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Novo's Marina Hasselberg Opportunely Channels Guilhermina Suggia
Sunday, November 23, 2014


St. Philip's Anglican, Sunday November 23, 2014


On Sunday I went to a concert held at St. Philip's Anglican Church on the West-side. It featured the Novo Ensemble (in this iteration, as it varies, but always with Marina Hasselberg on cello), with Mark McGregor, flute and Mark Haney on double bass. The music, all brand new, featured works from composers Jordan Nobles, Michael Oesterle, James Maxwell, Luc Martin and Nicolás González Thomas. All five of the compositions were new without being (to use an old, and I believe exhausted phrase), Bartók-like.

The program was played a week before at Pyatt Hall on Seymour Street (around the corner from the Orpheum) but I waited because of financial restrictions (entry to the church concert was by donation!) but also knowing that the acoustics of St. Philip's are as good as they get in this city. And when you consider that you are surrounded by beautiful stained-glass windows you cannot lose.


Two of the pieces I thought special. The first Lux by Jordan Nobles had the flute playing a melody while the cello and bass played an extended and recurrent bass line. John Oliver, noted Vancouver composer, who was present refused to out and out agree with me that Lux was sort of a chaconne. His statement to we was, “Lux is what it is and that’s it and I will not resort to baroque terminology.” Lux had Mark McGregor playing what this amateur would call harmonics, some so low key you might not have heard them had you been elsewhere in a venue without enhanced acoustics. Mark Haney pretty well tapped (loudly sometimes) the lower tip of his bow on his instruments cords.

The second piece, it moved me immediately, and particularly in the second movement was Michael Oesterle’s Rambler Rose (a two movement work). It left me with an impression, a nostalgia, that this was something inspired by Bach’s suites for unaccompanied cello. That Hasselberg was indeed playing solo cello added to that pleasant feeling. Perhaps it had all to do that these days, unless one looks for them, it is not all that common to be exposed to contemporary pieces for solo cello.

Mark McGregor's flute was never strident to my ears and Mark Haney's bass was a pleasure to listen to, for once as a featured instrument and not part of the background bass sound of so many orchestras. All in all a concert to savour and to also make me look forward to the next installment of the Novo Ensemble. In a short Hasselberg has managed to penetrate two camps of music whose fans seem to be apart. With her endpinned cello she has found eager new music composers willing to write for her and with her baroque cello she has participated in concerts of Early Music Vancouver. Surely could she not be the bridge between these folks that seem to have irreconcilable differences?  

But this blog does not end here! 


After the first performed work, Nobles’ Lux two elderly ladies behind me were giggling. I turned around and I said, “You are probably commenting on the cellist’s shoes.” One of them put her hand on my shoulder and said, “Bless you, yes!”

In 1964 one of my first girlfriends gave me Bach’s Suites for unaccompanied cello played by Pablo Casals. It was an Angel recording. When my scratched records became unplayable I purchase sometime in the beginning of the 80s the CD version even though I had no CD player.

Cellists, as far as I was concerned were men. It was a man’s instrument.

How a cellist holds the instrument has been a running controversy since Antonio Vivaldi’s time at Ospedale della Pieta in Venice in the early 18th century. When his all-girl orchestra entertained convent guests they were hidden from view by an iron lattice.

Some say it was because some of the women were deformed but most likely it had to do with the way women cellists (men, too) had to hold the instrument firmly between their legs. The difficulty for women holding a cello in a lady-like manner (side saddle?) may have contributed to the paucity of women cellists before the 20th century.

That did not inhibit Joyce Menting, the first woman I ever saw playing a baroque cello for Vancouver’s Pacific Baroque Orchestra at a performance I attended in 1992. I was amazed. She held her cello firmly between her legs, as there was no endpin on her baroque instrument to stabilize it on the floor. In fact some say that the invention of the endpin ushered in women cello players as it relaxed the woman’s hold (her legs) on the cello.


Though the endpin was in use as early as the 17th century, it did not meet with universal approval until the late 19th century. The benefits of playing with the endpin were important for all cellists but particularly so for women, for whom it was a virtual necessity” feminine grace was saved in the more upright position and relaxed posture permitted by the pin. The use of the endpin is probably the main cause of the sudden surge of women cellists in the late 1800s.
Russell A. Tilden, “The Development  of the Cello Endpin,” Imago musicae, IV (1987)

With Mark McGregor

Menting wore a black skirt, fine stockings and black suede shoes. Her mascara seemed to be in the same shade as her stockings.

Not too long after I was sitting on the last row of the Orpheum’s ground floor with many older concert goers in wheel chairs. The first half of the concert featured Tchaikovsky’s Cello Concerto. The soloist was the beautiful Shauna Rolston who was wearing tight black pants, a flimsy blouse and a snake armlet on her left arm. After the interval the room literally emptied before the VSO started Shostakovich’s Symphony Number 2. I was amazed as this symphony may have been contemporary to many of the senior citizens present. Perhaps they had all come for the Tchaikovsky and the bonus snake armlet.


With Mark Haney
That cellist Marina Hasselberg who plays both cello variants, the modern one with the endpin and the baroque without is from Portugal is beautifully  following the tradition of Guilhermina Suggia (1885-1950), also born in Portugal, who caused a fuss and a minor scandal when she studied under Pablo Casals, became his mistress (and some say she married him) who did away with the side saddle and brought her own brand (besides her obvious virtuosity) of grace, glamour, fashion sense to an instrument heretofore the domain of men.

Suggia dumped (some say) Casals and moved to England in the 1920s. It was there that Welsh painter Augustus John (his own illegitimate daughter, Amaryliss Fleming became a well-known cellist) painted Suggia’s portrait now in the Tate’s collection. Of the painting the Manchester Guardian wrote, “It will serve to remind future generations that here was a musician who matched the nobility of her art with that of her presence on the concert platform.”


Madame Suggia - Augustus John - 1920/23
That of course explains no doubt why the two women behind me were giggling at Hasselberg’s exquisite high heel shoes, tight black pants and elegant old top, not to mention freshly and surgically snipped bangs.

Watching Hasselberg play on Sunday the words of Stephen Gwynn, “When Suggia Was Playing,” Country Life Magazine, November 26, 1927 seem to be most appropriate:


It was a delight to see her, before each bout began, sit up alert, balance and adjust her bow as a fencer balances his foil, then settle herself with that huge tortoise between her knees, like a  jockey sitting down to the ride: erect first and watchful, till gradually, caught by the stream she created she swung with it, gently, sleepily, languidly, until the mood shifted, the stream grew a torrent and the group rocked and swayed almost to wreckage. Or again, she would be sitting forward, taking her mount by the head, curbing it, fretting it, with imperious staccato movements, mastering it completely – letting it free to caracol easily, or once more break into full course, gathering itself in, extending itself, in a wild gallop…And then at the end, with some long-drawn sighing fall, or with one abrupt vehement clang of sound, she would finish, would raise her bow high, in a gesture of dismissal, break the magic and come to the top like a diver, a little breathless and smiling. 

I welcome this triple injection of glamour, youth and virtuosity. Vancouver will profit.




     

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11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

6/11/17 - 6/18/17

6/18/17 - 6/25/17

6/25/17 - 7/2/17

7/2/17 - 7/9/17

7/9/17 - 7/16/17

7/16/17 - 7/23/17

7/23/17 - 7/30/17

7/30/17 - 8/6/17

8/6/17 - 8/13/17

8/13/17 - 8/20/17

8/20/17 - 8/27/17

8/27/17 - 9/3/17

9/3/17 - 9/10/17

9/10/17 - 9/17/17

9/17/17 - 9/24/17

9/24/17 - 10/1/17