SG: You taught six young cellists at Wigmore Hall. In the larger sense, how would you say that the ideals of cello playing have changed in the present generation?

BG: We have had an enormous increase in the facility of young talented players. The instrument today doesn’t offer the great difficulties that it did 50 or 75 years ago. There are hundreds of young cellists who have the facility of a Feuermann so that what was spectacular 50 years ago is commonplace today. What has been lost to some extent is the musical technique one needs in order to create the stamp of individual performance.

SG: Why is that so?

BG: Because it hasn’t been taught. We teach the method of playing the cello. We don’t teach the method of musical communication, which is what I learned through my work with Casals. At 30, I was searching for a means of expression. I knew there was only one man who could teach me those techniques. Through many hours of listening to Casals and listening to his advice, I discovered the musical techniques which I share with my advanced students.

It opens up a world of choice and gives one the opportunity of developing a style of playing which is individual and sets one apart from one’s colleagues, just as a good writer has a style which sets him apart.

This is what has been lost today.

SG: I once heard you give a master class in which you characterized the interpretation as “too personal.” William Pleeth often used the same expression in his teaching. What do you mean by it?

BG: I think one can become so involved in the beauty of a phrase and emotionally involved to the point that one exaggerates. One has to be the interpreter, not the originator. There should be a slight distance. The tears that you bring to the eyes of a listener should not flow from your own eyes.

SG: For the teachers amongst our readers, would you summarize what you would consider to be the essential ingredients of a good foundation at the cello?

BG: Develop an enduring love for the art form.

SG: Something that will carry you forward to the age of 90?

BG: Yes, that’s right. One should not be discouraged too soon. If you love it, stay with it. I remember Piatigorsky saying that the trouble with young people is that they don’t stay with it, they give up too soon.

SG: As an audience member listening to a performance of a work you know well, what would surprise you?

BG: Innovative ideas. I must say I have been a thief when it came to listening to other artists I admire. When I hear something new, I say to myself: “Why didn’t I think of that?” My next thought is: I will use it the next time I play the piece!”