/ ` INTERNET CELLO SOCIETY ©
\ _/ 'TUTTI CELLI' Newsletter, September/October 1996
TUTTI CELLI CONTENTS
NEW ICS MEMBERS MESSAGE
WELCOME to the Internet Cello Society! We are currently 2000 members strong
and represent 28 different countries around the world! Countries represented
include Argentina, Austria, Australia, Belgium, Brazil, Canada, Costa Rica,
Finland, France, Germany, Iceland, Israel, Italy, South Korea, Mexico, Netherlands,
New Zealand, Norway, Japan, Portugal, Russian Federation, Singapore, Switzerland,
Sweden, South Africa, Taiwan, United Kingdom and the United States.
'TUTTI CELLI' is the Internet Cello Society's bi-monthly newsletter and
serves several purposes: 1.) to make announcements of what is new at the
ICS World Wide Web site, within the Internet music world, and throughout
the real music world. 2.) to feature a distinguished cellist, an ICS member,
and interesting articles. 3.) and to summarize activities in ICS cello forums
The WORLD WIDE WEB houses the Internet Cello Society at this address:
The WWW allows for the quick transfer of information in the form of text,
graphics, movies, and sounds to anywhere in the world. If you have direct
Internet access, all you need is a World Wide Web browser like Mosaic, Netscape,
MacWeb, or the text only Lynx application (Netscape is highly recommended!).
After opening your browser application, simply open the URL address of the
Internet Cello Society WWW site:
ICS ONLINE SERVICES include the following:
*A Cello Introduction, an interactive multimedia presentation
*'Tutti Celli', an online copy and back issues
*Young Cellists, Professional Performers, Teachers, Cellist-By-Night Forums
*Library archives including various cello society newsletters, articles,
*Membership register (optional) searchable by various criteria
*Classifieds and advertisements via The Web Classical Music Store
*Links to other Internet music resources
MEMBERSHIP affords benefits as well as responsibility. As a virtual
community of cellists, ICS relies on its membership to write articles, volunteer
time, share expertise, and submit archive materials. If you have any documents
that you would like to share with the global society of users, send them
directly to CelloTalk@aol.com or on disk via snail mail. For a truly global
perspective of the music world, the Internet Cello Society needs the active
cooperation and contribution of each of its members.
Members are requested to fill out the online REGISTRATION FORM to be added
to our ICS online directory. The Netscape browser is recommended for form
submission. As more ICS members voluntarily register in our online directory
, members can search for other cellists by name, address, schools attended,
teachers, city, country and more!!! Check out this incredible database of
cellists from around the world.
ONLINE CHATTING is real time online two way communication with other
members over the Internet via IRC (Internet Relay Chat). Thanks to the efforts
of our IRC host Nicoletta Pintor, ICS maintains its own chat channel: #ICS
Everyone can open the channel at any time, and our IRC host will be online:
every Saturday at 1:00pm PST or 4:00pm EST
If noone is online when you check, email Nicoletta at firstname.lastname@example.org
or John Michel at email@example.com and
set up a time.
ICS NEWS & WHAT'S NEW!
Marshall St. John has been busy expanding the services of the Internet Cello
Society. He is moderating the ICS Bulletin Boards which anyone can read
or post to for free, and is generously offering to make a web page for the
first 300 members, again for free!
ICS Bulletin Boards
Free Cellist's Web Page Service
Cello Pen Pals
Cello Job Openings
WELCOME TO NEW ICS STAFF
David Black will serve as a new CGI Programmer and join Josh Childers!
Jonathan Grover will be serving as our ICS FAQ Maintainer!
CURRENT ICS POSITION OPENINGS
Step right up! There are still a few positions left that would make the
operation of ICS smoother. We need a few more leaders to contribute their
time and talent to the following areas in particular:
ICS needs more members writing about what is up in their particular area--documenting
concerts, masterclasses, new publications, new music and events. All members
are welcome; international members strongly encouraged.
Job Openings Maintainer
Several members have requested that ICS maintain a list of current job openings
for cellists. Are you interested?
Our forum directors need help in stimulating discussion within each ICS
forum. Armed with a list of ICS members that are most likely to be interested
in forum, the FAs and forum directors solicit conversation and interaction
with other members.
***f you would like to volunteer to cover one of the above positions, please
contact me at CelloTalk@aol.com***
OPINION POLL RESULTS -- "T O P 4 0" C E L L I S T S !
Because only 40 votes were cast, many excellent cellists were not included
in this list. I will ask our CGI programmesr to set up a web form so that
we can continue to count votes as they come in. But for the ever curious,
I have printed the short list anyway. The nine cellists listed received
at least two votes and are in order of most votes to least. The results
are interesting but I will refrain from commenting until more votes are
Some comments from voters:
I have heard YoYo Ma perform several times in London and his playing is
so natural and unaffected, and quite simply sublime. Add to that he is so
modest, unassuming and without any pretensions, he is my choice as the No.
My favorite cellist is Jacqueline Du Pre, often overlooked perhaps due to
her short career. Her sensitivity and expression is moving and beautiful.
Leonard Rose has a sweet, lyrical quality about his playing, without sacrificing
anything in the technique department - always very clean and exact.
LETTERS TO THE EDITOR
***If you would like to respond to something you have read in 'Tutti Celli',
write to CelloTalk@aol.com and type
"Letter to Editor" in subject field. (Letters may be edited.)***
I just wanted to thank you for the interview with Margriet Tindemann. As
someone else who is interested in early music and also plays the viola da
gamba (after dark, like the cello), it was wonderful to read such a rational
and fascinating discussion. It led me to join up! Thanks and keep up the
***Kudos again to Tim Finholt, our Exclusiver ICS Interviewer! All appreciative
members, please drop him a note of thanks at firstname.lastname@example.org!
Love the site! I'm looking for an old friend who is a superb cellist/guitarist.
His name is Jeffrey Seagrams Johnson. Comes from Modesto, CA. Moved to San
Diego late 80's to teach. He plays electric cello as well. Can you help?
Eric Van der Wyk
>Check the ICS membership directory at our website! Good luck!
Thanks, I found him! He changed his name to Jeffrey MacFarland Johnson when
he got married 12 years ago. Do you know him? He has developed a midi cello.
Check out his web site: http://community.net/~johnsong/
***My hope for the ICS directory was to reunite cellists with colleagues
and friends from the past, and it seems that the growing database, 1500
ICS registrations at present, is starting to realize its purpose!
NEW MEMBER LETTERS
Mr. Michel: I have recently registered with the ICS and have enjoyed thoroughly
the service which you offer. The ICS provides wonderful access to the cello
world in a comprehensive but unpretentious manner. Thank you for undertaking
this task and maintaining it so admirably. I will be traveling for some
time and will miss keeping current with your updates.
Tot ziens, JBR.
Thanks for the fabulous service to the violoncello community around the
world. Please let me know how I can help to keep this service alive for
the next generation of violoncellists. I would like very much to start a
Home Page and post all my pedagogical material.
I would like very much to serve the young cellists of the world by keeping
them in touch with creative ways to practice and solve technical problems.
Again, a World of Thanks for your efforts. Please write me back if you have
Serving you with great delectation,
D. Gustavo Pineda
I am a student at Lansing Community College in Lansing, Michigan. I hope
to transfer to the University of Michigan soon. I have been playing the
cello for almost 11 and a half years. I've studied with Professor Owen Carman
at Michigan State University through high school. I am very enthusiastic
about ICS because it allows cellists from around the world to interact with
CONVERSATION WITH LYNN HARRELL
***An Internet Cello Society Exclusive!!!***
by Tim Finholt
Lynn Harrell is known throughout the world as a cellist, chamber musician,
recitalist, conductor, teacher, and recording artist. Mr. Harrell is the
recipient of numerous prestigious awards, including the Piatigorsky Award,
the Ford Foundation Concert Artists' Award, and the first Avery Fisher Prize
(jointly with Murray Perahia).
"LH: My approach has changed throughout my life. As a youth, I was
all instinct. But then I met George Szell and James Levine, who were more
analytical musicians. These musicians, as well as many others, really knew
what they were doing, and I found that my instincts weren't enough. I soon
discovered that knowledge was a key to maintaining a high level, even though
there were days when I didn't feel like playing. Your mind can carry you
a long ways if you use it. They would say to me, "So sometimes you
don't feel like playing, what are you going to do? Are you going to give
a bad performance just because you don't feel like it?" You've got
to know what you're doing so, if you have a fever and you're really feeling
awful, that you can still give very close to your best performance. The
only way to do this is to really know what you're doing, and to study and
to learn. So there was a long period where I just didn't trust my instincts
anymore. But after awhile, I grew tired of this approach and felt like it
was time to let go and to trust my instincts. I was willing to let my instincts
take me where they wanted me to go.
TF: In other words, for example, you knew how the Dvorak was "supposed"
to go, but then it was time to dig deeper into the music and search deeper
LH: Yes. I suppose I've come to a stage in my life and career, where I do
certain things that somebody 25 years my junior would perceive as being
an indulgence, which is how I, as a youth, used to view Fournier's or Casals'
playing at times. I probably do this in part because I feel that I've paid
my dues and that I am entitled to some "liberties. " But this
also comes from a great deal of introspection, thought, and analysis over
the years, and so I see things differently than I did years ago."
!!! A handsome photo is included in the Web version and a recording excerpt
of Lynn Harrell will be posted later this month!!!
SCHUMANN BACH SUITE ACCOMPANIMENTS
Summarized by Tim Finholt*
Schumann's intense interest in Bach, whom he once qualified as the "praiseworthiest"
and as "one of the greatest creators of all times," accompanied
him from the awakening of his artistic talent as a musician up to his breakdown
in the Spring of 1854. The peak of Schumann's multi-faceted occupation with
Bach was reached in his arrangements of the six sonatas and partitas for
violin solo and the six suites for violoncello solo, to which he added a
piano accompaniment. His arrangements of the violin sonatas were printed
in 1854, but the publisher did not accept the violoncello suites. ABOUT
SEATS AND SITTING FOR CELLISTS
Three years after his death in 1856, Clara Schumann sent the manuscript
of the violoncello suites to the legendary violinist Joseph Joachim for
his opinion of Schumann's arrangements. After six months, Joachim reluctantly
expressed his opinion to Clara, "I must truly seriously warn you not
to have these published. Every day I look up to his music with ever greater
admiration and thankfulness for such magnificence. But precisely because
the laurels on the wreath of his immortality with which posterity has crowned
him are still so fresh and dense, we should be cautious not to be so forbearing
as to add a withering leaf to it, but rather conceal it from the gaze of
the musical world as an act of solicitous love." The fate of the arrangements
was thus sealed; they remained unpublished and the autograph itself is considered
lost. In fact, it was not until 1981 that a transcription of Suite No. 3
was found by the hand of cellist Julius Goltermann (1823-1876), a student
of David Popper.
Schumann's piano accompaniments should not be seen as "stylistic transgressions"
or as a wanton meddling in the work of another master, but rather as "harmonic
braces." These "braces" were "fastened" to the
pieces solely in order to bring out the musical qualities of the original
in a more vivid manner, and to heave the pieces into the view of a public
which was not used to solo instrumental music. Even today, the discretion
of Schumann's arrangements deserves our full admiration; the piano accompaniment
never takes the upper hand and treats the original with surprising variety,
while remaining in harmony with the character of each movement.
* Summarized from a preface by Joachim Draheim, Karlsruhe, Spring 1985.
by Victor Sazer
"Oh, My Aching Back! Musicians suffer a higher rate of back pain
than the general population. The rate of such pain among cellists is higher
than for any other group of musicians. A major cause of cellists' back problems
is faulty sitting.
Sitting is more complicated than standing and is usually more stressful.
Poorly supported sitting creates more pressure on your spinal disks than
standing. Standing permits greater freedom of movement. It allows your body
to maintain better balance and to shift your weight naturally as you move
your arms. Unless your feet can fully support all of your body's movements
when you are sitting, your body cannot be completely balanced. In addition,
when your feet are not properly placed, your knee and hip joints tend to
lock, impeding mobility..."
"At the pre-concert dinner there were 12 people invited to a typical
Chinese style banquet in a Taipei restaurant. I was seated two away from
Rostropovich at the early part of the dinner but as the evening went on
we all moved seats. I was asked to sit next to him as we "had something
in common". We spoke for a while about the cello and the repertoire
- he seemed interested in the fact that I was tackling the first Britten
Suite - he later autographed my copy of the suites which I now have framed.
He was extremely entertaining during dinner telling many stories of his
life and experiences - including the one mentioned in an earlier edition
of ICS Tutti Celli regarding the "contract" between himself and
Britten over the suites."
"At that point, a young Taiwanese violinist started to play "The
Swan" fairly close to our table. He played it beautifully - although
Slava pointed out to me he took 5 bows for the high B eight bars from the
end! We all suggested that we invite the violinist to our table for a drink
after he finished playing. I went up to him and asked him to come to our
table where there was a very "special guest" who wanted to meet
him. As he approached our table I saw his lower jaw drop about 3 inches
when he recognized who was sitting there. He had heard Rostropovich in concert
two years earlier in Taiwan and recognized him immediately. Imagine the
feeling of knowing you had just played the Swan to Rostropovich! Slava was
very interested in listening to the violinist (who spoke excellent English)
in relation to his studies and his work. The young violinist explained that
he traveled from one nightclub to another on his motorbike each night giving
small recitals - sometimes up to seven nightclubs each night. Slava responded
with - "maestro, you are seven times greater musician than I am, I
can only manage one concert hall each night!! "The young violinist
was completely bowled over by the comment. It certainly made his night a
NATIONAL CELLO CONGRESS REPORT
by Tim Finholt
Tim Finholt shares some of his notes on the 1996 National Cello Congress
in Tempe, Arizona. He gives the highlights of the masterclasses given by
distinguished cellists Fritz Maag, Zara Nelsova, Janos Starker, Lawrence
Lesser, Eleonore Schoenfeld and Ron Leonard. Lecture topics covered in his
notes include Orchestral Playing, Competitions, Self-Management, New Directions
by Victor Sazer, Cello Technique Studies by Starker, and Career Development.
THE LIFE AND INFLUENCE OF
PART 4: POLITICAL LEADER, INSPIRING MENTOR
by Marshall St. John
An ongoing serial story of the most influential cellist of the early
20th century. Rostropovich and Piatigorsky describe their experiences with
the inspiring legend. Several quotations of Casals are also included.
***This newsletter section will draw from correspondence and discussion
in the following on-line departments. All members are encouraged to join
a specific forum mailing list. Send any pertinent discussion, questions
& answers, articles or other correspondence to the appropriate department.
***Stacy Cowley, forum director at: Isoma@aol.com***
INTRO: The Young Cellists Forum is a meeting and correspondence place
for all cellists under 21. Whether you plan a professional career or your
playing is strictly for fun, this is the forum for you!
CELLO TEACHER (K-12, College & Private)
***Bret Smith, forum director at BPSmith@aol.com***
INTRO: Welcome to the ICS Cello Teacher forum. We discuss the highs,
lows, potentials, problems, and all other interesting aspects of the cello
teaching process. Please join us to post ideas about literature, teaching
metaphors, anecdotes, or just a greeting. Your host is BPSmith, a cellist
Just a quick one for now, as the day before I left for Aspen 2 months
ago, my hard drive totally died, and I lost lots and lots of stuff. I just
now got a new one up and running. I'll be gone this weekend, but I'll write
as soon as I have some confidence in my new rigged up cheapo hacker system.
Take care, and Back Up Everything NOW!!!
PROFESSIONAL PERFORMER (Orchestral, Chamber Music & Solo)
***Paul Critser, forum director can be contacted at CelloPaul@aol.com***
INTRO: What does it take to make a living on the cello?
***Tim Finholt, interim forum director can be contacted at email@example.com***
INTRO: The Cellist by Night Forum is for those who play the cello purely
for the love of it, and want to learn more about our wonderful instrument.
If you need help with certain passages in your music, choosing repertoire,
thoughts on stage fright, finding good books and articles, or you need to
talk about anything musical, then write to Tim Finholt at firstname.lastname@example.org.
Many issues were discussed, including the following:
1. Where does the left thumb go? Though the traditional answer is somewhat
across from the second (middle) finger, a new school of thought is emerging
that perhaps the thumb should be allowed to go where it wants to, some
natural rest position that depends on the mechanics of a particular passage.
2. Should the thumb press against the neck? The thumb should be relaxed
that it prevents the build-up of tension in the rest of the hand, which
increases dexterity as well. The concept of fingering needs to changed from
"pressing" to the controlled transfer of arm weight from one finger
to the next.
3. For ideas on a more "natural" approach to cello playing, read
Sazer's book called, "New Directions in Cello Playing."
4. Articulation: Techniques for articulation of notes was discussed,
including a SLIGHT hammering of fingers on the way down (placing them with
confidence), pulling fingers to the side to create a slight pluck when
lifting the fingers, or just lifting the fingers with conviction. We pay
more attention to how to place fingers, and often neglect the equally
important technique of lifting fingers.
5. You're Never Too Old: If you want a flood of e-mails, just ask for
stories demonstrating that it's never too late to learn the cello.
- MUSIC FESTIVAL WATCH
***If you have announcements, comments or reviews of music festivals, please
contact Roberta Rominger at email@example.com***
World Cello Congress, July 1-8, 1997, in St. Petersburg, Russia. Details
are available from Dr. Helene Breazeale of Towson State University (MD)
- INSTRUMENTS & EQUIPMENT--Maintenance, Purchasing & Selling
***If you have any questions on this topic, contact Keith R. Bilyeu
- NETWORK LIAISONS
Claudio Jaffe has volunteered to inform CompuServe users of the Internet
Cello Society and regularly post the 'Tutti Celli' Newsletter. He can be
contacted at firstname.lastname@example.org
- America Online
Chris works for AOL and can be reached at Laphroaig@aol.com
or AFA Chris@aol.com
***If you would like to contribute an article about other topics, write
ICS LIBRARY AND REFERENCE
- CELLO MUSIC LIBRARIAN
***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.)***
Dear Marguerite, Sorry I have not responded until now, life has been crazy
and I was away for a while. I did find one citation for a cello arrangement
of the song "Plaisir D'amour" (which, by the way has been arranged
for many different instruments) on FirstSearch. The OCLC accession number
is 21276614. If you ask your local librarian to do an inter library loan
that number will make things easier. The odd thing is that the only place
which is listed as owning the thing is the Norfolk Public Library (Virginia).
But they do say they lend, so if they have it, you should be able to get
I've checked 3 out of the 5 collections we have on campus and no luck so
far. I'll get back in touch after checking the other two (I have to go to
another building to do that). In the meantime you can initiate the ILL request.
The other information on the score, by the way is this: "Plaisir damour:
for violin or cello solo with piano accompaniment; also trio. England: E.H.
Freeman, 1952 (plate No. 2022). Good luck and hope this helps!
- LIBRARY TECHNICIAN
***Paul Stauffer ,
as library technician is volunteering his help to find resources on the
Internet. He can be contacted at email@example.com
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 CelloTalk@aol.com
or send disks to Internet Cello Society; 1309 Skyline Drive; Ellensburg,
WA 98926.(Library contents will be available to all Internet users; please
include author and written statement of release for unlimited or limited
ACTIVITIES AND NOTES BOARD
***All members are welcome to post announcements or news that are pertinent
to our global cello society. Send information to firstname.lastname@example.org***
1995 EDIP INTERNATIONAL COMPETITION RESULTS
Composer and publisher Edward J. Hines is proud to announce the
winners of the 1995 EDIP International Competition:
YENI MAKAM 3
Ms. Oreet Ranon, Bloomington, Indiana
Ms. Julia Kostenko, Ellensburg, Washington
YENI MAKAM 4
(Clarinet and Percussion Duo)
Mr. Patrick O'Keefe, Clarinet, La Jolla, California
Mr. Terry Longshore, Percussion, La Jolla, California
Mr. Mark Goerner, Clarinet, Lancaster, New York
Mr. Nicholas Auriemmo, Percussion, Ronkonkoma, New York
Mr. Garrick Zoeter, Clarinet, New York, New York
Mr. Brad Fuster, Percussion, Malverne, NY
EDWARD HINES MUSIC
OTHER INTERNET MUSIC RESOURCES
***Paul Critser, ICS Net Surfer
Marshall St. Paul, ICS Net
Surfer "Internet Cello Societys"
Paul Stauffer, ICS Net Surfe: Instrumentalists
and Symphony pages***
FEATURED WEB SITES
Classifieds are possible via the Web
Classical Music Store! Any businesses or individuals that might be interested
in posting advertisements, please write email@example.com
and type "advertising" in subject field.
Address letters to the appropriate department editors listed above
and any other correspondence to John Michel at CelloTalk@AOL.COM
Send comments on the content of this server to John
Michel at firstname.lastname@example.org.
© 1996 Internet Cello Society