"(...) Dumas plays with extraordinary virtuosity and expressive power, though the excessive rubato and brooding weight of Romantic interpretations are replaced by agile rhythms and a lightness of tone that is rare in cello music. Dumas also reverses bowing, in the manner of playing a viola da gamba, and this technique produces greater resonance than conventional bow strokes. Because she regards her work on the suites as a research project, Dumas has aimed at a more objective approach rather than a subjective reading, though her playing is by no means mechanical and her expressiveness still shines through in her artistic shaping of the harmony and the sound, though without Romantic gestures or self-indulgent moodiness."
Blair Sanderson, allmusic.com
Le Bach du dimanche, France Musique, by Corinne Schneider
origins, evolution, and technique of the violoncello
baroque cello & Bach Cello suites
ABOUT THE PROJECT
"Some move the bow as is customary on the viola da gamba, that is, instead of a down-stroke from left to right for the principal notes, they make an up-stroke from right to left, beginning from the tip of the bow."
J. J. Quantz about cellists, Berlin, 1752
excerpt from "The art of playing the flute"
BOWING TECHNIQUE - BAROQUE CELLO: UP OR DOWN?
The bowing, the strings and the soundtable.
INTRODUCTION TO THE BAROQUE CELLO
origin, size, strings, set-up
THE BAROQUE BOW
The clip in frog bow and the bow-holds
Cello technique & Cellist's health
tEACHING & BIOMECHANICS
Visit Marianne's new teaching website!
PRESS - MEDIA - INTERVIEWS
Radio - TV - articles
THE INNER SONG
Interview by Ellen Moysan
(only in French)