New Members' Message
ICS News and Announcements New ICS Host David Pezzotti, Jazz and Concert
Membership Letters support for CelloChat
ICS Forum/ Cello Chat Board Discussion of Sazer's
Music Festival Watch The Manchester International
Announcements Cello Duets and Trios by Elias
Other Internet Music Resources Full Moon: Homepage
for Cello Players
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.
ICS homepage is averaging 5,000 hits per month.
This month we welcome cellist Daniel Pezzotti, Jazz and Concert Artist,
to our knowledgeable group of ICS Forum Hosts. He can be reached at firstname.lastname@example.org
and check out his impressive webpage http://ourworld.compuserve.com/homepages/pezzotti
Laurie Reese has volunteered to help with editing the TUTTI CELLI newsletter,
**ICS could still use volunteers to serve as TUTTI
CELLI Editors, Reporters, Writers and Reviewers; ICS Fundraisers; and Forum/Cello
My hope for the Tutti Celli newsletter is that ICS members from around the
world share their experiences related to the cello and music. Members can
write various articles or short announcements for TUTTI CELLI. Guidelines
for the Cello Scene, Membership Spotlight and other articles are specified
ICS members of other nations are especially encouraged to contribute in
this way. Other submissions can include reviews of books, music or performances;
scholarly documents, nominations for ICS Award Websites, interviews and
Thanks to the generosity of donors, ICS has recently purchased a CD-ROM
recorder which will allow regular and frequent backups of the very large
ICS website. The recorder will also be used in the process and storage of
RealAudio and sound files used on the website. In the future, the ICS website
contents may be burned into a CD-ROM and made available to the public.
**If you would like to respond to something you have read in 'Tutti Celli',
write to email@example.com and type
"Membership Letter" in subject field. (Letters may be edited.)**
I can't tell you how much I miss the slavaboard, and want to contribute
to its restoration and continuation. Please, let me know how to go about
sending a little something. And I also want to pass along my thanks to you
and all the ICS staff - ICS is an extremely valuable resource, and I think
you folks do a great job. Please let me know where to send my contribution.
*** A dozen other members expressed the same sentiment and indeed ICS is
working to get CelloChat under the direction of Paul Tseng back on line!
For information on how to send contributions please see letter in the <ICS
Forum/ Cello Chat Board> section of this newsletter issue.
Marshall, Thank you so much for the link and for taking care of it so quickly.
It's fun to be at the top of the list for awhile. Also, if I haven't mentioned
it before, I love the ICS web site and visit frequently and appreciate all
of you who volunteer your time keeping it together. It's a fantastic resource.
*** Thank you for reminding us all to give ICS Webmaster Marshall St. John
a virtual pat on the back. Receiving and processing up to 100 e-mail messages
daily is truly a herculean effort!
I was so ecstatic when I came across this page! You provide a great forum
for 'cellists to confer on a great many topics specific to our great instrument.
Thank you for giving us this great medium to find each other here in cyber
Cellist Irene Sharp has been acclaimed internationally for her teaching.
She has given master classes for the American String Teachers Association
(ASTA), the European String Teachers Association, the Australian String
Teachers Association, and the Suzuki Association of America. Although based
in Northern California, Ms. Sharp has worked with students in cities such
as New York, London, Salzburg, Hamburg, Sydney, Tokyo, and Taipei. Currently
on the faculty of the Mannes College of Music, she has also served on the
faculty of the Meadowmount School for Strings, the Bowdoin (Maine) Summer
Music Festival, and Indiana University's String Academy.
TF: Do you tend to dictate musical interpretations, or do you give your
students a lot of latitude?
IS: As a young teacher, I thought that if I taught the person the technical
wherewithal to play a piece, they could automatically play it in a musical
way. I have since discovered that this is not the case. People often don't
listen to enough music, or don't go to enough live concerts, so they don't
have enough exposure to the difficult language of music. Now I work through
a piece and try to show them, not how to do a phrase, but how to find a
high point of a phrase, or how to find the emotional content of a certain
section. If I am successful, they take off from there and do their own thing.
But most need the initial guidance.
TF: How do you reveal the emotional depth of a work to a student who may
not be able to relate to its emotional content due to lack of life experience
or youth? For instance, how do you instill the emotional mood swings of
a Beethoven sonata?
IS: Even the most immature student has had a myriad of emotions that they
know very well. In fact, the older we get, the more we tend to hide our
emotions, so the younger students have an emotional advantage in a way.
I think success lies in helping the student access the emotions that are
already within them.
TF: Do you encourage your students to listen to recordings?
IS: Yes. Definitely.
TF: And you're not concerned about them imitating the recording, rather
than developing their own interpretation?
IS: Oh dear, wouldn't it be terrible if somebody came out sounding like
Rostropovich or Casals?! We learn many important things in life by imitation.
For example, we learn to talk by listening to our parents and imitating
them, but we don't put words together just like they do, we formulate our
own ideas. Music is a language too, so I think imitation is an important
step in the learning process. And why not see how great artists solved the
same problems that we face? Besides, I think it's nearly impossible for
a child to come out sounding like someone else. In my opinion, this issue
is way overblown....
**The complete transcript including photo**
ROGER LEE DRINKALL
May 10, 1937 - December 15, 1997
Noted cellist, chamber musician and philanthropist Roger Lee Drinkall passed
away December 15, 1997 following a three year battle with leukemia. He left
this world as he desired--performing until three days before his passing.
He and his wife, Dian Baker, known internationally as the Drinkall-Baker
Duo, had just returned from a several-weeks tour of Asia.
After graduating from the Curtis Institute at 19, Roger performed as a recitalist,
chamber musician, and concerto soloist on the world's major concert stages
for three decades. Throughout his life, Roger was known for his philanthropy.
As a recitalist in the early 1970s, Roger was the only musician willing
to perform in Calcutta and Delhi during India's bitter conflict with Pakistan.
After the concert, Drinkall recalled, a Catholic nun came backstage, telling
him she was "so proud of you." Then, she jokingly remarked that
he was "the first musician who hasn't had a cold for the last six months."
The little nun was Mother Teresa. Similarly, all proceeds from a 1976 Latin
and South American tour were donated to the relief effort of the tragic
Guatemalan earthquake of that year. Throughout his career, he gave well
over 1,000 concerts in more than 35 countries.
Roger met Dian Baker when she became a last minute substitute accompanist.
He proposed after their second rehearsal, and their 1986 marriage followed.
Since then, the Drinkall-Baker Duo has concertized throughout the U.S.,
Europe, Asia, and Latin & South America. In the last six years, the
Duo had recorded ten compact discs for Pyramid, Claves, Klavier, Wilson
Audiophile and others. Chinese Television had just completed a one hour
documentary on the Duo which has already been picked up by PBS-New York
and CBC-Vancouver. Air dates will be announced when available.
Roger Drinkall was born May 10, 1937 in Cleveland. After graduating from
Curtis under Leonard Rose, he earned a master's degree from the University
of Illinois, where he also did doctoral work. He served on the faculty of
the University of Tennessee for eight years, Florida State University for
thirteen years (where he also chaired the string department), and joined
the faculty of Brigham Young University in 1989.
He is survived by his wife, a sister, four sons--James, Mark, Scott and
Roger, Jr.,--and one grandson. The family suggests memorials to the BYU
String Scholarship Fund.
"Our celebration of music is one way of expressing God's love for us.
Music is such a heavenly expression, a language that speaks directly to
the heart, transcending cultural and social barriers. It is a pure means
of sharing our love of beauty." -- Roger Drinkall
For more information contact:
BULGARIA: 1997 IN REVIEW
by Geoffrey Dean
A few years ago, during an interview on Bulgarian National Radio, I was
asked to define "cellism" (chelEESm in Bulgarian). My reply centered
on the magical qualities in the performances of cellists (particularly the
very best ones) that can convert a previously uninitiated listener into
a true "believer" in the art of cello playing, that can unite
cellists, non-cellists, and cellists to be. As the conversation went on
(in Bulgarian, with some whispered English asides between my wife and me),it
became clear that in the interviewer's usage, the term had a different,
derogatory meaning, one suggesting images of cellistic "excess":
marathon practice sessions, extended searches for the chair with just the
right dimensions, desperate probings into minute details of style and technique,
etc. It emerged that in Bulgaria, many non-cellist musicians use the term
"cellism" as others might mention, for example, cannibalism; it's
one of those things that outsiders can't quite relate to, and probably wouldn't
care to experience.
After further investigation, I learned that while not all manifestations
of cellism are necessarily of the maniacal sort, there IS a certain attitude
among cellists in this country that they, or rather we, form a distinct
and elite group. This attitude is actually one of a set of shared attitudes--mental,
physical, psychological--that arise from our common instrument. And certainly
Bulgarian cellists feel a certain amount of pride in their place in the
international "family" of cellists, a place that cellists of Bulgarian
origin on just about every continent (I can't vouch for Antarctica) are
also helping to keep warm.
While I wouldn't describe 1997 as a peak year for cellism in Bulgaria (my
cellistic barometer has been functioning on Bulgarian soil since 1992),
there was definitely plenty of activity on many fronts. Especially considering
the economic low point with which the year started, and the fact that the
gap between income from salaried jobs in music and the actual cost of living
has gotten wider, any artistic endeavors attempted over the past year needed
a much greater level of creative motivation than before to be realized.
I was impressed during a September visit to the northwestern Bulgarian city
of Vidin, overlooking the Danube River, by the enthusiasm of the Vidin Philharmonic
cellists; they remain loyal to the ensemble despite its uncertain future
after losing federal budget support. In Sofia, Bulgaria's capital city,
4 orchestras--the Philharmonic, the Radio Orchestra, the Opera Orchestra,
and the Orchestra of the Musical Theatre--are all active ensembles with
(diminishing) state support, and a number of chamber orchestras operate
intermittently. The 13-member string ensemble Sofia Soloists, with 2 cellists,
toured Japan in October. Recording gigs are abundant and help professional
cellists supplement their incomes; these sessions, held at Bulgaria Hall
(home of the Sofia Philharmonic), the National Palace of Culture (with 11
halls varying from chamber to rock-concert size), or in studio 1 of Bulgarian
National Radio, include everything from film scores to digital samples.
Chamber music performances in 1997 centered on Schubert (200th birthday)
and Brahms (100th anniversary of his death), and many cellists, including
Magdalena Dalcheva of the Bulgarian Piano, Ani Atanasova, and Vassil Kasandjiev,
participated in performances of works by these composers. The French cellist
Roland Pidoux joined me and my Dimov Quartet colleagues for a live TV broadcast
of the Schubert C Major Quintet in April, and Roland also performed the
"Arpeggione" Sonata for good measure. Georgita Boyadjieva- Nikolova
also featured these composers in her series of "Contrasts" recitals
at the Palace of Culture.
In February, National Academy of Music cello professor Anatoli Krustev presented
a recital of solo cello music at the Alexandar Nevski Cathedral, built to
honor the more than 200,000 Russian soldiers who gave their lives to liberate
Bulgaria after 500 years "under the Turkish yoke." Prof. Ventsislav
Nikolov, who divides his time between Bulgaria and Germany, performed the
six Bach suites in two evenings at the Palace of Culture in May.
Besides solo appearances with Sofia orchestras by the Russian maestro Khomitzer,
and by Nikolov and Krustev, perhaps the most impressive cellistic display
was in the premiere of a new work for 12 cellos composed by Benedict Zaemov.
His "Fantasy" was inspired by the collective talents of the piece's
first interpreters, Prof. Zdravko Yordanov and students from his National
Academy of Music cello class. They performed Zaemov's Fantasy during the
Festival of New Bulgarian Music, Sofia '97, organized by the Union of Bulgarian
Composers. Also premiered was Lazar Nikolov's "Trio" for cello,
doublebass, and piano with yours truly, Geoffrey Dean
OREGON CELLO SOCIETY-- CELLO ORCHESTRA CONCERT
by George Struble
Cello Orchestra Concert On November 15, 1997 the Oregon Cello Society presented
a cello orchestra concert, titled Cello Extravaganza, in the ballroom of
the Oregon Convention Center in Portland, OR. The orchestra was made up
of seventy professional and amateur members of the Oregon Cello Society.
The program included four works played by the full orchestra and three by
smaller ensembles. The pieces for full orchestra were:
*Sonata Piano Forte by Giovanni Gabrieli, transcribed by Douglas Moore
*Cliffs Above the Clear Fork, by Rick Sowash, who arranged for cello orchestra
(or quartet) his piece originally for cello and piano. Mr. Sowash, who lives
in Cincinnati, attended the concert.
*Americana Suite, by Norman Leyden, an associate conductor of the Oregon
Symphony, who wrote this suite for the Oregon Cello Society's cello orchestra
concert in 1987
*Washington Post March, by John Philip Sousa, in the stunning transcription
by Douglas Moore
The pieces for smaller ensembles were :
*Brandenburg Concerto No. 6 by J. S. Bach, arranged for cello ensemble by
*Bachianas Brasileiras, the Cantilena, by Heitor Villa-Lobos, with Valerie
McIntosh, soprano, a faculty member at Willamette University
*Fratres, by Arvo Paert, who also published versions for other instrumentations
Three conductors participated in the concert. Norman Leyden conducted his
own Americana Suite. Tim Hankewicz, conducting apprentice with the Oregon
Symphony, conducted the piece by Rick Sowash. The other pieces were conducted
by Murry Sidlin, Resident Conductor of the Oregon Symphony and director
of the Oregon Symphony Conducting Apprenticeship program at Pacific University.
An audience of about 500 people greatly enjoyed the concert, as did the
musicians. No, the concert did not break even; it was partially subsidized
by the Oregon Cello Society. OCS had sponsored a similar concert in 1987,
which was also a great success. All concerned hope that they need not wait
another ten years for the next cello orchestra concert!
The Oregon Cello Society is one of the institutional supporters of the Internet
Cello Society. The OCS is an active group of both professional and amateur
cellists centered in Portland, Oregon.
The Oregon Cello Society was founded by Naomi Blumberg and Bruce McIntosh
in 1983. Naomi Blumberg is a member of the Oregon Symphony and teaches privately
in Portland; Bruce McIntosh is a member of the music department at Willamette
University in Salem. They and some of their friends wanted a support organization
for cellists in Oregon, and they found an enthusiastic response to the formation
of the OCS. Naomi was president from 1983 until 1996; Bruce is co-president
this year, along with Kathie Reed. The membership has grown to about 200
cellists; residence in Oregon is not a requirement. The board of directors
includes both professional and amateur cellists living in Portland and other
cities in Oregon's Willamette Valley.
In the enthusiasm of its first year, the OCS held monthly meetings. Those
meetings resulted in the current activities of the organization. Every year
the Oregon Cello Society sponsors a student recital, a student cello orchestra
concert, and an adult recital -- mostly adult students. It also sponsors
an audition, in which highly qualified judges award prizes of $200 to each
of four students, some smaller awards of cash or merchandise, and the use
for a year of a full-size and a half-size cello that were donated to OCS
for this purpose a few years ago. The organization publishes a newsletter
four times a year, and has an annual meeting. In 1995 and 1996 it also sponsored
"Cello Day," with vendors, seminars -- e.g. instrument insurance,
and a discussion on how to buy a cello, complete with demonstrations of
cellos in several price ranges.
The OCS did not sponsor a Cello Day in 1997, focusing its energies on an
adult cello orchestra concert; see the separate article on that concert.
The OCS sponsored a similar concert in 1987, for which Norman Leyden composed
his Americana Suite, which has since then been published and has been enjoyed
by several cello orchestras elsewhere.
Oregon Cello Society
P O Box 4035
Portland, OR 97208
THE ART OF CELLO FINGERING BY NIKOLA CHAKALOV
by Geoffrey Dean
An English-language version of Nikola Chakalov's "The Art of Cello
Fingering," originally published in Bulgarian as "Osnovni na violoncellovata
aplikatura"(Sofia, 1985), is now available in print. The author, formerly
a member of the Sofia Philharmonic, was also the string pedagogy specialist
at the National Music School in Sofia for many years.
This compact, yet richly-detailed treatise is primarily concerned with aesthetic
issues raised in the musical literature for the cello, and how cellists
can effectively deal with these issues through their choice of fingerings.
Over 270 passages from our orchestral, chamber, and solo repertoire are
included as an integral part of the discussion. Chakalov's extensive treatment
(in the book's first two parts) of fingering principles needed to interpret
standard works for our instrument seems to be guided by the idea that such
principles are not merely applied to the repertoire, but are also derived
from it. In Part III, he proposes a comprehensive scale system, covering
both single-note and doublestop fingerings, which is based in part on these
repertoire-derived principles. In Part IV, Chakalov demonstrates how understanding
the musical syntax, or "grammatical structure," of a composition
can lead to more artistically satisfying fingering choices. He further illuminates
the application/derivation dichotomy in the concluding analysis of fingering
issues in Bach's Sixth Suite, showing that a fingering solution for this
suite lies not in simply applying the "technical and fingering 'norms'
contained in this book," but in deriving a "fingering technique
inherent to that composition only." (Chakalov 1997, p. 115)
The immense practical and intellectual value of this volume is in its focus
on aesthetic concerns and on the musical literature for the cello as both
a starting and arrival point. Its clear organization, eloquent style (the
English translation is in itself a remarkable achievement), and provocative
arguments make "The Art of Cello Fingering" an excellent resource
for all who play or love the cello. For information on ordering the book,
write to firstname.lastname@example.org or directly to Nikola Chakalov, 27 Ivan Assen
St., Sofia 1124, Bulgaria (Europe).
January/February Award Website:
This page is a small part of a large website that includes reviews of
classical recordings by "The Omnipotent Critic" (TOC), a "Live
Music" section using RealAudio streaming technology, and features not
only contemporary classical music but music of all genres and styles: early
music, electronic music, crossover and jazz. Eclectra promises to expose
us to ever new and interesting compositions as well as rare recordings of
lesser-known virtuoso artists of the past. This is a site to bookmark and
**Please notify John Michel of interesting websites that you would like
to nominate for this recognition in the future. Websites will be selected
based on their content, cello relevance, creativity and presentation style!
A substantial discussion occured on CelloChat about "New Directions
in Cello Playing" by Victor Sazer. Roland Siemons starts out questioning
certain aspects of Sazer's theories on bow technique http://btg.ct.utwente.nl/People/Siemons/Cello/Sazer.htm.
Tim Finholt, Erik Friedlander and Sasha contribute to the discussion. For
a transcript of the discussion see http://cello.org/Forum/Forum.html
Thank you for your concern and show of support for CelloChat, the official
ICS web based bulletin board! We are taking measures to restore the CelloChat
under the direction of Paul Tseng to working order. If you would like to
make a contribution in support of ICS activites such as CelloChat you may
use VISA or make checks out to the non-profit organization Icicle Creek
Music Center (ICS is under the aegis of ICMC) and specify that the donation
is for ICS activities. Contributions are tax-deductible.
Internet Cello Society
PO Box 2071
Leavenworth, WA 98826
*** 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.
***If you have announcements, comments or reviews of music festivals, please
contact Roberta Rominger at email@example.com***
The Manchester (England) International Cello Festival
April 29 through May 3
Royal Northern College of Music
Performers: Alexander Baillie, Lluis Claret, Christophe Coin, Patrick
and Thomas Demenga, Karine Georgian, Alban Gerhardt, David Geringas, Natalia
Gutman, Frans Helmerson, Gregor Horsch, Steven Isserlis, Ralph Kirschbaum,
Philippe Mueller, Zara Nelsova, Arto Noras, Siegfried Palm, Miklos Perenyi,
Boris Pergamenschikow, Janos Starker, Tsuyoshi Tsutsumi, Quirine Viersen,
Jian Wang and Wendy Warner.
Also violinists Mihaela Martin and Pinchas Zukerman.
Concerts, recitals, masterclasses, lectures, films, workshops, and a cello
and bow making competition. In short, cello heaven!
Full details from Alison Godlee, Festival Office, The Grange, Clay Lane,
Handforth, Cheshire SK9 3NR, U.K. Tel/fax +44-1625-530140.
Four Winds Music Festival
April 11-12, 1998
California American String Teachers Association
Summer Institute of Chamber Music
Irene Sharp Cello Seminar
Mannes College, New York City
June 15-19, 1998
Symphonic Workshops Ltd announces The International Music Academy, String
Program for advanced players, which will take place in Kromeriz, the Czech
Republic, July 13 to August 2, 1998. The String Program will include individual
lessons, string orchestra rehearsals, master classes and chamber music classes,
4 public concerts in historic churches and chateaux, as well as excursions
and a concert in Prague. For more information please contact Dr. Harry M.B.
Hurwitz, at email: firstname.lastname@example.org or fax: 1 416 762-6258.
International Music Academy, Kromeriz, Czech Republic
A Three Week Advanced String Program
July 13 - August 2, 1998
Dr. Harry M.B.Hurwitz
Icicle Creek Advanced Chamber Music Institute
In the Washington Cascade mountains
July 25-August 8, 1998
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 email@example.com.
(Library contents will be available to all Internet users; please include
author and written statement of release for unlimited or limited reproduction.)
Duets and Trios for Violoncelli by Elias Davidsson
The Collection for Duets and Trios for Violoncelli includes 20 pieces, altogether
34 pages of music. They are aimed at elementary level students (all pieces
are in the first register). A couple of pieces are for 4 violoncelli and
or for 2 violoncelli with contrabass. The publication is of professional
graphical quality and highly readable. The music can be used both for relative
beginners or as enjoyable sight-reading 'exercises' for more advanced students.
The music can be enjoyed both by students and listeners. The collection
has already been used by dozens of cello teachers in Switzerland, Germany,
France, Britain, Norway, United States, Australia and Iceland. It has received
very good reviews in Australia and Switzerland. It was originally developed
in cooperation with a number of Icelandic music schools, where the pieces
were tried out.
Elias Davidsson was born in Palestine in 1941 but has lived in Iceland since
1962. He has composed music since his early childhood and studied piano
and composition both in Germany and Switzerland. His compositions, including
experimental works (avant-garde), have been perfored in several European
countries. He plays piano, accordeon and the Icelandic Lithophone (idiophone
composed of stone slabs). On the base of the present collection (of violoncello
duets and trios), the Basle Conservatory asked Elias Davidsson to compose
a further set of educational collections for violoncelli and a work for
violoncello orchestra. These works are to be finished in 1997 and ready
for distribution in the 4th quarter of 1997. After teaching piano and theory
and heading a small music school for a number of years, Elias now dedicates
his time to musical composition (both for children and adults) and human
Symphonic Workshops Ltd announces The International Music Academy,
String Program for advanced players, which will take place in Kromeriz,
the Czech Republic, July 13 to August 2, 1998. The String Program will include
individual lessons, string orchestra rehearsals, master classes and chamber
music classes, 4 public concerts in historic churches and chateaux, as well
as excursions and a concert in Prague. For more information please contact
Dr. Harry M.B. Hurwitz, at e-mail: firstname.lastname@example.org
or fax: 1 416 762-6258.
***All members are welcome to post announcements or news that are pertinent
to our global cello society. Send information to email@example.com***
Full Moon: Homepage for Cello Players
Masterclass videos, midi cello files and more!
Guillermo Venegas Lloveras
Pablo Casals said of him: "I know of no composer that without (formal)
study has composed at his level", considering his music at the level
of Chopin and Liszt.
Stephen Drake's site includes audition lists
U Conn Cello Society Newsletter
New Directions in Cello Playing by Victor Sazer
**ICS NET Resource Editor: Deborah Netanel at firstname.lastname@example.org
Copyright © 1998 Internet Cello Society