Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student manager Brianna (class of 2023) and features a collection of studies for cello by Austrian composer David Popper (1843-1913. Thanks, Brianna!
David Popper
40 Studies: High School of Cello Playing, op. 73
David Popper, composer (1843-1913)
I, like most young cellists, have a love-hate relationship with David Popper. Popper was a prominent composer of Romantic-era cello solo music in the 19th century. He wrote four concertos, although his most played solo piece is probably “Tarantella.” What some may not know is that in addition to these concert solo pieces, he wrote a book of etudes dedicated to strengthening cello technique – 40 Studies: High School of Cello Playing. As the description might give away, the music in this book is not meant for performance in a recital or concert series. These etudes focus on playing in different positions, frequent shifting, bow control, and much more, meaning some of them sound very strange and complicated to listeners. Some musicians consider mastery of these etudes (among other things) a hallmark of a professional cellist.
While playing through such a book may sound like every aspiring young cellist’s dream, many of them are harder to play than they appear on paper. Then, considering the book has 40 separate etudes each averaging about two pages, you can only imagine how much time and dedication mastering each and every one might take. It’s a wonderful resource – if you have the patience to spend countless hours on them.
Since I was first assigned an etude out of this book, I have struggled and fumbled my way through roughly a quarter of the 40 available to me until I ended up with something I was happy with. I can’t say that I got as much joy out of this type of practice as I have on recent solo pieces I have rehearsed, but I also must admit that playing through the etudes strengthened my playing more than I could have imagined. Thumb position used to be a region of the cello I never thought I would be able to wander into confidently, but after playing Etude No. 1 and 5, I feel stronger and enjoy going high on the instrument. If you are a cellist and don’t have a copy of this book in your library, consider picking up a copy from the Music Library!
