Peter Infeld Strings for Cello Review
Yet another set of cello strings.
Before these strings came out, I had been trying the Jargar Classic Forte A+D with Spirocore Tungsten Medium G+C strings. At the risk of curmudgeonliness, I had wanted to get away from the newly fangled strings, Rondo, Versum, Il Cannone, etc., etc., and go to a simple and reliable set of strings. Perhaps my string choice was just another sign of these nostalgic times, a reaction to persistent technological progress and change that permeates many aspects of life in 2024. The kids are listening to cassettes and shooting film photos, and I am using a set of strings from the 1950s.
It is a fallacy, of course, to reject all change and technological development. The violoncello as an instrument only became feasible with the development of metal-wound gut strings in the 17th century, with plain gut lower strings being impractically thick for a baritone instrument. In the broader history of the cello, steel strings from the 1950s hardly count as primordial. However, much of contemporary cello-playing can be traced to the mid-twentieth century, and the Jargar/Spirocore combo is probably one of the older strings set-ups that has been in continual use.
I believe the impetus to try an “antiquated” set of strings in the Jargar/Spirocore combo also came from a desire to confront the inadequacies in my cello playing and technique. Playing the cello competently is hard. It will always be difficult. While technology can change the capabilities of our instrument, teaching our hands to create beautiful music will remain a challenge. Perhaps I had a theory that by going back to an “original” set-up, the urcello, I could confront my cello-playing demons and emerge stronger for it. Modern cello strings, with their promises and convenience, had coddled my cello-playing, and I needed to endure the trials and tribulations of my cello-playing forebears. I needed to play a paleo-cello.
It was with this mindset that I recently had the opportunity to meet with Attila Pasztor from Thomastik-Infeld as part of the company’s “String Optimization” events they hold. Attila is a fantastic cellist, and it was a pleasure to hear him play my cello. I highly recommend participating in a String Optimization event if you’re able to attend. Attila set up my instrument with the newest Peter Infeld set for cello. He commented that there was (yet another) set of strings in development that could work for the A&D, but the G&C were close to perfect for my instrument.
My understanding is that the theory behind this new set is to have relatively low outer strings (A+C) paired with relatively higher tension inner strings (D+G). I would like to better understand how string tension across the bridge affects an instrument. I saw Attila work with some other celli, and he was very attentive to selecting each string so as to not overload the bridge. It would be helpful to have more resources on this topic so cellists can make more informed string purchases for themselves. While each cello may be too unique for this be possible, I can imagine a “string tension calculator” being created that could recommend strings. For example, if you knew that a particular A or C string worked really well on your instrument, the calculator could suggest complementary strings with appropriately balanced tensions.
After being wowed by Attila, it was my turn to try new strings. My first impressions of playing the Peter Infeld set revealed a certain ease of playing and clarity of sound. Chords and double-stops had never sounded so clear on my cello, and my trills and vibrato also had a new vibrancy. I loved the buttery feeling of the strings, and (to borrow some audiophile slang) the “crunchy mids” and “smooth highs” of the tone were also a revelation. The PI set seem like they would work well on a large variety of celli. It is well worth experimenting with the complete set, although don’t be surprised if your instrument performs better with a mixed set. While the flood of new products can be overwhelming, cellists have more options than ever to find the right strings for their instrument, technique, and musical taste. I left the optimization converted.
A few days later however, I started having trouble. Many notes weren’t speaking. Was it the rosin, also a new product by Thomastik (which will undoubtedly be covered in another post)? I adjusted the tension of the bow, recently re-haired, as the falling snow wreaked havoc on the humidity of my equipment. Still, I was having difficulty getting the same response I gotten from the cello a few days prior. Perhaps it was the strings? Had I been hoodwinked by marketing promises (yet again), only to be left bereft and frustrated?
I tried my other bow, with its older hair and proletarian rosin (at a mere $35 per cake). The cello seemed to be responding better, yet I was still struggling. Then I remembered the sound Attila had made on my instrument and these strings, and I knew what was possible. I slowed down my playing and tried to respond to the feeling of the bow under my fingers. There were certain nuances of weight and speed that I needed to change. The sound improved, and some of that original excitement came back.
Playing the cello is difficult. It is a constant confrontation with your own inadequacies. But you have to confront them and move forward. A core cello memory is my teacher Steve Balderston saying to me, “You can do this.” In reality, he gave me hundreds of small encouragements like that, but in my mind it has been distilled down to a simple moment. Believing progress is possible is sometimes what we need to confront challenges.
I don’t know if my cello is perfectly optimized with the Peter Infeld strings, but I know what is possible with them. They are fun to play, and I am often finding new colors and beauty from my instrument. It is up to me to figure out how to unlock their potential.