• What's New at ICS -- 2,700 members from 59 countries!
  • John's Jabber -- New ICS Staff
  • New And Old -- Members' Letters
  • ICS Exclusive Interview -- ** CONVERSATION WITH BION TSANG **
  • ICS Award Website -- ** A-CELLO-RONDO **
  • ICS Forum/ Cello Chat Board -- Chopin Sonata bowing questions
  • Music Festival Watch -- Festival-Institute at Round Top
  • ICS Library and Reference
  • Activities and Announcements -- Oxford Cello School
  • Other Internet Music Resources -- The Bachannalia '98


Countries represented by our membership include Argentina, Australia, Austria, Belgium, Brazil, Canada, Chile, China, Columbia, Costa Rica, Croatia, Czech Republic, Denmark, Dominica, Finland , France, Germany, Greece, Guatemala, Guinea-Bissau, Hong Kong, Hungary, Iceland, Indonesia, Ireland, Israel, Italy, Jamaica, Japan, Latvia, Luxembourg, Malaysia, Mexico, Netherlands, New Zealand, Norway, Philippines, Poland, Portugal, Puerto Rico, Romania, Russia, Serbia, Slovenia, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, Thailand, Turkey, United Kingdom, Ukraine, United States, Uruguay, Venezuela and Zimbabwe.

ICS homepage is averaging 200 hits per day!

More amateur and professional webpages being added including one for Janos Starker!

The Internet Cello Society can now stream RealAudio content on its own server! ICS has begun to broadcast cello recitals and concerts over the Internet!


The Internet Cello Society has had several substantial changes in its volunteer staff. We were sad to have Webmaster step down as ICS Webmaster a month ago because of mounting professional demands. Dan provided ICS with professional webmastering experience at a critical time of need.

Fortunately, our former webmaster Marshall St. John has returned back to cyberspace with a renewed energy and long term commitment to the position of ICS Webmaster. His service of updating link information and ICS website content on a very frequent basis will hopefully breathe new life into our organization.

Rajan Krishnaswami has been generously offering his expertise on the CelloChat bulletin board and has volunteered to be a regular ICS Host. On top of his teaching at the University of Washington, he plays in the Pacific Northwest Ballet Orchestra and is on leave from the Northwest Chamber orchestra. He is a wonderful teacher and artist and was recently named vice-president of the Seattle Violoncello Society. He can be emailed at

Deborah Netanel will serve as our ICS NET Resource Editor; if you would like to recommend interesting websites email her at She in the DMA program at University of Cincinnati College Conservatory of Music and serves on the College Preparatory Department faculty.

Abby Ross will serve as ICS Forum/Cello Chat Editor and can be contacted at

This month marks the debut of our RealAudio server. ICS will broadcast my November 19th recital with pianist Lisa Bergman, and plans to broadcast concerts on a more regular basis from submitted tapes. If you are interested in giving a worldwide Internet debut, please send selected excerpts directly to me. Tapes will not be returned. Be sure to include concert information and written permission (ASCAP, BMI, edition publishers and others) for all compositions to be performed that are not in the public domain.

As ICS director I would love to see more active participation among more of the members, especially those outside of the United States. I am sure that the membership would really like to hear about cellists and related events in Japan, Brazil, Ukraine, South Africa and other countries! Please consider writing a "membership spotlight", "cello scene" or an other cello-related article. Details on content and formatting will be made available in the Newsletter section of the ICS website.


Dear ICS Webmaster,
I really dunno what to say, you did the most precious thing for me and my cello teacher. He is such a great and nice teacher. I have nothing to give him, and this webpage would be the best gift. I really enjoyed your Internet Cello Society that I go there almost every day! Anyway, thousands thanks to you!

Good job on the new page layout! I prefer it very much! Keep up the good work!
Doug Skinner
**We are all happy to have Marshall's talents back at ICS!
John Michel

My 12 year old daughter plays cello and is also doing a class project on cello. We've just visited your site and like the photo of the little boy by the cello showing the different parts of it. We both thought that its great to have a personal touch to the cello, and the site is very detailed and accurate - congratulations !
Tangi & 'Ailini - cello information hunters.

Just wanted to say "thanks!" for the Cello Repertoire that you have obviously worked very hard to compile. I am just getting back to cello after a ten year absence and really needed to get some good suggestions. Thank you for providing me with such a wonderful resource.

**If you would like to respond to something you have read in 'Tutti Celli', write to and type "Letter to Editor" in subject field. (Letters may be edited.)**



Bion Tsang has appeared as soloist with the New York, Moscow, and Hong Kong Philharmonic Orchestras, the National, American, Atlanta, and Pacific Symphony Orchestras, the Stuttgart Chamber Orchestra, and the Taiwan National Orchestra. Mr. Tsang's career as a chamber musician has been equally distinguished, marked by numerous collaborations with violinists Cho-Liang Lin and Pamela Frank, frequent appearances as guest artist of the Boston Chamber Music Society, and performances at festivals such as Marlboro Music, the Portland and Seattle Chamber Music Festivals, and the Laurel Festival of the Arts, where he serves as Artistic Director.

TF: You have been a soloist with several orchestras. What did you need to learn in order to become an effective soloist?

BT: Well, this is an ongoing learning process. The most difficult thing is the fact that all orchestras are different, especially at this stage of my career. I play with orchestras at many different skill levels, which can be a real adventure. With each orchestra I have to assess how much I can lead versus how much I have to follow, simply because the orchestra may not be able to follow me. I'm constantly trying to determine how much freedom I have. This is the most difficult aspect of being a soloist for me.

TF: What lessons have you learned about connecting with the audience?

BT: Before you can connect with the audience you have to be heard. So I work a lot on projection. When you play in recital you can always tell the pianist to put the lid down. It's not that simple when playing with an orchestra. Orchestras can only play so softly, even the best ones.

TF: You are both a soloist and a chamber musician. How does your playing change when you switch between solo and chamber music?

BT: Much more blending is required in chamber music. In a sense, chamber music is easier since you're not in the spotlight the whole time. When you play solo, even if you're playing an accompaniment, all eyes and ears are on you. Soloing takes much more concentration. That's not to say that I don't concentrate when I play chamber music, it's just very different. I think more about blending with and supporting the other chamber musicians, and about how to bring out the structure and harmonies of the piece....

TF: What kind of playing do you not like?

BT: One of my pet peeves is the excessive use of portato, when there is a small dip in sound between slurred notes. I love hearing a smooth line, where the bowing is smooth and the articulation is done only with the left hand. I don't like it when a musician tries to create a sense of legato by layering instead of sustaining and playing through a line. I don't mean that portato should never be used. It should be used consciously, not out of habit.

TF: Do you have any pet peeves in performances of the Bach cello suites?

BT: No, I'm very open to different ideas on Bach. My favorite interpretation is definitely Casals'. I lean towards his approach when I perform them. I can appreciate just about any performance as long as it's convincing and it brings out the structure of the piece.

TF: As you know, Casals came from a very different era. His playing reflects the "sound-world" in which he lived, a more Romantic time. Would you say that you love Casals' approach to Bach, but that you wouldn't want to play like him?

BT: I would love to play like him, and I hope that my playing reminds people of that era. I love his style of playing and I hope that it is a part of me.

I've had other models besides Casals. My other main influence was Rostropovich, because my father loved him and bought a lot of his recordings. My dad would drive me every Saturday to Juilliard, a 90 minute drive, and there would always be a tape playing in the car.

Rostropovich's approach is on a much grander scale than Casals', not that Casals didn't see the big picture. Rostropovich is always thinking in terms of large chunks and the larger phrase, which I try to emulate in my own playing. Casals dwelled more upon the intricate details of each note and phrase. So I try to incorporate both Casals' and Rostropovich's approach. I try to play music on as many different levels as possible so that a phrase will be unending in a sense, while still bringing out the small phrases. Like a great painting, the music should be beautiful from far away, and retain its beauty as you get closer and closer, even when you see the fine details.

Casals never lost sight of the big picture. But I think he was so earnest about teaching every little detail that people often lost sight of the wider view. People get caught up in the details when they listen to him play. But I think if you were to analyze his recordings you would find that he had a grand vision. For example, if you were take a decibel reading of his interpretation of Bach, you would probably find that the loudest point would be the climax of the entire piece.

Learn more about Bion Tsang, and hear him perform at his website:



(The following was a recounting of an experience by Gabriel Magyar, cellist, which any travelling instrumental musician can relate to. Gabriel Magyar was the cellist in the Hungarian String Quartet 1956-1972. He was also cello professor at the University of Oklahoma in Norman and the University of Illinois in Urbana. He is now retired and living in Urbana, Illinois with his wife Julie.)

Stop! I know what you think. No, the title is not spelled wrong. It is not a mistake. if you read our story, you will find out why. Our string quartet, in which I was the cellist, had four members, as any other string quartet. However, sometimes we swelled to an octet, when our wives also traveled with us. Unfortunately, this did not happen very often, but we arrived one early afternoon in the railway station in Lyon, a beautiful picturesque French city on the banks of the river Rhone, with our "Little Orchestra" together.

When we pulled up to our hotel in three taxis there was at least three times as much luggage as we normally carried. Julie and I were very sleepy and tired; anything but alert. Usually we were very careful and watched the unloading to be certain that all the bags were with us. However, this time we left the taxi drivers and hurried to the reception desk to check in and to get to sleep as soon as possible, because the quartet had a very demanding program to play that same evening. Checking our luggage at the reception desk, we discovered to our dismay that a large suitcase was missing. You may guess which one. Mine, of course. This had, among other things, my tailcoat, my collapsible chair, which naturally and hopefully did not collapse during the performances, thank God, but was made to fit my special body position. This gave the necessary comfort to play the cello care free. The luggage also had the music to be played that evening.

We hurried out to stop the taxi that brought us to the hotel, but it was gone. Of course I was very upset. I could not blame anyone but myself. "How could I be so negligent, abandoning the well-proven precautions I always took? Recalling how we hurried to check in, the old proverb came to my mind, "The slower you go, the farther you get!" But there was no time for fruitless recriminations. Clearly, action was needed, but what? Good advice would have been priceless. For one, I needed a tailcoat, so one of the committee members, who came to greet us, took my body measurements, luckily not for my coffin, but for the rental of the missing garment for the evening concert. Another left to try to get the necessary music. Of course, this will not have my very important fingerings and other reminders of our performing agreements! These were only makeshift arrangements for that oncoming concert only. How about for tomorrow and thereafter?

I felt like a drowning person, who grabs even for the last straw. I exclaimed, "Let us drive back to the station. The taxi must be there by now. "We took a taxi to the station. With our non-existent French language and accompanying pantomime, somehow we made ourselves understood as to what had happened. The taxi drivers at the railway station politely listened throughout. Our driver stood by, visibly amused and entertained by our gesticulations. We were informed, to our great disappointment, that once a taxi took a passenger from the station it did not return there again that day. The reason was, that by this practice they gave a chance to their colleagues, as well. Of course, this was a very praiseworthy, democratic system, but it in no way helped us to solve our problems. On the contrary! The desperate situation needed desperate measures. In retrospect, it seems to me that the idea that occurred to us was absolute madness.

We decided to drive around the large city and visit as many taxi stands as possible, considering the limited time available.. The endeavor was like looking for a needle in a hay stack. For this purpose we kept the same taxi, which brought us to the station, figuring that the driver's explanation would be far better than our "Symphony Pathetic."

Through our chauffeur, we asked the drivers at the taxi stands to spread the news among their colleagues, hoping by some miracle the missing bag's story might reach the right driver. We were also driving around, watching the oncoming taxis whizzing by, in the vain hope that we might spot the driver who brought us to the hotel the first time. I have to smile, thinking back, how we sat there, hoping desperately that we might recognize the man and the uniform, speeding by us in a few seconds. After all, a uniform is a bit of a disguise; it destroys the individual characteristics, hiding under the deceptively similar appearance.

After long, exhausting driving, watching, stopping, explaining, we finally returned to our hotel empty handed, giving up all hope. Entering our hotel lobby, what do we see in front of the reception desk? I allow you only one guess! You probably guessed right; the nearly impossible. Our missing luggage was sitting there, smiling at us sheepishly. How can I describe to you how we felt? Can you imagine the feeling of relief and elation? I hope that you do, for it is beyond description.

The receptionist explained that our crazy, impossible strategy actually worked. One of the taxi drivers, hearing our story and remembering the instruments he carted, opened his trunk, and voila! He found the missing luggage. Conscientiously he immediately delivered it to our hotel. The needle in the haystack was found. Our Lyon's share of troubles were over. Our concerts were saved. Our gratitude and blessings will always be with the good taxi drivers of Lyon.

I hope that our adventure proves that sometimes, paradoxically, the impossible after all can be possible. I assure you that thereafter, whether sleepy or not, we always watched the unloading, even if w had to use toothpicks to keep our eye lids open. By the way, according to my wife, the concert the same evening was our most successful one. However, I assure you, if the above adventure is the way to such a success, I would rather not pay the price, thank you.



"Cellists are constantly exposed to a great deal of string literature, which is easily accessed and available to interested readers. Cello information also turns up in other, unusual and most interesting locations, as evidenced by routine data base searches done on a variety of scientific and technical data bases offered through Medline, BRS/CDP, and Dialog, all of which have some information concerning the cello. These vendors offer hundreds of searchable data bases...In the list that follows, I have abstracted articles of interest and edited the author abstracts in order to concentrate on materials that I feel would be of interest to Internet Cello Society readers. It is not, however, an exhaustive bibliography. Each of these articles should be available from your local library or through interlibrary loan.

Palmer, J.B.; Uematsu, S.; Jankel, W.R.; Arnold, W.P. A Cellist with Arm Pain: Thermal Asymmetry in Scalerus Anticus Syndrome. Archives of Physical Medicine and Rehabilitation. 72(3):237-42, March 1991. A report on a cellist with pain and coldness of the upper extremity. Abnormal studies were instrumental in uncovering intermittent compression of the subclavian artery; this prompted the authors to study effects of cello playing on temperature asymmetry. This patient's abnormal skin temperature may have reflected sympathetic vasomotor hyperactivity.

Shapiro, P.E. "Cello Scrotom" Questioned. Journal of the American Academy of Dermatology. 24(4):665, April 1991. Letter to the editor discussing a recent article "Dermatologic Problems of Musicians." Original article designates "cello scrotom" caused by "irritation from the body of the cello." The author of this letter speculates that the irritation was more likely to be from the chair as contact of the body with the cello would require an awkward playing position. (Secondary article: Rimmer. Dermatologic Problems of Musicians. Journal of the American Academy of Dermatology. 22:657-63, 1990. Primary article: Murphy, J.M. Cello Scrotum. British Medical Journal. 2:335, May 11, 1974)

Moreno, J.C.; Gata, I.M.; Garcia-Bravo, B.; Camacho, F.M. Fiddler's Neck. American Journal of Contact Dermatitis. 8(1):39-42, 1997. The dermatologic pathological condition of musicians is a rare medical problem. The authors draw attention to what is called "Fiddler's Neck" a process that is peculiar to violin, viola and cello players and that may be caused by two different mechanisms: contact allergen reaction of a mechanical action.

Royster, J.D.; Royster, L.H.; Killion, M.C. Sound Exposures and Hearing Thresholds of Symphony Orchestra Musicians. Journal of the Acoustical Society of America. 89(6):2793-2803, June 1991. The author's assessed the risk of noise induced hearing loss among musicians in the Chicago Symphony Orchestra. Hearing threshold levels were found to be significantly better for both ears of musicians playing bass, cello, harp or piano and for the right ears of violinists and violists than for their left ears or for both ears of other musicians.

Papich, G.; Rainbow, E. A Pilot Study of Performance Practices of Twentieth-Century Musicians. Journal of Research in Music Education. 22(1):24-34, Spring 1974. Carried out graphic analysis of recordings of violin, cello and double bass students. Pitch vibrato was present in the initial attack of all tones. When each performer used vibrato, the speed of the vibrato and pitch width were the same in solo playing and ensemble playing. Pitch vibrato appeared to be an oscillation in an upward direction from conceived pitch rather than above and below it. When performers erred in going from a lower pitch to a higher note, the error tended to be an overestimation of the interval. Comparisons of solo with ensemble performances indicate that solos tended to be slightly sharper in pitch and that pitch adjustments in ensemble performance tended to be downward."



The Eva Janzer Memorial Cello Center, a member of the American Cello Council, was established shortly after cellist Eva Janzer's death. The purposes of the center are to: 1) honor the memory of a great artist and a much loved teacher by providing support for cello performance, teaching, and research at Indiana University, across the nation, and throughout the world, 2) honor the members of the cello community through the awarding of the "Chevalier du Violoncelle" or "Grande Dame du Violoncelle" Award, 3) to provide scholarships for outstanding cello students, 4) to work closely with other organizations having similar purposes, such as the American Cello Council and the American String Teachers Association.

Eva Czako Janzer was born in India and studied cello at the Academy of Music in Budapest where she received a Diploma of Virtuosity. Twice winner of the Geneva Competition, she had a brilliant career as soloist and chamber musician. She and her husband, famed violinist Georges Janzer, were members of the Grumiaux Trio and Vegh Quartet. She taught at the University of Hanover before coming to the United States where she and her husband joined the faculty of Indiana University in 1972. She died in 1978.

Since 1979, honorees of the "Chevalier du Violoncelle" or "Grande Dame du Violoncelle Award" have included: Pierre Fournier, Bernard Greenhouse, Raya Garbousova, Margaret Rowell, Fritz Magg, Aldo Parisot, Antonio Janigro, Zara Nelsova, Gabor Rejto, Samuel Mayes, Eleanor Slatkin, Harvey Shapiro, Paul Tortelier, Lev Aronson, Jacques Francais, Janos Schulz, and Shirley Treple, Samuel Mayes, Eva Heinitz, Richard Kapucinski, Laszlo Varga, Daniel Saidenberg, David Soyer, Etienne Vatelot, Erling Blondal-Bengtsson, Eleonore Schoenfeld, Takayori Atsumi, Jules Eskin, Martin Ormandy, David N. Baker, Lawrence Block, Robert La Marchina, Louis Potter, George Neikrug, and Uzi Wiesel.

From September 12-14, 1997 noted cellists and teachers gathered in Bloomington, Indiana at the School of Music. They came to celebrate the outstanding careers in cello performance and pedagogy of three distinguished cellists and to celebrate past honorees. This year's honorees included Guy Fallot, Professor of Cello at the Geneva Conservatory of Music, Mihaly Virizlay, Professor at Peabody Conservatory and Principal Cellist of the Baltimore Symphony, and Alan Schulman, distinguished cellist, composer, and conductor formerly of the NBC Symphony and Stuyvesant and Kreiner String Quartets. Alan Schulman was a founder, president, board member, and editor of the newsletter for the New York Cello Society.


November/December Award Website:

Trina Carey features her Suzuki Cello Studio in Pasadena, California.
This local site has a cheerful character, interesting information and some novel treasures .

**Please notify John Michel of interesting websites that you would like to be considered for this recognition in the future. Websites will be selected regularly based on their content, cello relevance, creativity and presentation style!


** If you would like to ask a question, discuss an issue or get some expert advice, post a message to the official ICS message board called CELLO CHAT at:

ICS forum hosts have been asked to check your posts regularly. In this way not only the forum hosts, but the entire membership and Internet community see your message! You are still welcome to contact the forum hosts directly. For a complete list of ICS Forum Hosts please see **

Dear fellow cellists,
At the moment I am preparing Chopin's Sonata for a concert but I've got some serious troubles with the bowing in the opening bars of the second movement. Listening to Dupre it seems to me that she begins with a down bow, but others (f.e. Claude Starck, Tortelier) seem to begin with the up-bow. Rostropovich has a very peculiar bowing which does not correspond to both the Peters edition and the Polish ed. What is your advise on this matter?
Rik Peters,
Nijmegen, The Netherlands

**If you start down bow it makes the pick-up stronger, rather equal to the downbeat--which is what I think Chopin intended. It works either way though. It is necessary to take a separate bow on the third beat of the second bar--which then comes out up bow--so its kind of a toss up. Also a separate bow on the third beat of the fourth bar. I usually find it more satisfying to start down bow but probably I'll change my mind sometime. A bigger question is in bar 79 as to whether the third beat is Bb or B natural. I play a natural. I understand that there are two manuscripts to this sonata and I haven't researched it. Another note question is in measure 84 of the last movement. Here again some editions have Bb on the second to the last note while others have B natural. I like B natural. **
Jeffrey Solow

How does the bow go around the string?
**Try this: place your bow on the G string, then lift your arm to pivot your bow to the D string (starting with your upper arm) and roll your bow around the circumference of D string as you begin a down-bow on the D string. When you have gone as far to the left side of the string as you can, keep drawing the down-bow with your arm at that level. Do it rather slowly at first. Then place your bow on the D string and roll your bow around to the right side to the G string as you play an up-bow on the G string. Can you now feel your bow going counterclockwise on the down-bow and clockwise on the up-bow? Rolling around the string helps you to begin your bow strokes smoothly and maintain solid traction. **
Victor Sazer

**If you have announcements, comments or reviews of music festivals, please contact Roberta Rominger at**

The Binghamton Cello Festival Student and adult cellists and bassists are invited to participate in a day-long workshop, with activities and concerts for all proficiency levels. Special sessions will be offered for Suzuki-trained students, string teachers, and parents.
Andrejs Ozolins

Festival-Institute at Round Top
An educational project founded in 1971 by concert pianist James Dick and offering young talented artists over 18 of age an orchestral and chamber music program each year in June and July. Cello faculty will include Norman Fischer, Peter Rejto and Martin Lovett in 1998.
Alain G. Declert
Artistic Coordinator


**Sarah Dorsey, official ICS librarian at (Please do not abuse this valuable service; check local libraries and resources before contacting Sarah.) If you know of newsletters, teaching materials, references, lists or articles that should be added to ICS Library, please send data to (Library contents will be available to all Internet users; please include author and written statement of release for unlimited or limited reproduction.)**


**Members can submit announcements or news to **

Oxford 'Cello School (patrons: Yo-Yo Ma, William Pleeth)
The OCS was established in 1980 by myself to provide inspiration for my own pupils. Since then the OCS has expanded greatly and has been lucky enough to host such distinguished players and teachers such as Wolfgang Dreschler, Joan Dickson, Christopher Bunting, David Strange, Derek Simpson, Andrew Shulman, Anna Shuttleworth, Michael Herwitz and Hans Erik Deckert. Next year's visitor will be Maud Tortelier. The OCS provides a unique opportunity for cellists and double bass players to receive the very best tuition in an intensive environment. Students are inspired and encouraged, surrounded by musicians of all standards, ages, backgrounds and nationalities. They make new discoveries in repertoire and in their own capabilities and are often making the equivalent of a whole year's progress during the course. However, the course is as much fun as it is hard work. Whilst we take the job of helping players to improve very seriously, the excellent staff/student relationship creates a relaxed atmosphere. Flexibility is always a priority and the needs of each student are of paramount importance in everything we do. The OCS provides the complete range of courses for cellists of all ages and standards. This year we started the Paul Tortelier Trust Fund to help students with funding the courses.
Marianne Gottfeldt
67 Oxford Road

I am a Bunting Fellow at Harvard and Radcliffe colleges, researching a new biography about the great Austrian cellist, Emanuel Feuermann (1902-1942). Feuermann first began performing in the United States in 1934 --he died in New York in 1942. He performed with all the major orchestras and presenting organizations in the US. I would be most grateful to receive any information - documentation, press clippings, or photographs --together with details of the concert seasons in which he performed. There may, perhaps, be still alive players or students who may have memories of Feuermann. If so, I would be grateful for any contacts.
Yours sincerely,
Annette Morreau
530 Quincy Mail Center
Cambridge, MA 02138


**ICS NET Resource Editor: Deborah Netanel at ICS NET Surfers: Marshall St. John,; Paul Critser, **

The Classical music Education Foundation
Purpose: to bring music to the ears of anyone who will listen.

The Bachannalia '98 Festival
at the University of Cincinnati on January 17-18, 1998

Crystal Palace: Jacqueline Du Pre
A personal tribute

I Cellisti Cello Quartet
Perth, Western Australia

Bach FAQ What sorts of music did Bach write?

BMG: Starker page
contains biographical information and a searchable index of composers and performers

Marston Smith Original and classical work from this well-known "Killer Cello" artist.

Erich Kory
Strikingly original contemporary cello work from Canadian artist.

Royal Holloway Music Department
contains links to interesting articles and pulished papers on music, and musicological research

Weslaco ISD Orchestra Page

The Smith Quartet Website
exclusively contemporary music, often with electronics

Direct correspondence to the appropriate ICS Staff
Webmaster: "webmaster"
Director: John Michel
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