New Members' Message
ICS News and Announcements
New ICS Host David Pezzotti, Jazz and Concert Artist
John's Jabber
Membership Letters support for CelloChat

Featured Artist -- ICS Exclusive Interview!

In Memoriam

Cello Scene

Cello Scene

Book Review

ICS Award Website

ICS Forum/ Cello Chat Board Discussion of Sazer's bowing theories
Music Festival Watch The Manchester International Cello Festival
ICS Library
Announcements Cello Duets and Trios by Elias Davidsson
Other Internet Music Resources Full Moon: Homepage for Cello Players


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 5,000 hits per month.

This month we welcome cellist Daniel Pezzotti, Jazz and Concert Artist, to our knowledgeable group of ICS Forum Hosts. He can be reached at and check out his impressive webpage !

Laurie Reese has volunteered to help with editing the TUTTI CELLI newsletter, email: !

**ICS could still use volunteers to serve as TUTTI CELLI Editors, Reporters, Writers and Reviewers; ICS Fundraisers; and Forum/Cello Chat Hosts


My hope for the Tutti Celli newsletter is that ICS members from around the world share their experiences related to the cello and music. Members can write various articles or short announcements for TUTTI CELLI. Guidelines for the Cello Scene, Membership Spotlight and other articles are specified at: ICS members of other nations are especially encouraged to contribute in this way. Other submissions can include reviews of books, music or performances; scholarly documents, nominations for ICS Award Websites, interviews and announcements.

Thanks to the generosity of donors, ICS has recently purchased a CD-ROM recorder which will allow regular and frequent backups of the very large ICS website. The recorder will also be used in the process and storage of RealAudio and sound files used on the website. In the future, the ICS website contents may be burned into a CD-ROM and made available to the public.


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

I can't tell you how much I miss the slavaboard, and want to contribute to its restoration and continuation. Please, let me know how to go about sending a little something. And I also want to pass along my thanks to you and all the ICS staff - ICS is an extremely valuable resource, and I think you folks do a great job. Please let me know where to send my contribution. Thanks!
Janet Scott
*** A dozen other members expressed the same sentiment and indeed ICS is working to get CelloChat under the direction of Paul Tseng back on line! For information on how to send contributions please see letter in the <ICS Forum/ Cello Chat Board> section of this newsletter issue.

Marshall, Thank you so much for the link and for taking care of it so quickly. It's fun to be at the top of the list for awhile. Also, if I haven't mentioned it before, I love the ICS web site and visit frequently and appreciate all of you who volunteer your time keeping it together. It's a fantastic resource.
Alexandra Russ
*** Thank you for reminding us all to give ICS Webmaster Marshall St. John a virtual pat on the back. Receiving and processing up to 100 e-mail messages daily is truly a herculean effort!

I was so ecstatic when I came across this page! You provide a great forum for 'cellists to confer on a great many topics specific to our great instrument. Thank you for giving us this great medium to find each other here in cyber space.
Douglas Bowman


by Tim Finholt

Cellist Irene Sharp has been acclaimed internationally for her teaching. She has given master classes for the American String Teachers Association (ASTA), the European String Teachers Association, the Australian String Teachers Association, and the Suzuki Association of America. Although based in Northern California, Ms. Sharp has worked with students in cities such as New York, London, Salzburg, Hamburg, Sydney, Tokyo, and Taipei. Currently on the faculty of the Mannes College of Music, she has also served on the faculty of the Meadowmount School for Strings, the Bowdoin (Maine) Summer Music Festival, and Indiana University's String Academy.

TF: Do you tend to dictate musical interpretations, or do you give your students a lot of latitude?
IS: As a young teacher, I thought that if I taught the person the technical wherewithal to play a piece, they could automatically play it in a musical way. I have since discovered that this is not the case. People often don't listen to enough music, or don't go to enough live concerts, so they don't have enough exposure to the difficult language of music. Now I work through a piece and try to show them, not how to do a phrase, but how to find a high point of a phrase, or how to find the emotional content of a certain section. If I am successful, they take off from there and do their own thing. But most need the initial guidance.
TF: How do you reveal the emotional depth of a work to a student who may not be able to relate to its emotional content due to lack of life experience or youth? For instance, how do you instill the emotional mood swings of a Beethoven sonata?
IS: Even the most immature student has had a myriad of emotions that they know very well. In fact, the older we get, the more we tend to hide our emotions, so the younger students have an emotional advantage in a way. I think success lies in helping the student access the emotions that are already within them.
TF: Do you encourage your students to listen to recordings?
IS: Yes. Definitely.
TF: And you're not concerned about them imitating the recording, rather than developing their own interpretation?
IS: Oh dear, wouldn't it be terrible if somebody came out sounding like Rostropovich or Casals?! We learn many important things in life by imitation. For example, we learn to talk by listening to our parents and imitating them, but we don't put words together just like they do, we formulate our own ideas. Music is a language too, so I think imitation is an important step in the learning process. And why not see how great artists solved the same problems that we face? Besides, I think it's nearly impossible for a child to come out sounding like someone else. In my opinion, this issue is way overblown....

**The complete transcript including photo**


May 10, 1937 - December 15, 1997

Noted cellist, chamber musician and philanthropist Roger Lee Drinkall passed away December 15, 1997 following a three year battle with leukemia. He left this world as he desired--performing until three days before his passing. He and his wife, Dian Baker, known internationally as the Drinkall-Baker Duo, had just returned from a several-weeks tour of Asia.

After graduating from the Curtis Institute at 19, Roger performed as a recitalist, chamber musician, and concerto soloist on the world's major concert stages for three decades. Throughout his life, Roger was known for his philanthropy. As a recitalist in the early 1970s, Roger was the only musician willing to perform in Calcutta and Delhi during India's bitter conflict with Pakistan. After the concert, Drinkall recalled, a Catholic nun came backstage, telling him she was "so proud of you." Then, she jokingly remarked that he was "the first musician who hasn't had a cold for the last six months." The little nun was Mother Teresa. Similarly, all proceeds from a 1976 Latin and South American tour were donated to the relief effort of the tragic Guatemalan earthquake of that year. Throughout his career, he gave well over 1,000 concerts in more than 35 countries.

Roger met Dian Baker when she became a last minute substitute accompanist. He proposed after their second rehearsal, and their 1986 marriage followed. Since then, the Drinkall-Baker Duo has concertized throughout the U.S., Europe, Asia, and Latin & South America. In the last six years, the Duo had recorded ten compact discs for Pyramid, Claves, Klavier, Wilson Audiophile and others. Chinese Television had just completed a one hour documentary on the Duo which has already been picked up by PBS-New York and CBC-Vancouver. Air dates will be announced when available.

Roger Drinkall was born May 10, 1937 in Cleveland. After graduating from Curtis under Leonard Rose, he earned a master's degree from the University of Illinois, where he also did doctoral work. He served on the faculty of the University of Tennessee for eight years, Florida State University for thirteen years (where he also chaired the string department), and joined the faculty of Brigham Young University in 1989.

He is survived by his wife, a sister, four sons--James, Mark, Scott and Roger, Jr.,--and one grandson. The family suggests memorials to the BYU String Scholarship Fund.

"Our celebration of music is one way of expressing God's love for us. Music is such a heavenly expression, a language that speaks directly to the heart, transcending cultural and social barriers. It is a pure means of sharing our love of beauty." -- Roger Drinkall

For more information contact:
Stanton Management


by Geoffrey Dean

A few years ago, during an interview on Bulgarian National Radio, I was asked to define "cellism" (chelEESm in Bulgarian). My reply centered on the magical qualities in the performances of cellists (particularly the very best ones) that can convert a previously uninitiated listener into a true "believer" in the art of cello playing, that can unite cellists, non-cellists, and cellists to be. As the conversation went on (in Bulgarian, with some whispered English asides between my wife and me),it became clear that in the interviewer's usage, the term had a different, derogatory meaning, one suggesting images of cellistic "excess": marathon practice sessions, extended searches for the chair with just the right dimensions, desperate probings into minute details of style and technique, etc. It emerged that in Bulgaria, many non-cellist musicians use the term "cellism" as others might mention, for example, cannibalism; it's one of those things that outsiders can't quite relate to, and probably wouldn't care to experience.

After further investigation, I learned that while not all manifestations of cellism are necessarily of the maniacal sort, there IS a certain attitude among cellists in this country that they, or rather we, form a distinct and elite group. This attitude is actually one of a set of shared attitudes--mental, physical, psychological--that arise from our common instrument. And certainly Bulgarian cellists feel a certain amount of pride in their place in the international "family" of cellists, a place that cellists of Bulgarian origin on just about every continent (I can't vouch for Antarctica) are also helping to keep warm.

While I wouldn't describe 1997 as a peak year for cellism in Bulgaria (my cellistic barometer has been functioning on Bulgarian soil since 1992), there was definitely plenty of activity on many fronts. Especially considering the economic low point with which the year started, and the fact that the gap between income from salaried jobs in music and the actual cost of living has gotten wider, any artistic endeavors attempted over the past year needed a much greater level of creative motivation than before to be realized. I was impressed during a September visit to the northwestern Bulgarian city of Vidin, overlooking the Danube River, by the enthusiasm of the Vidin Philharmonic cellists; they remain loyal to the ensemble despite its uncertain future after losing federal budget support. In Sofia, Bulgaria's capital city, 4 orchestras--the Philharmonic, the Radio Orchestra, the Opera Orchestra, and the Orchestra of the Musical Theatre--are all active ensembles with (diminishing) state support, and a number of chamber orchestras operate intermittently. The 13-member string ensemble Sofia Soloists, with 2 cellists, toured Japan in October. Recording gigs are abundant and help professional cellists supplement their incomes; these sessions, held at Bulgaria Hall (home of the Sofia Philharmonic), the National Palace of Culture (with 11 halls varying from chamber to rock-concert size), or in studio 1 of Bulgarian National Radio, include everything from film scores to digital samples.

Chamber music performances in 1997 centered on Schubert (200th birthday) and Brahms (100th anniversary of his death), and many cellists, including Magdalena Dalcheva of the Bulgarian Piano, Ani Atanasova, and Vassil Kasandjiev, participated in performances of works by these composers. The French cellist Roland Pidoux joined me and my Dimov Quartet colleagues for a live TV broadcast of the Schubert C Major Quintet in April, and Roland also performed the "Arpeggione" Sonata for good measure. Georgita Boyadjieva- Nikolova also featured these composers in her series of "Contrasts" recitals at the Palace of Culture.

In February, National Academy of Music cello professor Anatoli Krustev presented a recital of solo cello music at the Alexandar Nevski Cathedral, built to honor the more than 200,000 Russian soldiers who gave their lives to liberate Bulgaria after 500 years "under the Turkish yoke." Prof. Ventsislav Nikolov, who divides his time between Bulgaria and Germany, performed the six Bach suites in two evenings at the Palace of Culture in May.

Besides solo appearances with Sofia orchestras by the Russian maestro Khomitzer, and by Nikolov and Krustev, perhaps the most impressive cellistic display was in the premiere of a new work for 12 cellos composed by Benedict Zaemov. His "Fantasy" was inspired by the collective talents of the piece's first interpreters, Prof. Zdravko Yordanov and students from his National Academy of Music cello class. They performed Zaemov's Fantasy during the Festival of New Bulgarian Music, Sofia '97, organized by the Union of Bulgarian Composers. Also premiered was Lazar Nikolov's "Trio" for cello, doublebass, and piano with yours truly, Geoffrey Dean


by George Struble

Cello Orchestra Concert On November 15, 1997 the Oregon Cello Society presented a cello orchestra concert, titled Cello Extravaganza, in the ballroom of the Oregon Convention Center in Portland, OR. The orchestra was made up of seventy professional and amateur members of the Oregon Cello Society. The program included four works played by the full orchestra and three by smaller ensembles. The pieces for full orchestra were:

*Sonata Piano Forte by Giovanni Gabrieli, transcribed by Douglas Moore
*Cliffs Above the Clear Fork, by Rick Sowash, who arranged for cello orchestra (or quartet) his piece originally for cello and piano. Mr. Sowash, who lives in Cincinnati, attended the concert.
*Americana Suite, by Norman Leyden, an associate conductor of the Oregon Symphony, who wrote this suite for the Oregon Cello Society's cello orchestra concert in 1987
*Washington Post March, by John Philip Sousa, in the stunning transcription by Douglas Moore

The pieces for smaller ensembles were :

*Brandenburg Concerto No. 6 by J. S. Bach, arranged for cello ensemble by Lynne Latham
*Bachianas Brasileiras, the Cantilena, by Heitor Villa-Lobos, with Valerie McIntosh, soprano, a faculty member at Willamette University
*Fratres, by Arvo Paert, who also published versions for other instrumentations

Three conductors participated in the concert. Norman Leyden conducted his own Americana Suite. Tim Hankewicz, conducting apprentice with the Oregon Symphony, conducted the piece by Rick Sowash. The other pieces were conducted by Murry Sidlin, Resident Conductor of the Oregon Symphony and director of the Oregon Symphony Conducting Apprenticeship program at Pacific University.

An audience of about 500 people greatly enjoyed the concert, as did the musicians. No, the concert did not break even; it was partially subsidized by the Oregon Cello Society. OCS had sponsored a similar concert in 1987, which was also a great success. All concerned hope that they need not wait another ten years for the next cello orchestra concert!


The Oregon Cello Society is one of the institutional supporters of the Internet Cello Society. The OCS is an active group of both professional and amateur cellists centered in Portland, Oregon.

The Oregon Cello Society was founded by Naomi Blumberg and Bruce McIntosh in 1983. Naomi Blumberg is a member of the Oregon Symphony and teaches privately in Portland; Bruce McIntosh is a member of the music department at Willamette University in Salem. They and some of their friends wanted a support organization for cellists in Oregon, and they found an enthusiastic response to the formation of the OCS. Naomi was president from 1983 until 1996; Bruce is co-president this year, along with Kathie Reed. The membership has grown to about 200 cellists; residence in Oregon is not a requirement. The board of directors includes both professional and amateur cellists living in Portland and other cities in Oregon's Willamette Valley.

In the enthusiasm of its first year, the OCS held monthly meetings. Those meetings resulted in the current activities of the organization. Every year the Oregon Cello Society sponsors a student recital, a student cello orchestra concert, and an adult recital -- mostly adult students. It also sponsors an audition, in which highly qualified judges award prizes of $200 to each of four students, some smaller awards of cash or merchandise, and the use for a year of a full-size and a half-size cello that were donated to OCS for this purpose a few years ago. The organization publishes a newsletter four times a year, and has an annual meeting. In 1995 and 1996 it also sponsored "Cello Day," with vendors, seminars -- e.g. instrument insurance, and a discussion on how to buy a cello, complete with demonstrations of cellos in several price ranges.

The OCS did not sponsor a Cello Day in 1997, focusing its energies on an adult cello orchestra concert; see the separate article on that concert. The OCS sponsored a similar concert in 1987, for which Norman Leyden composed his Americana Suite, which has since then been published and has been enjoyed by several cello orchestras elsewhere.

Oregon Cello Society
P O Box 4035
Portland, OR 97208


by Geoffrey Dean

An English-language version of Nikola Chakalov's "The Art of Cello Fingering," originally published in Bulgarian as "Osnovni na violoncellovata aplikatura"(Sofia, 1985), is now available in print. The author, formerly a member of the Sofia Philharmonic, was also the string pedagogy specialist at the National Music School in Sofia for many years.

This compact, yet richly-detailed treatise is primarily concerned with aesthetic issues raised in the musical literature for the cello, and how cellists can effectively deal with these issues through their choice of fingerings. Over 270 passages from our orchestral, chamber, and solo repertoire are included as an integral part of the discussion. Chakalov's extensive treatment (in the book's first two parts) of fingering principles needed to interpret standard works for our instrument seems to be guided by the idea that such principles are not merely applied to the repertoire, but are also derived from it. In Part III, he proposes a comprehensive scale system, covering both single-note and doublestop fingerings, which is based in part on these repertoire-derived principles. In Part IV, Chakalov demonstrates how understanding the musical syntax, or "grammatical structure," of a composition can lead to more artistically satisfying fingering choices. He further illuminates the application/derivation dichotomy in the concluding analysis of fingering issues in Bach's Sixth Suite, showing that a fingering solution for this suite lies not in simply applying the "technical and fingering 'norms' contained in this book," but in deriving a "fingering technique inherent to that composition only." (Chakalov 1997, p. 115)

The immense practical and intellectual value of this volume is in its focus on aesthetic concerns and on the musical literature for the cello as both a starting and arrival point. Its clear organization, eloquent style (the English translation is in itself a remarkable achievement), and provocative arguments make "The Art of Cello Fingering" an excellent resource for all who play or love the cello. For information on ordering the book, write to or directly to Nikola Chakalov, 27 Ivan Assen St., Sofia 1124, Bulgaria (Europe).


January/February Award Website:


This page is a small part of a large website that includes reviews of classical recordings by "The Omnipotent Critic" (TOC), a "Live Music" section using RealAudio streaming technology, and features not only contemporary classical music but music of all genres and styles: early music, electronic music, crossover and jazz. Eclectra promises to expose us to ever new and interesting compositions as well as rare recordings of lesser-known virtuoso artists of the past. This is a site to bookmark and revisit!

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


A substantial discussion occured on CelloChat about "New Directions in Cello Playing" by Victor Sazer. Roland Siemons starts out questioning certain aspects of Sazer's theories on bow technique Tim Finholt, Erik Friedlander and Sasha contribute to the discussion. For a transcript of the discussion see

Thank you for your concern and show of support for CelloChat, the official ICS web based bulletin board! We are taking measures to restore the CelloChat under the direction of Paul Tseng to working order. If you would like to make a contribution in support of ICS activites such as CelloChat you may use VISA or make checks out to the non-profit organization Icicle Creek Music Center (ICS is under the aegis of ICMC) and specify that the donation is for ICS activities. Contributions are tax-deductible.
John Michel

Internet Cello Society
c/o ICMC
PO Box 2071
Leavenworth, WA 98826

*** 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 . ICS forum hosts have been asked to check your posts regularly. In this way not only do the forum hosts see your message but the entire membership and Internet community! You are still welcome to contact the forum hosts directly*** Write all ICS Hosts or contact one host representatives.



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

The Manchester (England) International Cello Festival
April 29 through May 3
Royal Northern College of Music
Performers: Alexander Baillie, Lluis Claret, Christophe Coin, Patrick and Thomas Demenga, Karine Georgian, Alban Gerhardt, David Geringas, Natalia Gutman, Frans Helmerson, Gregor Horsch, Steven Isserlis, Ralph Kirschbaum, Philippe Mueller, Zara Nelsova, Arto Noras, Siegfried Palm, Miklos Perenyi, Boris Pergamenschikow, Janos Starker, Tsuyoshi Tsutsumi, Quirine Viersen, Jian Wang and Wendy Warner.
Also violinists Mihaela Martin and Pinchas Zukerman.
Concerts, recitals, masterclasses, lectures, films, workshops, and a cello and bow making competition. In short, cello heaven!
Full details from Alison Godlee, Festival Office, The Grange, Clay Lane, Handforth, Cheshire SK9 3NR, U.K. Tel/fax +44-1625-530140.

Four Winds Music Festival
Beragui, Australia
April 11-12, 1998

California American String Teachers Association
Summer Institute of Chamber Music

Irene Sharp Cello Seminar
Mannes College, New York City
June 15-19, 1998

Symphonic Workshops Ltd announces The International Music Academy, String Program for advanced players, which will take place in Kromeriz, the Czech Republic, July 13 to August 2, 1998. The String Program will include individual lessons, string orchestra rehearsals, master classes and chamber music classes, 4 public concerts in historic churches and chateaux, as well as excursions and a concert in Prague. For more information please contact Dr. Harry M.B. Hurwitz, at email: or fax: 1 416 762-6258.

International Music Academy, Kromeriz, Czech Republic
A Three Week Advanced String Program
July 13 - August 2, 1998
Dr. Harry M.B.Hurwitz

Icicle Creek Advanced Chamber Music Institute
In the Washington Cascade mountains
July 25-August 8, 1998


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 (Library contents will be available to all Internet users; please include author and written statement of release for unlimited or limited reproduction.)


Duets and Trios for Violoncelli by Elias Davidsson

The Collection for Duets and Trios for Violoncelli includes 20 pieces, altogether 34 pages of music. They are aimed at elementary level students (all pieces are in the first register). A couple of pieces are for 4 violoncelli and or for 2 violoncelli with contrabass. The publication is of professional graphical quality and highly readable. The music can be used both for relative beginners or as enjoyable sight-reading 'exercises' for more advanced students. The music can be enjoyed both by students and listeners. The collection has already been used by dozens of cello teachers in Switzerland, Germany, France, Britain, Norway, United States, Australia and Iceland. It has received very good reviews in Australia and Switzerland. It was originally developed in cooperation with a number of Icelandic music schools, where the pieces were tried out.

Elias Davidsson was born in Palestine in 1941 but has lived in Iceland since 1962. He has composed music since his early childhood and studied piano and composition both in Germany and Switzerland. His compositions, including experimental works (avant-garde), have been perfored in several European countries. He plays piano, accordeon and the Icelandic Lithophone (idiophone composed of stone slabs). On the base of the present collection (of violoncello duets and trios), the Basle Conservatory asked Elias Davidsson to compose a further set of educational collections for violoncelli and a work for violoncello orchestra. These works are to be finished in 1997 and ready for distribution in the 4th quarter of 1997. After teaching piano and theory and heading a small music school for a number of years, Elias now dedicates his time to musical composition (both for children and adults) and human rights activities.

Symphonic Workshops Ltd announces The International Music Academy, String Program for advanced players, which will take place in Kromeriz, the Czech Republic, July 13 to August 2, 1998. The String Program will include individual lessons, string orchestra rehearsals, master classes and chamber music classes, 4 public concerts in historic churches and chateaux, as well as excursions and a concert in Prague. For more information please contact Dr. Harry M.B. Hurwitz, at e-mail: or fax: 1 416 762-6258.

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


Full Moon: Homepage for Cello Players
Masterclass videos, midi cello files and more!

Guillermo Venegas Lloveras
Pablo Casals said of him: "I know of no composer that without (formal) study has composed at his level", considering his music at the level of Chopin and Liszt.

Stephen Drake's site includes audition lists

Phil Sheppard

U Conn Cello Society Newsletter

New Directions in Cello Playing by Victor Sazer

**ICS NET Resource Editor: Deborah Netanel at

Copyright © 1998 Internet Cello Society

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