In 4 minutes Maestro Rummel uses a Baroque period cello to teach you a 5 minute weekly practice that will improve your performance.
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'As a point of moderation, composers are now sometimes asking for something called poco vibrato which strikes a medium between obvious oscillating pitch and stark, straight pitch. Poco vibrato is a discreet oscillation of the most narrow distance and of a not overly rapid speed. Of course, gradual changes from nonvibrato to poco vibrato to espressivo, sometimes called molto vibrato, and in the reverse order can be executed over the course of a passage or even within one note.
When oscillations are pushed beyond molto vibrato, string playing enters a radical land of instrumental techniques. All of these so-called extended vibrato techniques when they are used in a piece need a concise explanation of their execution in the work's performance notes. The term hypervibrato might well describe what happens when pitch oscillations become extraordinarily fast or wide. A super fast oscillation creates a tone reminiscent of a nanny goat's bray. Shaking the finger and hand an overly wide distance of a half step or even a whole step makes for a tone similar to the wah-wah effects in Jimi Hendrix's guitar playing. " from www.lunanova.or...
" ... with warmth and taste, clearly enjoying the idiom
and putting forth an unstated but tempting concept
to present Rummel as the latest candidate for
most distinguished Viennese cellist of today. And perhaps he is."
David W Moore, American Record Guide, 2013
(review of Naxos 8.572759 - Merk, "Fleurs d'Italie")
Since around 1992 I have received invitations from all over the world to play at great places and with some of the most astonishing musicians around. I am happy to call some of the greatest musicians of my generation not only "partners in crime" but also friends: first and foremost clarinetist Dimitri Ashkenazy, but also pianists Christopher Hinterhuber and Roland Krüger, violinist Lena Neudauer, violist Firmian Lermer and cellist Alexander Hülshoff. Besides working with people like them, I seem to have collected quite a number of elderly legends over the years: musicians like Jörg Demus, Dénes Zsigmondy or Eduard Brunner. It is this richness of life experience that I feel makes my life so exciting. In 1990 I got the chance to work with Alfred Schnittke for a week, and this experience initiated my fascination for a direct dialogue with composers. Sofia Gubaidulina, Howard Blake, Graham Whettam, Matthias Pintscher, Jörn Arnecke and many others were to follow, resulting in premieres of five cello concertos so far and countless world or national premieres of solo, duo and chamber music pieces.
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