CELLO NEWS vol. 31

A Newsletter For Cellists of All Ages and Stages


Holiday Season 1994


It is holiday time once agaln, and that means Cello News is celebrating another anniversary. Thls time we celebrate the seventh anniversary of this newsletter which flrst appeared ln type- written. legal- size paper format back in November 1987. That was back in the days when Thanksgiving holidays were not so busy for me, I guess. Back then, I contemplated the loneliness of just havlng moved to a new state, not immediately having any real professional connection to other cellists (except for "growing my own class" here in Knoxville, which at that time had not heard much about the cello being a "melodic" instrument!!! The idea of having a newsletter for cellists as a pipeline for news and information has always been a life- long dream to me. I had visions of receiving letters with exotic stamps on them, which would introduce me to a new cello friend across the miles who had something to share. These visions have materialized, plus added telephone calls and faxes, all from so many wonderful cellists out there who want to feel a connection to one another. I have also made connections with cello clubs and societies who have been generous with sharing their news and announcements, and even their own newsletters! Let's face it - we cellists are a gregarious lot! I know this to be true. I am married to a cellist and he is gregarious. I play in a chamber orchestra with three other swell and sociable cellists. One manifestation of this ;need to be together came about just a few week ago when six Or us gregarious (oh, I forgot to mention the crazy part, too), and crazy cellists embarked on a concert entitled the "Popper Chase". We each performed an etude from David Popper's ever- popular Op.73 High School of Cello Playing, and then each of us performed a show- piece of Popper. You will see details about this adventure later in this issue, as well as actual photographs of our sweaty bolds in the locker room before the concert, and jubilantly "chased- out" at the end of the concert! So, you see, my own personal research into the gregariousness of cellists is conclusive!

Thanking of New Year's resolutions early this year? Reach into your gregarious nature, and think ... how can I get more involved in my community? How can I contribute toward the greater good of mankind? I am so glad you asked!! Make a resolution to join a cello club or society to get more involved in your community, and as far as helping your fellow cellokind, write a little something for Cello News to share with all of us! Also,a great glut idea for the cellist on your shopping list is a gift subscription to Cello News (only $8.00! what a bargain!) Speaking of glut- giving for your favorite cellist, there is a helpful compilation of the Ten Best Gifts for the Complete Cellist included in this issue - we here at Cello News are always trying to help out with practical items!! Also look for the special one- page sampler from the new newsletter of the New Directions Cello Association on page 7 of this issue - check it out! Membership info. included also. Please read page 8 carefully for news about the postponement of the next Cello Congress!

What the Right Hand Knows

Thoughts About Bow- Arm Fundamentals

by Uri Vardi

Born in 1947 in Szeged, Hungary, Uri Vardi grew up in kibbutz Kfar Hachoresh, Israel, where he began playing the cello. He went on to study at the Rubin Academy of Music in Tel Aviv and received his diploma in 1972. That same year he continued his graduate studies with Janos Starker and Eva Janzer at Indiana University. Vardi received his M.M. degree in 1977 from Yale University, where he was a student of Aldo Parisot. After his return to Israel in 1978, Vardi assumed the position of principal cellist with t he Israel Symphonieta, played solo with that orchestra and with the Israel Chamber Orchestra, became assistant principal cellist of the Israel Chamber Orchestra with which he toured Sour continents). recorded and toured Israel and Italy with the Sol- La- Re string quartet, and founded a new chamber music series in Tel Aviv. Vardi gave cello and chamber master classes at

Cello News ... 2

Indiana University, Yale University, and Eastman School of Music, and participated in summer festivals at Musicorda, Kfar Bum, Greenwood, and Madeline Island.

Following an extensive teaching career at the Israel Conservatory, the Rubin Academy in Tel Aviv, and the Jerusalem Music Center, Vardi joined the faculty of the University of Wisconsin- Madison School of Music in 1990.

"As obvious and superfluous as it may seem to mention it, It is my opinion that the basic ill of poor playing lies in the absolute disregard of natural laws" (Emanuel Feuermann, Virtuoso by Seymour W. Itzkoin

My hope is to shed new light on how to approach fundamental questions about teaching the cello while observing natural laws. Most of my curiosity was ignited by my teachers and mentors, especially by Janos Starker, Aldo Parisot, and Eva Janzer at Indiana University. From Starker and Janzer at Indiana University, I learned the logic and systematic work needed to acquire the facility and security to play professionally. With them I also discovered my great love for teaching and helping others . Through his intuitive approach, Aldo Parisot at Yale University provided a wonderful example of a continuing exploration of new means in playing and teaching. The key observation presented here is the importance of efficient organization of the cellist's body in relation to effective, economical, and accurate movements of the right arm.


The more you have a solid foundation, the less effort you have to put into playing. A solid foundation means that a firm triangle is created between the legs and the "seat". a triangle that acts to support the lower back muscles. Letting lower back muscles collapse results in heaviness in the upper part of the body, which can then cause tightening of the shoulders, neck, and arms. I believe there must be a continuous flow of energy throughout the body (feet, legs, "seat", lower back, upper back, shoulders, neck, head, arms, hands, and fingers) and an awareness of the functioning of the entire body in the playing process. To involve each section of the system in t he playing, we must be able to sense and recognize each part independently. Both the Alexander Technique and the Feldenkrais Method deal with body awareness and efficiency of movements, so those who are familiar with these approaches may utilize their principles. I believe that, ultimately, it is best to use your own imagination and sets of exercises for acquiring sensitivity to the body.

Weight- Energy Flow

An uninterrupted flow of energy through the body assures effortless, resonating sound production. The same principle applies to building facility. Unfortunately, we are often so accustomed to uslng a great deal of muscle tension in daily life that unlearning this habit becomes a major project. Uncontrolled muscle tension usually causes blockage of flow and ineffective utilization of weight. A good way to sense this flow and weight with the cello is by embracing the instrument with both arms and letting the energy flow all the way from the heels, along the back, and into the arms and the cello. This sensation can be transferred to the bow by placing the arms on either end of the bow (while the bow Is located in the middle of the instrument on one of the strings) and letting the weight flow evenly, via the two arms, into the bow. When using the flexibility of the hair and the stick to bounce the bow, you can feel the natural resiliency and weight of the arms applied into the instrument. The final step might be to transmit the weight through only the right arms into the bow when it is placed at the frog.

Holding the Bow

A major obstacle in dealing with the bow is the tendency to grab or clutch it and block the flow of energy from the body via the bow into the cello. The main goal in dealing with the relationship of the hand and the bow is to keep the natural shape of the hand unchanged, which allows the bow to become an extension of the arm. Five simple steps can help to achieve this goal:

1. Lift the upper arm and keep it up, using the back muscles. Allow the forearm to drop down and observe the shape of the hand.

2.. Hold the bow at the tip with the left hand and bring it towards the hanging right arm, allowing the frog to move into the relaxed palm (pretend that the right hand has no life of its own).

3. Lead the bow and a completely passive right arm (not grasping the bow) with the left hand towards the string. Once the bow reaches the string, move it back and forth on the string with the left arm, allowing it to change location in the stationary right palm until it is at the desired place. This desired place In the palm changes wlth every individual hand and method of playing.

4. Pronate the arm while touching the stick with the thumb very lightly and letting It slide gently to its place without distorting the hand's shape.

To use the arm's weight effectively In producing full and resonating sound, it is essential to pay attention to the angle between the parts of the fingers that touch the bow and the stick itself. Remember that in using the bow, there are only two factors involved: horizontal (motion) and vertical (weight). When pronating the arm, the angle between the Index finger and the stick must be straight if you want to avoid loss of weight on the way from the arm to the bow. This way, the weight is applied absolutely vertically and is fully directed into the instrument. A diagonal angle between the first finger and the stick causes loss of part of the energy.

Bow Path

It is known that to activate the string fully, you must maintain a perpendicular angle between the bow and the string. This angle forces the arm to learn a very specific path. Paul Tortelier used a simple way to teach this path: If you put the bow at a 90 degree angle at the tip on one of the strings and hold it stationary with the left hand, the entire bow is perpendicular to the string. Sliding the right arm long the stick (while imitating with a pronated arm the shape the hand uses to hold the bow at the frog) teaches the exact action the arm needs to maintain this goal of a straight bow. A close look at the arm shows that for the lower part of the bow (around the frog) the entire arm moves and the angle between the upper arm and the body changes. In the middle section of the bow, the forearm starts moving, and there is a combination of changes in angles both between the body and the upper arm and between the upper arm and the forearm (around the elbow). In the upper section of the bow, there is a change in angle only between the upper arm and the forearm, and the hand becomes one unit with the forearm. I find that by concentrating on the changes in angles around the joints, you can focus more easily on the accuracy of the movements initiated by the different parts of the arm.

Bow Speed and Bow Distribution

As well as the right path. it is important to pay attention to the bow speed and to the pre- planning of the bow distribution. By visually dividing the bow into equal sections (2,3,4,6, and so on) and using a metronome to make sure the same length of time is spent on each section, you can regulate the even flow of the arm motion after each section Learning to control the bow speed helps avoid the common problems of running out of bow, or finding yourself at an undesired section of the bow. It is essential that the above mentioned bow path is maintained when working on the bow speed.

I must remind the reader that the purpose of learning to maintain an even bow speed is to eventually be able to alter that speed according the musical needs. Starker teaches another important aspect to bow speed control; he combines controlled breathing with controlled bow distribution. By simultaneously dividing both the bow and the breathing into equal segments, you assure that the bow distribution does not become a mechanical gesture and that the whole system is involved in reaching this goal.

Bow Changes and String Crossings

When dealing with smooth bow changes or with smooth string crossings, you may discover that the farther away from the contact point the change is initiated, the smoother and more effortless it becomes by the time it reaches the instrument. The easiest movements are always initiated at the center of the body and travel into the fingertips.

Different sets of muscles are involved in pulling the bow and in pushing it. A good way to sense the action of the muscles involved in pulling the bow (down- bow) is to place the right forearm fiat and straight on a table away from the body. Pull the upper arms toward the body and use the friction between the forearm and the table to feel the muscles working in the arm. To sense the muscles involved in pushing the bow (up bow), lift the right arm in a pronated position and start bringing it in toward the body while the left hand is pushing against it. Notice the feeling in the right arm. To achieve a smooth change from a pulled bow to a pushed bow (up- bow), you have to start employing the pushing muscles of the upper arm while still using the pulling muscles of the forearm. This way the arm "rounds the corner" at the change, and by the time the action reaches the contact point, it becomes very smooth and is almost done by itself. The same principle applies to the change from a pushed bow to a pulled one (where pulling muscles begin being employed while the bow is still pushed). It is very important to remember that at all times, the joints must allow the action to travel uninterrupted to the contact point. The round action of the bow change can be further modified by involving the joints in the hands and fingers to get the final refinement of the sound. It is a good idea to imagine the frog as an elastic object that can be molded by the hand. The flexibility of the hand (from the wrist outward) is effective only when using the lower half of the bow. In the upper half of the bow, the arm weight has to be transmitted to the string by lifting the upper arm slightly (without raising the shoulder) and printing the forearm. If the wrist and hand are too loose at this point, contact with the string is lost.

When dealing with string crossing, the same principles apply. To achieve a legato string crossing, there is always a split second when the bow almost touches two strings simultaneously. The arm is forced to be in motion toward the new string ahead of time, without changing either the speed or the arch. With staccato Playing, the chances (either bow or string) are abrupt and are meant to be audible.


With different articulations of the bow, it is important to pay attention both to the type of contact the bow makes with the string and to the length of each stroke. Realize that in most instances (except for extremely abrupt martele strokes), the bow arm moves in an arc, and the shape and depth of each arc determine the type of articulation that is created.

I believe in grouping strokes into two families: the legato family (smoothly connected) in which every bow flows into the next, and the staccato family (stopped strokes), where there is a new start for every stroke.

Cello News ... 4

For example, when grouping the bouncing bows (the varied spiccatos) with the legato family, you realize that these strokes are very close to the detache strokes, in which every new stroke is anticipated. Checking the arcs created by the arm in these two articulations shows that the arc created when playing detache is very flat, and the end of one arc is connected to the beginning of the next. When playing a spiccato of any length, the arc is quite deep, resulting in lightness on the edges. which allows the bow to leave the string.

The control of a bouncing bow is dependent on staying close to the string and concentration on both the horizontal motion of the bow and the anticipation of the next bow, rather than on lifting the bow from the string for the bouncing effect. Many times an observer would mistakenly think that the hand initiates fast stroke changes; in reality, they are begun by a very slight movement farther away toward the center of the body that is magnified when reaching the hand (providing that all the joints cooperate).

The sautille is yet another permutation of the detache, in which the strokes become extremely short and fast and the stick bounces while the hair stays on the string.

In general, I believe it is much more innovative to imitate the sounds of different consonants in language than to think of a specific, technically oriented stroke (detache, spiccato, staccato, and so forth). The concept of the stroke as language enables the player to use a wide variety of colors and expressions. Unless there is a distinct indication by the composer for playing a secco sound, never forget that every consonant, either legato or staccato, has to be followed by a vowel.

I have touched on only a few of the fundamental issues that are always in my thought in the search for better understanding and explanation of the effective use of the body while playing. Before concluding, I would like to mention a few guidelines I try to follow as a teacher.

No two students are alike, and the wholeness of each person has to be constantly observed when dealing with specifics (we shouldn't lose the forest for the trees). I have the responsibility both to constantly challenge my students with new goals that are within reach and to have them question their current level of effectiveness in playing. I try to help my students develop a sensory system that accepts only aesthetic sounds, yet I encourage them to search for as much variety of sound as possible. I try to make sure that everything students do son the instrument derives from musical reasons so that no other factors (instrumental, technical, or personal gain) become more important than the music itself.

This article originally appeared in The American String Teacher, Jody Atwood, Editor, Autumn 1993, Volume XLIII No.4, c 1993 American String Teacher's Association. For information about how you can join the ASTA please contact ASTA, 4020 McEwen, Suite # 105, Dallas, TX, 75244. Reprint permission is gratefully acknowledged.

The Popper Chase!

Six Knoxville Cellists Tempt Fate

by Carey Cheney

If you ever had any doubts that cellists are not only gregarious by nature but are prone to insane ideas which they stick to like glue - well, this concert definitely confirms it beyond a shadow of a doubt! It seems only natural to me that any cellist would have felt his/her "right of passage" when s/he received the florist copy of the Popper "bible" Op.73, High School of Cello Playing. At this time of first looking through the dumbfounding page after page of black ink, double- stops, perpetual motion rhythms, a cellist probably thinks, "Gee!" or even 'Wow!" It seems unlikely that most Popper novices would actually contemplate ever performing any of the 40 etudes In this book in public! Well, maybe the passing of years since we have all florist encountered those pieces has dulled our senses. Certainly struggling with the etudes over a few decades would make you have some sort of opinion about at least one or two of them! Under the outrageous suggestion of two cellists who play in the Knoxville symphony, D. Scot Williams and Bruce Wilhite, the proposal was to give a concert of David Popper s music (a wondrous oxymoron, perhaps?) Soon it became evident that six cellists in the area including Williams and Wilhite, myself and my husband Elliott, Andy Bryenton (my stand partner), and Phil Hansen, KSO Principal Cellist, were all in the mood for a reason to have an all- cello concert. It was decided (I'm still wondering by whom) that each of us would perform one etude and then one piece by Popper. We were not so intrepid to follow the Chicago Cello Society's model of performing all forty etudes in one sitting. After all, this is Knoxville, and our friends in the audience can take only so much abuse! The concert took place on Saturday, November 19, 1994, and was billed as a "fund- raiser" for the building fund of the church

Cello News ... 5

where the concert took place, Westminster Presbyterian. I will reprint that opening words of the host for the evening, D. Scot Williams:

Good Evening and thank- you for coming. I have been given the dubious honor of offering a commentary prior to this evening's proceedings. I suspect the reason for this is that fact that I am credited and/or blamed for offering the idea last spring, of an all- Popper evening. At that time, perhaps my colleagues thought me to be a person of great vision and insight. Now, however, with the gig upon us, the consensus is that I had lost my mind.

David Popper (1843- 1913) was a cellist and teacher of great renown, and a composer of questionable merit. Some of music you will hear tonight, by and large, was never intended for public performance, but rather as material to develop and maintain a certain technical prowess at the cello. This is perhaps some of the most technically demanding music we have to pay, with the least spiritual rewards. Mr. Popper wrote a book of 40 studies, approximately 22 pieces for cello and piano and a few incidental pieces/etudes beyond that.

It has become fashionable. in benefit situations, to pledge X amount of dollars.cents for X number of miles walked/run/driven/ridden, or the number of times one jumped a rope, for example. If you concur with this method of charity, perhaps you would like to pledge a certain amount of $$ per note played (in tune, or course!). I must warn you, however, that in the next hour, you will hear just under 17,000 notes attempted.

Once again, thank- you for coming. We will now Allow Mrs. Cheney to begin the evening with one of the studies that brings a twitch to any cellist's eye (Etude #9).

Off we went. chasing down Popper! We all sat in the front pew of the sanctuary, cheering each other on, wondering if it was blasphemous (or dangerous) for a cellist to be seated directly under a cross (in the first place) and,* e playing music of Popper!! the program enfolded as follows: Carey Cheney, Etude #9, Phil Hansen, Etude #12, Andy Bryenton, Etude #13, D. Scot Williams, Etude #22, Bruce WiIhite, Etude #28, and Elliott Cheney, Etude *40. Intermission followed then ... Andy Bryenton, Spinning Song, Carey Cheney, Hungarian Rhapsody, Elliott Cheney, Dance of the Elves, Phil Hansen, Serenade. Bruce Wilhite, Polonaise, and D. Scot Williams, Tarantella. See below for the "before" and "after" photos! Very revealing! There has already been talk of a sequel - Piatti, anyone?

The Holiday Shopping Guide for the Complete Cellist

Some practical suggestions of what to get for the cellists in your life

by Carey Cheney

Ten Best Gift Items:

1. Stenographer's chair cushion for back support - this one is not a joke! After too many Nutcrackers your cellist friend will be forever in your debt for adding a little softness to her/his life!

2. Happy Face Mask - This item may be available at a great discount now, with Halloween clearances going on. This is the perfect idea for the cellist on your list who will play more unpleasant Christmas gigs this season that s/he can keep track of. The face will present the energetic countenance expected by a professional at any gig, even if the performer has only had 2 hours of sleep, and 1 meal that day!

3. Massage Therapy Gift Certificate - Now, if you truly want a friend for life, this is the ultimate in holiday gifts! To find a recommended professional contact the conductor of concertmaster of your local orchestra - or anyone who earns ten times more than the other musicians in town!

4. Nu- Skin Liquid Skin Drops - Available at most pharmacies, the Nu- Skin preparation can be applied to raw, exposed skin which has suffered enormous abuses, most notably from too many rehearsals with pizzicato. If the recipient doesn't need it immediately, be assured s/he will need it by Jan. 1 !!

5. New copy of Popper High School of Cello Playing- Everyone agrees that this book is probably falling apart by now even if your cellist- friend is a Generation X'er! For us "end of the baby- boomers" wholesale pages have begun to fall out, the angst- filled scratching of former teachers barely visible on the pages! Most popular edition would be by International.

6. Rosin - always a practical gift unless you know this cellist follows the Rosin Rule # 1: "Don't buy rosin; borrow someone else's."

7. Metronome - another great gift for the orchestral cellist, as it is widespread knowledge that cellists love to show their true feelings to their colleagues by setting metronomes (in the "ON' position) facing the viola section. Smaller rnodels are more discreet.

8. Social Engagement Computer - Most cellists have plenty of social engagements, and it is most inconvenient trying to keep track of them on those scrawny margins of orchestral parts, or on the inside covers of opera rental parts! This device will ensure that the cellist of today won't miss the parties of tomorrow!

9. Six Pack of Imported Beer - Any cellist will agree that the connoisseurs of fine imported beers are definitely cellists. Whereas bassists go for quantity, and brassists also go for mass volume consumed in one sitting, cellists have a wide repertoire of the ales, stouts, porters and pilsners of the world.

10. Any recording of any cellist except Julian Lloyd Webber - Certainly any cellist will be greatly appreciative of hearing the artistry of another fellow musician (exclusion listed enforceable by law!)


Cello News ...7

Nelllsletter of the NellJ Directions Cello Rssociation Fall/llJinter 1994


Reflecting the broadening scope of our organization, we have decided to subtly change our name from the New Dlrections Cello FestivaltotheNew Directions Cello Assoclation (NDCA). This change reflects the fact that our purpose is to promote the use and awareness of nonclassical cello, and to create a network that will help bring together people who are active or interested in this area. One of our most important projects is still the establishment of an annual festival (NDCF) which would bring together cellists from around the world representing the many styles of nonclassical cello.

In our last newsletter we asked for ideas of new names for our organization. Changing the word *estlval to assoclatlon seemed to be the easiest and most popular solutiGn, but we did receive some other good ideas. Probab*y the most creaffve name, The Dlver*ent Celllsts Collectlve, came from Connecticut cellist Stephen Katz. For more news of the NDCF an* the NDCA see page 2.

!nterview with Euqene Friesen

Chris mite spoke v*ith celtkt Eug*ne r*;*ai* h?me in Ve*rnont, As * i/ts* in th* inle*w, Eugen* Friessn is tnub* a New Directions cellist.

"I think it's im portant to expand our musical vocab ulary as players and listeners..."

C.W. You are best known a* a mem* Paul Winter Con*ort. How long have you phyed with the ConYort? E.F. The opportunity of playing with Paul Winter and the Consort came to me in the fall of 1978. rd just gotten out of music school, had a great summer in Brazil as an assistant to my teacher, Aldo Parisot, and was preparing for a year of auditions and free- lance orcestra jobs. Paul's invitation came as a refreshing surprise. I certainly had no idea that (please *urn to page 3)

"Night of the Living Cello" at The Knitting Facto*y in NYC

It was a warrn sumrner night in *The Big Apple* when peop e began gathering for the first Night of fhe Living Cello. On Sunday June 5, eight ceaists and theirgroups convened in The Knffling Factory on New York*s bwer east side for an evening of nontradtional ceUo music. The tum- out was very goad as the upstairs at *The Knit* was hlbd almost to capacity. Fred Lonbor*Hdm got things rollbg wffl his group *p featurinq himseif on celio, Robert Ciripso on drums and Ed RatlifTon brass instrurnents. Chris Whrii* fdbwed, playhq his acoustic/ebctric cello wim guitarist ChristopherWoitach. *iichdb Kinney then perfommeo wffl citternist Greg Ande*n. Tom Cora was up next wffl the surprise introducbor. d Russian celiist loris R*skin as his duo partner. Aner anr*ncinq they had never actuaiiy played togea*er as a duo, they pmc*ded b play 20 rninutes of wonderfuly inv*tive celb improvisation as if they had played tog*sr for years. Leading what p*ved to be the evening's st4adbst g*ove band, i*tw C ppod*i- hid down some nice hss ines (as well as sobs) on his *s*ing ek*ctrtc celio(with a bw F strinq). Piaying *rith Ruh* w* Derek i3*on, guriar, RobThomas, vioiin, andS*lo Saliioski on p*wssion. Next J* Sc*nl colabuated with guitarist Jimmy i*e. Last but not bast, A ron Nlnsky treated the die* list*rs b a nioe sel, drawinq from his extensive repertdreof his soiocoliocomposllionswhich he has published with O*dord Univ. Press.

Ail in ail it was a successtul *porirnent in what the New Directions Celib Auoc*ion is all about . . . bringing tog*er csllbts who piay diff*nt s*bs and non- ceUists, ail of whom are inl*sted in iistening and appreciating what endless poss*s exist for keeping this cernu*ies old instrunent alive. Hop*y this will be tha first of many

Hi9hl*J otffle Uvln* Cdloto comel


News of the NDCF & NDCA . .p.2

New Approaches for Cello

Playing by Doug Carroll. p 2

Recordings............ .. p.3

What's New ........... p 3

Become a Member ...... .p.5

Where in the World? .. p.6


*'ell* News ... 8


We hope you have bc*n cn*L ytn* n*s of r*har s golng on *n thc nontradlt*onal cello *orld. Unfortuna- ely. *e LLtnnot cont*nue tO gro*as an organt2ar*0n Iv*rhouf your hclp. If you rvould If kc *o cont*nue rccctvln* olTyl;*!X and orher pw*od*c m* n*s of thc *DCA please hclp us ro cLmcr somc of our *xpcnscs and support rhe cause of broaden*ng cell*st*c hort20ns. Wc haT*e bu*lr a sl*d*ng scale *nto our rarc schcdule. Pl*ase check b*lor* tnd send your chec/r payabk ro: Chr*s Wh*rc /*VDCA *ma* sur* Your n*me * addrcss *n b*acl* *r* r.*cl ACllVE MEMBER 5 4 to 8 per year SUPPORlING MEMBER S 10 and up per yea:r _ nf you would llke to do more. check below) _ Please let me know how I can help. I arn partlcularb Interested In: _ grant *Iting t *und raJslng _ sampler recordlng proJect _ NDCF locatlon search _ Intervlewlng _ * *cld*l) _ helping wlth not- for- proflt status _ bookkeeplng _ advertlslng / ne*v m*routreach

Cello Congress Postponedl

Tal*l At*uml of the American Cello Council announced to me by telephone December 3rd, that the pre*rioudy *cheduled Cello Congrc* to be held in Tempe thi* June i* po*tponed until May 28 - June 1, 19*. Plea*e ma}e a note of the new date!

TO SUBSCRIBE or RENEW SUBSCRIPTION TO CELLO NEWS please write to: Carey Cheney, Editor* 5001 Holston Drive, Knoxville, TN 37914. One year subscription costs $8.00 for U.S. addresses and $14.00 for Canada and Overseas. All payment in U.S. Funds by check or money order, payable to CAREY CHENEY.


Cello News Vol. 31

Carer Cheney, Editor of Music

Dept, 211 Music Bldg.

1740 Volunteer Blvd.,

Knoxville, TN 37996- 2600