TUTTI CELLI CONTENTS-- volume 4, issue 2
New Members' Message
ICS News and Announcements 3000 members from 63 different countries
John's Jabber
Membership Letters
ICS Forum/ Cello Chat Board
Music Festival Watch
ICS Library
Announcements 4th Annual New Directions Cello
Festival
Other Internet Music Resources Shinichi Suzuki
memorial web site
ICS has almost 3,000 members. There are four new countries represented by
our membership: Cyprus, Ecuador, Liechtenstein and Macedonia. Here's the
total list of 63 countries: Argentina, Australia, Austria, Belgium, Brazil,
Canada, Chile, China, Columbia, Costa Rica, Croatia, Cyprus, Czech Republic,
Denmark, Dominica, Ecuador, Finland , France, Germany, Greece, Guatemala,
Guinea-Bissau, Hong Kong, Hungary, Iceland, Indonesia, Ireland, Israel,
Italy, Jamaica, Japan, Latvia, Liechtenstein, Luxembourg, Macedonia, Malaysia,
Mexico, Netherlands, New Zealand, Norway, Philippines, Poland, Portugal,
Puerto Rico, Romania, Russia, Serbia, Singapore, Slovenia, South Africa,
South Korea, Spain, Sweden, Switzerland, Taiwan, Thailand, Turkey, UK, Ukraine,
United States, Uruguay, Venezuela, Zimbabwe
http://cello.org/The_Society/stats.htm
Thanks to the dedication of Paul Tseng and ICS donors, ICS CelloChat bulletin
board lives on at a new location. Please actively participate in our Society
by posting questions and answers to CelloChat!
http://www.netleague.com/wwwboards/cellochat
Our webmaster Marshall St. John has augmented the Internet Cello Society's
ability to reach out to our multi-lingual membership. With the help of a
language translator tool from Alta-Vista, the entire ICS website may now
be read in Spanish, German, Italian and Portugese, as well as in English!
http://cello.org/translat.htm
Search the contents of the ICS website with the help of two search engines!
Sometimes one of the search engines misses something, but by using both,
one generally can find anything in our pages.
http://www.cello.org/home.htm
Quicktime movies have been added to the Pablo Casals website.
http://cello.org/casals/casals.htm
A new RealAudio classical music page and probably the most extensive list
of its kind has been created by the ICS webmaster.
http://www.cello.org/reallist.htm
The Summer Festival and Camp page has been updated several times
http://cello.org/cnc/fest.htm
New links added to the Cellist's Gateway to the Internet, including a great
site:
Music History 102, from the University of Michigan.
http://cello.org/Other_Resources/Other_Resources.html
New donors, pictures of the week, free cello webpages, and technique tips
have been added!
**ICS could still use volunteers to serve as TUTTI
CELLI Editors, Reporters, Writers and Reviewers; ICS Fundraisers; and Forum/Cello
Chat Hosts
JOHN'S JABBER
Okay, so I am no longer staying up all night for a few nights to get the
TUTTI CELLI out before the first of the month. In fact, I am a month and
a half late with this issue. My apologies. The pioneering of the World Wide
Web and the infinite possibilities presented by this technology are exciting
and useful. However, this pioneer has been slowed down a bit by family priorities.
I am delighted to announce the arrival of another boy on February 23rd!
In addition, I will be performing and recording the Dvorak Cello Concerto
in May. My ambitious goals for ICS will have to wait till the summer.
One member has been very actively contributing to the content of the ICS
website and has a special surprise for us in the next issue of TUTTI CELLI.
ICS will partially sponsor our featured artist writer Tim Finholt to attend
the Manchester International Cello Festival this month! I told him to bring
back interesting reviews, inspiring interviews and lots of good will for
ICS!
Laurie Reese has volunteered to be my assistant editor and may be getting
in touch with you all. I asked her to help stimulate the activity of the
ICS members and staff.
MEMBERSHIP LETTERS
**If you would like to respond to something you have read in 'Tutti Celli',
write to director@cello.org and type
"Membership Letter" in subject field. (Letters may be edited.)**
I am a professional cellist residing in Madras, (Chennai) the east coast
city in South India. I work professionally in South Indian Film Industry.
Out of love for western classical music, I have had the experience in Chamber
Music, playing in the Madras Chamber Orchestra. I happened to look at the
"Internet Cello Society" on the Internet, and I will be very happy
to become member in it.
V.R.Sekar
India
I would like to join the Society. I am a twenty one years old cellist from
the Liszt Ferenc Music
Academy in Budapest, Hungary.
Janky
I have just discovered your website and it has really inspired me to progress
with my cello playing. I liked reading all the newsletters and cello information
and the website was altogether very enjoyable. I look forward to reading
the next volume.
Laura
I am a student at the University of Great Falls, Great Falls, Montana (USA).
As part of a school assignment I am researching the impact of the internet
on society. Although my primary focus is on American society, I feel the
internet may indeed lead to a more global society. You can help me by sending
your thoughts via Email on the following questions. How do you feel the
internet has impacted society? What future impact do you foresee the internet
having on society?
Ron
**Besides the superficial drawbacks of the infancy stage of this new technology,
the internet is the most revolutionary communication invention of the latter
part of this century. The internet allows mass communication on the global
scale as did newspaper, radio, TV and satellite communication media. The
difference is that the internet allows individuals easy access to a global
audience. Few of us could afford a printing press and the distribution costs
of any printed media on this scale. Few of us could afford the equipment
or have the rights to broadcast via radio, TV or satellite networks. Posting
a webpage or using email is relatively inexpensive. Though chaotic at times,
the internet is a revolutionary step towards individual expression on a
global scale and towards a more integrated international community.**
John Michel
Just read the interview with Pamela Frame - Bravo!!! Her philosophies on
getting her students into the world are to the point - it is quite refreshing
to read of her taking her quartet to play for the 5th graders. We in the
music field have got to do much more of this kind of outreach, especially
considering the state of public school music education - strings in particular.
I will be directing my own students to this interview and hope they are
as inspired as I.
Cheryl Everill
**Thank you for your note. I heartily agree with the philosophy of introducing
outreach to student musicians. My music majors are required to do a studio
project in which they organize and present a performance in the community.**
John Michel
Honored by Janos Starker as La Grande Dame du Violoncelle for her lifetime
contributions to cello and cello teaching, Eva Heinitz is also known throughout
the world for her pioneering work with the viola da gamba. She has performed
in solo and chamber music concerts throughout Europe and North and South
America, appearing as soloist with the Chicago, Pittsburgh, Seattle, and
Vancouver Symphonies. She is Professor Emeritus of Cello at the University
of Washington.
Eva Heinitz is the most powerful presence I have ever met. Ever. At 91 years
old, she has more fire in her soul than most 20 year olds. Her opinions
are strong and passionate, and she states them with a disarming confidence.
Born in Berlin in 1907, she grew up in one of the greatest musical centers
of our century, prior to the Nazi takeover. "Erich Kleiber, Furtwangler,
Klemperer, Bruno Walter, and George Szell all conducted either the Berlin
Philharmonic or the State Opera when I was a child. Berlin had three opera
houses too. Isn't that remarkable? All in one city! I'm very spoiled."...
While in Berlin, she had the opportunity to play chamber music with Albert
Einstein, the legendary physicist. "A pianist asked me if I would like
to play a Mozart trio with the famous Einstein. Who would say no? So we
went to Einstein's apartment and played the Mozart B-flat Major Piano Trio.
Einstein played the violin with a very soft tone, even when the music required
more. His playing was perfectly correct, but totally uninteresting. But
what a fantastic face! The face of the famous Albert Einstein is something
I could never forget. It was like a landscape, not quite human, unforgettable,
the face of one of the greatest minds in history."
She taught herself the viola da gamba, becoming one of the first professional
gambists in modern times, earning her a place in history as the 'Wanda Landowska
of the Viola da Gamba.' "I started on the gamba because I was and still
am a very curious person, like a hunting dog. I've never had a single gamba
lesson. I didn't know with whom I would study, since the gamba players at
that time were mostly feeble elderly ladies or very dull players. I realized
that I had to find my own way."
Being a pioneer in the early music field, she had to research even the fundamentals,
like how to hold the bow. She tried holding the bow both overhand, like
a cellist, and underhand. After reading many books on the gamba, she went
to England to visit Arnold Dolmetsch, an important music historian and harpsichordist.
He was very sick at the time, so she discussed the gamba with his daughter,
who showed her the underhanded bow hold.
**The complete transcript including photo
and sound clips**
news release:
OHIO CELLIST PERFORMS JEWISH MUSIC ON SIX CONTINENTS
SPRINGFIELD, Ohio -- Daniel Kazez, one of the world's busiest and brightest
stars in the arena of Jewish classical music, will make his first concert
appearance in Africa in April of this year.
First, he will perform at the principal synagogues of Casablanca and Fez,
in Morocco. Later in the month, he will appear in the cities of Meknes and
Marrakesh.
To date, Kazez has performed nearly a thousand concerts on three continents-in
major concert halls, in small and large synagogues in the U.S. and Canada,
and in the world's centers of Jewish culture, including Cercle Ben Gurion
in Brussels, the Great Synagogue of Florence, the Sternberg Centre in London
(Europe's largest J.C.C.), the Rothschild Synagogue in Paris (one of the
world's largest synagogues), and the Jewish Cultural Center of Italy in
Rome.
Later in 1998, he will perform in South America and Australia.
Kazez's interest in Jewish music is at once personal and professional. His
father is a Sephardic Jew who emigrated to the U.S. after World War II in
search of further education. His mother, an accomplished artist, is of Ashkenazic
descent. Most of Daniel's relatives now live in Istanbul, Paris, and Buenos
Aires.
Kazez reports that he "discovered" Jewish-inspired Classical music
after his concert career was already well under way:
"Years ago, Pamela Hope-Levin visited my university to participate
in a Holocaust conference. She was set to give a dramatic presentation with
violin accompaniment, only to find that her violinist was ill and had not
arrived on campus. With twenty-four hours' notice, I was called to fill
in, on cello. The next day's performance--which, by the way, was quite a
success--spurred me to consider performing art music inspired by my own
Jewish tradition."
Rave reviews have poured in from critics: According to the Harrogate Voice
(England), "A most unusual and intriguing musical event by a leading
authority on Jewish music. Passionate music dazzlingly played..." The
British Jewish Telegraph (Leeds): "Kazez's playing was utterly in sympathy
with the music... To listen was nothing less than a privilege."
Kazez chooses the music for his programs with the greatest of care. "My
music has a clear Jewish connection. The melodies, harmonies, and rhythms
all have an audible link to Judaism."
**entire transcript**
I yearn to deeply comprehend the Bach Cello Suites. Much to my dismay, so
does everybody else, including the world's greatest musicians. Whether Pablo
Casals, Paul Tortelier, Rostropovich, or whoever your favorite cellist may
be, they all rightfully speak of the Suites with an effusive reverence.
They all refer to the "infinity" of Bach, the "oceanic depths"
of Bach, or the "cathedral" of Bach.
Though inspiring and poetic words, as a student of the Suites, I want to
know more. What are the underlying principles that guide the great interpreters?
How are tempos chosen? How are bowings chosen? How are articulations chosen?
It is this kind of concrete information that will guide me on my quest,
not heartfelt utterances from the soul or Zen-like koans.
The purpose of this article is not so much to come up with the answers,
as it is to state the questions, or at least some of them. In some cases,
answers from the various artists are shared, but their responses are by
no means considered to be the last word. Often, their answers only lead
to more questions, hence my interpretational angst.
Head vs. Heart
One of the ancient and ongoing battles in the music world is the conflict
between Scholars and Performers, a battle we also must fight internally.
Of course, the dividing line between the two camps is rather fuzzy, since
many serious musicians put a lot of thought into how they play, and often
research the historical background and practices of the works they perform.
And scholars seek more than mere theoretical correctness in performances.
This line has become particularly unclear with the emergence of the Early
Music movement, which "modern" performers eye with deep interest,
suspicion, and even a little anger. But I think it's safe to say that Performers
tend to place a higher emphasis upon inspiration, connecting with their
own emotions or with the audience, and the poetry of the music, whereas
Scholars tend to emphasize historical and theoretical accuracy. Both approaches
to music are important, and could not, and should not, exist without the
other.
This dichotomy clearly surfaces when the Bach Cello Suites are discussed.
Rostropovich states the problem for us all in his recent Bach Suite videos:
"The hardest thing in interpreting Bach is the necessary equilibrium
between human feelings, the heart that undoubtedly Bach possessed, and the
severe and profound aspect of interpretation...You cannot automatically
disengage your heart from the music. This was the greatest problem I had
to resolve in my interpretation ...I had to search for the golden medium
between a romantic, rhapsodic interpretation of Bach and scholastic aridity."
[1]
**The complete transcript**
Sacramento Bee Staff Writer
(Published March 1, 1998)
(short excerpt)
Every now and then, people's lives come together for the
loveliest of reasons. This is one of those stories.
It involves three men, from three different places, at three
distinct points in their lives. Their connection is the cello, a
classical instrument known for its warm tones and deep
resonance -- words that could also be used to describe these
three intertwined lives.
Ionut Zamfir, 22, is the youngest of the trio. He is a cellist
from Romania and a sophomore music major at California
State University, Sacramento. Tall with fair skin and short
sandy hair, he is a polite young man with little money, a
rickety cello on loan from the university, and exceptional
musical ability...
The teacher is Andrew Luchansky, a 42-year-old professor
of cello and chamber music at Sacramento State. A passionate
musician, he spent his early adult years as a performer in
New York City. Now, as he approaches the center of his life,
he has found himself reaching for a new height -- helping to
transform a talented student into a musical artist.
And then there is Don Jackson, retired engineer, widower in
wire rims, small and gentle man in neat plaid woolen shirts.
At 72, he is Luchansky's oldest cello student and Zamfir's
guardian angel...
Their journeys to this harmonious intersection go back many
years and span the globe.
Ionut Zamfir grew up in a small town in Romania, the son of
an auto mechanic.
"I remember my father would always show me his hands.
They were always black," he said. "He would say to me,
'It's not worth it. Choose something beautiful for your life,
like art.' "...
For
complete article
"ORCHESTRAL EXCERPTS FOR CELLO" CD
reviewed by Tim Finholt
Ron Leonard, principal cellist of the Los Angeles Philharmonic, has produced
a CD devoted to orchestral excerpts with spoken commentary. The CD is on
the Summit Records label, number DCD 196.
Excerpts are taken from the following works:
Rossini: William Tell Overture
Brahms: Symphonies Nos. 1 and 2 and Piano Concerto
Richard Strauss: Don Juan, Ein Heldenleben, and Don Quixote
Mahler: Symphony No. 1
Elgar: Enigma Variations
Beethoven: Symphonies No. 5 and 8
Debussy: La Mer
Verdi: Requiem
Mozart: Marriage of Figaro and Symphonies Nos. 40 and 35
Mendelssohn: Midsummer Nights Dream and Symphony No. 4
Tchaikovsky: Symphonies No. 4 and 6
Prokofieff: Symphony No. 5
Anybody who is serious about auditioning for a cello position in an orchestra
must have this CD. This will help aspiring cellists understand what audition
committees are looking for, and how much detailed analysis is required before
each passage is performed before a panel of professionals. But in order
to get the most out of this CD, you need to obtain the orchestral parts,
since he refers to specific measures and markings before demonstrating each
passage.
Mr. Leonard states his own views of these works, which I suspect are mostly
mainstream ideas. He is careful to note when he states views that his colleagues
may disagree with. It would be interesting to hear what other professionals
think about the same excerpts.
Mr. Leonard makes several important general statements that can serve as
a conceptual foundation when we approach any piece of music, though they
are more critical in an orchestral audition:
1. Be expressive, but within context.
2. Keep in mind that you are in an ensemble. Know the score and play with
the other parts in mind.
3. Strive for long lines in legato passages.
4. Maintain a steady beat.
5. Accurate rhythm is key.
6. Better to sound strong and clean than fortissimo. Don't force the sound.
Overly loud playing is not appreciated, especially by one's colleagues.
7. Avoid audible slides whenever possible.
8. Pay careful attention to all markings, both for dynamics and articulation.
Mr. Leonard demonstrates beautifully how to play with life and interest
while still playing within in the larger context of the orchestral ensemble.
And what a beautiful martele stroke! Hopefully, Mr. Leonard will produce
additional excerpt recordings.
March/April Award Website:
The Cello Music Collections housed in Special Collections & Rare
Books, University of North Carolina, Greensboro. The UNCG Cello Music Collections
contain thousands of published and manuscript scores, some recordings, personal
correspondence, teaching notes, and other archival materials of interest
to cello scholars. There are four collections which are processed and available
for use: the Luigi Silva Collection, the Elizabeth Cowling Collection, the
Rudolf Matz Collection, and the Maurice Eisenberg Collection. A fifth collection,
that of Hungarian-born Janos Scholz, is still being processed.
**Please notify John Michel 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!
*** If you would like to ask a question, discuss an issue or get some expert
advice, post a message to the official ICS message board called CelloChat
. ICS forum hosts have been asked to check your posts regularly. In this
way not only do the forum hosts see your message but the entire membership
and Internet community! You are still welcome to contact the forum hosts
directly*** Write all ICS
Hosts or contact one host representatives.
Manchester International
Cello Festival April: 29 - May 3, 1998 at the Royal Northern College
of Music, Manchester, England. Concerts, recitals, exhibitions, master classes,
lectures, films, and a cello and bow making competition. Performers include
Alexander Baillie, Lluis Claret, Christophe Coin, Patrick and Thomas Demenga,
Karine Georgian, Alban Gerhardt, David Geringas, Natalia Gutman, Frans Helmerson,
Gregor Horsch, Steven Isserlis, Ralph Kirschbaum, Philippe Muller, Zara
Nelsova, Arto Noras, Siegfried Palm, Miklos Perenyi, Boris Pergamen-Schikow,
Janos Starker, Tsuyoshi Tsutsumi, Quirine Viersen, Jian Wang and Wendy Warner.
Send a self-addressed envelope to Alison Godlee, Festival Office, The Grange,
Clay Lane, Handforth, Cheshire SK9 3NR, U.K. Tel/fax +44 1625 530140.
Fourth
Annual New Directions Cello Festival (blues, jazz, improv)
June 19-21 98 at the University of Connecticut, Storrs, CT
Workshops, performances, jam sessions, exhibitions.
Berklee's Summer String Fling - July 30 - August 1
The Summer String Fling is designed to provide violin, viola and cello players
foundational grounding in improvisational idioms such as jazz, rock, blues,
and country. It is a wonderful opportunity for strictly classically trained
string players to try out contemporary styles in a comfortable atmosphere,
and students with prior contemporary playing experience can receive intermediate
through advanced training.
Berklee College of Music
(617) 747-2245
Soundfest Music Festival,
Cape Cod, Massachusetts with the Colorado
Quartet
California String Teachers
Association Summer Institute of Chamber
Music
Irene Sharp Cello Seminar, June 15-19 98 at Mannes College, New York
City. Information from Irene at gszent@pacbell.net
International Music Academy,
Kromeriz, Czech Republic,
July 13- August 2 98. A three week advanced string program.
or email Dr. Harry Hurwitz at
symphwk@interlog.com
Icicle Creek Chamber Music Institute
for college and advanced high
school students in Washington's Cascade mountains, July 26 - August 9
98.
Galena Chamber Music Institute at the Sinsinawa Mound School and
Convent, Sinsinawa, Wisconsin, August 2-17 98. For college and advanced
high school students. Faculty from the Chicago Symphony Orchestra,
Northwestern University and the Galena Chamber Ensemble. Write to
Richard Graef--r-graef@nwu.edu
ARIA International Summer Academy, August 3-23 98 at the University
of
Western Ontario, London, Canada. Prestigious cello faculty. Write to the
director, Mihai Tetel, at ariaint@idirect.com
Summerkeys--for adult amateur cellists--August 24-28 and August 31
-
September 4 98. Instructor Peter Lewy. Write to him at Plewy@iname.com
or send for registration materials from Summerkeys, B. Potterton,
80 Essex St, Jersey City, NJ 07302, tel. 201-451-2338
ARIA Intenational Summer
Academy
University of Western Ontario in London, Canada
August 3 to August 23, 1998
(416) 423-8042
fax (416) 423-7658
ariaint@idirect.com
Ithaca College Chamber
Music Institute
***If you have announcements, comments or reviews of music festivals, please
contact Roberta Rominger***
If you know of cello society newsletters, bibliographies of music, teaching
materials, references, indices, lists or articles that should be added to
ICS Library, please send data to director@cello.org.
(Library contents will be available to all Internet users; please include
author and written statement of release for unlimited or limited reproduction.)
The New Directions
Cello Association,
in collaboration with the University of Connecticut, is pleased to announce
the
4th Annual New Directions Cello Festival
Friday - Sunday June 19 -21, 1998
University of Connecticut, Storrs, CT
Guest Artists include; Eugene Friesen with Howard Levy (improv/world), Akua
Dixon Duo (jazz/blues), The Hank Roberts Trio (jazz/avant garde), Jami Sieber
(contemporary instrumental), Aaron Minsky Trio (rock), Max Dyer & his
trio "Pico" (jazz) Three days of celloing! Workshops, performances,
jam sessions, a young people's mini-fest, an exhibition of electric cellos,
pickups and more! The only festival dedicated exclusively to non-classical
and alternative cello - jazz, blues, folk, avant garde, pop - you name it!
Come have fun and learn to improvise.
New Directions Cello Assoc. (NDCA)
501 Linn St.
Ithaca, NY 14850
(607)277-5372
ndca@clarityconnect.com
***All members are welcome to post announcements or news that are pertinent
to our global cello society. Send information to director@cello.org***
Shinichi Suzuki memorial web site
http://mrdata.com/fandrich/eric/suzuki/suzuki.html
Guide to the Music Collection for String Players Repertoire
The books listed here will help give you some idea of repertoire available
for your
instrument.
http://www.anu.edu.au/ITA/AusArts/www/library/string.guide.html
Hanno's page of cello- music
A personal cello- page with an interesting listing of titles of well- known
works for cello. Some titles point to a wav file.
http://www.student.wau.nl/~hanno/cellopag.html
Luigi Silva Cello Music Collection
A site devoted to Luigi Silva (1903-1961) - Italian-born violoncellist,
teacher, and musicologist.
http://www.uncg.edu/lib/speccoll/cello/lsintro.html
The Virtual Virtuoso Performance Assistant
An interesting and helpful site for teachers and beginning students who
can download accompaniments to pieces they are studying; includes Cello
Music, Quartets, Free Samples and ability to Order On-Line
http://www.webcom.com/virtvirt/perform/html/perfdesc.html
CODA Educational Programme
Coda - experience the music drama about the adventures of a spellbound string
quartet, play the computer game and learn about classical music! A relatively
inexpensive computer game about music that can be enjoyed by the whole family
http://www.home.aone.net.au/wendy.brooks/coda.htm
Download Maestronet Cello Music Level 2
Cello Level 2 Download it Now! You can download this book now using our
secured link. It contains 23 pages of sheet music, together with the piano
accompaniment MIDI files.
http://www.maestronet.com/music_cello_l2v1.html
Classical Insites
Your online guide to the world of classical music. The Conservatory is an
educational environment for enthusiasts and a resource for students and
professionals.
http://www.classicalinsites.com/live/conserva/genres/
**ICS NET Resource Editor: Deborah Netanel at netaned@email.uc.edu
Copyright © 1998 Internet Cello Society
![[Picture]](ics4.gif)