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WHAT'S NEW at ICS!
Countries represented by our membership include Argentina, Australia, Austria,
Belgium, Brazil, Canada, Chile, China, Columbia, Costa Rica, Croatia, Czech
Republic, Denmark, Dominica, Finland , France, Germany, Greece, Guatemala,
Guinea-Bissau, Hong Kong, Hungary, Iceland, Indonesia, Ireland, Israel,
Italy, Jamaica, Japan, Latvia, Luxembourg, Malaysia, Mexico, Netherlands,
New Zealand, Norway, Philippines, Poland, Portugal, Puerto Rico, Romania,
Russia, Serbia, Slovenia, Singapore, South Africa, South Korea, Spain, Sweden,
Switzerland, Taiwan, Thailand, Turkey, United Kingdom, Ukraine, United States,
Uruguay, Venezuela and Zimbabwe.
http://cello.org/The_Society/stats.htm
ICS homepage is averaging 200 hits per day!
More amateur and professional webpages being added including one for Janos
Starker!
The Internet Cello Society can now stream RealAudio content on its own server!
ICS has begun to broadcast cello recitals and concerts over the Internet!
JOHN'S JABBER
The Internet Cello Society has had several substantial changes in its volunteer
staff. We were sad to have Webmaster step down as ICS Webmaster a month
ago because of mounting professional demands. Dan provided ICS with professional
webmastering experience at a critical time of need.
Fortunately, our former webmaster
Marshall St. John has returned back to cyberspace with a renewed energy
and long term commitment to the position of ICS Webmaster. His service of
updating link information and ICS website content on a very frequent basis
will hopefully breathe new life into our organization.
Rajan Krishnaswami has been
generously offering his expertise on the CelloChat bulletin board and has
volunteered to be a regular ICS Host. On top of his teaching at the University
of Washington, he plays in the Pacific Northwest Ballet Orchestra and is
on leave from the Northwest Chamber orchestra. He is a wonderful teacher
and artist and was recently named vice-president of the Seattle Violoncello
Society. He can be emailed at rajank@u.washington.edu.
Deborah Netanel will serve as
our ICS NET Resource Editor; if you would like to recommend interesting
websites email her at netaned@email.uc.edu. She in the DMA program at University
of Cincinnati College Conservatory of Music and serves on the College Preparatory
Department faculty.
Abby Ross will serve as ICS Forum/Cello
Chat Editor and can be contacted at ross415@seark.net
This month marks the debut of our RealAudio server. ICS will broadcast my
November 19th recital with pianist Lisa Bergman, and plans to broadcast
concerts on a more regular basis from submitted tapes. If you are interested
in giving a worldwide Internet debut, please send selected excerpts directly
to me. Tapes will not be returned. Be sure to include concert information
and written permission (ASCAP, BMI, edition publishers and others) for all
compositions to be performed that are not in the public domain.
As ICS director I would love to see more active participation among more
of the members, especially those outside of the United States. I am sure
that the membership would really like to hear about cellists and related
events in Japan, Brazil, Ukraine, South Africa and other countries! Please
consider writing a "membership spotlight", "cello scene"
or an other cello-related article. Details on content and formatting will
be made available in the Newsletter section of the ICS website.
LETTERS TO THE EDITOR
Dear ICS Webmaster,
I really dunno what to say, you did the most precious thing for me and my
cello teacher. He is such a great and nice teacher. I have nothing to give
him, and this webpage would be the best gift. I really enjoyed your Internet
Cello Society that I go there almost every day! Anyway, thousands thanks
to you!
Yours,
Ophelia
Good job on the new page layout! I prefer it very much! Keep up the good
work!
Doug Skinner
**We are all happy to have Marshall's talents back at ICS!
John Michel
My 12 year old daughter plays cello and is also doing a class project on
cello. We've just visited your site and like the photo of the little boy
by the cello showing the different parts of it. We both thought that its
great to have a personal touch to the cello, and the site is very detailed
and accurate - congratulations !
Tangi & 'Ailini - cello information hunters.
Australia
Just wanted to say "thanks!" for the Cello Repertoire that you
have obviously worked very hard to compile. I am just getting back to cello
after a ten year absence and really needed to get some good suggestions.
Thank you for providing me with such a wonderful resource.
Charlotte
**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.)**
ICS EXCLUSIVE INTERVIEW
 | CONVERSATION WITH BION TSANG by TIM FINHOLT |
MEMBERSHIP SPOTLIGHT
OUR LYON SHARE OF TROUBLE
by GABRIEL MAGYAR
(The following was a recounting of an experience by Gabriel Magyar, cellist,
which any travelling instrumental musician can relate to. Gabriel Magyar
was the cellist in the Hungarian String Quartet 1956-1972. He was also cello
professor at the University of Oklahoma in Norman and the University of
Illinois in Urbana. He is now retired and living in Urbana, Illinois with
his wife Julie.)
Stop! I know what you think. No, the title is not spelled wrong. It is not
a mistake. if you read our story, you will find out why. Our string quartet,
in which I was the cellist, had four members, as any other string quartet.
However, sometimes we swelled to an octet, when our wives also traveled
with us. Unfortunately, this did not happen very often, but we arrived one
early afternoon in the railway station in Lyon, a beautiful picturesque
French city on the banks of the river Rhone, with our "Little Orchestra"
together.
When we pulled up to our hotel in three taxis there was at least three times
as much luggage as we normally carried. Julie and I were very sleepy and
tired; anything but alert. Usually we were very careful and watched the
unloading to be certain that all the bags were with us. However, this time
we left the taxi drivers and hurried to the reception desk to check in and
to get to sleep as soon as possible, because the quartet had a very demanding
program to play that same evening. Checking our luggage at the reception
desk, we discovered to our dismay that a large suitcase was missing. You
may guess which one. Mine, of course. This had, among other things, my tailcoat,
my collapsible chair, which naturally and hopefully did not collapse during
the performances, thank God, but was made to fit my special body position.
This gave the necessary comfort to play the cello care free. The luggage
also had the music to be played that evening.
We hurried out to stop the taxi that brought us to the hotel, but it was
gone. Of course I was very upset. I could not blame anyone but myself. "How
could I be so negligent, abandoning the well-proven precautions I always
took? Recalling how we hurried to check in, the old proverb came to my mind,
"The slower you go, the farther you get!" But there was no time
for fruitless recriminations. Clearly, action was needed, but what? Good
advice would have been priceless. For one, I needed a tailcoat, so one of
the committee members, who came to greet us, took my body measurements,
luckily not for my coffin, but for the rental of the missing garment for
the evening concert. Another left to try to get the necessary music. Of
course, this will not have my very important fingerings and other reminders
of our performing agreements! These were only makeshift arrangements for
that oncoming concert only. How about for tomorrow and thereafter?
I felt like a drowning person, who grabs even for the last straw. I exclaimed,
"Let us drive back to the station. The taxi must be there by now. "We
took a taxi to the station. With our non-existent French language and accompanying
pantomime, somehow we made ourselves understood as to what had happened.
The taxi drivers at the railway station politely listened throughout. Our
driver stood by, visibly amused and entertained by our gesticulations. We
were informed, to our great disappointment, that once a taxi took a passenger
from the station it did not return there again that day. The reason was,
that by this practice they gave a chance to their colleagues, as well. Of
course, this was a very praiseworthy, democratic system, but it in no way
helped us to solve our problems. On the contrary! The desperate situation
needed desperate measures. In retrospect, it seems to me that the idea that
occurred to us was absolute madness.
We decided to drive around the large city and visit as many taxi stands
as possible, considering the limited time available.. The endeavor was like
looking for a needle in a hay stack. For this purpose we kept the same taxi,
which brought us to the station, figuring that the driver's explanation
would be far better than our "Symphony Pathetic."
Through our chauffeur, we asked the drivers at the taxi stands to spread
the news among their colleagues, hoping by some miracle the missing bag's
story might reach the right driver. We were also driving around, watching
the oncoming taxis whizzing by, in the vain hope that we might spot the
driver who brought us to the hotel the first time. I have to smile, thinking
back, how we sat there, hoping desperately that we might recognize the man
and the uniform, speeding by us in a few seconds. After all, a uniform is
a bit of a disguise; it destroys the individual characteristics, hiding
under the deceptively similar appearance.
After long, exhausting driving, watching, stopping, explaining, we finally
returned to our hotel empty handed, giving up all hope. Entering our hotel
lobby, what do we see in front of the reception desk? I allow you only one
guess! You probably guessed right; the nearly impossible. Our missing luggage
was sitting there, smiling at us sheepishly. How can I describe to you how
we felt? Can you imagine the feeling of relief and elation? I hope that
you do, for it is beyond description.
The receptionist explained that our crazy, impossible strategy actually
worked. One of the taxi drivers, hearing our story and remembering the instruments
he carted, opened his trunk, and voila! He found the missing luggage. Conscientiously
he immediately delivered it to our hotel. The needle in the haystack was
found. Our Lyon's share of troubles were over. Our concerts were saved.
Our gratitude and blessings will always be with the good taxi drivers of
Lyon.
I hope that our adventure proves that sometimes, paradoxically, the impossible
after all can be possible. I assure you that thereafter, whether sleepy
or not, we always watched the unloading, even if w had to use toothpicks
to keep our eye lids open. By the way, according to my wife, the concert
the same evening was our most successful one. However, I assure you, if
the above adventure is the way to such a success, I would rather not pay
the price, thank you.
FEATURE ARTICLE
CELLO CITATIONS IN RECENT MEDICAL AND
SCIENTIFIC LITERATURE
by MARC DAVID HOROWITZ
"Cellists are constantly exposed to a great deal of string literature,
which is easily accessed and available to interested readers. Cello information
also turns up in other, unusual and most interesting locations, as evidenced
by routine data base searches done on a variety of scientific and technical
data bases offered through Medline, BRS/CDP, and Dialog, all of which have
some information concerning the cello. These vendors offer hundreds of searchable
data bases...In the list that follows, I have abstracted articles of interest
and edited the author abstracts in order to concentrate on materials that
I feel would be of interest to Internet Cello Society readers. It is not,
however, an exhaustive bibliography. Each of these articles should be available
from your local library or through interlibrary loan.
Palmer, J.B.; Uematsu, S.; Jankel, W.R.; Arnold, W.P. A Cellist with Arm
Pain: Thermal Asymmetry in Scalerus Anticus Syndrome. Archives of Physical
Medicine and Rehabilitation. 72(3):237-42, March 1991. A report on a cellist
with pain and coldness of the upper extremity. Abnormal studies were instrumental
in uncovering intermittent compression of the subclavian artery; this prompted
the authors to study effects of cello playing on temperature asymmetry.
This patient's abnormal skin temperature may have reflected sympathetic
vasomotor hyperactivity.
Shapiro, P.E. "Cello Scrotom" Questioned. Journal of the American
Academy of Dermatology. 24(4):665, April 1991. Letter to the editor discussing
a recent article "Dermatologic Problems of Musicians." Original
article designates "cello scrotom" caused by "irritation
from the body of the cello." The author of this letter speculates that
the irritation was more likely to be from the chair as contact of the body
with the cello would require an awkward playing position. (Secondary article:
Rimmer. Dermatologic Problems of Musicians. Journal of the American Academy
of Dermatology. 22:657-63, 1990. Primary article: Murphy, J.M. Cello Scrotum.
British Medical Journal. 2:335, May 11, 1974)
Moreno, J.C.; Gata, I.M.; Garcia-Bravo, B.; Camacho, F.M. Fiddler's Neck.
American Journal of Contact Dermatitis. 8(1):39-42, 1997. The dermatologic
pathological condition of musicians is a rare medical problem. The authors
draw attention to what is called "Fiddler's Neck" a process that
is peculiar to violin, viola and cello players and that may be caused by
two different mechanisms: contact allergen reaction of a mechanical action.
Royster, J.D.; Royster, L.H.; Killion, M.C. Sound Exposures and Hearing
Thresholds of Symphony Orchestra Musicians. Journal of the Acoustical Society
of America. 89(6):2793-2803, June 1991. The author's assessed the risk of
noise induced hearing loss among musicians in the Chicago Symphony Orchestra.
Hearing threshold levels were found to be significantly better for both
ears of musicians playing bass, cello, harp or piano and for the right ears
of violinists and violists than for their left ears or for both ears of
other musicians.
Papich, G.; Rainbow, E. A Pilot Study of Performance Practices of Twentieth-Century
Musicians. Journal of Research in Music Education. 22(1):24-34, Spring 1974.
Carried out graphic analysis of recordings of violin, cello and double bass
students. Pitch vibrato was present in the initial attack of all tones.
When each performer used vibrato, the speed of the vibrato and pitch width
were the same in solo playing and ensemble playing. Pitch vibrato appeared
to be an oscillation in an upward direction from conceived pitch rather
than above and below it. When performers erred in going from a lower pitch
to a higher note, the error tended to be an overestimation of the interval.
Comparisons of solo with ensemble performances indicate that solos tended
to be slightly sharper in pitch and that pitch adjustments in ensemble performance
tended to be downward."
SPECIAL REPORT
THE EVA JANZER MEMORIAL CELLO CENTER FOUNDATION,
LTD.
BY BARBARA S. HEDLUND
The Eva Janzer Memorial Cello Center, a member of the American Cello Council,
was established shortly after cellist Eva Janzer's death. The purposes of
the center are to: 1) honor the memory of a great artist and a much loved
teacher by providing support for cello performance, teaching, and research
at Indiana University, across the nation, and throughout the world, 2) honor
the members of the cello community through the awarding of the "Chevalier
du Violoncelle" or "Grande Dame du Violoncelle" Award, 3)
to provide scholarships for outstanding cello students, 4) to work closely
with other organizations having similar purposes, such as the American Cello
Council and the American String Teachers Association.
Eva Czako Janzer was born in India and studied cello at the Academy of Music
in Budapest where she received a Diploma of Virtuosity. Twice winner of
the Geneva Competition, she had a brilliant career as soloist and chamber
musician. She and her husband, famed violinist Georges Janzer, were members
of the Grumiaux Trio and Vegh Quartet. She taught at the University of Hanover
before coming to the United States where she and her husband joined the
faculty of Indiana University in 1972. She died in 1978.
Since 1979, honorees of the "Chevalier du Violoncelle" or "Grande
Dame du Violoncelle Award" have included: Pierre Fournier, Bernard
Greenhouse, Raya Garbousova, Margaret Rowell, Fritz Magg, Aldo Parisot,
Antonio Janigro, Zara Nelsova, Gabor Rejto, Samuel Mayes, Eleanor Slatkin,
Harvey Shapiro, Paul Tortelier, Lev Aronson, Jacques Francais, Janos Schulz,
and Shirley Treple, Samuel Mayes, Eva Heinitz, Richard Kapucinski, Laszlo
Varga, Daniel Saidenberg, David Soyer, Etienne Vatelot, Erling Blondal-Bengtsson,
Eleonore Schoenfeld, Takayori Atsumi, Jules Eskin, Martin Ormandy, David
N. Baker, Lawrence Block, Robert La Marchina, Louis Potter, George Neikrug,
and Uzi Wiesel.
From September 12-14, 1997 noted cellists and teachers gathered in Bloomington,
Indiana at the School of Music. They came to celebrate the outstanding careers
in cello performance and pedagogy of three distinguished cellists and to
celebrate past honorees. This year's honorees included Guy Fallot, Professor
of Cello at the Geneva Conservatory of Music, Mihaly Virizlay, Professor
at Peabody Conservatory and Principal Cellist of the Baltimore Symphony,
and Alan Schulman, distinguished cellist, composer, and conductor formerly
of the NBC Symphony and Stuyvesant and Kreiner String Quartets. Alan Schulman
was a founder, president, board member, and editor of the newsletter for
the New York Cello Society.
ICS AWARD WEBSITES
November/December Award Website:
**A-CELLO-RONDO**
Trina Carey features her Suzuki Cello Studio in Pasadena, California.
This local site has a cheerful character, interesting information and some
novel treasures .
http://www.vivace.com/cello/greeting.html
**Please notify John Michel of interesting websites that you would like
to be considered for this recognition in the future. Websites will be selected
regularly based on their content, cello relevance, creativity and presentation
style!
ICS FORUM/CELLO CHAT
** 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
at: http://www.akula.com/~slava2/wwwboard/slavaboard.html
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
**
Dear fellow cellists,
At the moment I am preparing Chopin's Sonata for a concert but I've got
some serious troubles with the bowing in the opening bars of the second
movement. Listening to Dupre it seems to me that she begins with a down
bow, but others (f.e. Claude Starck, Tortelier) seem to begin with the up-bow.
Rostropovich has a very peculiar bowing which does not correspond to both
the Peters edition and the Polish ed. What is your advise on this matter?
Rik Peters,
Nijmegen, The Netherlands
**If you start down bow it makes the pick-up stronger, rather equal to the
downbeat--which is what I think Chopin intended. It works either way though.
It is necessary to take a separate bow on the third beat of the second bar--which
then comes out up bow--so its kind of a toss up. Also a separate bow on
the third beat of the fourth bar. I usually find it more satisfying to start
down bow but probably I'll change my mind sometime. A bigger question is
in bar 79 as to whether the third beat is Bb or B natural. I play a natural.
I understand that there are two manuscripts to this sonata and I haven't
researched it. Another note question is in measure 84 of the last movement.
Here again some editions have Bb on the second to the last note while others
have B natural. I like B natural. **
Jeffrey Solow
How does the bow go around the string?
**Try this: place your bow on the G string, then lift your arm to pivot
your bow to the D string (starting with your upper arm) and roll your bow
around the circumference of D string as you begin a down-bow on the D string.
When you have gone as far to the left side of the string as you can, keep
drawing the down-bow with your arm at that level. Do it rather slowly at
first. Then place your bow on the D string and roll your bow around to the
right side to the G string as you play an up-bow on the G string. Can you
now feel your bow going counterclockwise on the down-bow and clockwise on
the up-bow? Rolling around the string helps you to begin your bow strokes
smoothly and maintain solid traction. **
Victor Sazer
MUSIC FESTIVAL WATCH
**If you have announcements, comments or reviews of music festivals, please
contact Roberta Rominger at roberta@rominger.demon.co.uk**
The Binghamton Cello Festival Student and adult cellists and bassists
are invited to participate in a day-long workshop, with activities and concerts
for all proficiency levels. Special sessions will be offered for Suzuki-trained
students, string teachers, and parents.
http://www.ithaca.edu/pubs/pubs2/TEMP/bcf/
Andrejs Ozolins
ozolins@oa.ithaca.edu
Festival-Institute at Round Top
http://www.fais.net/~festinst/festsum.htm
An educational project founded in 1971 by concert pianist James Dick and
offering young talented artists over 18 of age an orchestral and chamber
music program each year in June and July. Cello faculty will include Norman
Fischer, Peter Rejto and Martin Lovett in 1998.
Alain G. Declert
Artistic Coordinator
ICS LIBRARY
**Sarah Dorsey, official ICS librarian at sbdorsey@steffi.uncg.edu
(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 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
**Members can submit announcements or news to director@cello.org
**
Oxford 'Cello School (patrons: Yo-Yo Ma, William Pleeth)
The OCS was established in 1980 by myself to provide inspiration for my
own pupils. Since then the OCS has expanded greatly and has been lucky enough
to host such distinguished players and teachers such as Wolfgang Dreschler,
Joan Dickson, Christopher Bunting, David Strange, Derek Simpson, Andrew
Shulman, Anna Shuttleworth, Michael Herwitz and Hans Erik Deckert. Next
year's visitor will be Maud Tortelier. The OCS provides a unique opportunity
for cellists and double bass players to receive the very best tuition in
an intensive environment. Students are inspired and encouraged, surrounded
by musicians of all standards, ages, backgrounds and nationalities. They
make new discoveries in repertoire and in their own capabilities and are
often making the equivalent of a whole year's progress during the course.
However, the course is as much fun as it is hard work. Whilst we take the
job of helping players to improve very seriously, the excellent staff/student
relationship creates a relaxed atmosphere. Flexibility is always a priority
and the needs of each student are of paramount importance in everything
we do. The OCS provides the complete range of courses for cellists of all
ages and standards. This year we started the Paul Tortelier Trust Fund to
help students with funding the courses.
Marianne Gottfeldt
67 Oxford Road
Abingdon
OXON OX14 2AA
ocs@infotrade.co.uk
I am a Bunting Fellow at Harvard and Radcliffe colleges, researching a new
biography about the great Austrian cellist, Emanuel Feuermann (1902-1942).
Feuermann first began performing in the United States in 1934 --he died
in New York in 1942. He performed with all the major orchestras and presenting
organizations in the US. I would be most grateful to receive any information
- documentation, press clippings, or photographs --together with details
of the concert seasons in which he performed. There may, perhaps, be still
alive players or students who may have memories of Feuermann. If so, I would
be grateful for any contacts.
Yours sincerely,
Annette Morreau
530 Quincy Mail Center
Cambridge, MA 02138
morreau@radcliffe.harvard.edu
OTHER INTERNET MUSIC RESOURCES
**ICS NET Resource Editor: Deborah Netanel at netaned@email.uc.edu ICS NET
Surfers: Marshall St. John, webmaster@cello.org; Paul Critser, CelloPaul@aol.com
**
CLEF
The Classical music Education Foundation
Purpose: to bring music to the ears of anyone who will listen.
The Bachannalia '98 Festival
at the University of Cincinnati on January 17-18, 1998
http://www.bachannalia.uc.edu
Crystal Palace: Jacqueline Du Pre
A personal tribute
http://www.ftech.net/~brunhay/jdupre.html
I Cellisti Cello Quartet
Perth, Western Australia
http://www.geocities.com/Vienna/8693/
Bach FAQ What sorts of music did Bach write? http://www.basistech.com/bach/musics.htm
BMG: Starker page
http://classicalmus.com/bmgclassics/biography/starker.html
contains biographical information and a searchable index of composers and
performers
Marston Smith Original and classical work from this well-known "Killer
Cello" artist.
http://kspace.com/klrcello
Erich Kory
Strikingly original contemporary cello work from Canadian artist.
http://kspace.com/kory
Royal Holloway Music Department
contains links to interesting articles and pulished papers on music, and
musicological research
http://www.sun.rhbnc.ac.uk/Music/index.html
Weslaco ISD Orchestra Page
http://www.hiline.net/~rcclark
The Smith Quartet Website
exclusively contemporary music, often with electronics
http://easyweb.easynet.co.uk/~bluesnow/smith.htm
![[Picture]](ics4.gif) | Direct correspondence to the appropriate ICS
Staff Webmaster: "webmaster" Director: John Michel Copyright © 1995-97 Internet Cello Society |
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