Bernard Greenhouse Cello Master Class

Andy Volk · From: Boston, MA

A few years before his death in 2011, I had the privilege of hearing Bernie Greenhouse teach a gifted student in his Cape Cod basement - a real "Grandpa" basement - filled with old magazines, fishing rods, family photos, assorted boat parts, a grand piano and oh yeah, a Stradiverius cello.

As we were moving the lights for our video shoot he said, "Move anything you want but I'll move the cello - if you break it, it's 8 million dollars."

In this clip, look how finely he was attuned to the expression, nuance and texture of EVERY single note. That kind of laser-like, microscopic musical sensitivity is way beyond me. I couldn't play music if I didn't have the ability to convince myself that what I played was "good enough". A great artist, on the other hand, hears like an eagle sees.

https://www.youtube.com/watch?feature=player_embedded&v=0YuCAVUGt_g

Mike Neer · From: NJ

That was so informative. Thanks for posting.

I started really paying attention to each note within the last year, especially when playing a melody (not as much improvising, as there are so many other factors to think about).

I got this book last year and it really opened my eyes to a lot of things, especially about expression in performance. It's a deep book.
http://www.pedrodealcantara.com/integrated-practice/

You can really hear the difference between he and the pupil.
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Andy Volk · From: Boston, MA

Bernie could be tough. I saw a clip where he told a girl she sounded like a constipated pigeon.

Andrew Roblin · From: Various places

I watched only the first couple of minutes.

I would NOT want to be a student in this setting with this teacher. I suspect his performance ideas could be better taught in general terms, rather than picking apart each of the student's phrases and notes.

For example, the teacher might say, "Make your instrument sing each note."

Andy gives an example of this teacher's verbal abuse.

Perfectionism drives some artists...and makes them terrible people.

Andrew Roblin
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Mike Neer · From: NJ

Andrew, that's how many of the masterclasses with the great classical musicians are/were. Have you seen the Segovia videos? I think he was even more extreme.

It's a small price to pay for the input of a true master, in my opinion.

I think this is true of many of the classical arts, especially dance. They can be incredibly harsh.
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Andy Volk · From: Boston, MA

Artists at Greenhouse's level (i.e. generally acknowledged to be among the top 5 in the world on their given instrument) can definitely be tough to deal with and their lives are often filled with the bruised egos of other professionals as well as those of their own family members that results from this level of obsessiveness about their art.

The master class format is a very demanding venue and many have found it a withering environment. On the other hand, for those with thicker skins and good ears, it's a chance to understand some of the mechanics behind the magic of the greatest players and add a little of that fairy dust to one's own performances. The couple of cellists I spoke to when we shot the documentary with him said he was a very tough teacher but they were so lucky and honored to have the chance to study with him. In general, because they are always playing note-for-note arrangements, it's more common, I think, for classical musicians to dissect every phrase on this microscopic level. There are classical players who are more heart than head oriented.

Jerome Hawkes · From: Fayetteville, North Carolina, USA

see, i look at this as the difference between the way a true master hears and the way a student or amature hears. clearly a difference. this was a great insight into that highest level of listening and interpreting a written piece.
what you have to realize, is this student is probably on his way to a career as a professional (probably already at a prestigious conservatory) - sure you wouldnt do this to someone in high school orchestra class.
you know, there are very close similarities to the way Jerry Byrd approached teaching. listen to each note and the "music between the notes".
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Andrew Roblin · From: Various places

I agree with the Jerry Byrd comparison.

Andrew

William Lake · From: Ontario, Canada

Mr. Greenhouse reminds me of my Classical guitar teacher. Eli Kasner in Toronto.
He was a protege of Segovia. Very demanding but at the same time kind and patient and was willing to go to any length to show me the way.
Later, when I started teaching, I discovered there are two kinds of serious students.
One kind is tough and will take direction without being hurt. You can abuse them a little and they take it as a challenge. Others you have to treat with kid gloves.
I was the kid glove type of student and Eli lifted me to be a better musician.
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Bill

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