Message from the Editor
Membership Letters
Dear ICS Members,
2004 was another exciting year for cellists around the world and the Internet Cello Society. Our 12,393 members were not only busy performing, studying, teaching and bettering our world, but very busy conversing with each other from around the globe. The ICS website homepage was visited over 1 million times this year and the Cello Chat boards were viewed 7 million times! Despite the seemingly impersonal numbers, members have found the ICS forums a safe haven in the vast sea of the Internet.
2005 marks the 10th anniversary of the Internet Cello Society! We are planning special live chat sessions this coming year with several past featured artist interviewees of Tim Janof. Also in the works is the bottling of our very own anniversary wine to celebrate our 10th! More details later.
We still hope to learn more details about our international fellowship this year by encouraging all ICS members to write about themselves and their local cello scene. Share a recording (with proper permission only)! Send articles, news clippings, local cello newsletters, photos, or other cello graphics!
To make the Internet Cello Society a true reflection of its membership, we need your help.
How to help?
For detailed instructions see the ICS FAQ at http://www.cello.org/faq.htm.
� Shorter on time than on money? Contribute funds at http://www.cello.org/popup/index.cfm to support the material costs of the website. To my dismay, our online credit card processing service failed to forward to me the identity of some contributors to the Internet Cello Society since March of this year! If you are one of those contributors, please send me an email with the amount and approximate date (month) of your contribution as well as your ezboard username, so that I can properly acknowledge your contribution and change your ezboard status. Please accept my apologies.
This year's monthly bills totaled around $300 per month for: hosting services, Coldfusion Internet database programming, credit card merchant lease payments and fees, internet connection and software costs. ICS is contracting Maria Hadges of Cats Eye Web Studio to revise our website from scratch. The following is a brief description and timeline of the project:
Phase I (Delivery target date: End of February)
Goals:
Primary goal is to restructure the site architecture and base foundation of the site to be more usable and work seamlessly.
Base foundation:
Categories:
Phase II (Delivery target date: End of May)
Goals:
We give a heartfelt thanks to those of you who have supported us over the years. This year's goal is to raise $5000 to pay for both phases of the website upgrade. Please make your contribution soon at http://www.cello.org/popup/inex.cfm . From those who contribute, three names will be randomly selected at the end of January 2005 to receive a free ICS souvenir of their choice including ICS t-shirts, mugs, clock, teddy-bear, aprons, bags, frisbee, postcards, hats or mousepad! To see prizes or to buy your own souvenir, see http://www.cafepress.com/cello.
I invite you to join me on New Year's Day to take a moment to play some Bach in memory of those who were so recently lost in southeast Asia.
May you all find renewed joy in life, in shared performance and in the intimacy of your practice room.
John Michel
ICS Director
>> I noticed your interview with Arto Noras. I met him this past summer on the Music Cruise and he was a wonderful inspiration for my cello playing. I learned a lot from him.
Margaret
>> During my junior year in high school, I played the prelude to the 3rd Bach suite, to the absolute best of my ability in a New York All-State audition and earned a 93. I lost most of my points in interpretation and sight-reading. A year later, I earned a perfect score, with a much easier piece.
My formal instruction ended in 2000 when I graduated from high school, though I did play with a community orchestra for two summers between then and now. I'd borrowed the conductor's cello during the summers for these performances and rehearsals in between. Our talents varied -- some great talents, others tried hard and did the best they could. It was fun - though after sophomore year, I stopped playing with the orchestra.
After graduating college, I found a job in Manhattan, spent a month in Europe, and came back, demanding of myself a cello. So I went to Samuel Kolstein, who I remembered as the premier luthier of lower strings on Long Island, where I live. He has an interesting personality. He looks like a lumberjack and acts like an aristocrat...but he does have some fine instruments.
After being unsatisfied with the first three cellos he showed me, (and I imagine, gawking at him a bit), he presented me a cello of much higher quality, which I could rent for an extra 180 dollars/year, for a maximum of two years. I took it.
I went home and practiced for 10 hours, and 13 the day afterwards. This continued, every weekend, for two months. It was very frustrating, but I slowly regained a familiarity to an instrument that had once seemed to bridge the gaps between what my heart felt, my mind dreamt up, and my mouth couldn't possibly express. It sounds corny now ... but I had never felt this insecurity before.
Anyway, I decided to collaborate with other musicians....
For five months afterwards, I played/gigged with a rock band in New York City. I quit one night, while watching the World Series projected on a screen above a cover band named "The Green Machine."
They looked like bums, but they sounded great, so much better than us, from top to bottom. I decided I needed to get out of the club scene and back to the drawing board. Plus, I had been paying half of our studio fees, essentially for our guitarist/singer to practice what he couldn't get down at home. I called him up, and quit on the spot.
Not that I should knock his playing ... he started late.
Now, that I'm assessing my abilities ... and it occurs to me...wow...I've no formal training in the fifth position, let alone any of the thumb positions I need to play the pieces I most enjoy today. The fingerings I learned for the 3rd Suite were learned only for the 3rd Suite. Now, my tone is great some days, and wretched on others...my bow control's shot, and my old recordings conjure thoughts of wasted talent. I was never the best in my orchestra ... but listening again...I was not that bad at all.
I remember a student in my junior high school orchestra that I easily outplayed who, come high school, had far exceeded my abilities, and took second chair, as I sat at fourth (third when my stand-partner played the piano).
I'm now looking into taking formal lessons, perhaps with my high school colleague's teacher. It feels great to get back into music again.
Brian
** If you would like to respond to something you have read in 'Tutti Celli',
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Born into a family of musicians in Moscow, Karine Georgian began her cello studies at the age of five under her father, later studying at the Moscow Conservatoire under Rostropovich. After taking the First Prize and Gold Medal at the Third Tchaikovsky International Competition, she launched an international career that has spanned all the countries of the former Soviet Union, Eastern and Western Europe, the Far East, and the United States, starting with the American premiere of Khachaturian's Cello Rhapsody with the Chicago Symphony conducted by the composer (her recording with the composer and the Moscow Bolshoi Radio Symphony Orchestra has recently been reissued by Melodiya/BMG Classics).
Today, Karine Georgian is a seasoned performer with a vast experience on concert platforms across the world, having appeared with many of the leading orchestras and conductors of our time. Her repertoire encompasses more than forty concertos and a huge range of instrumental and chamber music. She has been associated with many leading composers of our day, many of whom have worked with her and written works for her. These include Alfred Schnittke (of whose First Cello Concerto she gave the US premiere in Carnegie Hall in 1989), Edison Denisov, Tigran Mansurian, Krzysztof Penderecki, Alexander Goehr, Dmitri Smirnov (Cello Concerto, premiered with the BBC Philharmonic under Yan Pascal Tortelier in 1996), Howard Skempton, and Elena Firsova (Chamber Concerto No. 5). In 1994 she made her first visit to Australia to give the Australian premiere of Britten's Cello Symphony. Among last season's more enjoyable engagements was a major UK tour with the Moscow Philharmonic under Yuri Simonov, and a gala concert celebrating the Festival of the August Moon, televised live from the Forbidden Palace in Beijing.
In 1980 Karine Georgian settled in London and two years later succeeded Andr� Navarra as Professor of Cello at the Musikhochschule in Detmold in Germany. Much in demand as a teacher, after more than 20 years at Detmold she has now moved to the Royal Northern College of Music in Manchester, England. She has given master classes in England, Italy, Germany, Japan and Austria, and annually since 1989 (except for 1998) has taught and played at Dartington.
TJ: You started playing the cello when you were only five years old.
KG: Yes, and my father, Armen Georgian, a distinguished cellist and teacher in Moscow, was my first teacher. He was born in Baku in 1904, which was an important cultural center at that time. Baku is also where Rostropovich was born. My father's family was persecuted in the 1916 massacre of the Armenians and fled to Moscow just at the time when the Russian Revolution was heating up. These were turbulent times.
My father studied at the Moscow Conservatory with Anatoly Brandukov, an important cellist and conductor who had studied with Cossmann and with Fitzenhagen (who made the most commonly played version of Tchaikovsky's Rococo Variations). He was a great friend of Rachmaninoff too. He was best man at Rachmaninoff's wedding, and the dedicatee of the Sonata and the Trios. My father was fortunate to study with such an illustrious cellist. <
(Click here for the complete transcript.)
ANTONIO JANIGRO (1918 - 1989), cellist, conductor and teacher, was one of the greatest European musicians of the twentieth century. He studied at the Milan Conservatory and Ecole Normale de Musique in Paris. While still a student, he embarked on a soloist career that was to take him to many of the world's music centers; he performed with prominent orchestras and renowned conductors, worked with pianists Carlo Zecchi, Paul Badura-Skoda and Dinu Lipatti.
In 1939 he came to Zagreb where he taught for a number of years at the Beethoven Music School, Academy of Music in Zagreb, conducted the Zagreb Radio and Television Chamber Orchestra (today Croatian Radio and Television) and founded the Zagreb Soloists Ensemble. After almost thirty years in Croatia, he moved to Milan where he conducted the Angelicum Ensemble.
This was followed by engagements in Saarbrucke,n where he conducted the Chamber Radio Orchestra, and in Dusseldorf, where he taught at the Robert Schumann Conservatory for several years. In Salzburg he conducted the Camerata Accademica Ensemble and taught master classes at the Mozarteum, as well as in Portugal, Great Britain and Canada. In Turin he gave master classes within the Musical Encounters series.
When I was kindly asked by Tim Janof to put together a short bio for my father, Antonio, I did not realize that the details and facts that I can convey are not really organized in a biographical way. I remember only a few dates, and everything is lumped in a single mnemonic category. So, don't expect historical or musical rigor (I am neither a history buff nor a musician!) or details on performances, etc. There are other good sources available for this type of information.
(Click here for the complete transcript.)
This brief interview is with Daniil Shafran's step-daughter, Vera, through e-mail.
Daniil Shafran (1923-1997) was one of the great Russian cellists. He began playing cello at the age of 6. Subsequently he continued his studies with professor Alexander Shtrimer (1888-1961) in a special music school for children at the age of 8. He won first prize at the USSR All Union Competition at the age of 14. At the time, he was below the age limit but the competition committee approved his entry. He was given the Antonio Amati cello made in 1630 as a prize. He used this instrument ever since for all his career as a concert cellist. The second cello concerto of Kabalevsky was dedicated to him. He recorded the cello sonata of Shostakovkich with the composer himself.
TJ: What was Daniil like as a person?
VS: He always was even-tempered, quiet, and practically never entered into a conflict. If he felt that a person was unpleasant, he simply ceased to talk with that person.
He tried not to let his professional life affect his family life. The exceptions to this were when there were concerts in the evening. He would get very nervous before performances and he became very withdrawn the day of the concert, barely saying a word. The family accepted this as the sacred torment of his creativity.
(Click here for the complete transcript.)
This is a website for Antonio Janigro. There are some fascinating descriptions of Janigro, the man.
**Please notify Tim Janof at editor@cello.org
of interesting websites that you would like to nominate for this recognition
in the future. Websites will be selected based on their content, cello relevance,
creativity and presentation style!
In addition to our boards, you are welcome to contact our forum hosts directly. For a complete list of ICS Forum Hosts please see http://www.cello.org/The_Society/Staff.html
>> Re: "The Juilliard Effect: Ten Years Later," by Daniel J. Wakin, New York Times, 12/12/04
zambocello: What a poignant and sobering article.
I remember my parents' concern about my being a music major. What would I do if things didn't go well? I didn't think about it. I "knew" things would go well. My career developed pretty slowly, but I could count on my folks if I needed to borrow $100 here and there. Without that support there would have been more difficulties.......my first wife would have had to have worked a little!!
The comparison with a one-shot gamble is interesting, but anyone going to school under those terms is missing the point (and would likely similarly miss the point and be gambling no matter what they studied). I know a friend who studied business and is not in business but is aided by his experience of studying business. I know music students who are not in music but benefitted from having studied music. Etc, etc...
To friends and students who can't decide whether or not to commit to being a music major I always say "do it." It is one of those things that is easier to pursue and then veer off from than to pursue at a later time. Different than grading diamonds, counseling on taxes, or getting a teaching certificate.
BA: If you go to the Times website they also have an interactive feature with three more class of 94 grads. 94 was my last year there as well, but because it was DMA I didn't actually graduate until 98. But, like Jailyard, I know pretty much all of these people, though I had lost track of some. Ittai Shapira is a close friend who I see often. He is lauded as the 'success' story here, but I assure you he is constantly hustling just to keep things going and come up with new ideas. It's no cake walk. Justine Flynn was a fellow west side Y survivor in the days before the dorm, as was Matt Herren. Nick Eanet is perhaps the most naturally talented violinist I've ever seen. The kind of guy who could party for a month without touching the fiddle, then pick it up cold and play anything perfectly and with style. There are two suicides of people I knew from Juilliard that I am aware of, the cellist Kurt Popovsky a few years ago and the violinist Jason Pell recently. Both are missed.
The article is fairly accurate I think, except that it pays no attention to the fate of pianists, whose prospects are far more grim- very few pianists make a living at it. My impression was that for string instruments at Juilliard, the people who were among the better players- say the upper third to pick a random figure- in a given year all eventually found good jobs, but not without struggling and frustration in most cases. There are also probably a reasonable percentage of people who might have been able to get orchestral or academic jobs who chose not to. I knew some bright talented people who had many options in their lives. I don't know what the 'success' percentage would be for other conservatories or universities, but one would imagine it could be considerably smaller in some cases.
The untold part of this story is that working in music is often not as fulfilling as being a student in music. There are times when it is wonderful, of course, and we do all appreciate how lucky we are. But there is frustration and drudgery just like in any other job. Being in music school is a very romantic, idealistic time. It should be savored for exactly that reason, but you should also keep in the back of your mind the idea that whatever you do when you graduate, whether you work in music or not, it will be very different from being in school. Even for the 'soloists,' there a lot of unpleasantness that goes with the job.
When I was in Juilliard, I honestly had no idea if I would ever be able to get a job when I graduated. My parents had insisted on me getting a degree in mathematics before I pursued music, as they knew how difficult and stultifying it could be. There is something incredibly liberating about being in music by choice. I knew so many frustrated students in school who were locked in the music life from their youngest years and felt as if they had no other options.
I believe everyone should operate on the assumption that they may not be able to gain the type of employment they dream of when they graduate and should have other plans in the back of their minds. That doesn't mean you shouldn't study music- It's a fantastic life changing experience that should be savored and will serve you well no matter what you do in life. (Music majors are very popular admissions at medical schools, incidentally) And you might well make your living in music- the odds are low for any individual salmon swimming upstream, but if they didn't all try it, there would be no salmon.
One more thing- if you do make a career in music, try to remember that sense of discovery, excitement and unimagined potential that you had in school and try to hang onto it as you are working. When you stop getting better, you start getting worse. When you lose interest in what you are doing, you stop being interesting to listen to. Don't ever develop a sense of entitlement. None of us deserve anything. It's a lot more productive to think of what you want to contribute to this great art that was given to us, than to think of what you want it to contribute to your life.
Baker: How much of the Juilliard Effect is just a problem with Juilliard?
I have several very good friends who have either gone to Juilliard or are currently enrolled, and the most common thing I hear from them is how dreadful and stifling they find the environment. For example, the violinist friend of mine has been threatened to be expelled if he uses another outside pianist on his recital.
What does anyone gain from that, and what does anyone gain from automatically dressing music up as dreadful, cut-throat and terrifying? Although it is a fiercely competitive world, is it truly more so than the city realtor business, or neighborhood pizza joints, or any other job market? I don't really think it's fair to pretend that music is the only occupation one has to sweat under the light in, and I've always had the impression that institutions like Juilliard do more harm to how we think about art than good.
Some of the happiest musicians I know are people who didn't go to the best conservatories but had a little bit of talent and enough peace with themselves that ending up in the faculty quartet at some state school in Ohio makes them happy. I don't think that driving a Mercedes makes you a genuinely happier person when you go to sleep at night than if you drove a Corolla, and I think that places like Juilliard instill the same sort of mentality for musicians - no top ten orchestra job = failed musician.
Maybe I'm wrong, but I don't think anyone on this board started off as a cellist knowing with certainty that they were going to be the next greatest cellist, and according to the Juilliard mentality that means they should have not even bothered - yet many of them seem comfortable and happy with what they do.
kerose: OK, so I did it - I got a Master's degree in Music from Indiana University, a school often vying for top position with Eastman and Juilliard (whatever that means - I just knew a faculty member from IU and wanted to work with her). I got that degree in 1998 as an organ and church music major (I'm now studying cello for fun - more below).
Before IU, I got an electrical engineering degree (BSEE) from "some state University in Ohio." (Wright State - named after the Wright Brothers in Dayton, Ohio - the birthplace of aviation.) I only did it because so many people said, "You just can't make a decent living in music."
Well, after 6 years I decided something was missing in my life, so I went to IU, got my MM degree, and worked as a full-time church musician for 5 years. I actually made a living as a musician! So what happened? The job went to part-time. I had a terrible boss. I went back in to engineering. I also took on a part-time church job with a wonderful boss (an Episcopal priest who is also a professional musician - also a graduate of IU!)
To make a short story long, I'm now a registered professional engineer in the state of Ohio (I just found out this week that I passed my exams), and I guess I'll never go back in to music full-time (too much cut-throat competition, and I have a family now). I decided to take up the cello, and I've been playing since September. I'm just getting around to 4th and thumb positions. Fun!
Finally, engineering helped me to be a better musician, and music helped me to be a better engineer. (People were amazed that I could complete a Master's degree at IU without a bachelor's degree in music - engineering is a great education!)
>> Stretching vs. Shifting
timcellist: A few years ago I heard Bernard Greenhouse say at a master class that he never 'stretches' with the left hand, and would move a whole tone from 1st to 2nd finger with something more like a mini-shift; this was an idea from Feurmann which "represented the 'modern' technique" - unfortunately the 'any questions' from the audience' section at the ed finished before this could be elaborated on.
I sort of assume this means that, for example, if you play D flat major scale on the C string once you're played the D flat. the second finger, which is currently hovering over D natural, is shifted a semi-tone to E flat ?
For my own purposes I am happy to start D flat as if in the half position , then stretch to E flat second finger (with corresponding thumb movement) then when E flat is established and sounding ok the first finger is brought up nearer the E flat, ie loose the extension when it's not needed to avoid tension.
The exception to the above, in my view, is where there is greater speed required, and it may be more 'ergonomic' to hold on to the 1-2ext-4 hand formation, especially for fast shifts.
I appreciate this is very much down to which school of playing you were brought up on, but I'd like to know anyone's views on stretching, and particularly if anyone can elaborate on whether Feuermann never stretched for a whole tone !?
Incidentally, if a cellist never stretches, how do they do a double stopped minor third in the neck positions ?
supergeil007: Never is a strong word...of course he didn't mean 'never', you need to sometimes, like you mention, minor thirds in the neck positions.
I think it's important to distinguish between 'extension position' and 'extending'. I try to never hold the hand in a contorted position while playing - it just doesn't sound or feel good.
So I avoid 'extension position' as much as possible. Extending though is often necessary - the trick is to prepare the new position with the elbow, and quickly release the old finger so you find yourself immediately in the new position, completely balanced.
The side benefit is this is a very low impact technique on the fingers/hands. Thanks for bringing this up, I think it's probably one of the most important aspects of left hand technique.
BA: Feuermann did stretch and he did it a lot, it is simply that he rarely ever held his hand in a stretched position. It was almost always a quick extension, with the hand immediately returning to the natural relaxed position above the new note. It is holding the hand in a stretched position that creates the tension. Feuermann himself comments on this 'often stretching rather than shifting' element of his technique as being a departure from the old school. Feuermann used a lot of slides when he felt they fit musically, and a lot of stretching to avoid shifts where he felt they didn't. Players of the older school produced a lot of incidental glissandi whenever they needed to change positions as can be heard on their recordings.
Victor Sazer: Holding a stretch certainly results in tension, but extending is not necessarily even a stretch. It can be as benign as just straightening and releasing a finger. You can open and release your hand or straighten a finger without ill effects as long as you don't hold it open too long. The goal is to retain your natural elasticity. Just as a repeatedly stretched and released rubber band remains elastic if you release after each expansion but is tense if you hold it expanded.
Feuermann used extensions extensively. One of his favorite publicity photos shows him with a large extension. (see: http://www.sazer-cello.com and click on &34;Feuermann.")
As someone already pointed out, Feuermann always released his extensions as soon as possible. One of my teachers, who studied with Feuermann and was his teaching assistant, quoted Feuermann as saying, "open to reach a note, release to play it."
>> Yo-Yo Ma's Left Hand Technique
WellsC: I was watching a video of Yo-Yo playing Don Quixote with Philadelphia last night and the most amazing thing occurred to me ... he doesn't bend the fingers of his left hand!
This is especially true when he plays in thumb position, but he even plays like that in the lower positions (not all the time). To give you an idea, take your left hand first finger and press it against your left thumb at the tip. Now push the small knuckle inward so that the finger forms a perfect triangle...that's how he plays!
This amazes me since I always assumed you can't play well unless you bend your fingers (mine are literally ALWAYS bent). I think I know why he does it. His fingernails come all the way to the edge of his fingers, so if he played with bent fingers, his nails would hit the fingerboard.
As a teacher, this is great news because I have a couple of students who have the same issue with their nails and I never knew how to teach them to play in thumb position since their nails always got in the way.
Cello Chien: The features you pointed out have been noted before, along with the lack of balance in his vibrato, especially with the third and fourth fingers.
It's fascinating that your conclusion from your observation is, "Oh, so that makes it okay!" Instead of saying, e.g., "Oh, now I can better understand some of the limitations in Yo-Yo's playing, instrumentally and expressively." Or, "I'm sure there must be better ways to overcome 'manicurial' obstacles!"
BA: Just experiment with what happens to your vibrato when you hold your hand like that. Try to hear the difference. You'll learn a lot about Yo-Yo, but Nick's dog is right. Today most people assume that to be famous is to be correct.
I did an analysis some videos of Yo-Yo, Slava, Feuermann, Piatigorsky and Casals readable at http://www.cello.org/theses/smith/chap4.htm.
rarecellos: Essentially, whatever works- works! I was told to play with curved finger at all time- but with no padding in the fingertips, that means I have to play on my nails in thumb position.
It took me a few years to figure it out:
Most of the time: do what great cellists and teachers do- not necessarily what they say.
Everyone's hand is built differently, so there is not just one way to play the cello. And that doesn't mean there are no rules out there, but just that one cannot blindly accept any rules without doing some experiments and homework.
Of course, for those people who are talented, these problems probably don't concern them as much...
rarecellos: Playing with flat/round fingers is not something that is necessarily be a consistent feature of somebody's playing, but something that varies depending on the sound they're trying to create. It's often easier to make a nice romantic legato, vibratoed sound with flatter fingers for instance, and often easier to play crisper more delicate passages with more curved fingers. My teach always tells me to play Bach with perfectly curved fingers, for instance, because he thinks that flatter fingers just don't suit the style.
BA: Regarding Yo-Yo, if one of you feels his is the sound you want, you can certainly try copying what he does, but it should be noted that lots of wonderful and very busy cellists play at least as in tune as Yo-Yo without needing to flatten their fingers, so I don't think the frequency of performance has anything to do with it.
The one who said sound should dictate technique has the right idea. Do whatever it takes to replicate the sound you are seeking, don't let your technique determine your sound. However I often do learn things from trying to copy people whose technique or sound I want to emulate. It's just that for me (and speaking ONLY for myself, lest this become a bash-a-thon) Yo-Yo is not one of them when it comes to vibrato or sound.
1. Pieter Wispelwey's new cello
Pieter Wispelwey recently acquired a previously unknown 1760 Guadagnini. A Zurich family had brought the cello to Christie':s, having no idea of its value. Wispelwey had previously played on an anonymous French cello.
2. New Popper Etude editions
Bärenreiter has published new edition of Popper's complete cello etudes.
3. Lucky young cellists
Five young cellists will have a chance to perform on stage on February 5 with Yo-Yo Ma at the Baltimore Symphony's gala opening celebration of the Music Center of Strathmore, Maryland. Four cellists, plus one alternate, will perform Villa-Lobos' Bachianas Brasilieras No. 5 with Ma, soprano Janice Chandler-Eteme, and three members of the Baltimore Symphony's cello section.
4. Irene Sharp Cello Seminar
The Irene Sharp Cello Seminar will take place June 20-24, 2005, at Stanford University. This seminar is for students, professionals, amateurs, and teachers. Inspired by the teachings of the late Margaret Rowell, this seminar will survey the principles of artistic and healthy playing in morning sessions. Master classes will be held in the afternoons.
http://homepage.mac.com/ISharp/
Sharp will also have a Sharp Cello Camp for cellists from 5 to 18 at the Mountain View Community Music School June 26-31.
5. Yo-Yo gives a cello lesson
Bernard Greenhouse will be celebrated at the UNCG School of Music March 4-6, 2005, in Greensboro, North Carolina. Performers will include Timothy Eddy, Paul Katz, Steven Doane, Qiang Tu, Barbara Stein Mallow, Amit Peled, Pamela Frame, Maureen McDermott, Astrid Schween, Kate Dillingham, and many more.
6. Greenhouse celebration
Bernard Greenhouse will be celebrated at the UNCG School of Music March 4-6, 2005, in Greensboro, North Carolina. Performers will include Timothy Eddy, Paul Katz, Steven Doane, Qiang Tu, Barbara Stein Mallow, Amit Peled, Pamela Frame, Maureen McDermott, Astrid Schween, Kate Dillingham, and many more.
7. 2005 ASTA National Conference
The 2005 ASTA National Conference will take place in Reno, Nevada, February 23-26, 2005. Cello sessions include lectures and master classes by Eleonore Schoenfeld, Irene Sharp, Elizabeth Morrow, Benjamin Whitcomb, Victor Sazer, Katherine Tischhauser, and Valerie Walden.
8. New CD's
The University of Hawaii �Manoa Music Department is a fully accredited member of the National Association of Schools of Music. The University of Hawaii Symphony Orchestra offers partial to full tuition waivers for talented cello students. The Music Department provides a fine education for both undergraduate and graduate degrees: Bachelor of Music, Bachelor of Music Education, Bachelor of Arts in Music, and Master of Music. The U.H. Music Department gives cello students a solid preparation for a professional performing career as a soloist, chamber musician, or orchestral musicians, as well as training for college teaching and public school teaching.
Please Contact( Dr. I-Bei Lin ), Chair of String Area, at (808) 956-2168 to schedule audition. Please visit music department website: http://www.hawaii.edu/uhmmusic/scholars.htm#Tuition
10. Orchestra Moves
12. More Cello News
A cello news link has been engineered using Google.com's features. Be sure to bookmark it.
http://news.google.com/news?hl=en&q=cellist+cello&btnG=Google+Search
Kobe Festival
The International Cello Ensemble Society will host a festival in Kobe, Japan in May 2005. http://www.kobe-cello.com.
If you know of newsletters, teaching materials,
references, lists or articles that should be added to ICS Library, please
send data to michelj@cwu.edu. (Library
contents will be available to all Internet users; please include author
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2. Irene Sharp Cello Seminar
http://homepage.mac.com/ISharp/
3. Cello Classics
4. Piece by John Cage
http://www.mode.com/catalog/141cage.html
5. A Cello Concerto with Obbligato Video
http://www.andante.com/Article/article.cfm?id=24723
6. Music Stuff
http://www.cafepress.com/arcomusic
7. Sara Lovell
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