“THE CELLO can be bass, soprano or alto. Its endpin strikes the ground and it seems as if its power and deep sound are coming up from the earth. When played it lies between the musicians legs and they have to embrace it. It’s a very physical thing, it almost becomes part of their body.”
PUTNEY BRIDGE, London. It is 7.40am on a bright May morning in 2017. A woman is on her way to work when a jogger, determined not to break his stride or change his pattern, pushes her out of the way, into the path of an oncoming bus.
IF HEARING Bach’s Goldberg Variations for the first time, at the age of 14, was not life changing for cellist Natalie Clein, it was close to that - a profound sense of awe which has stayed with her to this day.
IN THE bleak midwinter of the Covid pandemic and another lockdown, there is a bright point of light - Music for Galway’s annual midwinter festival, the first major event of any year on Galway’s cultural calendar, is going ahead.
VLADIMIR JABLOKOV’S 2020 captures many of the ups and downs, the obvious lows, and unexpected highs of this strange year, but above all, it encapsulates the sheer resilience of the arts in the face of the pandemic and lockdown.