because with a Cello you have to put more stress on the neck. It does have a big neck with lots of tension, so the neck is a lot harder. A violin is softer, so you don’t have the same things that you do with a Cello. I just used to go for solo, but the Cello seems to be harder to play than a violin because of my style.
How long do you play the concerto?
It’s about 60 or 100 hours. I don’t know what it is, I am guessing 60 hours. It is all hands-on, there is no rest. It’s a very big commitment and I like to make it fun. I try to do this in one sitting and I am always at the piano when I am at it. It helps me relax, get to know the thing more. I am very patient.
What did you like about the work of Vittorio Joseph?
I liked that he had such a strong idea, even though he was at a different place in his career. He said he liked working on a piece for someone else that I was already familiar with. He was an Italian virtuoso, a big personality in the field. He was very good at it, just like me. For example, the part I played for him was the part where he played ‘Fabulosa di Bressan’ with this little girl. He had to memorise the part, there was a very tricky moment in the piece.
The most striking thing was the emotion he had when he was playing the solo. I couldn’t see the emotion in his voice, but there was a lot of pain. He was very focused and it was difficult to see through that.
Did you meet Vittorio Joseph while you were playing in the Chagall School in Siena? Did he help you during your studies there, and if so, how?
I met Vittorio Joseph very briefly while I was studying in Siena. I met him in the Chagall School, and his music was very good. He is like a mentor, he gave me good advice and taught me to play the part very well.
During my studies there he showed me a lot of his works, but I haven’t seen them since I went home and made up my mind the next day – but I will be seeing him again soon. I hope he
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