'TUTTI CELLI' Newsletter



    |    www.cello.org



\ _/    'TUTTI CELLI' Newsletter, January/February 1997

TUTTI CELLI CONTENTS -- volume 3, issue 1

New Members Message
ICS News and Announcements
--ICS CELLO CHAT bulletin board
John's Jabber--Call For Contributions for ICS
Letters to the Editor
New and Old Member Letters

Featured Artist

Feature Article

ICS Members' Opinions


ICS Forum
Getting started on the cello
Health issues of cello playing
Recording string quartets

Music Festival Watch
ICS Library and Reference
Activities and Notes Board
Other Internet Music Resources



The Internet Cello Society is a international, cyber community of cellists dedicated to the sharing of the knowledge and joy of cello playing with enthusiasts from around the world. The membership's active participation is what makes the ICS a meaningful music resource. Please get involved with online discussions and send information about your corner of the musical world!
John Michel
ICS Director

We are currently over 2000 members strong and represent 42 different countries around the world! Countries represented include Argentina, Australia, Belgium, Brazil, Canada, Chilie, Costa Rica, Denmark, Finland , France, Germany, Greece, Hungary, Iceland, Indonesia, Israel, Italy, Jamaica, Japan, Latvia, Luxembourg, Malaysia, Mexico, Netherlands, New Zealand, Norway, Philippines, P.R.China, Poland, Portugal, Russia, Serbia, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, Turkey, United Kingdom, 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 highlight activities
of ICS Forum and other services.

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 Netscape,
Mosaic, 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:

*Searchable Membership Directory
*TUTTI CELLO, an online copy and back issues
*ICS Hosted Forum
*ICS CELLO CHAT Bulletin Board Service (moderated)
*Library Archive storing various cello society newsletters, articles, etc.
*A Cello Introduction, an interactive multimedia presentation

*Links to other Internet Music Resources

ICS 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.
The ICS is soliciting its members to write about their relationship to the
cello and/or special moments in their playing careers. These
autobiographical essays would be featured in the Member Spotlight column of
TUTTI CELLI. If you have any documents that you would like to share, send
them directly to director@cello.org 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 the ICS online membership 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.

ICS CELLO CHAT bulletin board is available for anyone can post a message. ICS Forum Hosts have been asked to check the board often and answer any questions that you may have. In the cooperative spirit of the Internet community, ICS members are encouraged to offer answers as well as pose questions on the board.



ICS Fundraiser
The ICS can no longer draw on the dwindling, personal resources of its Director. We seek individuals who can contribute to future fundraising efforts. ICS is an independent program of the non-profit organization Icicle Creek Music Center and an educational outreach program of Central Washington University.

ICS Reporter/Writer/Reviewer
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.

ICS Forum Hosts
Requesting a professor of cello and a concert cellist to serve as forum hosts. It entails reading the Cello Chat bulletin board regularly, answer appropriate questions and summarize discussion every other month for the newsletter.

***If you would like to volunteer to cover one of the above positions, please contact me at director@cello.org ***



Paul Tseng has created the ICS CELLO CHAT bulletin board where anyone can post a message. ICS Forum Hosts have been asked to check the board often and answer any questions that you may have. In the cooperative spirit of the Internet community, ICS members are encouraged to offer answers as well as pose questions on the board.

From Dec. 14th till the 28th, the cgi scripts did not change the online database. Even if the script returned a successful transfer message, please double check your information. To update your membership registration information follow the instructions on this page. Email and name changes must be done manually.


(Call for Contributions Letter)

The Internet Cello Society begins its third year of existence with the coming new year! ICS has evolved from the first attempt to create a meaningful presence on the Internet to a musically valuable resource and multi-faceted organization. We have grown from 100 members two years ago to over 2,000 members representing 42 different countries at present! Our mission is still the same; the Internet Cello Society is a international, cyber community of cellists dedicated to the sharing of the knowledge and joy of cello playing with enthusiasts from around the world.

The Internet Cello Society must take its next evolutionary step towards autonomy--freedom from my pocketbook. I have put a few thousand dollars and a ton of time into this wonderful project, but I just bought a new cello and do not have discretionary income to continue fully funding ICS.

PLEASE CONTRIBUTE TO ICS AND HELP SPREAD THE JOY AND KNOWLEDGE OF CELLO PLAYING AROUND THE WORLD; How about contributing as many dollars as years that you have played the cello!

Help speed the Internet Cello Society to its fundraising goal!

$300. -
$100. - 299.
$50. - $99.
$1. - $49.

All contributions are tax deductible. Please write checks payable to Icicle Creek Music Center and indicate contribution for the Internet Cello Society (ICS). Or send VISA/MasterCard number and expiration date to ICMC at icicle@cascade.net

Icicle Creek Music Center
Internet Cello Society
P.O. Box 2071
Leavenworth, WA 98826
(509) 548-6347
All contributing members will be acknowledged on our website unless otherwise indicated. Thank you again for actively participating and supporting the ICS.
Best wishes for a great new year,
John Michel
ICS Director


***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.)***

(letter from Suzi C.)
At the moment, I am concentrating on 'putting out' as much about our group as possible, just so that our name, The Melbourne Cello Ensemble, will become familiar to people. This involves 100's (1000's?!) of phonecalls, putting up posters, mailing information and tapes, etc. If you have any hints or tips that you could pass on to me, I would be most grateful. Once again thank you for the wonderful newsletter, and the fantastic ICS. I just wish the Viola Society was as well-run (I play the viola, so am the butt of many a joke from cellists!)
***From my experience, I find the following principles to be true.
*Always perform at your best!
*Everyone is a potential contact
*Seek mutually beneficial solutions
*Perform in visible venues
*Create and develop your own opportunities and audiences
I will forward your message to an expert in arts management and fellow violist, Scott Hosfeld. JM

I was glad to read my article "Power at the tip of the bow" which I sent quite some time ago. Please: Would you mind putting my name, not only the initials G.M., under the article?
Gerhard Mantel
***Apologies for the improper citation of your article. The article archived at www.cello.org will reflect the change. JM


Thank you for sending "Tutti Celli"; I enjoyed it. It helps me with my teaching. I have about 80 students in Japan; teaching is very hard. I'm a Suzuki cello teacher and have a couple of American students in my class. I am enjoying teaching cello and conversing in English. I live in Fujisawa city. I look forward to the next "Tutti Celli" Thank you!
Akira S.

I am writing a graduate paper on the "12 hommages a Paul Sacher," commisioned by Rostropovich in 1976 for Paul Sacher's seventieth birthday. I would be very grateful if anyone can send me any information on these works as very little research on these pieces has been done. I am particularly interested in any comments anyone may have on how these pieces ought to be played. Many thanks.
Jeremy Cook

Would anyone who knows anything about Paxton or can give me details of a recording of his cello sonatas, please email me.
Philip Whittaker

This is the first time that I have looked up your newsletter
and I have really enjoyed it. I have been playing the cello since 6th
grade (I'm 14 now) and have taken quite an interest in it. I really
enjoyed your articles, especially the helpful hints in the Masterclass
Report. Thanks!
Erica P.


***An Internet Cello Society Exclusive!!!***
by Tim Finholt

Bonnie Hampton leads an active life as a chamber musician, soloist, and teacher. Ms Hampton has been involved in performances of new music since the beginning of her career and has been active in contemporary music groups. She has also been the cellist of the Francesco Trio for 32 years. A student of Pablo Casals, she participated for many years in the Casals and Marlboro Festivals. Ms Hampton teaches at the San Francisco Conservatory of Music, and, during the summer, at the Banff Centre and the Tanglewood Music Center. She has served as president of Chamber Music America.

TF: Performing contemporary music seems to be your passion.

BH: It's definitely one of them. I have found that working on contemporary music and working directly with composers is mind-expanding, though it can be difficult at times. There was a period in the 1960's when composers were experimenting like crazy, which sometimes made me wonder whether the sound effects people in Hollywood could do better. It is amazing, as we near the end of the century, to look back at the last hundred years and to marvel at the eclecticism of 20th Century music. It's sad that more cellists aren't playing the vast quantity of contemporary music out there. We need to get more up to date in our recitals and start programing "contemporary" music besides Shostakovich.

There's a book called "Solo Cello," by Dimitry Markevitch, that lists hundreds of unaccompanied cello works, most which are contemporary. How often does one hear them? Almost never! Students tend to be very cautious about what they'll play. But once they figure out that they just have to dive in and grapple with the music, it becomes intriguing to them. The most important thing is to simply open one's ears and mind, which results in expanding one's technique and musical vision. When you have to grapple with a new score, especially when you aren't sure what the music means, you really have to dig deep. You can't go to the record store and find a recording to help you.

One great benefit of playing contemporary music is that you start looking at older music with fresh eyes and ears, instead of taking it for granted. Kids today come to their first lesson and play the Dvorak concerto like the final performance. The problem is that they haven't figured it out for themselves. They feel they don't need to, in a sense, because all they have to do is put on a CD to hear how it is "supposed" to sound. In reality, one needs to go back in and figure out the Dvorak concerto the same way that one figures out a piece that's brand new, that nobody has heard before.

I have found with rare exceptions that I've always gained something from working with a composer. Sometimes it's tough, especially with some of the younger ones, because they feel insecure about their music. But even with the younger ones, I gain an insight into their relationship with the music.


by Roland V. Siemons

Students developing their cello playing, teachers explaining how to play cello - we are all in need of a principal understanding of how our cello and our body work together. In this paper I try to reveal some of the physical principles according to which a cello is being played. This is done by means of a mechanical analysis and a number of simple experiments. Mechanical analysis is a universal tool, the results of which are applicable to every cellist. It is shown why relaxation of the right arm is of great importance for obtaining a bright sound. A specific manner of right arm use to execute bowing forces is advised, along with a method to pursue a relaxed bowing technique.


I received 37 letters about the Burger King 'cello' ad and 9 letters urging cellists not to take it so seriously. For your interest I have compiled excerpts from some of the letters that members have sent to me or copies of letters that they have sent to Burger King. They are organized into three sections below, I. The ICS Membership Speaks, II. Suggested Alternatives and III. Opposing Views. Thank you all for sharing your thoughtful, individual perspectives!
John Michel

While I am a cellist and do enjoy classical music, I think that music is music. Whether young music students become Yo-Yo Ma's or Smashing Pumpkins, they are learning music. Burger King's error lies not in the music, but in the instrument. The marketing department is probably not aware that Modern Rock groups, the Smashing Pumpkins, the Dave Matthews Band, and Poe, all have cellists who were initially trained as classical musicians. If Burger King were to show a classical cellist changed into a modern rock cellist, then it might be more acceptable.
Daniel F.

I wholeheartedly agree- saw the spot on Jay Leno's show about the commercial- and they made even more fun of cellists- "They ARE nerds", bragging about a "cellofree band on the show, etc." Having just played in the New Directions cello festival with Marc Summer, Erik Friedlander, etc., I can say cellists are VERY hip! Tamsenn

I have enough trouble being the only cellist in my school and being made fun of for that, and this ridicule from a major national/international corporation is testing the last straw... I play the cello because I love it... I also, however, play jazz bass guitar (ELECTRIC)...
Ryan H.

It's particularly intriguing that you choose this content for an ad this year. Earlier in 1996, the results of a long-term study were released that indicated the extreme value of including a music-education program in grade- and high-school curricula. The study showed that young people who subjected themselves to the discipline of learning a traditional instrument, and who participated in a school band or orchestra, were much more likely to be successful students in other disciplines as well. I know many young, hard-working, classical musicians who, from all appearances, are considered very cool by their peers. This kind of success story bears encouraging, I would think, rather than the condescending and cliché-ridden treatment in your advertising.
Fred I.

I am a 13 years old cellist and am the only male cellist in a school of over 700 people. Out of these 700 people, only four of them are cellists. That is about ONE HALF a percent! I believe it's obvious that what cellists like me that are so rare need is not negative messages, but encouragement. This is NOT what we are getting from you. I think that cellists all over the world are waiting for an apology. The cello is not something that only screeches, and I think: Sure rock is popular, and I like it, but the cello is much more beautiful than any electric guitar. I am waiting for you to return this message.
Steve I.

These students do not need to see a commercial from one of their favorite restaurants showing their instrument in a negative manner. They do not need their non-musician friends to see such a commercial. Instead, these students should be applauded, supported, and encouraged.
Colleen I.

My 11-year old daughter is a young cellist, ... In addition to the sheer joy playing the cello gives her, she is also learning responsibility and positive group interaction; her sense of self-worth has improved immeasurably because of the pride she takes in being able to play the cello well.
However, your recent commercial depicting a bored cello student who is converted into a "cool" rock guitarist is a divisive measure that will reduce the morale of young musicians, and also can be used by those students who like to tease musicians as being "nerds".
Paul W.

While I would consider myself a "rock and roll" kind of guy, I have to take issue w/your "cello" ad. Not so much because I play the cello or am a big cello fan, but because it reinforces what is wrong w/American youth today:
"Don't dedicate yourself, take the EZ way out. Forget discipline and self-discipline, life is just one great big rock and rock concert. Ignore practice and hard work, just slam some notes on a electric guitar and you'll be a star. "
Eric G.

Basically, the cello commercial reinforces popular cultural notions that hard work and dedication to ideals is for nerds. The quick fix and the glamorous road is the more fit way to go. Is this not a destructive mind-set in our culture? Should you not encourage youngsters to work, even at non-glamorous disciplines?
John M.

The age of ten is a precarious age in that kids are influenced by every bit of information they receive. I was 10 only a few years ago, and I distinctly remember that the drive to be "cool" and to fit in was greater than any other drive I had. ...it seems you want them to think that playing the cello(judging by the expression on the boy's face) is a dull alternative to playing a "real" instrument like the electric guitar.
Amar S.

My idea might be this: You see two bored students, one a cellist and one the rock guitarist, practicing scales. The cellist takes a bite of a Burger and is morphed into YoYo Ma, and the guitarist is so astounded at how cool he is, that he takes a bite and is morphed into Mark Summer, and the two play a super cool duet! Or, he (or she ) could be morphed into Bobby McFerrin who has recorded such fun music with YoYo.
Amy B.

I propose a letter be written to the executives of McDonald's or perhaps that aficionado of culture Dave, from Wendys, suggesting an idea for an advertisement which goes something like this:
Boy playing cello, eats McDonald's hamburger and turns into Yo-Yo Ma. Or something similar (I think you get the point). The effect of a major competitor's ad will have a much greater impact than a few impassioned letters or even a boycott.

It's not a good thing; I understand what American string instrument teachers may be feeling. Yes I'm a Suzuki cello teacher. If I can, I will take my students to play their cellos in front of Burger King, and I will take a picture and send it to Burger King's boss with the message, "We can enjoy playing cello!"
Akira S.

I have not seen the commercial in question but as a commercial performer who plays rock and jazz on an electric cello I think you are missing BK's point. To any 10 year old these days, the stodge of learning the cello is what drives them away. This is reality, marketers pay attention to what kids think.
Instead of asking the world to conform to our wishes, we must artistically lead the population to see the cello in a different light. Let's prepare our students for the future, not just to recreate the past.
Richard H.

The ASTA has much more important things to do than go down to Burger King's level of quality. Let the fools revel in foolish things, as it will further define their foolishness. The moment the classical music community becomes insulted, they are basically insulting their own intelligence. THE AD WAS FOR BURGER KING, NOT THE RITZ-CARLTON!!
If I may offer my humble opinion, I would suggest not going along on this embarrassing approach to solving a problem. Boycotting Burger King means responding to their level of quality. They serve food that makes people fat, heart-burned, and acne-ridden. Let them have their fun, and meanwhile, let's make beautiful music and eat healthy foods!
Jeehoon K.

Let's get real. The best response to something like this is to ignore
it. Pop culture is full of silly, demeaning messages. A "boycott" of
Burger King by throngs of indignant cellists? Come on now, we have
other things to do.
Jeff D.

I cannot believe that your group is making such a stir and commotion about a simple commercial... Let it drop and get a real problem! Focus your efforts to house the homeless or feed the hungry.
Ben B.


by John Michel

Over the Internet I learned of the new Coda cello bow. This new graphite bow could be easily nicknamed " The Stealth", stemming from its sleek black appearance and a high tech, engineered design. It is modelled aethesically after a fine Henry bow and structurally after Pecatte and Sartory, but the Coda shares the mysterious power and flexibility of a modern graphite tennis racket. I was not expecting much. I had had enough of the those manufactured carbon fibered or plastic bows when I was starting the cello, and was not very enthusiastic about trying a different one. I was pleasantly surprised to find that this one was different. The Coda bow is in a class with fine, handmade wood bows.

At 81.7 grams, the Coda cello bow is both flexible and strong at each point in the bow; no worry of weak spots because of inconsistencies in the wood. Though the quality of sound will vary with each instrument, on my cello the tone was clean and polished. Like the bow's appearance, the tone color is also darker. The bow bounces liberally, and ricochet and spiccato bowings are surprisingly easy to control. The slight favoring of the bow balance to the tip allows for bow strokes nearer to the middle of the bow, more like the violin. I liked this.

For the price of $900, it will readily compete with comparable wood bows. Most quality wood bows are handmade and therefore there is a limited number of them; each stick is created slightly different, and older ones quickly gain in antique value. For those who want a high performance stick without the antique, handmade qualities of a wood bow, the Coda bow offers an excellent option.

Jeff Van Fossen and Stan Prosen engineered and designed the Coda Bow. Several well respected cellists have tried this prototype bow and have given favorable recommendations. Strings magazine reviewed the Coda violin bow in its July/August 96 issue, and the cello bow will be reviewed in the March/April 97 issue.

Richard Ratner facilitates the production and distribution of this bow. Production begins at the end of January and there is a waiting list. This bow is guaranteed for ten years for manufacture defect. For more information, see http://www.codabow.com or contact Richard Ratner of Nova Music at 1-800-NOVA911.


Forum Directors/Hosts represent the diverse views of musical life:

Roberta Morton, College Student, mortonr@cwu.edu
Stacy Cowley, Young Cellist, isoma@aol.com
Bret Smith, Cello Teacher, bpsmith@umich.edu
Paul Critser, Professional Performer, cellopaul@aol.com
Tim Finholt, Cellist-By-Night, editor@cello.org

***The ICS Forum format will be changing in order to better fit our members' needs. Our goal is to simplify the process of addressing your questions and the issues of importance to you. All of our forum directors will still be available for discussion and the new format will give you the opportunity to hear different perspectives about your concerns. Please check the ICS forum web page and let us know what you think. Roberta Morton will be coordinating future activities of the ICS Forum.***

Dear A. M.-
Here are some thoughts on getting started on the cello. Depending on your
location, some of these options may be more promising than others.
*Local colleges and universities- contact professors, conductors, and students
*Local public school music programs- contact teachers
*Local professional or community orchestras
*Yellow Pages- music stores, chamber groups for hire may have cellists.
*Word of mouth- start asking musicians!

Cellos are usually available on some sort of rent-to-own basis from music
retailers, but quality is pretty variable. If you are experimenting with
the cello, it probably makes more sense to rent until you're sure you are
ready for an investment of thousands of dollars. The last time I checked
a monthly rental was $40-50.

When you find a teacher, you will most likely encounter their favorite
methods. If you are interested in "going it alone," there are several fine
string class methods designed for class instruction. Most of the new ones
come with a CD of accompaniment music to practice to, which is nice. "All
for Strings," "Strictly Strings," "Essential Elements," are all published
by major companies and come in several volumes, from beginning to more
advanced. I hope these suggestions help get you started!
Bret Smith

The Cellist by Night Forum focused dicussion with members on health issues of cello playing, ie. tendonitis and the dangers of playing with pain. A rheumatologist in our group cautioned that "musculotendinous soreness" is often misdiagnosed as carpal tunnel syndrome, and that one should not rush into surgery before the ailment is carefully diagnosed. Another member said
that a simple wrist splint and prolonged rest made his problem go away.

An ambitious high school student shared the following terrifying experience:
"My hand hurts immensely at the base of the thumb and on the top and bottom
of my wrist. Another thing that happens is that when my hand starts to hurt,
it follows with the thumb slipping through and I lose all control. This used
to only happen when I would play Bach Suites, particularly the Preludes.
Recently, it hampered my playing a lot at a competition and performance of
the Dvorak Concerto. I'm worried now, because it happens really badly when
I'm playing the Shostakovich and by the second to last page, my hand feels
ready to fall off. I have to play the piece soon and in a recent rehearsal,
I couldn't finish a run through because it hurt too much."

After much discussion, the consensus was that this member needs to see a
music medicine specialist immediately. Fortunately, she lives near Chicago,
where there are a number of such clinics. The lesson is that playing with
pain is extremely dangerous and could cause permanent injury.
Tim Finholt

>How do you mike a string quartet for volume, instrumental balance, and
>no feedback??? Dolf Lowey-Ball
Dear Dolf L.B.-
I quote from John Eargle,"Handbook of Recording Engineering" (New York: Van
Nostrand Reinhold, 1986), considered to be one of the basic books on the

"Recording String Quartets
This most intimate of chamber groups poses some problems for recording.
The players normally array themselves as shown [in a sort of square]. When
they are so closely spaced, it is difficult to get a pickup with good
stereo localization without moving in quite close to the ensemble. If at
all possible, the group should be persuaded to space themselves in a wider
arrangement [a semicircle facing the stereo pair]. In this way, a
coincident or quasi-coincident pair can provide good stereo interest at a
distance above the floor of, say, 2.5 to 3 meters (7 to 10 feet), while
maintaining good blend and cohesion. The back lobes of the microphone
patterns may be adjusted for the final balance of direct to reverberant
sound. Intimacy is important, and images should pretty well fill the
stereo stage. In a studio setting, some artificial reverberation- no more than about 1.5 seconds, in the mid band- should be added." (pg. 252)

My personal experience is that this works well, although experimentation is
often warranted. I recall setting up in the "tight" formation and putting
the microphone closer to the floor and closer to the group; this was in a
studio, and we were not concerned with an accurate live sound. A lot
depends on your goals, the quality of equipment you have, and the
performance space. If you are trying to amplify the group, my guess is that
contact mikes or pickups would give the minimum of feedback, but present
some challenges for mixing. Good luck!
Bret Smith




***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.)***


***Paul Stauffer, as library technician is volunteering his help to find resources on the Internet. He can be contacted at pks@mnsinc.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 director@cello.org 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 reproduction.)


Ongaku-No-Tomo, the largest music publisher in Japan will issue a Japanese
edition of Victor Sazer's book, New Directions in Cello Playing in 1997.
Subtitled How to Make Cello Playing Easier and Play Without Pain, this book
introduces natural, tension-free ways of playing the cello. It presents
anatomically-improved ways of sitting and holding the cello, a new approach
to left arm and hand techniques and fundamentals of bowing. Its innovative
approach to body use increases efficiency and improves performance.

The author is particularly pleased that the California based cellist,
Masatoshi Mitsumoto is doing the translation. According to Victor Sazer, "I
could not imagine a more perfect person to translate the book than Masatoshi.
Mitsumoto is an outstanding cellist who understands the concepts completely
and is also fluent in both Japanese and English.

***All members are welcome to post announcements or news that are pertinent to our global cello society. Send information to director@cello.org***


***ICS NET Surfers:
Paul Critser
Marshall St. Paul
Paul Stauffer***

FEATURED WEB SITES Heitor Villa Lobos Website
Life and music of the great Brazilian composer, a cellist and author of a number of great and popular works for the cello.

ArtistLed website

Irwin Eisenberg

Worldwide Internet Music Resources--Indiana University

Newsgroups rec.music.classical

EMail Lists/Listserves: allmusic@auvm.bitnet
acmp-list@isi.edu (Amateur Chamber Music Players)
amslist@ucdavis.edu (American Musicological Society)
bass@uwplatt.edu (The "Bottom Line" list)
ASTA-L@cmsuvmb.bitnet (American String Players Association)
ATMI-L@uiowa.edu (Ass. for Technology in Music Instruction)
music-ed@uminn1.bitnet (music education)
MUSPRF-L@cmsuvmb.cmsu.edu (Music Performance and Pedagogy)

Address letters to the appropriate department editors listed above and any other correspondence to John Michel at director@cello.org

Direct correspondence to the appropriate ICS Staff
Webmaster: Webmaster
Director: John Michel
Copyright © 1995-97 Internet Cello Society