Message from the Editor
Membership Letters
What a stormy couple of months we've had with our chat boards! First we hold a vote to determine how many chat boards we will have (75% want some form of multiple boards. We will honor this by eventually pairing them down to a few). Then our main Cello Chat board was accidentally deleted. Then two temporary boards were set up by mistake, resulting in two Cello Chat boards in different locations, with different chatters on each. What a nightmare! Well, it seems that our chat board situation has calmed down, thank goodness, so we can get back to normal operations.
We are introducing a new feature in this newsletter, which we hope will take on a life of its own. One of our simultaneously beloved and reviled chatters, BettyLou, has started her own advice column "Ask BettyLou!" We hope that her cutting wit and virtuosic command of the English language will both entertain and educate, and perhaps cause the occasional wince as she pokes at the stuffiness of our beloved classical music world. Be sure to send her your questions.
Tim Janof
>> Thank you so much for TUTTI CELLI. Here in Australia I have trouble getting the most basic of string magazines, and cello resources are so limited. Tutti Celli provides an invaluable link to others and better yet always motivates me to practice!
Any cello-in-the-movies list should always include the CLASSIC cello film, "Electric Dreams." Who can forget the computer that fell in love with the cello(!) or that devastating scene where the cello in its soft case is crushed in the closing doors of a lift. I sobbed for the rest of the film and have never felt comfortable getting into a lift with my cello since.
And while the tissue box is out has anyone read the amazing and moving childrens picture book "The Cello of Mr. O" by Jane Cutler and illustrated by Greg Couch. It is worth searching for. It combines the mystery of Bach and the magic of the cello in a war torn setting. Just be sure you have a box of tissues and your cello near by for the ending.
Kylie
>> One year ago I was wondering about all the things that I've done and about all those that I've failed to do, and the dream was still alive: I wanted to learn how to play music, not just enjoy it and listen to great perfomers, but actually to be able to take hold of an instrument and make it sing, and talk, and weep. The voice of the cello is like my second voice, so I decided to call a friend and one thing led to another and to yet another, and here I am, 43 years of age, and learning basic drills with basic methods, maybe created for children. And you know what? It's just GREAT!
Marco
Costa Rica
>> In honor of this Rostropovich's birthday (last March), I would like to share my favorite annecdote about him and Shostakovich: "(Shostakovich) gave me the manuscript of the First 'Cello Concerto on 2 August 1958. On the sixth I played it to him from memory, three times. After the first time he was *so* excited, and of course we drank a little bit of vodka. The second time I played not so perfect, and afterwards we drank even more vodka. The third time I *think* I played the Saint-Saëns concerto, but he still accompanied *his* concerto. We were enormously happy."
Norman Lebrecht, "The Book of Musical Anecdotes" (The Free Press; NY, 1985) p. 326
Na Zdarovya!
Susan
>> I play the cello. I am in the 5th grade. My strings teacher is Mrs. Hesson, maybe you have heard of her. She is the best. Her son also plays the cello. I am the only girl in my strings class to play the cello. I have a question to ask of you. I love to sing but next year I also want to play the bass or cello. What should I do?
Lela
Rajan Krishnaswami replies: It's great to hear that you are enjoying the cello. Keep it up!! It is one of the most fun and rewarding (and hard!) things to do. There is no reason why you can't play the cello and still sing. If it conflicts with your school schedule, you can find an outside group to sing with. But don't drop the cello!! That would be bad.
I used to sing in a chorus, which I enjoyed very much. In high school, I sang in a barbershop quartet, the chorus, the chamber singers, AND played the cello! Loads of fun.
You have fun too!
>> I am British, and start a music degree at Birmingham University in September. I need a new cello! My current one took me up to Grade 8, (ABRSM 137), and I have been playing on it for a while since. The cello is quite slow to respond, and the tone is quiet, and lacking in colour in the higher registers (about two octaves above middle C).
I have contacts in Romania, and have been told of a maker (HORA), who apparently makes top quality instruments, at affordable prices (their prices are so low, as their currency is very weak compared to ours). Have you heard of this maker? What is your opinion on him? Where can I get a top quality cello?
Graham
Todd French replies: While I am not familiar with the maker, Hora, I do know that many Romanian makers are quite skilled and considered among the best of the Eastern European schools of making, as they have significant experience over most other neighboring countries and making schools. Find out as much as you can about him and his instruments by contacting him, and feel free to share that information with me if you want my comments on it.
The UK is quite full of "top quality" cellos, but they do carry a high price. Perhaps you could consider also the wonderful instrument auctions that happen throughout the year in London at Sothebys, Christies, Phillips, and Bonhams. Here you can find tremendous bargains if you are careful and choose wisely. The instruments are not always set up, and if they are, perhaps not set up well, so as a cellist you might not get the same advantages in looking for an instrument that someone with a luthierie background might have, but there will be a very substantial selection, and some will be well setup, so it's an option that you should strongly consider. If you need more information on the auctions, just let me know.
>> One year ago I was wondering about all the things that I've done and about all those that I've failed to do, and the dream was still alive: I wanted to learn how to play music, not just enjoy it and listen to great perfomers, but actually to be able to take hold of an instrument and make it sing, and talk, and weep. The voice of the cello is like my second voice, so I decided to call a friend and one thing led to another and to yet another, and here I am, 43 years of age, and learning basic drills with basic methods, maybe created for children. And you know what? It's just GREAT!
My musical thoughts and my feelings still travel at way faster speeds than my fingers or my bowings, but nonetheless, I love it. It makes me feel alive, it reminds me of the ever-learning child inside and the adult full of wonder that lives in all of us.
Marco
>> Thank you so much for TUTTI CELLI, here in Australia I have trouble getting the most basic of String magazines and Cello resources are so limited. Tutti Celli provides an invaluable link to others and better yet always motivates me to practice!
Any Cello-in-the-Movies list should always include the CLASSIC cello film, "Electric Dreams". Who can forget the computer that fell in love with the cello! or that devastating scene where the cello in its soft case is crushed in the closing doors of a lift. I sobbed for the rest of the film and have never felt comfortable getting into a lift with my cello since.
And while the tissue box is out has anyone read the amazing and moving children's picture book The Cello of Mr. O by Jane Cutler and illustrated by Greg Couch. It is worth searching for. It combines the mystery of Bach and the magic of the cello in a war torn setting. Just be sure you have a box of tissues and your cello near by for the ending.
Kylie
>> Thank you so much for the article on Zuill Bailey. I remember the time that I got a chance to hear Mr. Bailey play about this time 10 years ago with the Salina Symphony (Salina, KS) when he performed the Saint Saëns concerto. He was AWESOME! I just couldn't get over such an outstanding performance from such an inspiring young talented musician!
I got to meet him afterwards during the reception. He seemed like a very down-to-earth person. And he also encouraged me to keep up the good work on the cello. And if I'm not mistaken, I do believe I have that program where he signed it somewhere in my storage closet in my bedroom. (It's a mess!)
I hope that he comes back soon to play with either the Wichita Symphony or the Kansas City Symphony--somewhere near my neck of the woods!
Amy
>> I am writing because somebody told me if I want to travel with my cello I should put down the bridge and the post. Could you tell me what the "post" is?
Vanessa
Rajan Krishnaswami replies: The sound post is the stick that lives on the inside of the cello, near the left foot of the bridge (looking down the cello as you play it). If you look through the f-holes you will see it. It is held there just by tension, so it is relatively easy to remove when you loosen the strings. However, if you remove it, you then need to have it replaced by a professional violin repair person who knows what he or she is doing, because it has to be placed just right to make a good sound. Just being in the wrong place by a millimeter or two can make a significant difference. I do not recommend this.
You can take down the bridge and the post, but you can usually get away with just loosening the strings about two whole steps or so (for example, make the "A" string sound like an "F"). This takes away much of the tension, and still leaves the bridge standing so you don't have to re-adjust it on the other end. I would recommend this.
Todd French replies: The 'post' is the soundpost, which is inside the instrument just under the bridge foot (the left foot as you are looking down the cello in playing position). This can be taken down by a number of means, but can only be setup by a qualified luthier, so if you have it taken down, be sure you have a luthier at the location to where you are traveling who can set it up for you. Personally, I do not recommend doing this as it is not that much of an assurance no damage will occur, and if you are happy with the current setup, why risk changing it? Any time you fly with your cello in baggage, you take a great risk. Even the hardest of hard cello cases are subject to extreme damage since the most common form of shock to a cello is in dropping it entirely - airline baggage handlers are protected from any financial responsibility in the damaged baggage, so if they drop a bag or two, or a cello case, it's no big deal to them. The best system I have seen is a good hard case with the large padded bag that goes OVER the hard case - these are made by BAM and other companies, and some violin shops will rent them to you for a fee that almost is the same as buying one yourself. Inside the case, tune the strings down at least 2 steps, and wrap the tailpiece and bridge in paper towel in case they are jarred and come loose, so they do not scratch the surface of the cello.
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by Tim Janof
Born in Haarlem, Netherlands, Wispelwey's diverse musical personality is rooted in the training he received -- from early years with Dicky Boeke and Anner Bylsma in Amsterdam to studies with Paul Katz in the USA and William Pleeth in Great Britain. In 1992 he was the first cellist ever to receive the Netherlands Music Prize, which is endowed upon the most promising young musician in the Netherlands.
Wispelwey is in keen demand as soloist. A typical review in Melbourne's The Age reported: "To say Pieter Wispelwey's music-making is ravishing is to utter an understatement of huge proportions. Monday's concert did everything to confirm him as one of the world's great cellists. " His career spans five continents with recital appearances in the Amsterdam Concertgebouw, London (Wigmore Hall), Paris (Châtelet), Buenos Aires (Teatro Colon) and Boston. He has appeared as soloist with the Rotterdam Philharmonic Orchestra, the BBC Symphony Orchestra, Camerata Academica Salzburg and Mahler Chamber Orchestra, Australian Chamber Orchestra and has recorded with the Netherlands Philharmonic Orchestra.
Future highlights include concertos with the the BBC Symphony Orchestra, the HalléOrchestra, the Orchestra of the Age of Enlightenment, Japan Philharmonic and a tour of the Far East and Australia with the Leipzig Gewandhaus Orchester under Herbert Blomstedt as well as recitals in Paris, London, Amsterdam and Lisbon. Further engagements include return visits to the Edinburgh Festival and the Great Performers Series at the Lincoln Center, New York, following his successful debut at their Mostly Mozart Festival.
Pieter Wispelwey has made numerous recordings for the Channel Classics label, of which no less than six have won international awards. These include the Bach and Britten cello suites, the Dvorak and Elgar concertos, and much of the sonata repertoire. Of his disc of Shostakovich and Kodaly (with the Australian Chamber Orchestra), Gramophone Magazine wrote that Wispelwey is "a musician through and through, someone you can always trust to get the message right." His most recent releases include a CD with transcriptions of Chopin's Waltzes (together with pianist Dejan Lazic) and a recording of romantic cello repertoire with the Deutsche Kammerphilharmonie.
TJ: Dicky Boeke was your first major teacher. How did she influence you? PW: Now 79 years old, she has greatly influenced my outlook on music, and life, really. She took me on as her cello student when I was 8 years old. A few years later, she also gave me piano lessons. I had been self-taught since I was 4 years old, and she thought that some structure would help my piano playing. I studied both instruments with her for several years until I ultimately decided to concentrate on the cello.
In addition to solidifying my cello technique, I have her to thank for my obsession with gut strings. Even as a child I used them -- pure gut A and D -- and I continued to use them throughout my conservatory years and during the first few years of my professional career. This became problematic when I began performing pieces like the Britten Suites and the Dutilleux and Shostakovich concerto's, so I eventually switched to steel strings, which ironically, in the case of the pieces I just mentioned, was a sort of "period-string" authenticity, as they were all written for Rostropovich, who of course plays steel.
Only two weeks ago, I tried an aluminum-on-gut A string, and it was a revelation, so radiant, so many overtones, so different from the "canned," even sterile and in a way artificial sound of a steel A sound. The other steel strings sounded different too, as if all strings were gut, but with a little more power� Good move.
(Click here for the complete transcript.)
Most of the etudes in Popper's Hohe Schule des Violoncellspiels were written during the years 1895-1898 and his students began playing them in his classes long before they were published. According to Stephen De'ak, Popper's biographer, no. 19, the Löhengrin etude, was written while Popper was principal cellist at the Vienna Opera, between 1868 and 1873. For this etude, Popper took "�a fragment from Act Three, Scene Three of the opera�[to help] the orchestra cellists�perform the repeating figure in the first 111 measures in the score with ease." 1
The publishing firm Hofmeister published the Hohe Schule in four volumes in a span of four years, between 1901 and 1905. 2 The first volume was published in 1901 and contains etudes nos. 1-10. It was dedicated to Alwin Schroeder (1855-1920), Principal Cellist of the Boston Symphony. Volume II, dedicated to Bernhard Schmidt, contains etudes nos. 11-20, and was published in 1902. Volume III was also published in 1902. It contains etudes nos. 21-30, and the dedicatee was Edouard Jacobs (b. 1851-d.?) Volume IV, published in 1905, contains the last ten etudes, nos. 31-40, and was dedicated to Edmund Mihalovich (1842-1929).
(Click here for the complete transcript.)
(Click here for the complete transcript.)
with undying admiration for you all,
BettyLou
(Click here for the complete transcript.)
This well-done site features biographies, practice tips, and many great links.
**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,
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The following are excerpts from our chat boards. Special thanks to Bobbie Mayer for finding these interesting discussions for our newsletter.
ICS Forum Hosts have been asked to check your posts regularly. In this way,
not only the forum hosts, but the entire membership and Internet community
see your message! You are still welcome to contact the forum hosts directly.
For a complete list of ICS Forum Hosts please see http://www.cello.org/The_Society/Staff.html**
>> I played in my 1st wedding...whew!
Wow, what an experience. This was a very elaborate, orchestrated wedding with a "pull out all the stops" kind of feel. I was pretty nervous the hour beforehand. When we were driving to the church, I told my husband that I almost felt like I was being led to the gallows for hanging -- I just wanted it over with. Once I got inside, though, I started to get excited about it. Once Walter and I were seated at the front of the church, it finally occurred to me (duh!) that this was going to happen no matter what, then I calmed down quite a bit. We got our cue from the music director to start, I took a deep breath and just went for it. For a second or 2, my bow started to "skitter" instead of grab the string, but I told myself mentally that I had done this many times before. About 30 seconds into it, I started really liking the experience, which I did not expect. I was actually sad to see it end. We even ended the piece simultaneously, just like in practice! I think I did pretty well. As always, I would have like to have played really well, but for a 1st experience playing in front of 300 people I am happy with how it went.
The weird but cool thing was when I walked in with the cello, you could hear people buzz "Ooh, there's one of the cellists" and it made me smile to realize that they were talking about me! After it was over, the music coordinator of my church asked me if we would play the same song in church two weeks from now, and I said yes to that, too. We got handed little envelopes that I assumed were thank you cards and we got paid for playing. I don't even think I'll spend it because that was the first time I have ever been paid for playing. At the reception, the violinist who was playing there invited me to play in a local Pops Orchestra on top of all this other great stuff. I told her that I was pretty new to the cello (I was trying to give her a fair assessment of my playing level), and she assured me that she still wanted me to consider it, so I will at least preview the music and seriously think about it.
I can't believe all this happened in one night. I felt like Cinderella at the ball, but I was still happy to go home afterwards, take off the dress clothes, turn back into a little pumpkin, and have a dish of ice cream with my guy, who has always been my personal cello cheering section.
This has turned out to be a longer post than I expected, but I guess I wanted to convey what a joy it can be to go do something like this. I hope all the Cellists By Night or other cello dreamers who hope to try to play cello, dream of playing cello, or have just started don't let anything or anyone stand in the way of doing just that. Honestly, my abilities are very, very modest. I have been playing for less than 3 years. I have found out that one can still enjoy making music at ANY level of ability, though. What a blessing to really internalize that and to give some happiness to yourself and to others. People really seem to like the cello!
Anyway, I am SO glad that I stretched my limits, got brave and did the wedding. I hope you all have either had or will have a playing experience like this at some point. It's the best feeling.
BetsyC
>> Looking at your fingerboard while playing
Do you look at your fingerboard when in 4th position and higher? I used to not, however recently I developed this tendency to look for better intonation. Should I stop doing that?
James
Victor Sazer replies: Looking at your fingerboard can interfere with the development of your technique. In the first place, you really can't tell exactly where a given note is by looking at a fretless fingerboard.
Secondly, your mind and body have a remarkable ability to measure distances and find notes by tactile or kinesthetic senses. Looking tends to interfere with your ability to tap into this innate ability. Even if you could tell where notes are by looking, deciding whether to look or feel while playing can cause mini hesitations.
After playing for more than half a century, I can't tell with surety, exactly where a note is by looking straight ahead at a cello. I can, however, pretty well play any note that I want when I have my cello in a playing position.
When you play in an orchestra, of course, where you have read music and watch the conductor, habitually looking at your instrument becomes a burden. And, how about its affect on your sight reading?
>> Cello Cases
I'm planning to buy a cello case. As I need to bring my cello and travel on public transportation, the weight of and protection offered by a cello case is my concern. Some models come in my mind: Bam Newtech, Bam Hightech, and Toyo Gakki Plume carbon fibre case. All weigh about 10 pounds or less. I think the latter two are lighter and offer better protection, but they are really expensive though I can still afford them.
My cello cost me HK$13k (about US$1670) 7 years ago. I strong like carbon fiber cases, but they cost about the same price as my cello, and even higher prices. I really doubt whether it is justifiable to buy a case which is about the same price as or more expensive than the cello. Could anyone offer your opinion or experience?
Gene
Hong Kong
Andrew Victor replies: I have owned four different kinds of cello cases. The first two, were very heavy and not something you want to consider: (1) a black-covered plywood shaped case -- also awkward to fit into car trunks. (2) a "Skylark" hatchback case -- these are very convenient for safely inserting and removing a cello or for acting as a cello stand, when not playing -- also heavy, hard to fit into cars and the cellos tend to rattle around inside.
I have two of the plastic (or reinforced fiber cases). One Chinese I think, bought 2-1/2 years ago for $349 (USD) with smelly glue at the neck pad, is a really nice size and fairly light -- I think it is a fiberglass case. It is ideal in size for carrying in a small car (fits across the back seat of a Toyota Corolla) and is just about right for fitting a 4/4 Strad model cello. There is some leeway for movement of the cello inside the case (not a good thing).
A student of mine just bought a new BAM case (without the smelly glue) at Ifshin's for $355 with all the same features, size plys some additional restraint to avoid motion of the cello inside. It is fairly light - worth considering for your purpose.
My most recent case is a BAM Hi-Tech -- the silver-colored case that is supposed to sell for ~$1,000+ (I got mine for less than $800 plus shipping). This case has adjstable restraints within that work to keep any size cello from moving about within. (Its entire inner surface is a velcro receptor and all the adjustable restraints and the thin music folder and accessory/string holder have velcro backing). It is a bit longer, wider, and thicker than the cello cases mentioned in the paragraph above, but it is considerably lighter -- with a cello inside it feels about as heavy as many of the fiberglass cases feel when empty. It has only 5 latches compared to their 7 and 8, respectively -- because it is stiffer. It is more awkward to carry and handle because of the extra inch or so in every dimension, although it doesn't look any larger unless it is adjacent to one of the others. It does not go as easily across the back seat of my Toyota Corolla.
1. RNCM Cello Festival Dates Set
The Royal Northern Conservatory of Music Internation Cello Festival in Manchester, England, has been set for May 5 to May 9, 2004.
2. Markevitch Library
The late Dimitry Markevitch's extensive library has been donated to the Geneva Conservatory in Switzerland. His recordings will be transferred to the Phonotheque recording library in Switzerland, and his private archives will go to the Archives de Montreux.
3. Straight Bow Help
For those who want help playing with a straight bow, here is a product that may be of use.
4. American Cello Congress
The next American Cello Congress is scheduled for May 17-22, 2003, at Arizona State University in Tempe, Arizona.
5. Fun Cello Duets
The following is a note from the composer of some very enjoyable cello duets:
A total of 23 duets is divided among my 5 suites for 2 'celli. Appearing in SUITE NO. 6 and SUITE NO. 7 are 4 duets each. SUITES 8, 9, and 10 each contain 5 duets. In addition, they are arranged in progressive order as to difficulty, with Suite No. 6 being moderately easy and the last suite, SUITE No. 10, being moderately difficult.
As a composer, who raised a family of string performers, I was often asked (in the 70's) to compose some duets for 2 violins, 2 violas, and 2 'celli. At appropriate times, they were sometimes played with their teachers. At other times, 1 part would be taped and played along with a live performer on the other part. Thus, this became an early experience in dealing with independent lines of chamber music along with its many other concerns. Musically, they range from quite conservative to mildly dissonant.
Like a number of other composers, I too usually sit at the piano while composing music, regardless of what the ultimate performance medium will be. While I can hear the sound in my head, I do like to hear live sounds. When the cello duets were completed, they were entered into the computer using both the computer keyboard and the midi keyboard. By entering the appropriate numbers for the cello on the midi keyboard, it thus became possible to hear the playback with the intended cello sound. This effectively confirmed my compositional goals for the duets or prompted some alterations. I view the duets as chamber music. I also consider them as intellectual exercises in the absolute music mode as opposed to the program music mode.
With their publication in the late 80's, they then became available through music merchandisers or through the publisher, HOA MUSIC PUBLISHERS, 756 S. 3rd St., DeKalb, IL 60115 They can and have served on several venues, including recitals, festivals, and competitions.
6. Cello Titles now available from Amati Music
The following cello titles are now available from Amati Music:
TRANSCRIPTIONS and MyEDITION TITLES
Brahms: Two Sonatas Opp. 120, Nos. 1 and 2 (orig. for viola) arr. for cello with original bowings/dynamics, no fingerings.
Brahms: Two Cello Sonatas Opp. 38 and 99 (Unedited) no bowings, dynamics, fingerings, part of MyEdition Collection (for next edition: original bowings/dynamics, no fingerings)
In preparation (due June 2002): Brahms: Three Sonatas and FAE Scherzo (orig. for violin) arr. for cello
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Bach: COMPLETE Sonatas and Partitas (orig. for violin) arr. for cello, with original bowings, no fingerings. Amati Music BEST-SELLER, now in its Second Edition
Bach: Cello Sonatas (plus Air, Arioso) Unedited (orig. for gamba)
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From the ETUDE COLLECTION, unjustly neglected pedagogical material:
Felix Battanchon: 12 Etudes in Thumb Position Battanchon (1814-1893) was one of the venerated teachers at the Paris Conservatoire. Very rewarding, a good alternative to Popper.
Auguste Tolbecque: 10 Special Etudes Tolbecque (1830-1919) was a student of Vaslin, and taught at the Marseille Conservatoire. Saint-Saens dedicated his Concerto No. 1 to him, which Tolbecque premiered. Good teaching material.
Guillaume Hesse: 12 Artists' Etudes Hesse was a well-respected Belgian teacher and performer. These caprice-like works are not easy!
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COMING SUMMER 2002:
CELLO REFERENCE CD-ROMs of the important Methods and Treaties from the 18th and 19th centuries. French, English, and German works (Duport, Romberg, Breval, Crouch, plus many, many others).
The great cello heritage on your computer, affordable and versatile. Great for advanced students, teachers, researchers. Available also in print versions (late 2002).
Features:
Cleaned of imperfections and all added marginalia; pages are straightened. Include separate prefaces, contents, drawings, signatures, other notes. Windows/Mac .pdf files (open with Acrobat Reader, included)
7. Adam International Cello Festival and Competition
The festival was set up in 1995 by Professor Alexander Ivashkin and is run by the International Cello Festival Trust, a charitable trust here in Christchurch. The Festival is biennially held in Christchurch New Zealand. It attracts the world's best young cellists to compete in a competition, judged by world renown cellists who also appear as guest recitalists. The next festival is July 2003. http://www.adaminternationalcellofest.com.
8. Award Winners
Feuermann Competition
The Grand Prix Emanuel Feuermann -- The First International Cello Competition will take place November 17-22, 2002 in Berlin. http://www.gp-emanuelfeuermann.de.
American Cello Congress
The next American Cello Congress is scheduled for May 17-22, 2003, at Arizona State University in Tempe, Arizona.
Adam International Cello Festival and Competition
The festival was set up in 1995 by Professor Alexander Ivashkin and is run by the International Cello Festival Trust, a charitable trust here in Christchurch. The Festival is biennially held in Christchurch New Zealand. It attracts the world's best young cellists to compete in a competition, judged by world renown cellists who also appear as guest recitalists. The next festival is July 2003. http://www.adaminternationalcellofest.com.
Kronberg Festival
The 6th Cello Festival in Kronberg, Germany will be a memorial to Pablo Casals, starting on the 30th anniversary of his death. The dates are October 22-26, 2003. http://www.kronbergacademy.de .
Manchester International Cello Festival
The Royal Northern Conservatory of Music Internation Cello Festival in Manchester, England, has been set for May 5 to May 9, 2004.
World Cello Congress IV
Plan ahead! World Cello Congress IV will take place May/June 2006 at Towson University, Baltimore, Maryland. Cello Congress V is also listed on their website - May/June 2010! (There are also rumors that World Cello Congress IV will take place in 2003 in Israel. If anyone knows, could they contact me?) Also promised is a "Gala Benefit Performance" in 2003 to raise funds for WCC4. "Many of the greatest stars of the music world will join forces to present a one-of-a-kind event not to be missed." Concerts, recitals, masterclasses, workshops, symposia, exhibits, receptions. http://www.towson.edu/worldmusiccongresses.
For those who attended World Cello Congress III, videos are now available at $30 (includes shipping): http://www.towson.edu/worldmusiccongresses/video.html.
** If you know of any other cello events happening around the world,
please send word to Roberta Rominger, roberta@rominger.surfaid.org
**
(Please do not abuse this valuable service; check local libraries and resources before contacting Sarah.)
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
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http://www.oxfordcelloschool.org/
2. The Cello Page
http://home.thirdage.com/Music/cellomar/
3. Cello Central Plus
http://members.tripod.com/cellocentralplus/
4. Cello
http://www.cello.20m.com/Ingin.html
5. Arizona Cello Society
http://www.public.asu.edu/~tpa1834/
6. Musical Instrument Encyclopedia
http://www.lehigh.edu/zoellner/encyc_cello.html
7. Andrew's Music Page
http://www.geocities.com/yosemite/rapids/4362/cello.html
8. Cello Essays
http://www.users.globalnet.co.uk/~leonid/cello.htm
9. Eva Janzer Memorial Cello Center
http://www.music.indiana.edu/som/ejmccf/
10. UNC Greensboro Cello Music Collections
http://library.uncg.edu/depts/speccoll/cello/
11. Cello Theremin
http://www.he.net/~enternet/teci/cello/cello.html
| Direct correspondence to the appropriate ICS
Staff Editor: Tim Janof Director: John Michel Copyright © 1995- Internet Cello Society |
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