TUTTI CELLI CONTENTS-- volume 4, issue 2

New Members' Message
ICS News and Announcements
3000 members from 63 different countries
John's Jabber
Membership Letters

Featured Artist -- ICS Exclusive Interview!

Membership Spotlight

Feature Article

News Clipping


ICS Award Website

ICS Forum/ Cello Chat Board
Music Festival Watch
ICS Library
Announcements 4th Annual New Directions Cello Festival
Other Internet Music Resources Shinichi Suzuki memorial web site


ICS has almost 3,000 members. There are four new countries represented by our membership: Cyprus, Ecuador, Liechtenstein and Macedonia. Here's the total list of 63 countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Chile, China, Columbia, Costa Rica, Croatia, Cyprus, Czech Republic, Denmark, Dominica, Ecuador, Finland , France, Germany, Greece, Guatemala, Guinea-Bissau, Hong Kong, Hungary, Iceland, Indonesia, Ireland, Israel, Italy, Jamaica, Japan, Latvia, Liechtenstein, Luxembourg, Macedonia, Malaysia, Mexico, Netherlands, New Zealand, Norway, Philippines, Poland, Portugal, Puerto Rico, Romania, Russia, Serbia, Singapore, Slovenia, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, Thailand, Turkey, UK, Ukraine, United States, Uruguay, Venezuela, Zimbabwe

Thanks to the dedication of Paul Tseng and ICS donors, ICS CelloChat bulletin board lives on at a new location. Please actively participate in our Society by posting questions and answers to CelloChat!

Our webmaster Marshall St. John has augmented the Internet Cello Society's ability to reach out to our multi-lingual membership. With the help of a language translator tool from Alta-Vista, the entire ICS website may now be read in Spanish, German, Italian and Portugese, as well as in English!

Search the contents of the ICS website with the help of two search engines! Sometimes one of the search engines misses something, but by using both, one generally can find anything in our pages.

Quicktime movies have been added to the Pablo Casals website.

A new RealAudio classical music page and probably the most extensive list of its kind has been created by the ICS webmaster.

The Summer Festival and Camp page has been updated several times

New links added to the Cellist's Gateway to the Internet, including a great site:
Music History 102, from the University of Michigan.

New donors, pictures of the week, free cello webpages, and technique tips have been added!

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


Okay, so I am no longer staying up all night for a few nights to get the TUTTI CELLI out before the first of the month. In fact, I am a month and a half late with this issue. My apologies. The pioneering of the World Wide Web and the infinite possibilities presented by this technology are exciting and useful. However, this pioneer has been slowed down a bit by family priorities. I am delighted to announce the arrival of another boy on February 23rd! In addition, I will be performing and recording the Dvorak Cello Concerto in May. My ambitious goals for ICS will have to wait till the summer.

One member has been very actively contributing to the content of the ICS website and has a special surprise for us in the next issue of TUTTI CELLI. ICS will partially sponsor our featured artist writer Tim Finholt to attend the Manchester International Cello Festival this month! I told him to bring back interesting reviews, inspiring interviews and lots of good will for ICS!

Laurie Reese has volunteered to be my assistant editor and may be getting in touch with you all. I asked her to help stimulate the activity of the ICS members and staff.


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

I am a professional cellist residing in Madras, (Chennai) the east coast city in South India. I work professionally in South Indian Film Industry. Out of love for western classical music, I have had the experience in Chamber Music, playing in the Madras Chamber Orchestra. I happened to look at the "Internet Cello Society" on the Internet, and I will be very happy to become member in it.

I would like to join the Society. I am a twenty one years old cellist from the Liszt Ferenc Music
Academy in Budapest, Hungary.

I have just discovered your website and it has really inspired me to progress with my cello playing. I liked reading all the newsletters and cello information and the website was altogether very enjoyable. I look forward to reading the next volume.

I am a student at the University of Great Falls, Great Falls, Montana (USA). As part of a school assignment I am researching the impact of the internet on society. Although my primary focus is on American society, I feel the internet may indeed lead to a more global society. You can help me by sending your thoughts via Email on the following questions. How do you feel the internet has impacted society? What future impact do you foresee the internet having on society?
**Besides the superficial drawbacks of the infancy stage of this new technology, the internet is the most revolutionary communication invention of the latter part of this century. The internet allows mass communication on the global scale as did newspaper, radio, TV and satellite communication media. The difference is that the internet allows individuals easy access to a global audience. Few of us could afford a printing press and the distribution costs of any printed media on this scale. Few of us could afford the equipment or have the rights to broadcast via radio, TV or satellite networks. Posting a webpage or using email is relatively inexpensive. Though chaotic at times, the internet is a revolutionary step towards individual expression on a global scale and towards a more integrated international community.**
John Michel

Just read the interview with Pamela Frame - Bravo!!! Her philosophies on getting her students into the world are to the point - it is quite refreshing to read of her taking her quartet to play for the 5th graders. We in the music field have got to do much more of this kind of outreach, especially considering the state of public school music education - strings in particular. I will be directing my own students to this interview and hope they are as inspired as I.
Cheryl Everill
**Thank you for your note. I heartily agree with the philosophy of introducing outreach to student musicians. My music majors are required to do a studio project in which they organize and present a performance in the community.**
John Michel


by Tim Finholt

Honored by Janos Starker as La Grande Dame du Violoncelle for her lifetime contributions to cello and cello teaching, Eva Heinitz is also known throughout the world for her pioneering work with the viola da gamba. She has performed in solo and chamber music concerts throughout Europe and North and South America, appearing as soloist with the Chicago, Pittsburgh, Seattle, and Vancouver Symphonies. She is Professor Emeritus of Cello at the University of Washington.

Eva Heinitz is the most powerful presence I have ever met. Ever. At 91 years old, she has more fire in her soul than most 20 year olds. Her opinions are strong and passionate, and she states them with a disarming confidence.

Born in Berlin in 1907, she grew up in one of the greatest musical centers of our century, prior to the Nazi takeover. "Erich Kleiber, Furtwangler, Klemperer, Bruno Walter, and George Szell all conducted either the Berlin Philharmonic or the State Opera when I was a child. Berlin had three opera houses too. Isn't that remarkable? All in one city! I'm very spoiled."...

While in Berlin, she had the opportunity to play chamber music with Albert Einstein, the legendary physicist. "A pianist asked me if I would like to play a Mozart trio with the famous Einstein. Who would say no? So we went to Einstein's apartment and played the Mozart B-flat Major Piano Trio. Einstein played the violin with a very soft tone, even when the music required more. His playing was perfectly correct, but totally uninteresting. But what a fantastic face! The face of the famous Albert Einstein is something I could never forget. It was like a landscape, not quite human, unforgettable, the face of one of the greatest minds in history."

She taught herself the viola da gamba, becoming one of the first professional gambists in modern times, earning her a place in history as the 'Wanda Landowska of the Viola da Gamba.' "I started on the gamba because I was and still am a very curious person, like a hunting dog. I've never had a single gamba lesson. I didn't know with whom I would study, since the gamba players at that time were mostly feeble elderly ladies or very dull players. I realized that I had to find my own way."

Being a pioneer in the early music field, she had to research even the fundamentals, like how to hold the bow. She tried holding the bow both overhand, like a cellist, and underhand. After reading many books on the gamba, she went to England to visit Arnold Dolmetsch, an important music historian and harpsichordist. He was very sick at the time, so she discussed the gamba with his daughter, who showed her the underhanded bow hold.

**The complete transcript including photo and sound clips**



news release:

SPRINGFIELD, Ohio -- Daniel Kazez, one of the world's busiest and brightest stars in the arena of Jewish classical music, will make his first concert appearance in Africa in April of this year.

First, he will perform at the principal synagogues of Casablanca and Fez, in Morocco. Later in the month, he will appear in the cities of Meknes and Marrakesh.

To date, Kazez has performed nearly a thousand concerts on three continents-in major concert halls, in small and large synagogues in the U.S. and Canada, and in the world's centers of Jewish culture, including Cercle Ben Gurion in Brussels, the Great Synagogue of Florence, the Sternberg Centre in London (Europe's largest J.C.C.), the Rothschild Synagogue in Paris (one of the world's largest synagogues), and the Jewish Cultural Center of Italy in Rome.

Later in 1998, he will perform in South America and Australia.

Kazez's interest in Jewish music is at once personal and professional. His father is a Sephardic Jew who emigrated to the U.S. after World War II in search of further education. His mother, an accomplished artist, is of Ashkenazic descent. Most of Daniel's relatives now live in Istanbul, Paris, and Buenos Aires.

Kazez reports that he "discovered" Jewish-inspired Classical music after his concert career was already well under way:

"Years ago, Pamela Hope-Levin visited my university to participate in a Holocaust conference. She was set to give a dramatic presentation with violin accompaniment, only to find that her violinist was ill and had not arrived on campus. With twenty-four hours' notice, I was called to fill in, on cello. The next day's performance--which, by the way, was quite a success--spurred me to consider performing art music inspired by my own Jewish tradition."

Rave reviews have poured in from critics: According to the Harrogate Voice (England), "A most unusual and intriguing musical event by a leading authority on Jewish music. Passionate music dazzlingly played..." The British Jewish Telegraph (Leeds): "Kazez's playing was utterly in sympathy with the music... To listen was nothing less than a privilege."

Kazez chooses the music for his programs with the greatest of care. "My music has a clear Jewish connection. The melodies, harmonies, and rhythms all have an audible link to Judaism."

**entire transcript**


by Tim Finholt

I yearn to deeply comprehend the Bach Cello Suites. Much to my dismay, so does everybody else, including the world's greatest musicians. Whether Pablo Casals, Paul Tortelier, Rostropovich, or whoever your favorite cellist may be, they all rightfully speak of the Suites with an effusive reverence. They all refer to the "infinity" of Bach, the "oceanic depths" of Bach, or the "cathedral" of Bach.

Though inspiring and poetic words, as a student of the Suites, I want to know more. What are the underlying principles that guide the great interpreters? How are tempos chosen? How are bowings chosen? How are articulations chosen? It is this kind of concrete information that will guide me on my quest, not heartfelt utterances from the soul or Zen-like koans.

The purpose of this article is not so much to come up with the answers, as it is to state the questions, or at least some of them. In some cases, answers from the various artists are shared, but their responses are by no means considered to be the last word. Often, their answers only lead to more questions, hence my interpretational angst.

Head vs. Heart

One of the ancient and ongoing battles in the music world is the conflict between Scholars and Performers, a battle we also must fight internally. Of course, the dividing line between the two camps is rather fuzzy, since many serious musicians put a lot of thought into how they play, and often research the historical background and practices of the works they perform. And scholars seek more than mere theoretical correctness in performances. This line has become particularly unclear with the emergence of the Early Music movement, which "modern" performers eye with deep interest, suspicion, and even a little anger. But I think it's safe to say that Performers tend to place a higher emphasis upon inspiration, connecting with their own emotions or with the audience, and the poetry of the music, whereas Scholars tend to emphasize historical and theoretical accuracy. Both approaches to music are important, and could not, and should not, exist without the other.

This dichotomy clearly surfaces when the Bach Cello Suites are discussed. Rostropovich states the problem for us all in his recent Bach Suite videos: "The hardest thing in interpreting Bach is the necessary equilibrium between human feelings, the heart that undoubtedly Bach possessed, and the severe and profound aspect of interpretation...You cannot automatically disengage your heart from the music. This was the greatest problem I had to resolve in my interpretation ...I had to search for the golden medium between a romantic, rhapsodic interpretation of Bach and scholastic aridity." [1]

**The complete transcript**


By Deb Kollars

Sacramento Bee Staff Writer
(Published March 1, 1998)

(short excerpt)
Every now and then, people's lives come together for the
loveliest of reasons. This is one of those stories.

It involves three men, from three different places, at three
distinct points in their lives. Their connection is the cello, a
classical instrument known for its warm tones and deep
resonance -- words that could also be used to describe these
three intertwined lives.

Ionut Zamfir, 22, is the youngest of the trio. He is a cellist
from Romania and a sophomore music major at California
State University, Sacramento. Tall with fair skin and short
sandy hair, he is a polite young man with little money, a
rickety cello on loan from the university, and exceptional
musical ability...

The teacher is Andrew Luchansky, a 42-year-old professor
of cello and chamber music at Sacramento State. A passionate
musician, he spent his early adult years as a performer in
New York City. Now, as he approaches the center of his life,
he has found himself reaching for a new height -- helping to
transform a talented student into a musical artist.

And then there is Don Jackson, retired engineer, widower in
wire rims, small and gentle man in neat plaid woolen shirts.
At 72, he is Luchansky's oldest cello student and Zamfir's
guardian angel...

Their journeys to this harmonious intersection go back many
years and span the globe.

Ionut Zamfir grew up in a small town in Romania, the son of
an auto mechanic.

"I remember my father would always show me his hands.
They were always black," he said. "He would say to me,
'It's not worth it. Choose something beautiful for your life,
like art.' "...

For complete article


reviewed by Tim Finholt

Ron Leonard, principal cellist of the Los Angeles Philharmonic, has produced a CD devoted to orchestral excerpts with spoken commentary. The CD is on the Summit Records label, number DCD 196.

Excerpts are taken from the following works:

Rossini: William Tell Overture
Brahms: Symphonies Nos. 1 and 2 and Piano Concerto
Richard Strauss: Don Juan, Ein Heldenleben, and Don Quixote
Mahler: Symphony No. 1
Elgar: Enigma Variations
Beethoven: Symphonies No. 5 and 8
Debussy: La Mer
Verdi: Requiem
Mozart: Marriage of Figaro and Symphonies Nos. 40 and 35
Mendelssohn: Midsummer Nights Dream and Symphony No. 4
Tchaikovsky: Symphonies No. 4 and 6
Prokofieff: Symphony No. 5

Anybody who is serious about auditioning for a cello position in an orchestra must have this CD. This will help aspiring cellists understand what audition committees are looking for, and how much detailed analysis is required before each passage is performed before a panel of professionals. But in order to get the most out of this CD, you need to obtain the orchestral parts, since he refers to specific measures and markings before demonstrating each passage.

Mr. Leonard states his own views of these works, which I suspect are mostly mainstream ideas. He is careful to note when he states views that his colleagues may disagree with. It would be interesting to hear what other professionals think about the same excerpts.

Mr. Leonard makes several important general statements that can serve as a conceptual foundation when we approach any piece of music, though they are more critical in an orchestral audition:

1. Be expressive, but within context.
2. Keep in mind that you are in an ensemble. Know the score and play with the other parts in mind.
3. Strive for long lines in legato passages.
4. Maintain a steady beat.
5. Accurate rhythm is key.
6. Better to sound strong and clean than fortissimo. Don't force the sound. Overly loud playing is not appreciated, especially by one's colleagues.
7. Avoid audible slides whenever possible.
8. Pay careful attention to all markings, both for dynamics and articulation.

Mr. Leonard demonstrates beautifully how to play with life and interest while still playing within in the larger context of the orchestral ensemble. And what a beautiful martele stroke! Hopefully, Mr. Leonard will produce additional excerpt recordings.


March/April Award Website:


The Cello Music Collections housed in Special Collections & Rare Books, University of North Carolina, Greensboro. The UNCG Cello Music Collections contain thousands of published and manuscript scores, some recordings, personal correspondence, teaching notes, and other archival materials of interest to cello scholars. There are four collections which are processed and available for use: the Luigi Silva Collection, the Elizabeth Cowling Collection, the Rudolf Matz Collection, and the Maurice Eisenberg Collection. A fifth collection, that of Hungarian-born Janos Scholz, is still being processed.

**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!


*** 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 CelloChat . 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.



Manchester International Cello Festival April: 29 - May 3, 1998 at the Royal Northern College of Music, Manchester, England. Concerts, recitals, exhibitions, master classes, lectures, films, and a cello and bow making competition. Performers include 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 Muller, Zara Nelsova, Arto Noras, Siegfried Palm, Miklos Perenyi, Boris Pergamen-Schikow, Janos Starker, Tsuyoshi Tsutsumi, Quirine Viersen, Jian Wang and Wendy Warner. Send a self-addressed envelope to Alison Godlee, Festival Office, The Grange, Clay Lane, Handforth, Cheshire SK9 3NR, U.K. Tel/fax +44 1625 530140.

Fourth Annual New Directions Cello Festival (blues, jazz, improv)
June 19-21 98 at the University of Connecticut, Storrs, CT
Workshops, performances, jam sessions, exhibitions.

Berklee's Summer String Fling - July 30 - August 1
The Summer String Fling is designed to provide violin, viola and cello players foundational grounding in improvisational idioms such as jazz, rock, blues, and country. It is a wonderful opportunity for strictly classically trained string players to try out contemporary styles in a comfortable atmosphere, and students with prior contemporary playing experience can receive intermediate through advanced training.
Berklee College of Music
(617) 747-2245

Soundfest Music Festival, Cape Cod, Massachusetts with the Colorado

California String Teachers Association Summer Institute of Chamber

Irene Sharp Cello Seminar, June 15-19 98 at Mannes College, New York
City. Information from Irene at gszent@pacbell.net

International Music Academy, Kromeriz, Czech Republic,
July 13- August 2 98. A three week advanced string program.
or email Dr. Harry Hurwitz at

Icicle Creek Chamber Music Institute for college and advanced high
school students in Washington's Cascade mountains, July 26 - August 9

Galena Chamber Music Institute at the Sinsinawa Mound School and
Convent, Sinsinawa, Wisconsin, August 2-17 98. For college and advanced
high school students. Faculty from the Chicago Symphony Orchestra,
Northwestern University and the Galena Chamber Ensemble. Write to
Richard Graef--r-graef@nwu.edu

ARIA International Summer Academy, August 3-23 98 at the University of
Western Ontario, London, Canada. Prestigious cello faculty. Write to the
director, Mihai Tetel, at ariaint@idirect.com

Summerkeys--for adult amateur cellists--August 24-28 and August 31 -
September 4 98. Instructor Peter Lewy. Write to him at Plewy@iname.com
or send for registration materials from Summerkeys, B. Potterton,
80 Essex St, Jersey City, NJ 07302, tel. 201-451-2338

ARIA Intenational Summer Academy
University of Western Ontario in London, Canada
August 3 to August 23, 1998
(416) 423-8042
fax (416) 423-7658

Ithaca College Chamber Music Institute

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


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


The New Directions Cello Association,
in collaboration with the University of Connecticut, is pleased to announce the

4th Annual New Directions Cello Festival
Friday - Sunday June 19 -21, 1998
University of Connecticut, Storrs, CT

Guest Artists include; Eugene Friesen with Howard Levy (improv/world), Akua Dixon Duo (jazz/blues), The Hank Roberts Trio (jazz/avant garde), Jami Sieber (contemporary instrumental), Aaron Minsky Trio (rock), Max Dyer & his trio "Pico" (jazz) Three days of celloing! Workshops, performances, jam sessions, a young people's mini-fest, an exhibition of electric cellos, pickups and more! The only festival dedicated exclusively to non-classical and alternative cello - jazz, blues, folk, avant garde, pop - you name it! Come have fun and learn to improvise.

New Directions Cello Assoc. (NDCA)
501 Linn St.
Ithaca, NY 14850

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


Shinichi Suzuki memorial web site

Guide to the Music Collection for String Players Repertoire
The books listed here will help give you some idea of repertoire available for your

Hanno's page of cello- music
A personal cello- page with an interesting listing of titles of well- known works for cello. Some titles point to a wav file.

Luigi Silva Cello Music Collection

A site devoted to Luigi Silva (1903-1961) - Italian-born violoncellist, teacher, and musicologist.

The Virtual Virtuoso Performance Assistant
An interesting and helpful site for teachers and beginning students who can download accompaniments to pieces they are studying; includes Cello Music, Quartets, Free Samples and ability to Order On-Line

CODA Educational Programme
Coda - experience the music drama about the adventures of a spellbound string quartet, play the computer game and learn about classical music! A relatively inexpensive computer game about music that can be enjoyed by the whole family

Download Maestronet Cello Music Level 2
Cello Level 2 Download it Now! You can download this book now using our secured link. It contains 23 pages of sheet music, together with the piano accompaniment MIDI files.

Classical Insites
Your online guide to the world of classical music. The Conservatory is an educational environment for enthusiasts and a resource for students and professionals.

**ICS NET Resource Editor: Deborah Netanel at netaned@email.uc.edu

Copyright © 1998 Internet Cello Society

Direct correspondence to the appropriate ICS Staff
Webmaster: "webmaster"
Director: John Michel
Copyright © 1995-98 Internet Cello Society