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  • Hey guys!

  • Cello there.

  • Welcome to another episode of TwoSet Violin.

  • You might recognize who's here.

  • Oppa!

  • Eddy: Oppa Hyung!

  • Oppa!

  • Alright, so you guys might know Hyung from our

  • "Pro versus beginner cello" and "learning cello in 1 hour."

  • He's back again, but this time,

  • he has cello recommendations

  • - that you guys need to hear. - Mm!

  • Time to explore...

  • ...the world of cello gang!

  • So the first one I got is the Le Cygne.

  • Le Cygne, by TwoSet.

  • Yeah, Le Cygne.

  • With John Williams conducting, actually, in this video.

  • And Yo-Yo Ma.

  • Oppa...

  • - Why did you choose this recording? - Oppa.

  • Well, I think this is like one of the...

  • you know, best recordings ever made.

  • And also, you know, normally it's, um...

  • ...played with just cello and piano,

  • which is the original form, of course.

  • Or... cello and harp, sometimes.

  • But this is actually cello, and harp, and orchestra,

  • which makes it even more grand.

  • - Ohh... - And of course, it's Yo-Yo Ma.

  • You know, the...

  • The best cellist.

  • - He looks really young here. - Oooh!

  • That was a very definitive claim.

  • - Yeah, the best cellist. - Yo-Yo Ma.

  • Oh, maybe I shouldn't have said that.

  • One of the best cellists.

  • All the cellists out there are gonna get in a debate.

  • Actually, I wanna ask.

  • Why, why do you...

  • ...think Yo-Yo Ma is one of the best cellists?

  • I mean, obviously, he's one of the most famous, but...

  • Well, I've played with a lot of different professional cellists,

  • both in the orchestra and also like, duets, ensembles.

  • But the way he plays is very much like storytelling.

  • Doesn't seem like he's having any technical difficulty.

  • And when we see a lot of cellists playing,

  • there's always a bit of...

  • ...a bit of struggle, you know, when they play.

  • But when you see Yo-Yo Ma playing, it's just so easy.

  • Just so flawless, just...

  • Music just comes out of him.

  • Doesn't seem like he's actually playing cello,

  • it seems like he's... talking.

  • Talking through the cello.

  • Yeah, he looks...

  • ...really into it.

  • Yeah, he's very expressive, both in the music and his...

  • - And his face as well. - ...face.

  • And his face.

  • Well, that's one of the, I guess,

  • most important part of the performance, too.

  • The face.

  • I know it's a bit of a meme in the classical world, to like,

  • copy Yo-Yo Ma's like, expressions,

  • 'cause he's so expressive. But...

  • He does sound amazing here.

  • Oh, he does sound amazing. Yeah.

  • Yo-Yo Ma, yo mama.

  • The next one... Brett, you've played it.

  • I've played it??

  • On the cello?

  • On the cello, you have played this piece.

  • Dude, I didn't know my career was that epic.

  • Whoa! Whoa, yeah!!

  • I love it.

  • Is that the cellist's name?

  • He's a Scandinavian one.

  • I have no idea how to say it.

  • Trulsrk.

  • - I've heard of him. - Yeah, I know him too.

  • Yeah, and he plays on a nice, nice Montagnana too.

  • Is that the cello?

  • - “Motiana”. Montagnana. - Yeah yeah yeah. Mo...

  • Montagnana.

  • How much are those cellos?

  • Oh, I'm sure it's like...

  • - Over 10 million, I'm sure. - Holy sh...

  • Yo mama!

  • I'm not sure, I—

  • I've never even touched,

  • I've never even seen one in person before.

  • Oi. Yo mama touched your Montagnana.

  • Yo mama be Haydn!

  • We're so immature.

  • - We're not even talking about music. Yeah. - Yeah, it's just good vibes.

  • That was like...

  • - So good. - It was... so much energy and so lyrical.

  • Yeah, I know!

  • Yeah. That's why I chose this recording.

  • As you also felt it, like, we were kind of...

  • You know, going along with the music.

  • with feeling the beat, and the groove.

  • It's got that, he's got the youthful energy from, um...

  • Haydn's early 30s,

  • 'cause this piece was written when he was...

  • 31, 32, I think.

  • And especially this movement, it's got that energy into it.

  • - Mmm. - And I think this recording portrays the energy so well.

  • And also, the first movement is a very famous,

  • you know, the...

  • - Yeah. - The very famous, um...

  • Energetic.

  • The second movement is very intensely lyrical.

  • And this last movement actually has both qualities in,

  • within it. Even though it's a very fast piece.

  • As you said, it's very lyrical at the same time too.

  • Mmm.

  • Well, he plays amazingly up there.

  • I wish I could play like him.

  • But you play epic, Hyung-oppa.

  • (both) Hyung-oppa.

  • I just remember back in, um...

  • ...youth orchestra days, we had the competition.

  • And anytime a cellist came in

  • Well, not any time, but they often played

  • - one of the Haydn concertos. - Yeah, concertos.

  • - It's like, such a staple piece. - Yeah. Mhmm.

  • Yeah, because we only have

  • two classical cello concertos.

  • Oh we only have like, four if you think about it.

  • Three Mozarts and...

  • - "Beethoven," if you want to count him classical. - Yeah, but... Yeah.

  • Did Mozart write anything for cello?

  • Nothing.

  • - Wow! - Quartets.

  • That's why they had to settle for Haydn!

  • Just kidding!

  • Alright, let's go to the next video.

  • Next one.

  • OoOOoh!

  • Let's go.

  • Who is this guy?

  • "Blysma."

  • (both) Bylsma.

  • What?

  • Do you know why they were laughing?

  • - Is the cello ... - Is it the spike thing?

  • No, it's got multiple strings!

  • - Dude, it's got five! - Multiple strings.

  • - What the... - Five strings.

  • - So this is the Bach Cello Suite, number 6. - Ohh!

  • - It was written for five, right? - It's written for five strings.

  • Five-string cello, yeah. So he's—

  • And he's using the piccolo cello, a little bit smaller,

  • so that the E, high E string speaks well.

  • Wow, okay! Ooh, I can't wait.

  • Have you played on a five-string cello before?

  • I've never actually touched five-string cello.

  • I was actually thinking to get one,

  • 'cause this piece is impossible to play on four-string cello.

  • But... So how do normal people play it?

  • Well, it's...

  • Just a lot of thumb positions.

  • - Ah, okay. - So it's actually easier to play on the five strings?

  • Oh, much easier, I think.

  • - Ohh... - I see.

  • I haven't played it, but I'm...

  • I guess it's much easier.

  • So, why did you pick this particular recording?

  • It's because it's one of my...

  • Actually favorite movement in the whole Bach suite.

  • There are, um...

  • I think 36 movements.

  • And this is actually my favorite movement

  • in the whole piece.

  • Why is that your favorite movement?

  • I think I just like it. I used to actually...

  • When I first started playing cello,

  • I used to fall asleep while listening to this piece.

  • Like literally, every single night. So nerdy thing to do.

  • Would you say this is one of your favorite interpretations?

  • The favorite...

  • - Ooh. - ...interpretation.

  • Can you tell us a little bit why

  • - you think it's your favorite interpretation? - Well...

  • This recording has more...

  • I guess it's more sincere, like in a way.

  • And if you look at his face, it's very sincere too.

  • It's all about the face.

  • Next video.

  • Something different.

  • Nice.

  • Ay!

  • - Whoa! - Dude...

  • Holy...

  • That would hurt!

  • Wouldn't it?

  • Man, there was so much technique.

  • - New technique I haven't seen before. - Yeah.

  • - Guitar gang, step aside! - Yeah.

  • Cello gang is here to shred some.

  • Like, he... It's so much energy, like...

  • Yeah, I know. Well, I think...

  • I think he's actually all about that.

  • He's the composer himself.

  • - Oh, he's a composer! - Ohh...

  • His name is Mark Summer, he's the cellist of the...

  • This string quartet called

  • Turtle Island String Quartet.

  • Save the turtles.

  • Yeah, save the turtles.

  • Saving the turtles. They're the jazz quartet.

  • I see!

  • How would you describe this, uh...

  • genre of music?

  • Jazz classical, I guess? Well, I...

  • It's got a bit of classical... you know, side to it too.

  • And I think this piece is a very good piece for...

  • purely classically trained cellists...

  • ...into a jazz world.

  • - Oooh... - Mhmm.

  • Yeah, this was the first jazz,

  • jazz cello piece I've ever heard.

  • And I really got into it, I played it all the time.

  • I still play it,

  • as an encore whenever I play concertos, or recitals.

  • I think you heard it, Brett. Right? When I played it.

  • - I think you came to that performance. It was an encore. - Oh yeah, you did play an encore! Yeah!

  • And it was this piece.

  • - I totally forgot. - Totally forgot.

  • Now I remember! I remember.

  • I love music that...

  • ...challenges and broadens the mind,

  • - of people. - Mhmm.

  • I mean, I'm sure people watching this,

  • since there's probably people from all different backgrounds,

  • - but I know when you study classical music, - Mmhmm.

  • in like, a music university...

  • It's easy to just see that narrow...

  • - ...path of like, - Yeah.

  • - the Haydns, Mozart, Beethoven, Mendelssohn. - (both) Yeah.

  • - They forget there's... - Mhmm.

  • - There's so much more out there. - ...all these other ways to express.

  • - And like, all the techniques he showed us. - Hyung: Exactly.

  • Sul ponte.

  • And he used a lot of those jazz guitarist techniques too.

  • Oh, really?

  • - Like, and the slapping, like... - Yeah.

  • - Oh, yeah. - The slapping. - "Bak," the pizzicato...

  • Harmonic pizz, too.

  • Yo mama like that?

  • I just have to throw one in every single video.

  • All right, time for some...

  • ...sadness.

  • GG, am I gonna cry?

  • Ohh.

  • That was like, next level.

  • That was so good.