Meet

the piPPa float

How did playing the cello come into your life?

“I started playing the cello in elementary school. When I was in fifth grade, the Leerorkest came by with all kinds of instruments. We were all allowed to list our top three favorite instruments, and then we’d get weekly music lessons. I remember thinking it was a really fun day and putting the oboe at number one. But that class filled up right away, so I didn’t get into it. The teacher was really funny, which attracted a lot of kids. I’d put the cello as my second choice, but I mainly did that because I knew you’d be allowed to sit during the final concert, while all the other string players had to stand. But I did think it sounded beautiful, mind you, and the teacher was very kind. My third choice was the French horn, because a friend of mine had listed it as her top choice.

So, actually, it was by chance that I started playing the cello. My brother chose the violin through the Leerorkest and took not only the weekly lessons but also the after-school lessons on Tuesdays. I started doing that, too. First, we had group lessons, and then orchestra lessons. It was more of a band than an orchestra, and we played all kinds of things: from Beethoven in the Bijlmer to Adele’s “Skyfall.” I kept that up through the 8th grade.

Bach in Minaj

“I really enjoyed making music, so I signed up at Muziekcentrum Zuidoost. There, having fun was truly the top priority. One of the first songs I played was Starships by Nicki Minaj. I’d requested that one myself, haha. After that, we did Bach.”

It wasn’t until my fifth year of VWO that I realized I wanted to go to music conservatory. My teacher then advised me to find another teacher, because he couldn’t help me reach that level in such a short time. I also had to start making choices between my other hobbies, such as horseback riding and korfball, because those activities carried too high a risk of injury.

Luckily, I’d found another teacher who really believed in me. She said, “Well, Pippa, your technique is really that of a 5-year-old, but nothing is impossible.” If we start now and you take a gap year before your audition, I think we’ll have a good chance. When I heard that, I knew I wanted to invest in it. I’d actually already set my sights on it. I then took lessons very intensively.

"I auditioned at the conservatories in Maastricht, Amsterdam, and The Hague. In Amsterdam, I was accepted into the preparatory program, and in The Hague, I was accepted into Larissa Groeneveld’s class. That was really my goal. I wanted so badly to study with her. It all went according to plan, haha!"

Why did you start looking for a different instrument?

“Larissa advised me to choose a different cello from Het Muziekinstrumentenfonds. At first, I didn’t necessarily feel that was necessary, because my teachers often told me that my cello was very good. It was a great instrument, especially for my studies—it was easy to play, even if you weren’t technically that advanced yet. But I did start to notice that my cello had its limits. It was fairly modest. I’d started experimenting with different strings, I’d had the bridge and tailpiece replaced, and at one point I’d even had a different tip installed because I wanted a different resonance. So I really did my best to get the most out of the instrument, but after a while, that stopped working.’

Were you excited to choose a new bow shortly after that?

“Yes, I think I’d only had the Kunze on loan for two weeks when I was allowed to try out some bows. I’d already decided I needed to look for a different bow, but I found it really hard to choose. I really took Larissa’s word for it. For her, it was clear that it had to be the Strumphler (Vleuten, 2002) was the one. I’m so glad I can trust her completely on this, because after a while I honestly couldn’t hear the differences anymore. I’d tried out quite a few bows in the Instrument Room, so I was getting a little overwhelmed. When I was done with that, Geertje (the collection manager) walked into the room and said, “I have a few more nice ones!” I thought, “No way!”

Would you like to pursue a master's degree after completing your bachelor's degree?

“Yes, the main question is where. I recently took masterclasses in Budapest at the Franz Liszt Academy of Music. I studied with Ditta Rohmann, and we really clicked. I thought she was absolutely wonderful, so now I’m dreaming of doing a master’s there. The teacher plays a big role for me. I think that’s more important than the country. And I’m currently playing with the NJO for a summer project. One of the 12 cellists is Douwe Eisses, and he told me about his experience taking lessons at the Mozarteum in Austria. That sounded really good, too. Fortunately, in my fourth year, I have plenty of time to take trial lessons with different teachers.’

What else do you dream about?

“The combination of teaching, solo work, and playing in an orchestra or ensemble sounds interesting—which is ultimately what most musicians do. I regularly organize solo concerts myself at a coffeehouse in my neighborhood. The series is called Bach & Breakfast. I stole the title from the Cello Biennale, haha. About once a month, I put together a half-hour program of cello repertoire—including Bach, of course—and then I give a talk about the pieces and the composer. Sometimes I play a few excerpts and talk about my experience while rehearsing. In the end, the concert lasts about 45 minutes, while people enjoy a coffee and a croissant. I love to talk—especially in front of a group—when I can teach people something. And I always enjoy answering questions from the audience afterward.’

Do you already have loyal fans?

“Yes, the café owner’s nephew—a little boy of about two—is always watching with wide eyes and moving his head to the music. After the concert, he walks around my cello in circles. He’s super shy, but really interested. I’ve never seen a child sit so still for so long.”