'TUTTI CELLI' Newsletter



    |    www.cello.org



\ _/    'TUTTI CELLI' Newsletter, November/December 1996

TUTTI CELLI CONTENTS -- volume 2, issue 6

ICS New Members Message
ICS News and Announcements--WWW.CELLO.ORG --new virtual domain name
John's Jabber-
Letters to the Editor
New Member Letters

Featured Artist !!! ICS EXCLUSIVE INTERVIEW !!!!


Member Spotlight *** ROBERTA MORTON FROM MORTON ***


Ongoing Serial *** PART 5: CASALS AND THE BACH SUITES ***

ICS Forum Should I choose music as my career?

Music Festival Watch World Cello Congress
ICS Library and Reference
Activities and Notes Board--ADAM CELLO COMPETITION
Other Internet Music Resources --Artaria Editions


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
*ICS Forum
*ICS Bulletin Board Service (moderated)
*Library archives including various cello society newsletters, articles, etc....
*Membership register searchable by various criteria
*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 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 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 will resume when there is enough interest.


WWW.CELLO.ORG replaces http://tahoma.cwu.edu:2000/~michelj/
Yes, cello.org is our new virtual domain name address. Memorize it and tell your friends.

ICS@CELLO.ORG to replace CelloTalk@AOL.COM
In a month I will close my America Online account in hopes of saving some money. In the meantime send me email at director@cello.org

CELLECTION--Favorite Cellist Voting Booth
Cast your vote for your favorite cellist(s). Each member can choose up to ten cellists. Then view the evolving poll results.

To update your membership registration information, submit the update form at www.cello.org/The_Society/Membership.html with any additions, deletions or modifications. Be sure to fill out all the fields of the form because the new registration will overwrite the older one. Email and name changes must be done manually. To request a change of name or email address, write the ICS DIRECTORY AND EMAIL LIST MAINTAINER,
Robert Whipple at whipple@essex1.com .
Type "ICS Directory Change" in the subject field and only submit the requested changes.

ICS Fundraisers
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 Reporters/Writers/Reviewers
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.

Roberta Morton at mortonr@cwu.edu will be serving as editor of TUTTI CELLI and coordinator/host of the ICS Forum.

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


Thank you, the membership and ICS staff, for contributing your time and energy to make the Internet Cello Society what it is today. The collective efforts of all of you is what makes the ICS such a meaningful, educational resource for the global audience. Fortunately we have some new help to make things more efficient.

Roberta Morton, mortonr@cwu.edu, will join the ICS Forum Directors as the College Student host and will coordinate the ICS Forum's future activity. She is also helping me produce the TUTTI CELLI. Roberta is a talented graduate cellist at Central, and I believe that you will enjoy her sense of responsibility and friendly manner. David Black, dblack@icarus.shu.edu, our cgi programmer, has put together the Cellection Booth. He is the quickest programmer that I have ever met! We hope to have him write other useful scripts in the future.

Thanks to all the new help, I hope that I can better serve as the ICS Director, realizing new services for the ICS membership.


***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.)***

Below is one of many kind responses to my e-mail message that explained the mail server malfunction which sent multiple copies of the TUTTI CELLI to many unsuspecting members. I appreciated the encouragement.
John Michel
Thank you for the explanation. I just deleted the excessive copies from my inbox folder. No harm done. I figured that there had to be a problem, because I didn't think that the ICS would play such a practical joke. Anyways, I really look forward to reading the newletters, since it is my passion as well as my line of work.
I want to take the time to personally thank you and the rest of the staff (including those who end up as ledger lines - extra workers (-; ) for the GREAT JOB that you're doing!!! I'm in the L.A. Violoncello Society, and I'm under the impression that people are fading away from the group, due to lack of interest or conflicts in scheduling. Either way, your forum is very extensive and I am very grateful for the fact that you guys take the time to do all of this work. I'm proud to be on your list, and I tell other cellists and cello students about it.

Would you mind making a correction in the report on my session at the Cello Congress? In "b) The basic cause of pain ....." I intended to make the point, that although many consider repetitive motion and overuse to be the basic cause of pain, I do not agree with this point of view. The article summarizes my point in this manner: "The basic cause of pain: repetitive motion and over-use. Vibrato is a classic example of repetitive motion." This is the opposite of what I believe. A good substitute might be: Although some experts consider the basic cause of pain to be repetitive motion and over-use, all repetitive motions are not the same, nor do they all cause pain. Vibrato, for example, releases rather than creates tension.
I hope this is not being too picky because I really do appreciate the report and the kind comments about my book.
Thank you,
Victor Sazer


I had a great deal of difficulty finding a cello, literally a couple months of effort. Then I had a great deal of difficulty connecting to this site. Everything has been a challenge, but I've persevered. I began thinking that you've really got to "want" to play cello--kinda like a test up front.
Playing the cello is definitely not for the meek of will or heart :-)
Anyway, thanks again!

I have been playing (or playing with) the cello for 8 years now. I love the violin family of instruments. I both make and repair them. My actual musical love is Appalachain music and its history. I also play clawhammer style banjo. Outside of that I am a husband, a father and a United Methodist Minister.
Thank You
Jackson Joseph Larwa II


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

Janos Starker is known throughout the world as a soloist, recording artist, and teacher. Born in Budapest in 1924, Janos Starker came to the United States in 1948, where he subsequently held the principal cellist's chairs in three American orchestras, including the Chicago Symphony under Fritz Reiner. Starker then resumed his international performing career in 1958. Since then he has performed thousands of concerts with orchestras and in recitals throughout the world. When not touring, Janos Starker holds the title of Distinguished Professor at Indiana University in Bloomington, where his classes have attracted talented string players from around the world.

"TF: I also noticed that whenever the score says "Molto Appassionato," you tend to play with a fast bow and with your narrow vibrato, sounding almost like an "authentic" player.

JS: Everybody knows that "Molto Appassionato" means crying or sobbing. Again, how one expresses this is debatable. There are some people who cry such that their whole body shakes, while some people cry crocodile tears. I cry in my own way."

"TF: Do you feel that musical performances have become too homogenized, lacking in distinct personalities?

JS: I can only answer as I have many, many times. One of the worst statements on the subject came out of the mouth of one of the most admired pianists of all time, Artur Rubinstein, who lamented, "What happened to yesteryear's greats?"-- the Rachmaninoff's, etc. Today there are thousands and thousands of pianists who play fast, accurate, and loud, but "what happened to the greats?"

The fact is that the numerical increase in the population of musicians has produced an incredibly high standard, which means that today we have thousands of cellists who basically play the instrument better than the majority of cellists who played 50 years ago. But that doesn't mean they are all great. Listening to young people who graduate from the conservatories and the universities, we still wonder why they aren't as great as Casals, just as we have for decades. There are still those handful of greats today just as there were in the past, except that the rest of them, the thousands, are incredibly high in standard. I rejoice in them because that's the reason why the Civic Orchestra of Chicago, as well as the thousands of civic and community orchestras, can produce quality performances.

I think we are living in a golden era of cello playing, and, as I said at the outset of the Cello Congress, there has never been so many fabulously gifted musicians -- cellists who are instrumentally and musically well-trained. But, out of this multitude, the same small number of great performers will emerge. So rest in piece, Mr. Rubinstein."

!!! A handsome photo is included in the Web version!!!


by Tim Finholt

"I am sitting with my cello, clearing my head of the mundane stresses of everyday life. Nothing else matters, only my cello, my bow, and my own sense of quiet contemplation. Concentrate on breathing. Concentrate on relaxing. Concentrate on the feelings of tenderness and love for music and love for this wonderful instrument I have before me."

I start with the bow. I look down at my cello and count the strings. There are only four. (What a relief -- sometimes it feels as if I am playing a sitar!) No matter how fast or slow I play, I am always playing on one of these. But it's more challenging to play fast because it's more difficult to keep track of which string I'm on. This leads me to suspect that many perceived left hand problems are actually right hand problems. If I really want to learn a passage, I should play it slowly first and figure out which string each note is on.

I begin to play a passage from a concerto [see example at the Internet Cello Society Web Site] with the left hand 'shadow' fingering above the fingerboard, while I play the corresponding open strings with the bow. As I play the open strings faster and faster, a pattern reveals itself: A-A-D-D-A-A becomes a repeating sequence. It's the famous passage from Saint-Saens' Concerto no. 1 [measure 297]. Repeating this until it becomes internalized, I add back the left hand. What a difference--it's so much cleaner! Of course many passages are not this regular. But the general principle holds: always know what string you're on.

I then note that whatever I play using my bow, it is either traveling up or down-bow. This observation may seem trivial, but it becomes crucial when playing fast, when it's often difficult to keep track of the direction the bow is supposed to be going in: always know in what direction you are bowing.

Looking at my bridge I notice that the strings are at different elevations above the cello body; the D and G-strings are higher than the A and C. I alternate between playing the A and D-strings. Because of the difference in heights, I tend to have a broken sound as I switch from one to the other. How can I achieve a smooth legato? Michael Tree, violist of the Guarneri Quartet, solves my problem:

"When one hears an unwanted break in the line at the moment of string crossing, it's usually because the arm doesn't prepare for it in advance. The arm has a wide potential latitude of vertical movement. You can raise it to play on the left side of the string or lower it to play on the right, or you can play dead center. If the arm anticipates the string crossing by leaning in the direction of the note that's coming, a more fluid, circular motion is achieved. The difference of a quarter of an inch may be enough to put the arm in position; the wrist can do the rest. But many players will do the exact opposite and lean the arm in the wrong direction; the result is an abrupt, angular movement." (4)

"This means the more economical my motions are, the easier it is, and the better I sound. This is definitely a step towards my goal of simplicity."



Living in a small logging town in the middle of the Cascades has is advantages and disadvantages. Among other things, being Roberta Morton from Morton gives me an instant conversation starter . Anytime I want to go hiking, fishing, canoeing or any other outside activity, I need look no further than my backyard. Unfortunately, being a classical musician in such an isolated area can make it difficult to attend the concerts and other musical activities that enrich the lives of those who live in more populated areas. Participation in the Tacoma Youth Symphony meant spending all day Saturday in Puyallup, Tacoma and Seattle so that my sister and I could take violin, cello and flute lessons in addition to playing in the symphony. Living an hour and a half to two hours away from these cities also made frequent concert attendence impractical on any day other than Saturday evenings. Even so, we managed to attend a few wonderful perfomances, returning to Morton around one o'clock Sunday morning.

Going to college at the University of Puget Sound in Tacoma created new opportunities for musical enrichment that were previously impossible for me to explore. My fellow students and I discovered the joy of sightreading string quartets and playing chamber music. Faculty concerts, the Tacoma and Seattle Symphonies, Seattle Opera and the Pacific Northwest Ballet were the new attractions outside my backdoor. As a sophomore I was given the opportunity to attend a Rostropovich recital at the Opera House. I was so excited that I arrived at the concert two hours early. When I finally found the upper balcony the doors to the seats were locked because the performers were still warming up on stage. I spent the next two hours reading the program. Of course the music was wonderful, and even though my seat was unbelievably far from the stage, projection was not a problem for Rostropovich. After the recital I managed to escape the post-concert traffic jam. Since I arrived so early I grabbed the very best parking spot in the Seattle Center.

In the spring of 1996 Janos Starker performed the Dvorak Cello Concerto with the Seattle Symphony. As a junior at the University of Puget Sound I was beginning to wrestle with the first movement of this piece and my teacher at the time, Cordelia Wikarski-Miedel, happened to have two extra concert tickets. Not only would I be attending the concert but my friend and I had free BOX SEAT tickets. I didn't even feel bad about paying extra for a close parking space.

I thoroughly enjoyed both the seats and the performance. After the concerto, during intermission, Mrs. Miedel found our cluster of UPS students and led us to Starker's dressing room. My teacher began her introductions while he leizurely smoked his cigarette. My introduction went along the lines of "This is Roberta, she is just starting the Dvorak so she was listening for mistakes! [chuckle]" I think I shook his hand and told him I was counting them all (as if there were any to count). The encounter was very brief, but memorable.

I have now graduated from UPS and am currently pursuing a masters degree at Central Washington University, studying with Mr. Internet Cello Society, John Michel. Seattle and its music scene are a little farther away here in Ellensburg, but I pleasantly surprised to find a rich musical community centered around the University. This proves that even in a relatively isolated area, such as central Washington, one can find a variety of wonderful musicians devoting their lives to music.


By David Tomatz

Violinists, eat your heart out! On October 1, 1996, cellist Laszlo Varga premiered his latest tour de force, a transcription of Beethoven's Violin Concerto in D, Opus 61. Appearing with the Woodlands Symphony, a professional chamber orchestra based in a remarkable planned community to the north of Houston, he performed the demanding work on his violoncello-piccolo, a five-stringed cello with an e string. Varga, a distinguished professor at the University of Houston and internationally recognized artist, has amazed his audiences with his virtuosic performances on this five string instrument. Among the works that this listener has heard him perform on it are Schubert's Arpeggione Sonata and Bach's Suite No. 6, each quite astonishing in its technical execution and beauty.

But beware, undertaking a cello-piccolo performance of the Beethoven Violin Concerto, a work which still confounds most violinists with its technical and musical demands, is not for the faint-hearted. Varga was more than up to the task. He gave a remarkable performance that was rich in musical textures, contagious in its warmth of phrasing, and absolutely dazzling in its technical conquests.

Although all aspects of the performance were satisfying, the second movement, Larghetto, was especially eloquent, and the final Allegro was imbued with particular charm and elegance. The sound of the cello-piccolo was clear and strong, and the e-string somewhat reminiscent of a super-viola.

The Woodlands Symphony, opening just its fourth season, played with conviction under the expert baton of the young American conductor, Dagang Chen. The other works on the all-Beethoven program were the Overture to Fidelio, Op. 72b, and the Fantasy for Piano, Chorus and Orchestra, Op, 80. Pianist Vania Pimentel, soloist in the Fantasy, gave a compelling performance, and the new Woodlands Symphony Chorus, Joseph McKinney, director, was more than adequate to the demands of their first performance.
David J. Tomatz

***For more information about Varga's arrangements for solo cello and
cello ensemble please contact WWW http://members.aol.com/vcello1/.***

by Slobodan Gospodnetic

This article discusses the collected works of cello pedagogue and composer Rudolf Matz. Who is Rudolf Matz, you might ask? Gospodnetic explains:

"Until recent years most cellists needed no introduction to the name of Rudolf Matz and his legendary accomplishments. For example, Leonard Rose called him, 'perhaps the greatest cello theoretician in the world.' And Janos Starker says that 'Rudolf Matz's dedication and expertise has produced much needed material for the young cellist.' "



by Marshall St. John

An ongoing serial story of the most influential cellist of the early 20th century. This issue explores Casals' life long relationship with Bach's cello suites.


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,

***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.***

Report of the Cellists-by-Night:

We tackled important technical issues such as how to practice octaves, and how to improve one's ability to play fast. I was also asked the following important question:

"I began playing the cello five years ago at the age of 17. I love playing the cello and would like to make it a side career. I will be graduating from Georgia Tech with a degree in Materials Engineering and I have a degree in Chemistry from Spelman College. Although I love science, I also love music. My playing has been continuously improving but I need some encouraging insight on finally becoming a great player. Do you know of any professional players who got such a late start? Are there any books I can read on this topic, or on cello technique in general?"

If your heart is telling you that you must give music a shot, then I would suggest you listen to it. The world is full of people who are doing something that they don't want to do, who are full of "what if's." They are doing what their brain is telling them to do, instead of their heart. When you consistently listen to your brain instead of your heart, you can waste away many years of your life and can cause an emotional "death." Of course there are times when you need to do the practical thing, like when there are children involved. But you are 22 and you have your whole life ahead of you.

I understand your drive to go into music. Music is such a wonderful,
life-enriching art, that it's hard to understand why EVERYBODY doesn't try to make it their life. I understand very well.

I would be negligent if I didn't share with you some realities of the music field, however. The music business is VERY competitive. The job market is saturated with excellent musicians who can't find jobs. There were 200 applicants for a position in the Seattle Symphony recently. Also, classical music is a shrinking market: only 3% of record sales are for classical recordings, and this number is still going down. Some orchestras are going bankrupt, others are on strike (Portland and maybe Phoenix soon), and others are losing their recording contracts (Philadelphia Orchestra).

If you are still intent on pursuing a music career, you cannot do it alone. I could suggest books, but books are not the answer. You must find a great cello teacher. And you must dedicate your life to cello for several years, practicing hours and hours every day, practicing scales of all types, etudes, etc. You can't do it half way. You must become totally emersed in music. Then and only then will you have any chance of success as a performer.

You asked about age. This is a delicate subject. I can only answer from my own experience. All of the people I know who have found orchestra jobs or professorships showed talent back in high school, with no exceptions. Though they weren't playing perfectly back then, they were definitely the leaders of my peer group.

But then again, my teacher told me I was too old when I started with her at your age. Though I don't have a performing career, I have a solid "career" in music as a writer and teacher.

Which leads me to my point about what constitutes a music career. There are many parts of the music world. There are soloists, orchestral players, teachers, historians, composers, theoreticians, writers, listeners, amateur players, recording engineers, critics, talent agents, record companies, record sales, and so on. All of these are extremely important, since without any one of them, the others will suffer. So, if you are unable to find your place as a professional performer, there are many other niches that need filling.

I hope I have given you a balanced presentation. You have a right to want things in life, and you have a right to ask for them and to work for them. I enthusiastically support your decision, no matter which way you go. As Joseph Campbell said, "Follow your bliss."
Tim Finholt




***Sarah Dorsey, official ICS librarian at SBDORSEY@steffi.uncg.edu (Please do not abuse this valuable service; check local libraries and resources before contacting Sarah.)***

Dear Marguerite, Sorry I have not responded until now, life has been crazy and I was away for a while. I did find one citation for a cello arrangement of the song "Plaisir D'amour" (which, by the way has been arranged for many different instruments) on FirstSearch. The OCLC accession number is 21276614. If you ask your local librarian to do an inter library loan that number will make things easier. The odd thing is that the only place which is listed as owning the thing is the Norfolk Public Library (Virginia). But they do say they lend, so if they have it, you should be able to get it.

I've checked 3 out of the 5 collections we have on campus and no luck so far. I'll get back in touch after checking the other two (I have to go to another building to do that). In the meantime you can initiate the ILL request. The other information on the score, by the way is this: "Plaisir damour: for violin or cello solo with piano accompaniment; also trio. England: E.H. Freeman, 1952 (plate No. 2022). Good luck and hope this helps!
Sarah Dorsey


***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.)


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

Christchurch, New Zealand
The dates for the Competition will be 22 to 29 June 1997.
Age limit: 30 years on 29 June 1997
1st prize: NZ$ 8,000
2d prize: NZ$ 4,000
3d prize: NZ$ 2,000
Prize package includes: performance engagement with New Zealand SO in 1998, recording of the compact disc for 'Naxos' label, and recital at the Brisbane Biennal.
Applications deadline: 1 April 1997 (applicants for the Competition should send application form and the high quality audio cassette tape with the recording of any piece from the 1st or 2nd round). Application forms and inquires:
Dr Alexander Ivashkin
Festival Artistic Director,School of Music, University of Canterbury
P.B. 4800 Christchurch, NEW ZEALAND
FAX: +64-3-3642728,TEL: + 64-3-3588605


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

Vermont Composers Consortium
Please note the above address correction.

Artaria Editions
Specializing in rare 18th century repertoire, announces its current catalogue. Pieces of special interest to cellists include the complete cello concertos of Leopold Hofmann, the current recording project of British cellist Tim Hugh.

Musicians On the Internet
A virtual listening booth including a cellist who likes to play his
cello in the surf!

Tour of Cremona
Interesting historical tidbits about the violin.

Extensive list of orchestras with web pages

Joshua Furman's Home Page
Joshua is a student who really knows how to research and write a great cello article!

Edition 49 Music Publishing, Music Engraving
Very interesting music from Estonia for cello!

Worldwide Internet Music Resources--Indiana University

(please note change of address)


EMail Lists/Listserves:
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

Send comments on the content of this server to John Michel at director@cello.org
Copyright © 1996 Internet Cello Society