Cellist Lucas Fels introduces himself – in German.

Cellist Anssi Karttunen introduces himself – in Finnish

Anssi Karttunen asks Lucas Fels why he plays the cello.

What is your relationship to the composers you work with? Where is the boundary between professional collaboration and friendship? 

Anssi Karttunen and Lucas Fels give a brief introduction to what CelloDocu is and what they hope to achieve with it.

Our relationship to information has changed and continues to change.

How do we navigate the information available, and how do we make sure we preserve information in a practical manner so that other people can use it efficiently and productively? 

CelloDocu is not about telling anyone how they should do something.

It's a collection of evidence and experiences around working with composers and their works. We present historical and current documentation so that other people can reach their own conclusions and make their own creative decisions.

To what extent can CelloDocu be seen as a kind of First Aid for musicians navigating new works? 

One of the central components of the relationship between composer and performer is the notation of the work. Lucas Fels and Anssi Karttunen discuss the challenges and difficulties of recording the wishes of a composer in a fixed medium such as notation.

Anssi Karttunen and Lucas Fels discuss the problematic situation around the score of Berio's Sequenza for cello and how to determine what the composer's "real", "last" or "definitive" wishes were.

How do we document this information in a way that cellists can create their own performance without being told what is right and wrong?

Anssi Kartunnen and Lucas Fels discuss CelloDocu with Arevik Beglaryan and Bernhard Siebert at the College of Music in Frankfurt. Edited by David Schmitt.

Marco Stroppa discusses his work for solo cello and works with cellist Yi Zhou on particulars of the performance.

Dr. Adrian Kuhl from the Bernd Alois Zimmermann Complete Edition briefly explains which source materials are available.

Dörte Schmidt from the Bernd Alois Zimmermann Complete Edition explains how typical it was for performers to play from a composer's manuscript in the days before people started collecting them.

Cellist Lucas Fels asks Helmut Lachenmann whether his work Pression was a revolution when it was written in 1969.

Younghi Pagh-Paan discusses the intricacies of the notation of AA-GA I for cello.

Cellists Yi Zhou and Anssi Karttunen talk about performing Ay, there's the rub with the composer Marco Stroppa.

Anssi talks to Marco Stroppa about writing for the cello and his work Ay, there's the rub.