Reviews
Daniel Morganstern – Cellist
Publications
Cello Solos from Opera and Ballet. Daniel Morganstern. International.
1. While many symphonic excerpt books are available, none is so thorough and affordable as this unique collection. Morganstern draws on his 30-year tenure as principal cellist of the Lyric Opera of Chicago and American Ballet Theatre to offer reliable fingerings, intelligent bowings, and subtle interpretive suggestions in 28 solo excerpts from the operas and ballets of Mozart, Verdi, Puccini, Tchaikovsky and others. The editing and the layout are both very good. Every excerpt contains two layers of bowings; the composer’s bowing indications along with Morganstern’s own suggestions, most of which manage to be both very practical and highly inventive at the same time. The only thing I (B.W.) don’t like about this edition are the fingerings.. Morganstern clearly has large hands, because he often recommends fingerings involving double extensions. It would be nice in these cases if he were to suggest an alternate fingering for cellists with smaller hands. The insightful introduction, not to be overlooked, has suggestions about practicing and preparing for the challenges of solo playing in the orchestral setting. Substantial and beneficial for professionals, with vocal cues and lyrics included for context and study, this book is wonderful addition to the cello studio. The marvelous solos – which include richly expressive cello choir passages for ensemble playing – provide an opportunity to introduce students to some of the most beautiful and passionate music in the literature.
-American String Teacher, November 2007
2. “This… compendium was assembled and edited by Daniel Morganstern, who is in a unique position to expound on these materials, having been principal cellist of both the American Ballet Theatre and the Chicago Lyric Opera orchestras during his 30-year career.
The volume includes a preface with a number of useful practice tips and Morganstern helpfully adds a line for vocal or instrumental cues in several of the excerpts. Excerpts are liberally marked with fingering and bowing, reflecting the editor’s long experience. In playing several [of the excerpts] through, the fingering and bowing choices seem eminently sensible and practical to this reviewer.
As a convenient, single-volume survey of representative solos, with good editing, this publication offers value.”
-Strings Magazine, February 2007
Fundamentals of Cello Technique and Musical Interpretation
3. "Morganstern, principal cellist of the Lyric Opera in Chicago and the American Ballet Theater at the Metropolitan Opera House, pays homage to Leonard Rose in this unique method book for cello. This book offers many helpful and practical ideas complete with sometimes lengthy but enjoyable explanations on how to approach certain technical or musical challenges. Included in the book is an appendix by Scott Ballantyne entitled, "Comprehensive Notes on the Pedagogical Methods of Leonard Rose." Through this book and others written by Morganstern, along with the wonderful performing and teaching of Morganstern and many other famous cellists, the legacy of Leonard Rose will continue to influence the present and future generations of cellists."
- American String Teacher, August 2006
Variations on a Rococo Theme, Op. 33
1. "For cello and optional second cello. Transcribed and edited by Daniel Morganstern and Elaine Fine. International Music Co.
Inspired by a lesson in contextual playing with the great pianist Leonard Shure on the Bach D minor cello suite, Daniel Morganstern has written and recorded bass lines for everything in his repertoire. It has proved to be an ideal vehicle for teaching: it covers building up sound and creating awareness of relationships with other instruments or an orchestra. Switching parts between melody and accompaniment also enables students to play with more freedom.
Morganstern’s fingering and bowing differ from those in the Leonard Rose edition of the Rococo Variations (IMC 1263), but serve as a stepping-stone to approach the ideals of his illustrious teacher, honoring Rose’s legacy of technical mastery and beautiful sound.
Morganstern offers valuable strategies for tackling the more challenging facets of the theme and its seven variations: he addresses string-crossing problems, how to achieve coordination, how to breathe and relax between segments, and offers various bowing solutioins. His aim is to make technical difficulties easier, always with musical phrasing in mind. If you previously felt these wonderful variations to be somewhat beyond your level of expertise, be inspired to try again, buoyed by Morganster’s "lesson in a nutshell."
- Strings Magazine, December 2009
2. "2. Daniel Morganstern has written commentary and preparatory exercises for all the variations, giving you helpful ideas about fingerings, different bowings to investigate, melodic phrasing, specific methods of practice using accented rhythmic exercises and general performance tips. This edition with a second cello part is ideal for someone how hasn’t yet learnt the work, doesn’t have a teacher or access to a piano. It is heavily fingered and bowed, often with alternating bowing and fingering given.
Daniel Morganstern studied with Leonard Rose and has held positions as principal cellist in the American Ballet Theatre and the Chicago Lyric Opera Orchestras. The focus of Daniel’s teaching has always been to further the legacy of Leonard Rose. His book, "Fundamentals of Cello Technique and Musical Expression" (IMC 3556) and his "Practice of Music" (Mel Bay) contain lengthy discussions of his relationship with Leonard Rose and how to use technical means towards musical ends."
-Stringendo: Journal of the Australian Strings Association, November 2009
Practice for Performance
4. "Daniel Morganstern has written a very different and delightful cello book where he uses personal experiences to discuss technical preparation as it relates to the goal of performing inspired music ... this book is for serious musicians. Age or experience level does not matter ... you will find wonderful tidbits to chew on and savor many times."
- American String Teacher, Nov. 2003
5. "This book is a delight. Any author who pays homage to a former teacher and also encourages others to excel as musicians is at the top of my list. This book is a joy to read, and I recommend it to cellists, students, teachers, and performers."
- The Instrumentalist, July 2002
6. " Practice for Performance by Daniel Morganstern contains ideas not to be found in any other treatise on the subject of musical preparation. Set in the context of a personal history of growth as a performer, the discoveries sensibly unfold in a fascinating account of experiences with many notable artists whose comments and examples shaped Mr. Morganstern's thinking to provide this unique concept of performance development."
- William Preucil, Sr,. Professor of Music, Emeritus, University of Iowa
- Doris Preucil, Founding Director of the Preucil School of Music
Past presidents of the Suzuki Association of the Americas, Inc.
Trio No. 2 in C major, Op. 87
7. “This recent edition improves on the widely used Peters edition in several ways, most notably by carrying bar numbers and cues in the string parts during rests. The print is clear; spacing is sometimes generous, sometimes crowded, probably for ease of page turning. There is no claim to authenticity, footnotes, or explanatory introduction. Brahms’ long phrase marks always pose problems for string players, who tend to confuse them with bowings, but the editors wisely avoid this misconception and freely break them up for maximum sound."
- Strings Magazine, October 2008
Larsen and Morganstern
"Larsen and Morganstern features Daniel Morganstern on cello and Eric Larsen on piano... This recording shows that Morganstern practices what he teaches. Morganstern and Larsen treat the Beethoven Sonatas Op.69 and Op.120 as equal dialogues for cello and piano, and these dialogues are beautiful, intricate, and reverant. The sound of the Sonatas is both intimate and indulgent."
"The Brahms Sonata in F Major, Op.99, the Chopin Sonata in G Minor, and Introduction and Polonaise Brilliante sound as if they were recorded from a farther distance with different acoustics. I particularly love the way Moganstern and Larsen play the Chopin Sonata, one of the few pieces written by Chopin for an instrument other than the solo piano. These musicians stress the formal and lyrical qualities, and they keep the style light and flowing throughout the performance."
"In contrast, the Introduction and Polonaise Brilliante is an intensely expressive piece with an indulgent introduction followed by an absolutely thrilling and virtuosic Polonaise."
- The Instrumentalist, January 2006
Brahms: The Complete Trios for Piano, Violin & Cello; Beethoven: 'Archduke' Trio
(Daniel Morganstern, violoncello, June DeForest, violin and Eric Larsen, piano)
"Though the American Chamber Trio has been Around for more than 20 years, they only recently started making recordings. These Brahms and Beethoven readings seem to reflect many years of preparation. They are extremely expressive, mature interpretations that concentrate on the substance of the music. Though the individual playing is spectacular, it is the ensemble playing and the sensitivity to the way every note and every phrase relate to each other that make this recording so satisfying."
"There are so many qualities to admire here. The combination of sounds in this trio is unusual. Daniel Morganstern's cello sound is deep, rich, and very focused. June DeForest's violin sound has a more transparent quality that sounds particularly wonderful when she and Morganstern play unison and octave passages. The pianist, Eric Larsen, is like a chameleon, changing his color and touch to match every voicing situation, creating constant interest and variety."
"Much of the music seems driven by the cello line (as in those old Casals recordings), which brings the attention of the listener into the center of the music rather that towards the highest voice of towards the most active instrument."
"It is also wonderful to have such a fine set of Brahms Trios for violin, cello, and piano all together, but it is even more wonderful to have them bundled with the Beethoven Archduke , because the reading is so engaging. I particularly love Morganstern's vocal approach to the cello Melodies."
- The American Record Guide
Chopin: Introduction and Polonaise Brilliante, Op. 3; Schubert: Sonata in A minor; Rachmaninoff: Sonata in G minor, Op. 19
(Daniel Morganstern, cello and Eric Larsen, piano)
"Morganstern's performance is primarily a virtuoso event. He opens with a fiery performance of a difficult arrangement of the Chopin Polonaise, putting the cellist through feats of technical wizardry."
- The American Record Guide
Beethoven: Three Sonatas for Piano & Violoncello
(Daniel Morganstern, violoncello and Eric Larsen, piano)
"These are very serious, technically polished readings of Beethoven's last three cello sonatas. This music demands much from its performers, and Morganstern and Larsen appear to give it their all."
- The American Record Guide
Beethoven Cello Sonatas, Op. 5
(Daniel Morganstern, cello and Eric Larsen, piano)
Music: Night of Beethoven
"So rewarding was Saturday’s evening of cello and piano music-all of it by Beethoven-at Weill Recital Hall at Carnegie Hall that one regretted missing its companion concert a week before. Together the two events, featuring Daniel Morganstern and Eric Larsen, programmed the five sonatas and the three sets of variations that Beethoven contributed to this then unusual combination of instruments.
Rarely is this music allowed to speak in such a natural, buoyant voice. Mr. Morganstern played the cello with a big tone and broad gesture.
Mr. Larsen’s playing is shaped by an understanding of Classical style. Together the two musicians were well-matched and well-rehearsed. These are also pieces as much for the piano as for the cello-a fact that Mr. Larsen and Mr. Morganstern explained to us with considerable eloquence."
- Bernard Holland, The New York Times
Fine Feel for the Brahmsian Idiom
"The finest playing is heard from cellist Daniel Morganstern (principal in Chicago’s Lyric Opera) and pianist Eric Larsen, both of whom have a fine feel for the Brahmsian idiom-and from whom I would like to hear more."
- Allen Linkowski, American Record Guide