'TUTTI CELLI' Newsletter



    |    http://tahoma.cwu.edu:2000/~michelj/ 



\ _/    'TUTTI CELLI' Bi-Monthly Newsletter, July/August 1996



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 and departments.

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, etc....
*Membership register (optional) searchable by various criteria
*Classifieds and advertisements via The Web Classical Music Store
*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. 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.

ICS 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 cellos@icom.icom.it or John Michel at director@cello.org and set up a time.



Step right up! There are still some 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:

CGI Script Programmer
This very important position entails maintaining the existing cgi scripts and writing some simple scripts so that we can have ongoing survey polls, etc....

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?

Forum Assistants
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.

Mailing List Maintainer
***ICS thanks Robert Whipple for taking on this job.
FAQ/BBS Maintainer
***ICS thanks Jonathan Grover for covering this one.
Internet Surfer
***Paul Critser, Paul Stauffer and Marshall St. John seem to be covering this one quite well.

***f you would like to volunteer to cover one of the above positions, please contact me at CelloTalk@aol.com***



Okay, it is time to take an opinion poll. I would like you, the membership, to vote for your favorite cellists of the past, present and future. Send an e-mail message to director@cello.org. and in the subject field type your favorite cellist's first and last name. If you would like to vote for more than one cellist, send me a separate e-mail message for each cellist. Please note that you can only vote for a particular cellist once. We need wide participation in this to be meaningful and interesting. I will post results on our website and in our next newsletter.

I would like to thank again Robert Whipple for volunteering to help with our huge e-mailing list. Please send any e-mail address additions, deletions or modifications to director@cello.org. and they will be forwarded to Robert for processing.


***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 very much enjoyed the Nathaniel Rosen interview and the part that I found most fascinating was when he went to study with Piatigorsky. It is hard to imagine how he was able to stay on two pieces for a whole year and yet what a disciplined way of learning and mastering his technique. I cannot imagine most 13 year old students willing to go for that these days. As an older cellist, the article hit home to me on this count as I had just recently asked my teacher to take me back to studies and scales with no repertoire. My desire is to improve my technique not to just play pieces with faulty technique. This was an excellent interview and I look forward to many more in the future.

I would also like to say that through the Internet Cello Society I made contact with a cellist in my home city whom I had never met before. We exchanged e-mail messages and now get together every Sunday morning to play cello duets. We are enjoying the playing and the friendship and thank the ICS for providing us the means of meeting.
Terry Maurice

I would like to bring to your attention a few works by American composer David Ott. Dr. Ott's Concerto for Two Cellos and Orchestra was premiered by cellists Eric Honigberg and David Tai and the National Symphony Orchestra, with Maestro Rostropovich conducting. The work has been recorded on Koss Classics (with the father/son Laufer team, the Milwaukee Symphony, Zdenek Macal conducting) and is published by MMB Music in St. Louis. The commission of this work was a result of Ott's previous Concerto for Cello. After the premiere of the Concerto for Two Cellos, the entire cello section of the National Symphony commissioned Ott to write a piece for the section. He responded with "Dodecacelli" which was premiered at the White House. Maestro Rostropovich also invited Dr. Ott to be a guest panelist (topic - Composing for the Cello) for the first World Cello Congress. I was a composition student of Dr. Ott's, and remain in contact with him.
Kenneth W. Atkins

Concerning the ICS articles I have about airplane travel with a cello, I have a small piece of advice. I have always flown Midwest Express (based in Milwaukee) with my cello, and never had a problem. They pride themselves in customer service, and as a cellist I think they do a wonderful job. I have always stored my instrument in the front compartment of the airplane where some people also choose to hang coats. This compartment is sealed during flight. I have never encountered problems in using this compartment (from airline officials or anyone else) and will continue to fly Midwest Express with my cello.


Hello, I'm a young Brazilian cellist. I study in Universidade de São Paulo. Today was the first time that I found something about the cello or cellists on the Internet. Now, I'm satisfied what I found--a complete guide of information, that's very good for all cellists around the world. Thanks for taking the initiative!

I am a professional cellist who studied in London and worked in Athens as a member of "Camerata" a string chamber orchestra in the Megaro Mousikis Athinon. I am a representative member in Greece of the International Society for the Study of Tension in Performance (ISSTIP). I obtained recently sponsorship from the Megaron Mousikis Athinon for the completion of my research project entitled " Physical and Psychological Problems of Musicians". I hope to publish the results in the form of a book in mid-97 and eventually I would like to establish a center for performing arts medicine in Athens.
Ilias Sakalak


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

Dutch-born Margriet Tindemans is one of the most sought-after players of early bowed string instruments world-wide. She directs the Northwest Center for Early Music Studies and is on the faculty at the University of Washington. She has recorded for Harmonia Mundi Germany and France, Erato, Accent, Classical Masters, EMI, Smithsonian Collection, Eufoda, CRD, Koch International Classics, and Wildboar.

TF: I thought it would be interesting to read the views of an Early Music specialist, since we often read what the typical cellist thinks of the Early Music world. In other words, we get to hear from the "other side" in this interview. For those of you who don't know, when an Early Music person refers to a "Modern Cellist" they are referring to the typical cellist today, who does not attempt to play "authentically," and does not employ more historic instrumental and musical performance practices. Also, the words "viola da gamba" and "gamba" are used interchangeably.

!!! A sound clip and photo of Margriet Tindemans will be posted later this month!!!



by Bret Smith

"As performers and teachers of musical instruments, we are all vitally concerned with the development of technical facility in both ourselves and our students. The progression from beginning levels to mastery involves learning an ever-increasing body of knowledge, at ever-smaller levels of detail; this information must become so deeply internalized that we can essentially forget it in performance and simply let the music emerge. This has, no doubt, always been the case with fine players, even at the earliest stages of the development of the art form. As the technology and equipment for music-making has grown more complex and refined, so has the pedagogical "equipment" which allows us to approach the goal of fine performance.

This article explores some of the pedagogical literature of the cello, focusing on tone production and legato bow technique, to point out ways that both the amount and types of knowledge available to cello teachers have grown and changed in the last six generations."

by Gordon Epperson

"It is no accident that our Age of Analysis is also an Age of Anxiety. "We murder to dissect," said Coleridge. And we do it from the highest motivations: we wish, even as we further dismember Humpty Dumpty-his Fall being, presumably, some kind of Original Sin-to put things right, to get closer, some how, to perfection. The result, among string players, is a mechanical accuracy and fluency without parallel in the history of the art...

The emerging prototype of what might be considered a holistic performing musician, in our culture, is versatile: a player who loves the art, who can hold his own in performing the great orchestral and chamber literature, the solo and duo sonata, and even-if he has the gifts and appetite for it--engage in pyrotechnical display. (He may also, like his counter parts in earlier centuries, take his turn at composing.) There are more and more artists who fit this description, and many arenas for the exercise of their powers."



I was born in 1976 in Moscow. When I was six, my parents made me enter a school affiliated with the Moscow Conservatory. My first teacher was Gayan Mendoyan, she is now living in Brazil. When she has left for this country, I became a student of Sergy Krochkin. He is now a cellist in Bonn Symphony orchestra. I have entered a conservatory college in 1991 and my teacher there was Alexei Seleznyov. While in his class, I played many concerts in different cities like Kiev, Ukraine, Nizhny Novgorod, Russia and in Moscow itself, indeed. The programs included music by Davydov, Dvorak, Glazunov, Valentini, Locatelli, Prokofiev, Bach (indeed!) and many others. I especially like Elgar's Concerto, can't say why, though.

Now I'm on my first year in Moscow Conservatory, my teacher is Kirill Rodin. He is a comparatively young cellist, though very talented. Unfortunately, he doesn't have much time to spend with his students, so I'm kind of on my own now. Luckily, my father is a great musician, famous & extremely strong french horn player Igor Lifanovsky. He is a 1st horn at the Bolshoi Theater. He is spending a huge amount of time teaching me and it really helps. In fact, he has the biggest influence on me musically and otherwise. In the near future my trio will perform Mendelsohn's 1st trio, Rachmaninov's 1st trio and Beethoven's 3rd trio. That will make a great end for the year!

And for four months, I have been working at the Compact Book publishing house. It is a Russian multimedia publisher who now creating an encyclopedia about Tchaikovsky, and I work as a project manager.

Also, I have two articles published by The Los Angeles Times. One about the 10th Tchaikovsky Competition in 1994 and another one about the Schnitke Festival held in Moscow in the same year. If anyone is interested, those articles are available by request on my e-mail: boris@cello.msk.ru



Orchestra Hall, 5/1/96, 8:00 pm
Program: All Beethoven

'Ein Madchen..."
Sonatas nos.4,5
Sonata no.3
Chopin Sonata, slow movt.

It was wonderful, especially the breath of fresh air by Chopin after an equally great (but somewhat static in terms of musical language) Beethoven semi-marathon. Emmanual Ax was superb too, very musical and communicative, as usual. It was sold out, and you could see why - the hall was bursting with cellists and string players, in general. He played on his Strad, with a Tourte bow, and from the Henle-Navarra edition. Ax played the Steinway (thank goodness they didn't use the usual CSO Baldwin, which has a hard and almost un-cultured sound). From a short conversation afterwards with YoYo, I learnt that he won't be at the next Manchester International Cello Festival (1998). Well, you can't have it all, all the time.
Andrei Pricope


by Boris Lifanovsky

Moscow has a wide range of places where they teach music, and quite a number of concert halls. Among the last ones built are the concert halls of Moscow Conservatory. There are three of them: Great Hall, Small Hall (it is particularly good for cello - the sound projects very well and it is very easy to play) and Rachmaninov Hall. The Great Hall is the preferred concert hall in Moscow; whenever a famous musician come to Moscow he or she performs in the Great Hall.

As for musical education, most Russian children attend so-called musical schools in addition to regular school. There are more than 100 such schools in Moscow. After eight years, those students wanting to pursue music professionally must enter one of three so-called high schools: Music College affiliated with Moscow Conservatory, Gnesins' Musical College, Ippolitov-Ivanov Musical College. Then to acquire a bachelor's degree, one must enter the Moscow Conservatory or the Russian Academy of Music.

There are many great cello teachers and professors in Moscow. In the Gnesins' College there is Nadezhda Birina, Tatyana Prokhorova. In the Conservatory's College there is Alexei Seleznyov, Galina Soboleva. In the Conservatory itself - Igor Gavrysh, Ernst PozdEyev (Russian Nation Symphony Orchestra, 2nd cellist), Dmitry Miller (Bolshoi Theater lead cellist) and Kirill Rodin (Tchaikovsky competition winner). Unfortunately, the famous Russian cello professor Natalya Shakhovskaya has left the Conservatory this year because of a quarrel she had with other cello teachers. There are also many fine chamber music coaches. In the Russian Academy of Music a professor of quartet is Valentin Berlinsky, a cello-member of the legendary Borodin Quartet. In Moscow Conservatory the entire Shostakovich Quartet is teaching. Their cellist's name is Alexander Korchagin. The famous cellist Alexander Rudin (also a Tchaikovsky competition winner) is teaching chamber ensemble in the Moscow Conservatory.

The Conservatory's College student orchestra is directed by Anatoly Levin, the supposed best in Moscow. A few orchestras not affiliated to any college: New Names chamber orchestra under Igor Dronov and International Children Orchestra under the Conservatory's professor Leonid Niklayev.

Moscow is the home of many 'real' orchestras, like Russian National Symphony Orchestra under Mikhail Pletnyov, Orchestra of the Russian TV & Radio under Vladimir Fedoseyev, State Academic Symphony Orchestra under Yevgeny Svetlanov and a few others.

Recent events:
--On June 3rd Montserratt Caballe sang a solo concert in Great Hall. Announced program includes Rossini's, Verdi's Puccini's works and more.
--May 25th, Cellist Ivan Monigetti played a solo concert with pianist Konstantin Orbelyan. He played Beethoven's 7 Variations on the Theme by Mozart, Beethoven's 3rd Sonata and Boccherini's B-dur Concerto. The chamber orchestra was conducted by K. Orbelyan. Nice show for those who enjoy an authentic approach.
--A cellist winner of the last Tchaikovsky competition Georgy Gorunov performed the Shostakovich Concerto #1 in Great Hall May 28th.

Boris Lifanovsky


PART 3: Husband, Accompanist, Conductor

by Marshall St. John

An ongoing serial story of the most influential cellist of the early 20th century.


***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. ***



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 reproduction.)


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

Waleska String Music Seminar
It will be held at Reinhardt College in Georgia July 15-20. Details can be obtained from the website: http://sacam.oren.ortn.edu/~schriste/waleska.htm
If you have any questions I would be glad to answer them.
Sandy Christen
Oak Ridge HS, Oak Ridge, Tn 37830
W:482-8508 H:483-1919

The 2nd Annual NDCA Festival
Boston on August 1-3, 1996 at Berklee College of Music.
Featured cellists will include Mark Summer, Erik Friedlander, Matthew Brubeck, and 6 others! If you are interested we can send you a brochure. One of the NDCA's main projects is the NDCA Festival, an annual symposium on the current state of the non-classical cello. The festival features performances and hands-on workshops by some of today's most innovative non-classical cellists in many different styles.


***Paul Critser, ICS Net Surfer
Marshall St. Paul, ICS Net Surfer "Internet Cello Societys"
Paul Stauffer, ICS Net Surfe: Instrumentalists and Symphony pages***


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