those dutch cellists

Years ago, when I first started playing cello, I heard about a dutch cellist who had developed a technique of playing with two bows - one played conventionally, on top of the strings, the other under neath the strings. Both bows are held in the right hand and the "underneath" bow can only play the outside strings - C and A. This opens up all sorts of possibilities of the cello as a chordal instrument. Periodically I heard more about this cellist and her fascinating technique, but never actually heard her play.

Fast forward to last Wednesday. My friend and pianist-extraordinaire, Myra Melford, was doing a gig at CNMAT (Center for New Music and Audio Technologies), a UC Berkeley performance space conveniently located 5 houses up the street from my old house in Berkeley. The two times I went there while living in Berkeley (once to hear Myra with Frank Gratkowski, the other to hear pianist Georg Graewe), I reveled in the ability to walk up the street 5 houses to see such great musicians. On Wednesday, however, it was about a 50 minute drive from the Outer Richmond in San Francisco. 35 minutes in light traffic.

This particular gig paired Myra with Frances-Marie Uitti, a dutch cellist visiting the area for a new music festival. About 10 minutes into their captivating set, the cellist picked up a second bow and started playing with both, one underneath, the other on top. I suddenly realized that I was watching that dutch cellist i had heard about for years. It was a rather thrilling realization. Their set was wonderful, if a bit too short. Very much worth the drive across the bay.

Tonight I'm headed back to Berkeley again see Myra play a double bill at Freight & Salvage - the Myra Melford/Ben Goldberg Quartet, followed by (or preceded by) Wayne Horvitz's Sweeter than the Day.