Seattle Violoncello Society Newsletter, April 1995 (c)Seattle Violoncello
Spring has arrived! It's the season when it takes a little more self-discipline to lock yourself in a practice room, when you'd rather be frolicking in the fields, inhaling the flower perfumed air.
The regular concert season, though the end approaches, still has much to offer us cellists. Hopefully, you saw Daniel Gaisford play the Elgar Concerto with the Seattle Symphony on April 3 or 4. After that, our cello season ends with Janos Starker playing the great Dvorak Concerto on May 1 and 2. I can't wait to here that!
The local summer chamber music festivals have a lot of cello music programmed this year. The Seattle Chamber Music Festival offers performances by Gary Hoffman, Ronald Thomas, and Godfried Hoogeveen. The Seattle International Music Festival is featuring the wonderful cellist, Antonio Meneses, who mesmerized me this year with his performance of Schelomo with the Seattle Symphony.
Have a wonderful Spring!
In this issue:
Letters: Janos Starker's "That Room at the Top"
Movie Reviews: Tous les Matins du Monde and Un Coeur en Hiver
A Survey of Bach Suite Editions
1. Roberta Downey cello recital!
Roberta Downey, Seattle Symphony cellist and Seattle Violoncello Society Vice President, will perform in recital June 2 at the Seattle Art Museum. Further details will be provided later.
2. Jacqueline du Pre honored
The new Jacqueline du Pre Music Building is being built on the grounds of St. Hilda's College in Oxford. The building will contain a 200-seat recital hall and six practice rooms, all handicapped accessible. The building will be used for public concerts, master classes, and educational activities.
3. Cellist quits over "Peter and the Wolf"
Principal cellist, Anne Conrad-Antoville, of the Eureka Symphony Orchestra, quit her orchestral job. She said she would rather quit than perform a work that encourages the killing of wolves. She later wrote, Prokofiev's 1936 tale teaches children "to hate and fear wolves and to applaud a hunter who kills a wolf."
4. Internet Cello Society
John Michel, professor of cello at Central Washington University, has created the Internet Cello Society. It may be accessed through America Online at firstname.lastname@example.org. The service contains several categories including cello history, biographies of artists, a library of cello society newsletters including the Seattle Violoncello Society Newsletter, a teaching and pedagogy forum, and much much more. So buy that modem and get on the Net!
5. That was quick
After one term, Lynn Harrell has resigned from his position as principal of London's Royal Academy of Music. The demands of his solo career proved too much.
Bach Cello Suite Marathon
Our annual Bach Cello Suite Marathon was a great success! Special thanks go to Cordelia Wikarski-Miedel, who organized the event. If you know how hard it is to get a string quartet together, just imagine the work involved in getting 27 cellists together! We would also like to thank Dave Beck from KUOW, who interviewed Cordelia on the radio to help promote the event.
Did you know...
1. The following are or were amateur cellists:
The great Russian basso Feodor Chaliapin, actress Bette Davis, Goethe, Jean-Jacques Rousseau, Charlie Chaplin (he practiced up to 4 hours per day), Prince Charles, Senator Richard Lugar, and Paula Zahn from CBS This Morning.
2. Bruce Bailey, cellist in the Seattle Symphony, is also a full-time software engineer at Boeing. The Symphony helped find him the job in 1964, when he graduated from the UW in math. He had played in the Symphony for a year or two when he told them that he wasn't making enough money. So they set up an interview for him with Boeing. Are there scheduling conflicts between the two? No. Boeing recognizes Mr. Bailey, and other Boeing employees who are legislators or who are on the boards of non-profit organizations, as assets to the community, and therefore allows generous flexibility in their work schedules. I asked Mr. Bailey where he found the time to do both jobs. He said, "No TV. You'd be surprised how much time people waste watching it, up to 6 hours per day."
Technical Tip (from a cat)
"Instrumentalists would do well to keep the picture of a cat in mind: the elasticity and elegance with which a cat trips along, runs, hops, sits down, prepares for a leap and leaps!--lies down, rolls over and even falls from considerable heights, all in perfect balance."
(from Ida Roettinger, Ph.D., Head, Hand, Heart. Cushing-Mally, Inc. Ann Arbor, Michigan, 1994.)
The following letters do not necessarily reflect the opinion of the Seattle Violoncello Society. They represent the opinions of individual members.
I question Janos Starker's statement "...in a sense, only Nemo is qualified to judge Nemo." I feel that nobody is beyond reproach or judgment. We are not mind-readers, so of course we can't always know what a soloist's goals and ideals are. And therefore, we cannot judge whether a soloist has succeeded in his own mind, in his own game where he makes his own rules. But doesn't this apply to anybody, whether young or old, whether cellist or garbage man?
And then do his own rules really matter? Perhaps his ideals and goals are eccentric and highly personal and therefore only have meaning to him. But to the "educated" listener, he appears to be unrefined, highly mannered, or a little crazy. Perhaps the only "rules" that ultimately matter are the standards developed over the centuries by the great musicians of the ages.
And then everybody must face the ultimate judge--history. History is full of soloists who are long forgotten. But a choice few manage to survive over time like Casals or Kriesler. Perhaps these musicians have attained an elusive Act VII, skipping Acts IV-VI. In the recording age this may change, but I suspect that recordings will have little net effect since the world is so saturated with them.
I feel that Janos Starker's article implies that those who don't achieve a solo career have failed. On the contrary, many of these cellists go on to fulfill other very important roles in music. There are thousands of musicians and music lovers out there who work very hard at keeping alive the art of cello playing and at nurturing our young people's interest in classical music. Without all of the dedicated musicians, professional and amateur, teachers, and music lovers, Mr. Starker wouldn't have an orchestra to accompany him, an audience to play for, or fans to buy his records.
Suggested Topic for Future Letters
Music stores usually contain many recordings of the same piece by different artists. For instance, one usually finds the Bach Suites recorded by Casals, Fournier, Yo-Yo Ma, Mischa Maisky, Starker, Harrell, Gendron, Bylsma, and so on. With so many recordings already in existence, do we need anymore?
Two recent movies which skillfully blend film and music are Tous les Matins du Monde (1992, 114 minutes, directed by Alain Corneau) and Un Coeur En Hiver (1993, 100 minutes, directed by Claude Sautet). Both are of special interest to string players. They are unrated and contain adult subject matter. I would not recommend them for viewers under age 18.
Tous les Matins du Monde (All the Mornings of the World) concerns the real-life relationship between two 17th century French baroque composers, Marin Marais (played by both Gerard Depardieu and his son Guillaume Depardieu), and his viol teacher M. de Sainte Colombe (played by Jean Pierre Marielle) . The recordings of Marais, Sainte Colombe, Lully, Couperin, and Savall are conducted by Jordi Savall and performed by the Concert of Nations. The music is effectively used throughout.
We learn the story of Sainte Colombe's life and his relationship to Marais through the eyes of the older Marais. Sainte Colombe is a virtuoso viol player and composer and full of sorrow over the death of his wife. His very austere life is reflected in his music philosophy and viol playing. Though the young Marais is very technically skilled, he has none of the vision and soul of his teacher. He has an ill-fated affair with Sainte Colombe's daughter Madeline. Through his relationship with both father and daughter, he eventually incorporates his teacher's soulful philosophy.
I thoroughly enjoyed the music and the visual aspects of the film. There are several technical points of solo and consort viol playing that are interesting to see. Apparently, Sainte Colombe added a 7th string, and developed a way of holding the bow with two fingers. He also wrote several pieces for the viol, and it is interesting to hear music that is not often performed.
However, Marais' abusive relationship with Madeline is very disturbing to watch. The film seems to revel in the notion that the true musician must suffer and go through great pain and isolation. I find this philosophy of music to be distasteful and incomplete. Yet, it is still worth viewing, and I would recommend it.
Un Coeur en Hiver (A Heart in Winter) was nominated for Best Foreign Language Film, Best Director (Sautet) and Best Supporting Actor (Andre Dussollier). Stephane (played by Daniel Auteuil) is a master craftsman of violin repair and a former violinist. He gave up his violin career because of his lack of personality as a performer. His violin repair partner, Maxime (played by Dussollier), is in love with the beautiful violinist Camille (played by Emmanuelle Beart). Stephane has a good working relationship with Maxime but is a bit jealous. He decides to play a game of seduction with Camille, but when she succumbs, he retreats into his cold, heartless world.
While we learn of the developing and changing relationships of this triangle, the Ravel Piano Trio is prominent throughout. We hear the Ravel Violin Sonata, and then the Ravel Violin and Cello duo as we explore Stephane's enigmatic character and his relationships with Maxime and Camille. The music parallels the story and is interwoven very carefully.
At the end, we have seen jealousy and obsession, with much passion, yet we are still left unsatisfied. Is Stephane a victim of his own fate, a heart trapped in winter? Or is he a misogynist and seducer?
The director Sautet was a former music critic and has given much thought to the parallels of the music and the story line. The movie involves much detailed, authentic string repair work and chamber music playing. I found the only drawback to the film to be Emmanuelle Beart's very awkward violin playing. The cellist and pianist are obviously musicians, which unfortunately makes her contrast to them that much more. Otherwise, I would very highly recommend Un Coeur en Hiver. It makes the list as one of my all-time favorites.
A Survey of Bach Suite Editions
by Tim Finholt
I recently read that there are over 80 editions of Bach's cello suites in existence with publication dates ranging from 1825 to the present. When reading this, my initial reaction was one of incredulity; what significantly different information could the 80th edition, for instance, have to offer over the previous 79 editions? Fortunately, I didn't stop there. I realized that this could be viewed as a great tribute to Bach and a testimonial to the beauty of his cello suites. So I decided to investigate some of these editions and get a glimpse at the insights of each player.
The Bach Suites have always been a point of contention in the cello world. Unlike violinists and their solo violin works, we do not have a manuscript copy of Bach's cello suites in his own handwriting. The best we have are three manuscripts that may be hand-copied from the original: the Anna Magdalena Bach (Bach's second wife), the J.P. Kellner, and the J.J.H. Westphal manuscripts, the latter two being avid music collectors in Bach's time. Unfortunately, each manuscript contains errors, which provides plenty of fodder for intellectual debate.
My challenge was having to decide which editions to investigate, or more expensively, to buy. Not having a vast financial resource to draw from, I decided to look at the editions that I see most often or ones that seemed intriguing. Inevitably, there will be somebody out there who says something like, "Hey, what about the Bazelaire edition?!" Sorry, when you have over 80 to choose from, you're bound to miss somebody's favorite.
The following are the editions, or more accurately the editors, that I chose to study:
The necessary limitation of this article is that, in order to avoid a long and an even more tedious read, I am forced to make some generalizations about each edition; with 36 movements to compare in each edition, this article could get voluminous in a hurry. Though my general statements cannot do justice to the nuances of each edition, I hope that I have succeeded in isolating each editor's approach sufficiently to be able to evaluate them meaningfully. When we get through them, I hope that the reader will be able to make a more informed decision about which edition to buy, and perhaps which to leave on the shelf.
Hugo Becker (1911)
Hugo Becker was a product of the pre-Casals age. During his formative years, it seems that the Bach Suites were regarded primarily as study material for students. In fact, some editions were titled Bach Suites or Etudes. On the rare occasion that a Bach cello work was performed, only a movement or two was ever heard at a time, never an entire suite. As a result of this general attitude, very little was known about Bach, Baroque music, or the performance practice of the times.
Hugo Becker also came from the time of pre-Casals cello technique. I am fortunate to have a recording of Hugo Becker playing. Every time I listen to it, I praise Casals for putting an end to Becker's and his predecessors kind of technique, which employs the "old fashioned" practice of repeatedly sliding between notes (slide up, slide down, slide up, slide down). Casals developed the technique of hopping, stretching, shifting between half-steps, and anything else to avoid the distracting audible shifts. With all this in mind, Hugo Becker's edition gives us a fascinating window into another era of performance practice and technique.
A quick look at his tempi betrays a possible lack of knowledge about the nature of each movement; that each, except the preludes, is based on a dance form. For example, he counts all of the Sarabandes in six beats per measure (ie. eighth notes) instead of three beats per measure, which is now known to be a fundamental characteristic of a Sarabande. Also, some of his tempi are so fast, that they prevent a degree of expression that we, rightly or wrongly, now take for granted; perhaps he too was affected by the general attitude that the Suites were good etude material.
Looking at his fingerings, an old-fashioned approach becomes apparent. He often opts to go up the D string instead of going to the A string in first position, the former a more romantic practice. Sometimes, this is done because he is looking for the more inward timbre of the D string, but other times it seems as if he is avoiding the open A string at all costs. We now know that the open A string, when treated with care, can be a gorgeous sound.
There are many suggested uses of the same finger for adjacent notes, resulting in potentially audible slides. See the typical example from the Menuet I from the first Suite and note the 1-1 and the 4-4 fingerings:
This fingering is considered "old-fashioned." One usually sees 4-1 instead of the 1-1 and 4-1 instead of the 4-4. Today, assuming someone uses Hugo Becker's fingering, he or she is careful to hide the shifts. But, if one listens to Hugo Becker play, he doesn't even try. All shifts are audible. Thank you Pablo Casals!
This edition, though interesting from an historical perspective, does not reflect the advances in cello technique or of later research regarding the Baroque dance forms. It is curious that it is still sold today.
Diran Alexanian (1929)
And then came the great Pablo Casals. What is remarkable about Casals was that, though he still lived in a time when little was yet known about Baroque music or its performance practice, his magnificent musical instincts often led him to play Bach in a manner that has now been proven to be consistent with musicological research. With Pablo Casals, the performance practice of Bach and cello technique would never be the same again.
Diran Alexanian was a protege of Casals and therefore his work reflects the influence of his teacher. Alexanian was obviously a brilliant man. His edition is the great analytical edition, which is still used throughout the world. He analyzed the function of each note and its relationship to its neighbors and to the larger phrase. In order to communicate his ideas, he developed a curious notation that takes getting used to, but ultimately gives one greater insight into the Suites. See a typical example below:
The extension of the sixteenth note bars indicate which group each note belongs to musically.
In this edition, we see Casals' influence on cello technique. The frequent use of hops and stretches are employed to avoid audible shifts. See a typical example from the E-flat Prelude:
Notice that it is fingered 1-4-1-4-1, which requires hops and stretches of the hand. This fingering, pioneered by Casals, was considered quite a revolutionary fingering in its day. Compare it with Hugo Becker's fingering:
Though Hugo Becker's fingering is good, Casals' and Alexanian's fingering is better from a musical point of view, though much more difficult. Interestingly, many cellists, such as Janos Starker, use Becker's fingering.
Pierre Fournier (1972)
Pierre Fournier seems to have focused his energies into the production of a smooth and beautiful sound (what nerve!). Perhaps, because he was more of a product of the recording age, he chose this approach since it sounds "better" on recordings. To accomplish this, he tended to slur more notes together, resulting in a more even tone. See the following example from the Third Suite Prelude:
Now compare it with the example below from an edition based on the Anna Magdalena Bach manuscript copy of the suites:
Notice Fournier's very generous use of slurs. The advantage of Fournier's slurring is that it is easier to produce a lush and smooth sound. The disadvantage is that the overall energy level of the performance is reduced since fast notes on separate bows sound more lively. It is hard to play with grit and energy if everything is slurred.
Fournier also has some unusual ideas when playing the suites. For example, look at the fingering from the Prelude of the G Major Suite:
Why does he feel it necessary to alternate a fingered A with an open A string? The open A string is gorgeous here. By changing the timbres in such a short space of time, he creates a disturbance that detracts from the overall line.
One other curious trend that appears in the editions starting with the Casals era and before the "authentic" movement came on strong, is that none of the editions show the 5th Suite played with the Scordatura tuning, ie. with the A string tuned down to a G, as Bach originally wrote it. All the editions only include the 5th suite with the normal cello tuning. Surprisingly, Hugo Becker's edition provides both versions of the 5th Suite, while others, who should know better than Mr. Becker, chose not to play it as originally written. Fournier is among the guilty on this issue. Perhaps this is because, when played with scordatura, one usually plays from music and not from memory, which doesn't look as impressive on stage.
This is a fascinating and yet troubling edition. This edition was not created by Pablo Casals. It was created by Madeline Foley, another Casals disciple, who must have taken copious notes from the Master. Since Casals always left himself room for spontaneity in his playing, the fingerings and bowings in this edition cannot be considered as his, in the strict sense. He often changed fingerings and bowings to suit the moment. Therefore, don't even bother comparing this edition with his recording of the Bach Suites; they are quite different.
Where this edition comes in handy is for musical ideas. The music is heavily edited from a musical standpoint. Crescendos, ritardandos, and other plain English reminders such as "Sing!" or "Move ahead" are prevalent. Also, the "important notes," as Casals called them, are indicated with a tenuto line over them. These are the notes that Casals tended to subtly lengthen to emphasize their importance.
When music is edited as heavily as it is in this edition, it can be dangerous. It is important to remember that these markings are not Bach's; Bach rarely provided any markings except for the very occasional dynamic. Therefore, we must be conscious that when we play from this edition, we will be interpreting an interpretation. And with a strong musical personality like Casals, it is too easy to exaggerate his ideas and sound ridiculous; there are some things that only an artist like Casals could pull off.
Janos Starker (1971)
This is a very cellistic edition. Starker seems to have spent a lot of time solving the cellistic difficulties of the Bach Suites. "I thought of most of the things that troubles all other cellists. And then I solved it in a way." To do this, he developed bowings that are more comfortable and yet still convey his musical ideas. He also, when necessary, changed some notes that were pretty much impossible play well anyway. For instance, see the example below from the Sarabande of the D Major or 6th Suite:
Now compare it with the Anna Magdalena manuscript edition:
Note how the B-natural has been changed to a G, making the passage much less difficult. This naturally raises the question of whether this shows a lack of respect for Bach or just makes him more playable and realistic for struggling cellists. I'll leave that issue to the reader.
The danger of this edition is that, if one does not have another edition that contains the original notes, one could not know that Bach actually wrote something different.
August Wenzinger (1950)
The Wenzinger edition is based on the manuscript by the hand of Mary Magdalena Bach. His edition is the most honest edition since all markings not in the original manuscript are indicated as such: changed slurs are indicated with dashed lines, added dynamics are shown in parentheses, all corrected notes are footnoted. This edition allows the player to start from as close to the Anna Magdalena manuscript as possible. This minimizes the layering of interpretations that occurs with other editions.
Unfortunately, the original Anna Magdalena manuscript is full of errors. Her manuscript contains over 70 errors such as incorrect notes and measures. And her slurs are the most carelessly written of the three known manuscripts. When Wenzinger created this edition, the other two manuscripts were not yet discovered. In spite of this, Wenzinger's still stands tall in the sea of editions.
Dimitry Markevitch (1964)
This is one of the most interesting Bach Suite editions I have seen. Markevitch, a noted cello scholar and author, based his edition on the three available manuscripts: Anna Magdalena, Kellner, and Westphal. It has a very informative preface that discusses the research into the origins of the suites and performance practice issues, and represents some of the latest research into the Bach Suites. His edition is also very clean and free of fingerings, except in the most difficult passages, which is quite refreshing.
Showing his knowledge of the Baroque dance forms, most Sarabandes start with an up-bow so that the second beat gets the required emphasis with the naturally stronger down-bow.
However, he seems to have an unusual propensity for starting upbeats with a downbow, or starting pieces with a bowing opposite to the intuitive bowing. For instance, he starts the D Major Suite with an up-bow:
I must confess that this doesn't make much sense to me and that many of his ideas seem self-consciously eccentric. But I am grateful to him for making me at least stop and think about possibilities that I have never considered.
So, which edition or editions should one buy? If you buy nothing else, you must have the Wenzinger edition since it is the most honest edition I have seen. The Casals-Foley edition is useful for musical ideas. The Starker edition helps solve many technical difficulties of the Suites. And the Markevitch is useful from a scholarly point of view and is mind-expanding.
But we must recognize that no edition, if studied, survives unmarked by the player. The instant we put a mark on the music, we have started the process of creating our own edition. In order to stay as close to Bach as possible, it then makes sense to start with an edition which is as close to the original as possible. If we don't, we will be interpreting an interpretation, which may have already been an interpretation of another interpretation, or previous edition, and so on. Though there are "only" 80 or so published editions, there really is one edition per cellist.
P.S. Number "81" is about to come out: the Neue Bach-Ausgabe edition. A fourth manuscript by an unknown copyist has been recently discovered. I guess, they will never stop.
1. "Standard bearer for the cello" by Margaret Campbell, from The Strad, February 1995.
Joan Dickson, one of Britain's most respected cellists and teachers, believed that teachers should be trained to teach.
2. "Bowing Figures: An Analysis of String Crossings" by Robert Jesselson, from American String Teacher, Winter 1995.
"An inexperienced player will typically exert unnecessary energy and produce unsatisfactory results: unwanted accents, crooked bow angles, poor sound."
"The limitless variety of string crossings encountered in ... literature is all based on combinations and permutations of ... four figures. " When analyzed, the bow hand traces in the air either an ellipse, an arc, a figure eight, or a wave pattern.
3. "A Conversation with Raya Garbousova" by Jeffrey Solow, from New York's Violoncello Society Inc. Newsletter, Winter 1994/95.
The overall level of cello technique is higher today because "teaching is on a higher level. Today performers are teaching, which didn't happen much in the past. Performers learn a great deal by performing, which they pass on to their students."
4. "Six Times Six: A Bach Suite Selection" by Richard Taruskin, from Strings, January/February 1995.
This article is a survey of Bach Cello Suite recordings, and is well worth seeking out. Since there are so many highlights in this article, no attempt is made to list them. The following is a taste:
"Pablo Casals did for the cello suites what Feodor Chaliapin did for ... Boris Godunov... : revived them from the dead, made them a classic, created their performance practice, and -- as interpretations of consummate authority will -- ruined them for generations to come."
April 3,4 Daniel Gaisford performs the Elgar Cello Concerto with the Seattle Symphony. 443-4747
April 9 Frances Walton performs the Elgar Concerto with the Thalia Symphony at the Shorecrest Performing Arts Center at 7pm. 15343 25th Ave NE, Seattle.
May 1,2 Janos Starker performs the Dvorak Cello Concerto with the Seattle Symphony. 443- 4747.
June 2 Roberta Downey, Seattle Symphony cellist and Seattle Violoncello Society Vice President, performs in recital. Details to be announced later.
July 12 Gary Hoffman and Rena Sharon perform Frank Sonata for Cello and Piano in A Major at the Seattle Chamber Music Festival. 448-8327 (before May 1) or 328-1425 (after May 1).
July 14 Ronald Thomas performs the Benjamin Britten Suite No. 1 for Solo Cello, Op. 72, and
Ronald Thomas and Toby Saks perform in the Arensky Quartet for Violin, Viola, and Two Celli in a minor, Op. 35 at the Seattle Chamber Music Festival. 448-8327 (before May 1) or 328-1425 (after May 1).
July 24 Godfried Hoogeveen performs the Max Reger Suite for Solo Cello in d minor, Op. 131, and Ronald Thomas and Rena Sharon perform the Brahms Sonata for Cello and Piano in D Major, Op. 78 at the Seattle Chamber Music Festival. 448- 8327 (before May 1) or 328- 1425 (after May 1).
July 28 Cynthia Phelps and Ronald Thomas perform the Piston Duo for Viola and Cello and the Hindemith Scherzo for Viola and Cello at the Seattle Chamber Music Festival. 448- 8327 (before May 1) or 328- 1425 (after May 1).
June 14 Antonio Meneses performs in the Beethoven Triple Concerto at the Seattle International Music Festival (SIMF) at 5:15 pm 233-0993.
June 15, 16, 19 Antonio Meneses performs the Beethoven Cello Sonatas number 1,2, and 3 (one Sonata each date shown) at the SIMF at 5:15pm 233-0993.
June 26, 27 Jiri Barta performs the Beethoven Cello Sonatas, number 4 and 5 (one Sonata each date shown) at the SIMF at 5:15pm. 233-0993.
ICICLE CREEK MUSIC FESTIVAL
The Icicle Creek Music Festival, located at the Sleeping Lady Resort in Leavenworth, Washington, debuts this August with exciting programming, and dynamic musical performers from across the US and Canada.
Icicle Creek Chamber Music Institute, an intensive program of chamber music and solo repertoire study, will run concurrent to the Festival from July 30 to August 13. The Institute features close contact with artist faculty: concert violinist Camilla Wicks, the Kairos Quartet, the Chester Quartet, and pianists Peter Longworth and Francine Kay (faculty at the Royal Conservatory of Music). Daily schedule includes three hours individual practice, chamber music rehearsals, private lessons, coachings by resident artists, masterclasses, and time for hikes in the Washington Cascade Mountains.
The Institute is open to college-age string players and pianists, and advanced high school students. For application brochures or further information, contact:
Carrie Rehkopf & John Michel
IC Institute Directors
1309 Skyline Drive
Ellensburg, WA 98926
Phone (509) 962-9324
FAX (509) 963-1239.
HIGH SCHOOL CELLO INSTITUTE
20 select high school cello students will be chosen for a week-long intensive cello study June 11-17 at Miami University in Oxford, Ohio. For more information contact Steven Shumway, 241 CPA, Miami University, Oxford, Ohio 45056 or call (513) 529-3095.
FOR SALE: 3/4 size cello. Label inside reads "Anton Becker, COPIE, Antonius Stradivarius, No. 305-3/4 Germany." Excellent condition. $975 includes soft case. 527-5509.
FOR SALE: 3/4 size 1891 Robert Glier cello and bow, $2,000. Paul Jezick 622-3481.
FOR SALE: 3/4 size 1979 Karl Hauser German cello, $2,000. 3/4 size 1960 German bow, $250. The cello has a beautiful tone for its size. Sharon Finegold 722-1238.
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