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/ ` INTERNET CELLO SOCIETY ©
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\ _/ 'TUTTI CELLI' Bi-Monthly Newsletter, July/August 1996
Step right up! There are still some positions left that would make the
operation of ICS smoother. We need a few more leaders to contribute their
time and talent to the following areas in particular:
CGI Script Programmer
This very important position entails maintaining the existing cgi scripts
and writing some simple scripts so that we can have ongoing survey polls,
etc....
Reporters/Writers/Reviewers
ICS needs more members writing about what is up in their particular area--documenting
concerts, masterclasses, new publications, new music and events. All members
are welcome; international members strongly encouraged.
Job Openings Maintainer
Several members have requested that ICS maintain a list of current job openings
for cellists. Are you interested?
Forum Assistants
Our forum directors need help in stimulating discussion within each ICS
forum. Armed with a list of ICS members that are most likely to be interested
in forum, the FAs and forum directors solicit conversation and interaction
with other members.
Mailing List Maintainer
***ICS thanks Robert Whipple for taking on this job.
FAQ/BBS Maintainer
***ICS thanks Jonathan Grover for covering this one.
Internet Surfer
***Paul Critser, Paul Stauffer and Marshall St. John seem to be covering
this one quite well.
***f you would like to volunteer to cover one of the above positions, please
contact me at CelloTalk@aol.com***
Okay, it is time to take an opinion poll. I would like you, the membership,
to vote for your favorite cellists of the past, present and future. Send
an e-mail message to director@cello.org.
and in the subject field type your favorite cellist's first and last name.
If you would like to vote for more than one cellist, send me a separate
e-mail message for each cellist. Please note that you can only vote for
a particular cellist once. We need wide participation in this to be meaningful
and interesting. I will post results on our website and in our next newsletter.
I would like to thank again Robert Whipple for volunteering to help with
our huge e-mailing list. Please send any e-mail address additions, deletions
or modifications to director@cello.org.
and they will be forwarded to Robert for processing.
Dutch-born Margriet Tindemans is one of the most sought-after players
of early bowed string instruments world-wide. She directs the Northwest
Center for Early Music Studies and is on the faculty at the University of
Washington. She has recorded for Harmonia Mundi Germany and France, Erato,
Accent, Classical Masters, EMI, Smithsonian Collection, Eufoda, CRD, Koch
International Classics, and Wildboar.
TF: I thought it would be interesting to read the views of an Early Music
specialist, since we often read what the typical cellist thinks of the Early
Music world. In other words, we get to hear from the "other side"
in this interview. For those of you who don't know, when an Early Music
person refers to a "Modern Cellist" they are referring to the
typical cellist today, who does not attempt to play "authentically,"
and does not employ more historic instrumental and musical performance practices.
Also, the words "viola da gamba" and "gamba" are used
interchangeably.
!!! A sound clip and photo of Margriet Tindemans will be posted later this
month!!!
"As performers and teachers of musical instruments, we are all vitally
concerned with the development of technical facility in both ourselves and
our students. The progression from beginning levels to mastery involves
learning an ever-increasing body of knowledge, at ever-smaller levels of
detail; this information must become so deeply internalized that we can
essentially forget it in performance and simply let the music emerge. This
has, no doubt, always been the case with fine players, even at the earliest
stages of the development of the art form. As the technology and equipment
for music-making has grown more complex and refined, so has the pedagogical
"equipment" which allows us to approach the goal of fine performance.
This article explores some of the pedagogical literature of the cello, focusing
on tone production and legato bow technique, to point out ways that both
the amount and types of knowledge available to cello teachers have grown
and changed in the last six generations."
"It is no accident that our Age of Analysis is also an Age of Anxiety.
"We murder to dissect," said Coleridge. And we do it from the
highest motivations: we wish, even as we further dismember Humpty Dumpty-his
Fall being, presumably, some kind of Original Sin-to put things right, to
get closer, some how, to perfection. The result, among string players, is
a mechanical accuracy and fluency without parallel in the history of the
art...
The emerging prototype of what might be considered a holistic performing
musician, in our culture, is versatile: a player who loves the art, who
can hold his own in performing the great orchestral and chamber literature,
the solo and duo sonata, and even-if he has the gifts and appetite for it--engage
in pyrotechnical display. (He may also, like his counter parts in earlier
centuries, take his turn at composing.) There are more and more artists
who fit this description, and many arenas for the exercise of their powers."
I was born in 1976 in Moscow. When I was six, my parents made me enter
a school affiliated with the Moscow Conservatory. My first teacher was Gayan
Mendoyan, she is now living in Brazil. When she has left for this country,
I became a student of Sergy Krochkin. He is now a cellist in Bonn Symphony
orchestra. I have entered a conservatory college in 1991 and my teacher
there was Alexei Seleznyov. While in his class, I played many concerts in
different cities like Kiev, Ukraine, Nizhny Novgorod, Russia and in Moscow
itself, indeed. The programs included music by Davydov, Dvorak, Glazunov,
Valentini, Locatelli, Prokofiev, Bach (indeed!) and many others. I especially
like Elgar's Concerto, can't say why, though.
Now I'm on my first year in Moscow Conservatory, my teacher is Kirill Rodin.
He is a comparatively young cellist, though very talented. Unfortunately,
he doesn't have much time to spend with his students, so I'm kind of on
my own now. Luckily, my father is a great musician, famous & extremely strong
french horn player Igor Lifanovsky. He is a 1st horn at the Bolshoi Theater.
He is spending a huge amount of time teaching me and it really helps. In
fact, he has the biggest influence on me musically and otherwise. In the
near future my trio will perform Mendelsohn's 1st trio, Rachmaninov's 1st
trio and Beethoven's 3rd trio. That will make a great end for the year!
And for four months, I have been working at the Compact Book publishing
house. It is a Russian multimedia publisher who now creating an encyclopedia
about Tchaikovsky, and I work as a project manager.
Also, I have two articles published by The Los Angeles Times. One about
the 10th Tchaikovsky Competition in 1994 and another one about the Schnitke
Festival held in Moscow in the same year. If anyone is interested, those
articles are available by request on my e-mail: boris@cello.msk.ru
Orchestra Hall, 5/1/96, 8:00 pm
Program: All Beethoven
Moscow has a wide range of places where they teach music, and quite a
number of concert halls. Among the last ones built are the concert halls
of Moscow Conservatory. There are three of them: Great Hall, Small Hall
(it is particularly good for cello - the sound projects very well and it
is very easy to play) and Rachmaninov Hall. The Great Hall is the preferred
concert hall in Moscow; whenever a famous musician come to Moscow he or
she performs in the Great Hall.
As for musical education, most Russian children attend so-called musical
schools in addition to regular school. There are more than 100 such schools
in Moscow. After eight years, those students wanting to pursue music professionally
must enter one of three so-called high schools: Music College affiliated
with Moscow Conservatory, Gnesins' Musical College, Ippolitov-Ivanov Musical
College. Then to acquire a bachelor's degree, one must enter the Moscow
Conservatory or the Russian Academy of Music.
There are many great cello teachers and professors in Moscow. In the Gnesins'
College there is Nadezhda Birina, Tatyana Prokhorova. In the Conservatory's
College there is Alexei Seleznyov, Galina Soboleva. In the Conservatory
itself - Igor Gavrysh, Ernst PozdEyev (Russian Nation Symphony Orchestra,
2nd cellist), Dmitry Miller (Bolshoi Theater lead cellist) and Kirill Rodin
(Tchaikovsky competition winner). Unfortunately, the famous Russian cello
professor Natalya Shakhovskaya has left the Conservatory this year because
of a quarrel she had with other cello teachers. There are also many fine
chamber music coaches. In the Russian Academy of Music a professor of quartet
is Valentin Berlinsky, a cello-member of the legendary Borodin Quartet.
In Moscow Conservatory the entire Shostakovich Quartet is teaching. Their
cellist's name is Alexander Korchagin. The famous cellist Alexander Rudin
(also a Tchaikovsky competition winner) is teaching chamber ensemble in
the Moscow Conservatory.
The Conservatory's College student orchestra is directed by Anatoly Levin,
the supposed best in Moscow. A few orchestras not affiliated to any college:
New Names chamber orchestra under Igor Dronov and International Children
Orchestra under the Conservatory's professor Leonid Niklayev.
Moscow is the home of many 'real' orchestras, like Russian National Symphony
Orchestra under Mikhail Pletnyov, Orchestra of the Russian TV & Radio under
Vladimir Fedoseyev, State Academic Symphony Orchestra under Yevgeny Svetlanov
and a few others.
Recent events:
--On June 3rd Montserratt Caballe sang a solo concert in Great Hall. Announced
program includes Rossini's, Verdi's Puccini's works and more.
--May 25th, Cellist Ivan Monigetti played a solo concert with pianist Konstantin
Orbelyan. He played Beethoven's 7 Variations on the Theme by Mozart, Beethoven's
3rd Sonata and Boccherini's B-dur Concerto. The chamber orchestra was conducted
by K. Orbelyan. Nice show for those who enjoy an authentic approach.
--A cellist winner of the last Tchaikovsky competition Georgy Gorunov performed
the Shostakovich Concerto #1 in Great Hall May 28th.
An ongoing serial story of the most influential cellist of the early
20th century.