Orlando Cole and Lynn Harrel Explore the Bow Arm, Program 1 Basic Principles

Orlando Cole (August 16, 1908 - January 25, 2010) was an American cello teacher who taught two generations of soloists, chamber musicians, and first cellists in a dozen leading orchestras, including Lynn Harrell, Jonah Kim, Ronald Leonard, Lorne Munroe, Peter Stumpf and Marcy Rosen.
During this time, Cole was a classmate and friend of the composer Samuel Barber, who dedicated his Cello Sonata, op. 6 to Cole.[3] Mr. Cole and the composer collaborated closely on its composition, reading a page at a time as it was written, until they gave the work its premiere in New York's Town Hall in 1933. Barber wrote also wrote his Quartet, op. 11, with its famous adagio, for the Curtis Quartet.
The Curtis String Quartet was a pioneer in its time and earned great acclaim: as the foremost string quartet in America during the prewar years; the first touring quartet to be trained entirely in the United States; and as the first American quartet to tour Europe, including a command performance before Mary of Teck, Queen Consort of George V of the United Kingdom. The ensemble undertook two extensive and triumphant tours of the United Kingdom and the European continent during the seasons 1936-37 and 1937-38, and were scheduled to continue the same until the outbreak of World War II.
Lynn Harrell (January 30, 1944[1] - April 27, 2020) was an American classical cellist. Known for the "penetrating richness" of his sound,[2] Harrell performed internationally as a recitalist, chamber musician, and soloist with major orchestras over a career spanning nearly six decades.[3] He was the winner of the inaugural Avery Fisher Prize and two Grammy Awards, among other accolades, and taught at the University of Cincinnati - College-Conservatory of Music, Royal Academy of Music, Cleveland Institute of Music, Juilliard School, USC Thornton School of Music, and the Shepherd School of Music.
Harrell made his recital debut in New York in 1971,[10] and a year later played at a Chamber Music Society of Lincoln Center concert. In a review of that concert, Harold C. Schonberg of The New York Times declared that "it would be hard to overpraise the beautiful playing" of Harrell, adding "this young man has everything".[11] For the rest of his life, he continue to perform internationally as a recitalist, chamber musician, and soloist with orchestras. Also in 1971, he began his teaching career at the University of Cincinnati - College-Conservatory of Music. He went on to teach at the Royal Academy of Music in London, the Aspen Music Festival, the Cleveland Institute of Music, and the Juilliard School. He served as the Music Director of the Los Angeles Philharmonic Institute from 1988 to 1992. From 1986 to 1993, he held the post of "Gregor Piatigorsky Endowed Chair in Violoncello" at the USC Thornton School of Music in Los Angeles; he was only the second person to hold the title, following Piatigorsky himself.[10] He was on the faculty of the Shepherd School of Music at Rice University from 2002 to 2009.[12]
Harrell previously played a 1720 Montagnana cello he bought with the proceeds of his parents' estate and also a 1673 Antonio Stradivarius cello that belonged to the late British cellist Jacqueline du Pré. His last instrument was a 2008 cello by Christopher Dungey.[13]
From 1985 to 1993 he held the International Chair for Cello Studies at the Royal Academy of Music (RAM) in London and in 1993 he became Principal of the RAM, a post he held until 1995.[14]
On April 7, 1994, he appeared at the Vatican with the Royal Philharmonic Orchestra conducted by Gilbert Levine in the Papal Concert to Commemorate the Shoah. The audience for this historic event, which was the Holy See's first official commemoration of the Holocaust, included Pope John Paul II and the Chief Rabbi of Rome.[15]
In 2001, the Dallas Symphony Orchestra established the Lynn Harrell Concerto Competition in his honor. The competition is open to string players and pianists, ages 8 to 18, from Texas, New Mexico, Oklahoma, Arkansas, and Louisiana

[@cindynassar3100]

He's playing the Sleeping Beauty! I am enjoying listening to these two legendary cellos.

[@onecello9577]

The first basic principle behind a clean bow line is posture, as Harrell alludes to (11' 15"). That is possibly why 'young' cellists have less command, according to Mr Cole at any rate. That low spike and right tilt have become a thing of the past, sadly. "The equipment is ok"... best line ever!
The only thing I don't quite agree with is that the area with the greatest sensitivity in relation to the sound we make is the fingers. For one, the fingers are simply too close to the action to have any real impact in the grand scheme of things. I personally think the articulation most sensitive to the bow's needs is the elbow, as it determines the contact point and the speed. The hand and wrist are expert at dealing with pressure, but that's only one out of three.

[@alexbrinkmancello]

Thank you for uploading!

[@Enyopae]

thanks! it's great.

[@JackChessa]

This is great stuff

[@RealKorean8080]

GREATTTTTTTTTT!!!!!!!!