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Wild Rice

by Elena Kats-Chernin

Instrumentation
Cello
Composed
1996
Duration
8'
Publisher
Bote & Bock (Boosey & Hawkes)

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About this piece

A slow, unaccompanied piece of about eight minutes, written in May 1996 for the Australian cellist David Pereira, who premiered it in Newcastle, New South Wales, that August. Kats-Chernin's note on the Boosey & Hawkes page says it grew out of hearing Pereira play new cello music, especially works from his Uluru project. She contrasts the cello's high, airy register with percussive low notes. She says two images shaped its unusually slow pace for her: an old woman hauling a sack of rice over windswept fields, and Uluru.

Technical overview

Long slurred melodies sit mostly in high treble-clef harmonics and alternate with forte pizzicato notes on the low strings. The cellist also needs glissandi to very high harmonics, a fingered-tremolo 'flutter', and deliberate overpressure ('excessive bow pressure').

Technical focus

  • Harmonics
  • Pizzicato
  • Legato
  • Dynamics
  • Bow Control

Level rubric

Advanced

Left Hand

  • Unrestricted fingerboard operation.
  • Effortless high‑register passages with thumb position.
  • Execute large leaps, rapid shifts & fast runs with precise intonation.
  • Render double stops with clarity and even vibrato.
  • Crisp, stylistically appropriate ornamentation (trills, turns, mordents).
  • Instinctive micro‑adjustments in intonation for expressiveness.
  • False harmonics in low positions

Right Hand

  • Complete command of all bow strokes at any tempo/dynamic.
  • Comfortable execution of virtuoso passages (sautillé, intricate ricochet).
  • Tone projection from whisper‑quiet to fortissimo.
  • Integrate advanced bow patterns with expressive phrasing.
  • Demonstrate technical precision with a broad dynamic range.

Rhythm & Musicality

  • Interpret large‑scale structures with nuanced pacing and rhythmic freedom.
  • Highly refined phrasing with subtle note grouping & expressive rubato.
  • Convey emotional depth and stylistic authenticity.
  • Incorporate personal interpretive choices while meeting stylistic demands.

Levels are approximate guides, not strict requirements.