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/ ` INTERNET CELLO SOCIETY ©
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\ _/ 'TUTTI CELLI' Newsletter, March/April 1997
TUTTI CELLI CONTENTS -- volume 3, issue 2
NEW ICS STAFF
(Members are encouraged to e-mail forum hosts but please remember that they
are volunteering their time.)
Owen Carman, Forum Host (interest in grants, job market and fine
instrument queries)
cello professor at Michigan State and director of Meadowmount School
carman@pilot.msu.edu
Robert Jesselson, Forum Host (former ASTA cello column editor)
cello professor at U. of South Carolina and director of USC String Project
rjesselson@mozart.music.sc.edu
Peter Miller, Tutti Celli Proof-Reader
professional proof-reader, editor and rewriter
http://www.portal.ca/~pmiller
Mark Tanner, Graphic Designer
cello professor at U. of Florida and commercial website designer
http://cellist.music.ufl.edu
***We need a dependable, knowledgeable young cellist to volunteer as a
forum host!
Thanks to Mark Tanner with Backups, Inc., the Internet Cello Society logo
is now rendered in 3D! Though it is still being developed you can view the
homepage and watch it revolve and evolve!
Two of our sponsors, CWU and Advanced Data Systems, are working on installing
RealAudio servers for ICS that will allow long audio files to be accessed
without a wait over the Internet! In the meantime we have added more musical
excerpts to our site utilizing the very effective RA compression scheme.
See http://cello.org/cnc/realaudi.htm
JOHN'S JABBER
SOLICITING MEMBERSHIP OPINION on ICS Mailing List distribution!
Recently I have had several organizations request the ICS e-mail list. One
is an ICS corporate sponsor and another a commercial vendor. I feel comfortable
giving an ICS sponsor a particular member's e-mail address and membership
information if that member has indicated permission on his/her ICS registration.
(If you indicated that you do not want your registration information released
by typing in "no" in the permission field of the registration
form, your information will NEVER be distributed, though your information
is accessible via the searchable online membership directory.) I do not
know if we want to freely distribute membership information or e-mail addresses
to non-sponsoring music vendors. Making the information exclusive to the
membership and sponsors, I believe that we can attract more sponsorship
and avoid frequent distribution of membership information. I really abhor
the abusive use of mass e-mailings and want to avoid propagating the problem.
Please send me your thoughts on this subject.
If you have not visited the ICS website recently, you may have missed THE
OVERHAUL I made of the entire site which now includes over 500 pages and
thousands of links. Because of its enormous size, a few all nighters were
required to rethink the entire hierarchy of pages, combine the strengths
of the Internet Cello Societys pages with the existing ICS pages, and develop
effective, custom navigational tools for the site. Marshall has been working
on a truly comprehensive index which will be added to the navigational frame
soon. Now members can explore the site by using either the table of contents,
the original icons, a search engine, the extended index or the What's New
page. I still need help to complete a FAQ page...any volunteers?
We are one third of the way to OUR FUNDRAISING GOAL! Join me in thanking
those members and organizations that have contributed so far:
http://cello.org/sponsor.htm
LETTERS TO THE EDITOR
***If you would like to respond to something you have read in 'Tutti Celli',
write to director@cello.org and type "Letter
to Editor" in subject field. (Letters may be edited.)***
Thanks to you and all the volunteers you listed for the time and effort
you have put in on ICS. I am sending you my contribution in tomorrow's mail
to help further the aims of ICS. I have accessed the ICS on the internet
only a few times, and only once left some comments. I didn't necessarily
expect any response when a few months later I was contacted by a guitarist
who saw that my address was near his. He was looking for a cellist to join
him and a violinist/violist in playing chamber music. He sent me the music
and we expect to get together in January. So score one for ICS and I am
happy to help support your efforts.
Best wishes for the new year to you and all with the ICS.
Bob Peterson
Houston, Texas
NEW AND OLD MEMBER LETTERS
Please include "Romania" on your country list - there's two of
us, at
least, from there. Many thanks for your great work! CELLO POWER !!!
Andrei Pricope
Romania
***Thank you, Andrei, for informing us of the Romanian presence. We have
assembled our list of countries from the suffix of the e-mail address, in
the case of Romania, it would be .ro. Since you are in the U.S., your address
doesn't indicate Romania, and we didn't catch it. I wonder how many more
countries we miss because of this. We will keep at it, and meanwhile, Welcome,
Romania!
Robert Whipple, ICS Mailer
As I am moving to Wellington to go to university (to study music) I
won't have access to a computer so unfortunately I have to quit the
Internet Cello Society. I've really enjoyed reading 'Tutti Celli' and the
other articles you've sent me; its amazing to be able to tap into the
world-wide cello scene, which we don't hear a lot about here in New
Zealand. Thanks again and I hope the society keeps expanding.
Anna Bull, Hamilton
New Zealand
***We wish you luck and look forward to your return to the Society in the
future. JM
CONVERSATION WITH OFRA HARNOY
***An Internet Cello Society Exclusive!!!***
by Tim Finholt
TF: When you're up on stage, what are you thinking? Are you the type of
musician who tries to paint a picture or are you thinking something like
"I want a crescendo here," or "I don't want to miss this
shift?"
OH: ...sometimes I have a whole story-line in mind. For instance, in the
Franck Sonata, the piece becomes a story about an old woman who is at her
husband's grave going through the emotions of remembering the past with
him, screaming out in anger at his death. There have been a few times when
I've had tears running down my face, because I was so involved in the music
and became part of it.
TF: Is this your own personal imagery?
OH: Yes. It just came into my head. That's what the music reminds me of
for some reason. Imagery has come to me with certain pieces since I was
a little girl. I remember listening to Mahler symphonies and imagining hunters
in the woods with deer running away.
It's incredible how music can create these kinds of images. When I talk
to people who I'm trying to convert to classical music, I make them listen
to the music and come up with their own imagery. I find that this helps
them overcome the fact that the music doesn't have words, which gives the
music a personal meaning for each listener.
TF: Are there any other cello pieces that you associate with certain imagery?
OH: It's usually very vague and changes a lot. The Franck Sonata is unusual
because I've had the same image several times. But maybe I'll imagine something
in the middle of a Vivaldi concerto, where I imagine birds in the trees
in the springtime. It's not always an actual scene, since I may be experiencing
abstract colors, textures, and ideas. Once in awhile a cougher in the third
row jolts me out of my concentration and I begin thinking about how much
I wish he or she would just leave, which may result in some unpleasant imagery.
Sometimes when I'm coming to a beautifully quiet passage where I want the
audience to hold their breath, I'll hear "Aaaachooo!" which makes
me feel less than charitable towards the offending sneezer. Another one
that gets to me is the person with the crinkly cough drop wrapper, who always
seems to sit right up front..."
DAVID B. RUNNION
BARCELONA, SPAIN
First I must express my thanks to John Michel for the time and energy
he has put into the ICS, and I'm sure I speak for all the cellists, members
and visitors, in expressing my appreciation. I really enjoy the page.
I began playing the cello rather later than some of my colleagues, at the
age of 14, and am now the Principal Cellist of the National Orchestra of
Catalonia in Barcelona, Spain. It means a great deal to be working here,
only a few miles from the birthplace of perhaps our most illustrious colleague,
Pau (Pablo) Casals. I had the opportunity to play at the Pau Casals Auditorium,
across the street from Casals' home in El Vendrell for the opening of their
summer season last year. I played the C minor Bach Suite, and you can imagine
the emotion for any cellist to have that experience. I have been very lucky.
I grew up in Brattleboro, Vermont, only a few miles away from the great
cello pedagogue, David Wells, giving me the opportunity to study with him
as a teenager and to attend the Yellow Barn Music Festival, his annual summer
celebration of cello and chamber music in Putney, Vermont, for six years.
I also studied with another great pedagogue of the instrument, Einar Holm,
at Ithaca College in Ithaca, New York. Later I studied with David Wells
again at Manhattan School, later with William Pleeth (actually not very
much with him, but I enjoy dropping his name and I learned a tremendous
amount from him in a very short time), another brilliant teacher Martha
Williams in New York, as well as Andre Emilianoff at City College.
I lived on 109th St. in New York for 12 years, and managed to stay alive
mostly by playing the cello. Lots of Broadway. Lots of chamber orchestras
in New York, Hoboken New Jersey, The Berkshires. Lots of opera. Lots and
lots of chamber music, most notably with The Hampshire String Quartet and
Musicians' Accord, with whom I made a handful of records. The Bronx Arts
Ensemble. Bunch of weddings, parties, funerals, museum openings, museum
closings, fundraisers on the USS Nimitz, munching hors d'oevres from caterers,
some tours, one for months and months of my life with a Sondhiem show called
Into The Woods (Would it make cellists chuckle that just before the last
note of that show, there was a big drum roll, and the conductor used to
wait for me to spin my cello around 7 or 8 times before the last hit?).
It was a hectic and odd existence, and ends weren't always met; I can also
put on my resumé stints as a fact-checker at Spy and GQ magazines,
a waiter at Hanratty's on 96th street, an usher at the Beacon Theater and
for three glorious days a telephone salesman for Time/Life Books, "Can
I interest you in our great new edition, 'Basic Wiring'?"
Then one day my great and good friend Matthias Naegele called to ask if
I had a part for Don Juan. I inquired as to his plans with said part and
he told me about an audition, private, that he had heard about, and I should
call the guy, see if I could get a time to play myself. I will always have
a special place in my heart for Matthias for that phone call. I called the
fellow, who was a rather important contractor in New York, and he gave me
the last spot to play for Garcia Narvarro of the Barcelona City Orchestra.
On Friday, and this was Tuesday. As luck would have it, I was in pretty
good shape and had a concerto and some Bach all ready, so I waltzed in and
played, not really thinking about it, just another audition, though it would
be nice...but don't be silly...and then played rather well; actually had
one of those little Zen, magical experiences, playing the Bartered Bride
overture by Smetena, I remember looking at my right hand, spiccattoing away,
and not controlling it, just sort of watching as it took care of itself.
Best spiccatto I'd ever done. As I watched I was thinking about playing
softball, and that feeling when you really get a good piece of the ball,
and the swing just does itself, the body running on full concentrated automatic.
So I got the job. New life, new country, new language, new career. We have
a full time season from October to May, summer activities and a bunch of
recordings. I am challenged every week and draw every day on my experiences
in New York, but it has been a big adjustment. My cello playing is miles
and miles above what it was in New York, and I have learned to be a soloist.
A scholarly examination of the 12 Hommages à Paul Sacher, looking
at how these twelve works create material derived from Paul Sacher's name,
an analysis of their different forms, and an evaluation of their degree
of success from a player's perspective.
"The Swiss conductor and educator Paul Sacher has been perhaps one
of the most influential figures in twentieth century music. Born in 1906
Paul Sacher has been friends with many of this century's greatest composers,
resulting in his commissioning of many pieces, including works by Bartok,
Strauss, Britten and Stravinsky. In the latter part of this century, Sacher
has championed the works of many composers, including those of Pierre Boulez,
Luciano Berio, Hans Werner Henze, Heinz Holliger and Witold Lutoslawski.
The occasion of Sacher's seventieth birthday in 1976 prompted many celebrations
in his native Switzerland, not least a concert on May 2nd. The entire second
half of this concert was devoted to Mstislav Rostropovich's presentation
of part of the 12 HOMMAGES À PAUL SACHER (at that time the set was
not completed). Rostropovich and Sacher had performed together before and
had given the first performance of Henri Dutilleux's cello concerto TOUT
UN MONDE LOINTAIN. For Sacher's seventieth birthday Rostropovich had the
idea of commissioning 12 leading composers, all of whom were connected to
Sacher, to compose a set of theme and variations for solo 'cello based on
a cryptogram of the name Sacher. This produced a six note motif of E flat
(es in German, from S), A, C, B (H is b natural in German), E, and D (re
in Italian) (Ex 1). The original plan was for Benjamin Britten to compose
the theme and for each composer to submit one variation. However, all of
the composers involved seem to have been so inspired by the commission that
all of them produced works that are more substantial than a simple variation.
Some of the pieces are cast in one movement, such as Klaus Huber's TRANPOSITIO
AD INFINITUM and Heinz Holliger's CHACONNE, but many of the pieces are multi
movement, such as Alberto Ginastera's PUNEÑA NO. 2 and Henri Dutilleux's
TROIS STROPHES SUR LE NOM DE SACHER. Pierre Boulez broke the bounds of the
commission even more by composing his MESSAGESQUISSE for 'cello solo and
six 'cello accompaniment. The overall result of this is that instead of
a theme and variations that would have been little more than a musical novelty,
we have a set of works that constitute a summary of writing for the 'cello
at the end of the twentieth century, as well as demonstrating many of the
compositional trends of our times.
In this paper I will be examining the 12 HOMMAGES À PAUL SACHER from
three different angles. The first section will discuss the use of material
derived from Paul Sacher's name in these pieces and how it is developed.
This section will present the ways the material is used and varied before
discussing the use of material in individual works. As will be seen, this
will link with the second section which will be a discussion of the use
of the name Paul Sacher in the forms of these works. The third section will
deal with the pieces from a 'cellistic point of view, looking at the types
of techniques demanded of the performer and how successful these pieces
are from a player's viewpoint..."
MASTERCLASS REPORT
"Timothy Eddy, cellist of the Orion String Quartet, presented a master
class at the University of Michigan School of Music on 23 November, 1996.
Four students performed, and Mr. Eddy made several general comments not
intended for a specific player. This article summarizes some aspects of
this enjoyable master class.
Schumann Concerto, First Movement
Mr. Eddy's comments on this student's playing centered on the importance
of the contact point of the bow. A full, free and resonant sound can be
achieved at the place which displays the greatest resistance to the bow's
"pull," in the case of this player, closer to the bridge. When
we can be aware of this feeling of resistance, slower bow speeds are possible
and very effective, and the sound will bloom.
A particular phrase was selected to illustrate this point, the ascending
line beginning in measure 104. Mr. Eddy suggested that this line begin with
a very solid contact point, engaging the string boldly, with a sense of
release as the melodic line rises. Again, the student did not seem to have
a solid enough approach with the bow...."
***Other pieces discussed in the article include the first movements of
the Shostakovich Sonata, Beethoven Sonata Op. 102 No. 1 and the last movement
of the Dvorak Concerto. ***
REMEMBERING JACQUELINE DU PRE
by Tim Finholt
I recently purchased a video, "Remembering Jacqueline du Pre,"
written and directed by Christopher Nupen. It lasts about an hour and contains
one inspirational, and yet poignant, moment after another. The video contains
footage filmed between 1967 and 1971, before she was diagnosed with multiple
sclerosis at age 27.
Much of the video shows du Pre in candid moments with her young friends,
who happen to be world class musicians: Daniel Barenboim (her husband),
Zubin Mehta, Itzhak Perlman, and Pinchas Zukerman. Her enthusiasm is so
contagious, that one cannot help but smile throughout the video. One of
my favorite moments occurs when, after finishing the second movement of
the Elgar, she slowly looks up at the conductor and breaks into a smile
that could melt the polar ice caps.
It is fun to watch her play cello duets with her former teacher, William
Pleeth, the great British cellist. Though the duets go on a little too long,
since the music isn't great, it is touching to see the mutual affection
and respect between the two, and to watch du Pre play simple bass lines
with joy.
Jacqueline du Pre was one of my idols during my early years. I relished
her intensity and her ability to play with abandon. As the years have gone
by, I have sometimes cringed at her playing, feeling that she is a little
extreme in her approach. But Sir John Barbirolli responds beautifully to
this charge:
"She sometimes is accused of excessive emotions and things. But I LOVE
it, because when you're young, you should have an excess of everything.
If you haven't an excess, what are you going to pare off as the years go
by?"
A dark cloud looms over this video, knowing that soon she will start feeling
a tingling and a numbness in her fingers, and that multiple sclerosis will
cut short her stellar career. Her early demise is a tragedy for us all.
*** 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 CELLO
CHAT . 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.
***We need a dependable, knowledgeable young cellist to volunteer as
a host!***
Thanks to all you enthusiastic cellists and cello music lovers out there
in cyberspace, the ICS Chat Board is roaring to life like the final swell
in the orchestra of the Dvorak Cello Concerto's last few measures. We've
had people from various parts of the world chatting with each other about
all kinds of topics. Unfortunately, some people have experienced a slow
down in the loading of the cello chat webpage due to an increasing amount
of messages left. In consideration to such people we have decided to delete
messages that have been left for over 2-3 weeks. If you find that your message
was deleted, please do not take offense it this. We are trying this out
for now to see if it helps. I'd like to encourage everyone to continue interacting
and visit the chat board often as it builds a sense of community among us
all! Happy chatting! Paul Tseng, ICS Cello Chat
Bowmaker offers advice on rehairing/rosining in response to recent thread:
Rosin is very important. Equally so is the hair used and the skill of the
rehairer. Insist on only the very finest double drawn white unbleached,
unoiled hair and be willing to pay extra for it.
Do NOT ask the rehairer to add extra hair to your bow. This will not enhance
the playing qualities, tonal qualities, or make it last longer before the
next rehair. Do not let the rehairer put any of the shop rosin on your bow
unless your exact same type of rosin is used.
Always clean the fresh hair with mild warm water followed by pure denatured
ethyl alcohol. (wrap the stick in thin plastic kitchen wrap to prevent any
alcohol from touching the stick) Do this several times with a clean old
under shirt. Rosin up the bow with your brand of choice. Play the bow for
30 or 45 minutes. Carefully wrap the bow in kitchen plastic wrap again,
repeating the ethyl alcohol cleaning but this time do not overly clean the
hair. Only remove the excess rosin dust melting the remainder into and around
each and every hair. Using a fine hair brush, (not a comb) carefully brush
the hairs until they are completely dry making sure none are rosined together.
Now, using your rosin of choice, rerosin the bow only to the point where
all the hairs are coated. Make sure the bow is tightened to playing tension
during all the above cleaning and rosining steps.
Do not forget to clean your strings of old greasy rosin. Remember, rosin
carries a strong negative electronic charge. Every time you play the instrument,
static electricity develops on the strings and hair attracting all sorts
of dust, dirt, etc. The cleaner the strings and the cleaner the well rosined
bow, the more pure and consistent the tone.
Dennis Braun, Bowmaker
dkbrau19@mail.airmail.net
***For more selected excerpts of ICS Forum/Cello Chat discussion, please
check the ICS Bulletin Board***
- MUSIC FESTIVAL WATCH
***If you have announcements, comments or reviews of music festivals,
please contact Roberta Rominger at roberta@rominger.demon.co.uk***
If you've ever thought of spending some of your summer vacation luxuriating
in glorious cello music, this is the year to do it!
1. June 6-8 Third Annual "New Directions" Cello Festival at the
Univ. of Connecticut, Storrs CT, U.S.A. This is the only festival devoted
to nonclassical and alternative cello. Many guest artists, workshops, jam
sessions. For information e-mail ndca@clarityconnect.com or visit their
web page http://www.clarityconnect.com/webpages/ndca/cello.
2. June 22-29 International Cello Festival and Adam Competition, Christchurch
New Zealand. The competition is for under-30's. If you go as a spectator,
in addition to sitting in on the various rounds of the competition, you
can go to the recitals and masterclasses offered by members of the jury.
For information: a.ivashkin@music. canterbury.ac.nz.
3. July 1-8 World Cello Congress II in St. Petersburg Russia. Over 30 world
class cellists performing, plus several famous cello ensembles from around
the world. Daily themes "History of the Cello", "The Cello
Today", "Teaching the Cello", "The Cello Tomorrow".
Gala concerts culminating in a birthday jubilee celebration for Rostropovich,
who turns 70 this year. Brochure includes travel and accommodation info.
E-mail e7a7bre@tow.towson.edu for a copy, or check out the web site: http://www.towson.edu/~breazeal/cello.htm.
4. July 17-26 Leonard Rose International Cello Competition and Festival
at Univ. of Maryland, College Park MD, U.S.A. The competition is open to
18-30 year olds, deadline for applications March 15. For an application
or schedule of events e-mail intlcomp@umdacc.umd.edu.
5. If you'd like to play instead of just listening, the Meadowmount School
of Music offers a seven week summer session with the opportunity to study
with Tanya Carey, Owen Carman or Hans Jensen. Deadline for applications
March 1. Information at http://www.softu.com/meadowmount.
6. October 16-19 Cello-Festival 3 in Kronberg (near Frankfurt) Germany.
Rostropovich's birthday celebrations continue with four days of concerts,
recitals, masterclasses and exhibitions.
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.)
ACTIVITIES AND ANNOUNCEMENTS
RAYA GARBOUSOVA Perhaps you are aware that cellist and teacher Raya Garbousova
died last Tuesday (January 28) in DeKalb, IL, where she had lived and taught
for a long while. The papers said she was 87 years old, though we here know
she was apt to stretch the truth when it came to discussing her age. She
had taught at Northern Illinois University until just a few years ago.
Bob
musica@nuteknet.com
***For more information about one of the most important cellists of this
century, see: http://cello.org/cnc/raya.htm
Cello Celebration Concert in honor of Rostropovich's Birthday It will be
held on Saturday, March 8 at 7:30 pm on the UNC-Chapel Hill, NC campus.
Participating will be soloists Brent Wissick, Dr. Robert Jesselson, Jody
Redhage performing Britten, Shostakovich and Cassado. Other ensembles will
feature area cellists, professional and students, ending with everybody
in a grand finale of the Pachelbel Canon and of course Happy Birthday.
Jane Salemson
The New Directions Cello Association (NDCA) is a private organization which
began in 1992 and has created a network for the growing field of alternative
and nonclassical cello. The goals of the NDCA are to encourage interaction
among nonclassical cellists, and to promote awareness among all cellists
and the musically oriented public about the contributions that cellists
are making in many styles of contemporary music. This encompasses those
musical styles which are not commonly taught to cellists at music schools
(jazz, blues, rock, folk, experimental, ethnic, etc.) especially those involving
some amount of improvisation. The NDCA publishes a newsletter called Cello
City Ink twice a year which contains interviews, reviews, articles, and
other information related to nonclassical cello. One of the NDCA's main
projects is the New Directions Cello Festival, an annual symposium on the
state of nonclassical or alternative cello. For more information on the
NDCA and the NDCFest'97 please contact:
Chris White, Director
New Directions
Cello Assoc.(NDCA)
(607)277-5372
ndca@clarityconnect.com
Ongaku-No-Tomo, the largest music publisher in Japan will issue a Japanese
edition of Victor Sazer's book, New Directions in Cello Playing in 1997.
Subtitled How to Make Cello Playing Easier and Play Without Pain, this book
introduces natural, tension-free ways of playing the cello. It presents
anatomically-improved ways of sitting and holding the cello, a new approach
to left arm and hand techniques and fundamentals of bowing. Its innovative
approach to body use increases efficiency and improves performance. The
author is particularly pleased that the California based cellist, Masatoshi
Mitsumoto is doing the translation. According to Victor Sazer, "I could
not imagine a more perfect person to translate the book than Masatoshi.
Mitsumoto is an outstanding cellist who understands the concepts completely
and is also fluent in both Japanese and English
The Turtle Island String Quartet is very pleased to announce the return
to the quartet of founding member David Balakrishnan. Mr. Balakrishnan replaces
violinist extraordinaire Tracy Silverman, who has left TISQ to pursue other
musical goals, including his own band, 'Gutbucket'.
Dave originated the alternative chamber music ensemble TISQ in 1986 with
current members Mark Summer and Darol Anger, then left the band in 1993.
His list of accomplishments during his tenure with TISQ, and after his departure,
are numerous and distinguished. He has twice been awarded grants by Meet
the Composer-Lila Wallace/Reader's Digest Foundation, has been nominated
for a Grammy Award for best instrumental arrangement, and was awarded an
NEA grant to write for string orchestra, resulting in a seven movement piece,
'Spider Dreams', that was premiered in 1993 at the Cabrillo Festival. It
was heard that year at Lincoln Center with TISQ and the Concordia Orchestra,
then performed and recorded with TISQ and the Detroit Symphony, conducted
by Neeme Jarvi.
His most recent compositions are the 'Concertino for Jazz Violin and Orchestra:
Little Mouse Jumps' premiered by the Eugene Symphony in 1995, and 'Thyaga',
a four movement work for mandolin quartet and violin. 'Thyaga' was premiered
in January, 1997 at Merkin Hall in New York City by Dave and the Modern
Mandolin Quartet.
Balakrishnan rejoins Turtle Island at an extremely busy time. TISQ is engaged
to appear with the St. Louis Symphony and Frankfurt Radio Orchestra, a collaboration
with the David Parsons Dance Company in New York and San Francisco, several
concerts with the Billy Taylor Trio, and will tour Europe and North America
extensively as always. TISQ will instruct at UMass and the Mozarteum in
Salzburg, appear on an upcoming edition of St. Paul Sunday on NPR, and of
course make a return to A Prairie Home Companion with Garrison Keillor.
tisq@earthlink.net or rzac@usa.net
***All members are welcome to post announcements or news that are pertinent
to our global cello society. Send information to director@cello.org***
***Please notify Marshall St. John of any interesting websites that you
would like to be considered for inclusion in the future. Websites will be
selected regularly based on their content, cello relevance, and presentation
style! I have taken the liberty of selecting the first site which I hope
you enjoy.
John Michel, ICS Director
Suggest good websites to our ICS
NET Surfers
1.
New Directions Cello Association
