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Oregon Cello Society PO Box 4035 Portland, OR 97208 www.oregoncello.org

Bridge & Bow

Oregon Cello Society ~ Spring / Summer 2010

President's Message

May 2010

Greetings to you during this season of farewell concerts, auditions, and commencements! Congratulations to our young members who participated in the May scholarship competition. The cash prize winners are listed here on page 11, and the next issue of the B&B will include some of their reflections on the challenges of learning cello. Also find here the review of a book by an adult learner, reminding us that students may sometimes be older than their teachers. Another OCS board member has done some looking at new bows; let us know if you took the chance and tested some of them. I would be glad to hear if any of you have questions about cello playing, listening, and enjoying that we have not addressed in our newsletters or at recent Cello Days. Please send your queries and offerings to me. We are also still looking for OCS members who would like to lend a hand (and some footwork) to our board's tasks. The board meets every other month, and we are able to accomplish a lot with flurries of e-mails. Don't be shy--we'd love to meet you! Have a great summer! --Barbara Fischer Smoody, President ([email protected])

Bridge & Bow

Inside

Events Listing A Master Class with Amanda Forsyth Cellos in Pop Culture Carbon Fiber vs. Pernambuco Adult Cello Recital Review Cello Teacher Listing OCS Board Meeting Minutes Forsyth Master Class Feedback Cello Resource Listing OCS Treasurer's Report 2010 Scholarship Audition Results OCS Membership Form

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Events Listing

MAY 24, 31 (Mondays), 7 pm: Cellist Skip Von Kuske's Guest List McMenamins Edgefield (2126 SW Halsey, Troutdale) www.mcmenamins.com www.skipvonkuske.com FREE admission (age 21+) MAY 30, 4 pm: Ruslan String Quartet w/ Sunnyside Symphony Orchestra Sunnyside SDA Church (10501 SE Market Street, Portland) The quartet of Neil Hollister and Kirsten Hisatomi (violins), Shauna Keyes (viola), and Erin Winemiller (cello) joins the orchestra for a performance of Elgar's Introduction and Allegro for Solo String Quartet and String Orchestra. FREE admission JUNE 3, 7:30 pm: Composition Recital The Old Church (1422 SW 11th Avenue, Portland) PSU composition and cello student Amelia Bierly presents her junior recital along with senior Reed Reimer. The performance involves a variety of instruments including a cello quartet. FREE admission

JUNE 26 & 27: Cellist Sergey Antonov Performs at the Astoria Music Festival

OFFICERS

President Barbara Fischer Smoody ('11) 360.546.2019 [email protected] Vice President Katherine Schultz ('12) 503.312.4444 [email protected] Secretary Erin Winemiller ('13) 503.419.8509 oregoncellosocietyupdate @gmail.com Treasurer David Keyes ('12) 503.997.8179 [email protected] Webmaster Diane Chaplin ('13) 503.753.3357 [email protected]

Russian cellist Sergey Antonov presents a solo recital with pianist Carey Lewis and performs the Schumann Cello Concerto in A Minor, Op. 129 with the festival orchestra on June 27. Visit www.astoriamusicfestival.org for more info and to purchase tickets. JULY 25­AUGUST 1: Annual Conclave of the Viola da Gamba Society of America Pacific University (www.pacificu.edu) For more information: http://vdgsa.org/pgs/conclave-2010/conclave2010.html#PROGRAM In addition to all the classes and the concert, there is a Beginning Viol Program offered free of charge to local residents and guests of Conclave registrants. The class emphasizes technique, practice habits, and goals for the coming year. Instruments will also be available free of charge. The class will meet Monday through Saturday (JULY 26­31), and OCS member Tim Scott will be helping to teach this class with Tufts University's Jane Hershey. Contact Sarah Mead for more information: http://vdgsa.org/cgi-bin/contact.cgi?n=slkjxch3mnm

BOARD MEMBERS

Renee Dolphin ('12) [email protected] oregonmusicacademy.com Bruce McIntosh ('10) [email protected] Deborah Johnston ('11) [email protected] Marshall Tuttle ('11) [email protected] Kathleen Culligan ('11) [email protected] VACANT ('12) (your name here) VACANT ('12) (your name here) VACANT ('12) (your name here)

HONORARY MEMBERS

Nancy Ives [email protected] India Jobelmann

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A Master Class with Amanda Forsyth

by Diane Chaplin

Cellist Amanda Forsyth is not shy and reticent. She is Having the cello at the correct angle is another key to vibrant and full of life, and she both entertained and balance and ease in playing. Juhwan was encouraged to advised at a master class on April 8 presented by the straighten out his cello to help with sound focus on the Oregon Cello Society. lower strings; he tends to keep it tilted to the right. In "If a trumpet player makes a mistake it's going to be order to place the bowing elbow at a high enough level to loud, and he's like, `Who cares? I'm a trumpet player!'" get that power leverage, the face of the cello needs to tilt The message here is one that's familiar to teacher and towards the left. student alike: play out, be bigger than life, make more David Kim, a young student of Hyun-Jin Kim, was adsound. But the way that Ms. Forsyth got students "out of themselves" was creative and didn't have much to do with vised to tilt his cello back and forth for the A and C strings. He's currently adjusting to a new fullcello technique. size instrument, and it's a bit difficult for She compared the beauty of him to get around it. Amanda had him a lyrical line to the stained glass tilt the cello to the left, and then pull window opposite the performance big, loud bows over and over on the C area of the Old Church. "Look string. Only when he'd finally gotten a up at the window. It's beautiful, free, ringing sound did she have him just like the slow movement of the play the low melody from the middle Eccles Sonata in G Minor," she of the last movement of the Saint-Saëns told Daniella Ohnemus, student Concerto (letter O, for those who want of Charlene Wilson. "Play to the to look it up). With his new cello angle stained glass window. Now play to and faster pull on the bow, his tone was that window over there. Now look big and resonant. there and play to that." And with Amanda spent a fair amount of each new direction, Daniella's sound time working with David on releasing blossomed and grew. tension. In particular, she said he was One of the points that Amanda holding tension in his mouth and neck. He obediently made throughout the class was that release of tension goes played with his mouth open, admittedly not the sort of hand in hand with a bigger, more open sound. In playing thing one wants to do in performance, but useful for to an object across the room, a cellist not only gets a sense training the mouth to relax. She also had him move his of where the sound should be directed, but they also tend head around, looking at the stained glass and also looking to relax because they are focusing outside themselves. at her. Movement releases tension, and moving your head With each student, Ms. Forsyth addressed some aspect around helps your neck to let go. of sound. "We make things feel and sound hard when we play them "Don't attack--pretend that the sound is coming from with too much intensity." inside the cello, not dropped down onto the string." And we hold that intensity Amanda showed Hamilton Cheifetz's student Juhwan in places that we shouldn't: Seo how to use his arm weight to pull sound from the G shoulders, thumbs, jaws. string. "Put your body weight into it; lean in with your Jinn Shin received advice shoulder and back." She demonstrated a passage from the on the pizzicato chords Fauré Élégie, Op. 24, describing how "woolly" the sound in the finale of the Elgar can be if the arm weight isn't in the string. Concerto in E Minor, Op. 85.

Shapiro, a master of maximum sound for minimal effort. Knowing how to leverage the elbow is paramount: a higher elbow and lower wrist puts a lot of power in the arm and allows one to push down into the string. Conversely, a high wrist and low elbow lets the bow rest easily and lightly on the string for soft passages.

"Don't attack-- pretend that the sound is coming from inside the cello, not dropped down onto the string."

One of the keys to sound production is figuring out Amanda instructed her to how to make a big, clear sound without tension. Amanda strum quickly downwards studied at The Juilliard School with the late Harvey cont'd on page 9

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Cellos in Pop Culture

Book Review

For the Love of It: Amateuring and Its Rivals

by Barbara Fischer Smoody Please include on your reading list For the Love of It: Amateuring and Its Rivals, by Wayne Booth. "Why do amateurs do what they do?" Dr. Booth poses this question to himself and to all who put themselves to the challenge of perfecting a skill. His book ranges far and wide, befitting his background as an academic (English professor, University of Chicago), with a bibliography dipping into music, fine arts, sports, and rhetoric. Chapter headings "Movement One" through "Movement Four," with an "Overture" and "Interlude," illustrate his specific love of music.

improved considerably" (this book's copyright is 1999). He passed away in 2005, having written two additional books during his retirement. I am glad that he had those fourteen years to play his cello with his wife and many friends. I hope this book makes you think about your "amateuring," and that you keep playing for the love of it.

Portland Cellist Roasts Up a New Career

by David Stabler ([email protected]) Reprinted with permission from The Oregonian What happens when a guy from the Bronx who played cello in the mighty Metropolitan Opera Orchestra moves to Portland? He joins the coffee army, of course. Not as a colonel, not as a sergeant, more like a private. Very private. Justin Kagan puts the "micro" in microroaster. He's so small he's off the radar of most coffee cognoscenti.

At 51, Kagan isn't your typical young tattooed roaster on his way to bigger things. His dream is modest: to roast every day and to combine music and caffeine somehow, possibly by running a coffee bar out of a small concert hall Dr. Booth played the clarinet and the piano as an adult friendly to chamber music. The concert hall is a long shot. student, and sang in choirs in his youth, but it was a Portland has no dedicated chamber hall and no prospects love of chamber music that steered him to the cello. He of building one, either. But Kagan's musical background dovetails nicely with the listened to all the classical music he could, much of it on phonographs in Red Cross centers during his WWII roasting business. Both require discipline, drive, and focus. service. His fiancée was a violinist, and he wrote letters Link to the full article: http://www.oregonlive.com/ home to her about hearing the A minor Beethoven quartet performance/index.ssf/2010/01/portland_cellist_roasts_ (No. 15, Op. 132) and about how he would truly love to be up_a_n.html. able to play the cello part, even if it took him ten years to get there (and this was written seven years before he had even touched a cello.) He realized that his piano playing would never be of the caliber required of the standard repertoire chamber music pieces. He also had the chance to sing in some amateur concerts (no audience, just the players), noting the small orchestra was always short on celli. The last straw was hearing his wife describe evenings she spent playing string quartets (with other musicians!); he took up the cello at age 31 (in 1952). Journal entries form the basis of most chapters, ranging from Dr. Booth's childhood and youth to his most recent playing and listening experiences. The endpaper cites his claim that since becoming a professor emeritus in 1991, "his cello playing has

Photo credit: Jamie Francis, The Oregonian

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Carbon Fiber vs. Pernambuco

by Kathleen Culligan

sophisticated and complex. David Kerr, of David Kerr Violin Shop in Portland, believes the cutoff point for sound comparability comes much earlier. In a search for the best of both worlds, a few bow manufacturers are making hybrid bows with carbon fiber shafts surrounded by wood. According to Shar's Anderson, the J. S. Finkel workshop in Switzerland is

Considering the Evolving Bow Alternative

In the market for a new bow? Carbon fiber bows have improved significantly since their appearance roughly thirty years ago.

Carbon fiber bows were developed in response to the sharp decline in the supply of pernambuco, the go-to wood for high-quality bows for more than 200 years. Most of the pernambuco trees, which grow only in the coastal forests of Brazil, have been lost to deforestation. However, the superior qualities of the wood for bow sticks have also contributed to the species' decline. at the forefront of this technology, making "fantastic" By experimenting with the new carbon fiber technology, hybrid bows that combine all the advantages of the bow makers believed they could eventually meet a market composite with the look and appeal of wood. He is less need for affordable, durable bows while doing their part excited about the hybrid bows coming from China, to protect a valuable resource. although Kerr likes them. From the start, durability has been a key asset. The carbon fiber sticks are made by combining a carbonbased material, usually graphite, with a matrix, or resin. The mixture is poured into a mold and heated until the resin is thermally set, yielding a stick that is highly durable yet flexible. Cost has been another plus. While the price of a carbon fiber bow can reach $3,500 or higher, the sweet spot for carbon fiber bow makers is considerably less than that. Hans Anderson, sales manager of Shar Violin Shop, a division of Shar Music, says that carbon fiber bows have become increasingly competitive with wood bows in the lower price ranges. One-third of the bows Shar sells in the $200 to $400 price range are now carbon fiber. Clearly, for certain age groups and uses, carbon fiber bows can be an excellent choice. The loss of sound quality when compared with more expensive wood bows is more than compensated for by their near indestructibility, an important issue for kids as well as adults who sometimes play in less than ideal conditions or use col legno, striking or drawing the stick across the strings. If you are in the market for a new bow and are interested in exploring the carbon fiber variety, be sure to try them out on your own cello. How does the bow feel in your hand? How does it interact with your instrument? As with wood bows, compatibility between cello and bow is extremely important.

Of course, how a carbon fiber bow looks and feels will When it comes to handling, carbon fiber bows can meet vary from brand to brand. But don't assume that bows or beat comparably priced wood bows. "Weight, balance, within a given model are identical. Manufacturers aiming resiliency, strength--they can be completely comparable," for lower price points where the margins are slimmer says Nancy Ives, principal cellist of the Oregon Symphony. may not control for uniform stiffness, say, or acoustic As for sound, she "would use a carbon fiber bow only transmission the way the high-end manufacturers do. for Pops concerts (where we're often amplified and rarely If the new bow is to be your primary bow, you might exposed), outdoors, or in a situation where breakage is a keep the 20 percent rule in mind. According to former concern, such as a crowded pit." Colorado Quartet cellist and new OCS board member Anderson claims that blindfolded listeners can't tell the Diane Chaplin, "A bow should be worth approximately difference between the two bow types unless the wood 20 percent of what the cello is worth. There is a $4,000 bow sells for more than $2,000. Beyond that, he says, carbon fiber bow on the market, but most top out at the tonal qualities yielded by a wood bow become more cont'd on page 6

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Adult Cello Recital Review

by David Keyes February 26th, 2010 The Adult Cello Recital reappeared this year after skipping 2009 for a lack of interest. Barbara Fischer Smoody and her sister Meredith Fischer Bach (piano) opened the program by taking us back to our early years of cello playing with a selection of solos from "The Green Book." Their selections were Tschaikowsky's "Andante" from the Fifth Symphony, Robert Schumann's "Traumerei," and Bizet's "Habanera" from Carmen. Alan Ely continued our adventures in the study of cello by playing three etudes written by our famous predecessors. He played "Etude No. 55" from Dotzauer's 113 Studies for Cello, "Etude No. 7" from Franchomme's 12 Studies, Op. 35, and Popper's "Etude No. 11" from the High School of Cello Playing, Opus 73. Way to go, Alan! Barbara then joined David Keyes for a lively cello duo--the first duet--by C. S. Schönebeck in Opus 12, Book I. This baroque composer was a longtime resident of Leipzig. The two parts are well balanced, leading to the thought that these duos may also have been written for students. And finally, Kathleen Culligan, Lynne Roe, and Susan Glosser were joined by pianist Jamie Glosser for an excellent performance of David Popper's Requiem, Op. 66--a quiet finish for a nice recital. Plan to join us again next year.

Notes from the Webmaster

Check out our online resources at

www.oregoncello.org

There you will find information on cello events around the state, cello teachers listed by area, scholarship information, issues of the

Carbon Fiber vs. Pernambuco cont'd from page 5

about $1,500. So if you are playing on a high-end instrument, you may not get the right match with carbon fiber." That said, Diane is a fan of carbon fiber bows even on expensive cellos in the situations Ives mentions above. Carbon fiber bows can be more complicated than wood bows to fix if something does go wrong. For this reason, Strings magazine recommends taking a close look at "the tip (check for cracks and chips) and the frog (make sure that it sits securely on the stick, with no space between the frog and shaft of the bow), ...[and look] for imperfections in the carbon, such as seams or bubbles" (April 2004, no. 118). Warranties on carbon fiber bows range from one year to lifetime, depending on the brand and model. Shar Music (www.sharmusic.com; 800.248.7427) will send you four bows to try out for two weeks for a $20 shipping fee and no deposit or obligation to purchase. David Kerr Violin Shop (4451 SE 28th Avenue, Portland 97202; www.kerrviolins. com; 503.238.4515) allows local shoppers to take up to four bows home for a week, although it will extend this to two weeks if you live outside the Portland metro area. Like Shar, David Kerr does not ask for a deposit, but the shop does take a credit card number to cover loss or damage. Non-musicians are often shocked when they find out what a decent bow--much less a fine pernambuco bow--costs. But we cellists know just how important our bows are when it comes to making good music. We can be thankful that carbon fiber technology continues to expand our range of options. Happy hunting!

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and more! For comments or questions about our online content, please contact: Diane Chaplin, Webmaster

[email protected]

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Cello Teacher Listing

Albany Sean Mills 541.791.3627 [email protected] Bend Deborah Ann Johnston 541.728.0856 [email protected] Eugene Dale Bradley 541.607.0246 [email protected] Gresham Jane Day 503.665.5850 [email protected] Erin Winemiller 503.419.8509 [email protected] Lake Oswego Dorothy Lewis 503.699.1337 [email protected] McMinnville Sherill Roberts 503.472.7286 [email protected] Melanie Schalock 971.237.1398 [email protected] Milwaukie Corey Averill 503.526.3908 [email protected] Portland--Northeast Katherine Schultz 503.312.4444 [email protected] John Hubbard 503.234.6569 [email protected] Portland--Northwest Hyun-Jin Kim 503.332.2949 [email protected] Portland--Southeast Liz Byrd 503.278.6795 [email protected] Jonathan Cheskin 503.267.4872 [email protected] Collin Heade 503.775.2894 [email protected] Collin Oldham 503.475.3015 [email protected] Marion Van Namen 503.956.4046 [email protected] Portland--Southwest Dorien de León 503.246.0093 [email protected] Dorothy Lewis 503.292.1337 [email protected] Fred Nussbaum 503.292.5549 [email protected] Sherwood Renee Dolphin 503.957.1156 [email protected] Tigard Kathie Reed 503.639.3795 [email protected] Tualatin / Lake Oswego / West Linn Charlene Wilson 503.691.1196 [email protected]

What a deal!

Teachers: Your name, telephone number, and e-mail address can appear here in the

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for regular member dues plus an additional $5 per year. Please contact: David Keyes, Treasurer [email protected]

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OCS Board Minutes

March 28, 2010 ­ Meeting called to order at 5:00 pm Home of Barbara Fischer Smoody (Vancouver, Washington) Present: Barbara Smoody, Katherine Schultz, David Keyes, Erin Winemiller, Diane Chaplin Treasury Business · Question of who is currently in possession of Bud Armstrong's cello (Marshall's student, L. M.?) · Board recommends that cello be donated to MYS in June 2010. Will seek approval of this plan from Gretchen (Bud's widow). · David suggested moving OCS's account from Morgan Stanley to First Tech Credit Union, which will provide greater convenience and more local support. Bank change was unanimously approved by all board members in attendance. OCS Spring Student Scholarship Competition · Location and date: Sunday, May 16, Lewis and Clark College; 10 am­2 pm (lower age category), 7 pm­8:30 pm (upper age category). Dorien de León is contact person/host. Katherine Schultz is coordinating. · We need 4­5 helpers in the morning: 1 to assist with tuning, 2 at check-in table (until 1 pm), and 1 to escort students to and from warm-up room. · Judges: John Cheskin, Diane Chaplin (pm only), Dorien de León, Katherine Schultz (pm only), Erin Winemiller (am only), Valdine Mishkin · Prizes to be solicited from: Paul Schuback, David Kerr, Manselle's Music (Katherine Schultz); Sheet Music Service, Geesman Violins, Beacock's Music, Wayne Nutsch, Ken Altmann, and others (Barbara Smoody); Classical Millennium (David Keyes); Gresham Music and Eastside Music (Erin Winemiller) Amanda Forsyth Master Class · Location and date: Thursday, April 8, The Old Church, 2­4 pm · Members present at today's meeting unanimously agreed to ask for "suggested donation" of $10 at door, reducing need for checking identification or otherwise differentiating between OCS members and members of the public · Total cost of event: $500 to Amanda Forsyth, $25/hr. to The Old Church · Student participants have been selected: Jinn S. (Dorien de León), David K. (Hyun-Jin Kim), Daniella O. (Charlene Wilson), Juhwan S. (Hamilton Cheifetz). Quirine Vierson Open Dress Rehearsal · Location and date: Friday, May 7, Arlene Schnitzer Concert Hall. Meet at Park Avenue entrance at 9 am. This event is open to OCS members, member teachers and their students. · Ms. Vierson performs the Dvorák Cello Concerto in B Minor, Op. 104 with the OSO on May 8, 9, and 10. Yo-Yo Ma in PDX, December 2010 · Mr. Ma is scheduled for one performance of Shostakovich's Cello Concerto No. 1 in E-flat Major, Op. 107 on December 5 with the OSO. · Suggestions from board members thus far have been for an open dress rehearsal, private reception, and/or master class. · Erin will follow up with Monica Hayes at the OSO office regarding his availability. Website Business · Diane continues to update site with accurate board information, e-mail and contact info, and monthly events. · All officers should have e-mail addresses at www.oregoncello.org.

cont'd on page 10

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For ad submissions please contact: David Keyes, Treasurer [email protected]

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A Master Class with Amanda Forsyth cont'd from page 3

"Participating in the master class with Amanda Forsyth was a great learning and performing experience. It was a chance to play a polished piece before a friendly audience, with her middle finger in a diagonal line, hitting the string but also to learn and get new feedback from a professional. hard and pulling with her arm. Jinn, a student of Dorien I enjoyed hearing and applying everything she had to de León, also got some pointers on slow shifts for ultra- say, and [I] learned to perform, not just play a piece. She expressiveness in heavily romantic music, as well as some emphasized the importance of telling a story through the evocative ideas to help with interpretation. music, as well as feeling the music within and showing it "You can't create something poetic without knowing as I played. I learned so much from her, and enjoyed her anything about the country. England is endless hills, active and non-intimidating teaching style. The master mystical." And, "the slow part at the end is like an old class was definitely a memorable experience for me." --Daniella Ohnemus man looking back on life." While you might need to be the one playing the piece to truly integrate abstract concepts about landscape and old men, Amanda gave a lot of pointers that were readily understood by all: · "Practice fast passages really fast, above your comfort level, and they'll be easier to play at tempo." · "Lookexciting--tellastorywithyourface." · "Double-jointed cellists must work twice as hard as others to develop strength in their joints." · "Smile; be aware that you're saying something to the audience." The smiles were not just on the faces of the players. The audience beamed for much of the enjoyable class as well. "My master class experience with Amanda Forsyth was like a déjà vu. The week of the master class, I had my lesson with my teacher, and we mainly talked about having stage presence and looking up while playing. She emphasized the importance of looking up and how it helps to produce better tone. Coincidentally, one thing that Ms. Forsyth mentioned to each one of us was to look at the beautiful window of the Old Church in front of us. It was evident that the sound was more open and full, rather than what she called `nasal' sound that is too forceful and thin. It was definitely a wake-up call that reminded me to work on my posture to help with my sound. Also, I was reminded to finish every phrase with intention rather than to just end it with no thought involved. Ms. Forsyth introduced a new idea of leading a shift or a glissando with the bow. It really got me to realize that my bow is what's creating the sound. Even when a shift is fabulous and perfect, without the bow, it's worthless. It was such a fun, helpful experience to work with Ms. Forsyth. Not only did I learn new things, but I was also reminded of things that were on the `autopilot' mode." --Jinn Shin

There were plenty of beaming faces in the audience a few days after the class, as Amanda Forsyth and her husband Pinchas Zukerman performed the Brahms Double Concerto with the Oregon Symphony. Amanda was regal, creating grandeur and breadth with her appealing sound. And she practices what she preaches: it really didn't look like she was working very hard to make that big, gorgeous sound. In fact, it mostly looked as if she were having a really "I really enjoyed the master class and learned several new techniques through the careful suggestions of Ms. good time. As were we all. Forsyth. During the master class, [she] advised me not to break the sound of the notes when there was a rest by relaxing my bow arm. Through her suggestion, I learned that flow is very important in a musical piece. Without flow, the image that the music creates would be "As a first-time participant of a master class, I was shattered. Another factor that impeded the flow of [the awarded with joy and knowledge from...Ms. Forsyth. Saint-Saëns Concerto] was the disproportionate balance [This] experienced cellist offered valuable comments to between the lower strings and the higher strings. The help [in] my journey to becoming a better cellist. Her lower strings were much quieter than the higher strings, opinion is valued by those who attended the class, and which hindered the portions of the piece that were played she will be remembered by me as my first `master.' I hope on the lower strings. Lastly, I discovered that although to experience more master classes as such, for this one the sound and flow of the music are crucial elements in a performance, body gestures and facial expressions also play definitely raised the bar for my future classes." --Juhwan Seo cont'd on page 11

Forsyth Master Class Feedback

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Cello Resource Listing

This is a transcription of an article that first appeared in The Strad (No. 833) in September 1959. The Strad is a publication from England known for being the "Voice of the String Music World since 1890" (www.thestrad.com) The article is near to my heart, as I frequently travel by bus from Vancouver to Portland to play with my quartet. Two buses get me from home to work, and one more line takes me from work to rehearsal. So far, no one has mistaken my cello for a double bass! --Barbara Fischer Smoody

Good Fake, Bad Fake

Good Fake Alicia Keys in The Secret Life of Bees (2008)

Violoncello In Society

by Richard Hough Garner (Reprinted with permission from the kind editors at The Strad magazine)

It is at once the cellist's good and bad fortune that his instrument is just within the portable class and can be taken into a bus or train if its owner is hard-faced enough to force his way into a tenable position in the vehicle and thick-skinned enough to ignore the subsequent witticisms from the conductor and adjacent passengers. There is no disguising a cello in its bag, and as its master is unlikely to be able to afford a car of his own, he must perforce acquire tough qualities. When you enter a bus with a cello, the first thing that happens is that the conductor steps smartly inside and effectively blocks the middle gangway of the lower deck. The conventional technique is then to use the instrument as a shield and advance slowly but firmly along the aisle with the intention of occupying the front seat, which you had carefully noted was vacant before you risked getting on the bus. Resisting an urge to convert your shield into a weapon by extending the spiky supporting peg, you say patiently, "I'm so sorry, but I can't get past." He usually accepts this and allows you to move on to the coveted place, after which he takes the fare and invites you to play a tune. The next event is an audible conversation on the seat behind you. "Mummy, what's the funny thing the funny man's got?" "Well, dear, it's a sort of musical instrument, and it's called a double bass." Finally, as you get out at the end of the journey, the initiative is seized by a middleaged male passenger who wants to make the most of his chance for a shaft of wit. "Now, tell me," he asks, "How the Devil do you get that thing under your chin?" Trains present no special problems. I once took a violoncello into a First Class compartment and I was so much concerned about the care of it that I actually kept it alongside me for the whole of a 70-mile journey. There were only two other passengers ...and they eyed me with disapproval and distaste, which are the natural lot of the suspected troubadour in the social presence of English barons. They must surely have been disappointed when the ticket inspector came and I produced the correct color. There were no humorous allusions under these austere and dignified conditions.

Alicia actually learned to play the cello in four weeks for her role as a "good fake" professional cellist. Bad Fake Michael Landon as Charles "Pa" Ingalls in Little House on the Prairie (1974­1983)

Pa doesn't even put his bow on the strings sometimes, but he's got a nice smile, which makes up for this "bad fake."

OCS Board Meeting Minutes cont'd from page 8

· David requested that treasurer communications be directed to [email protected] oregoncello.org. He will speak to Wayne about accessing that account. · Erin requested that secretary and monthly e-mail update communications be directed to [email protected] --Minutes by Erin Winemiller, Secretary ([email protected])

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If you have ideas to pass along regarding "Good Fake, Bad Fake" actors, please send an e-mail to B&B co-editor Jen Weaver-Neist [email protected]

2010 Scholarship Audition Results

Congratulations to our 2010 scholarship winners! Our two competitions are divided by grade level: students through grade 8 for the OCS awards and high schoolers for the Bud Armstrong award. Bud passed away in spring 2006, and the latter award was established in his memory. Gifts came from his family and many friends in music and business. During Bud's tenure as OCS president, Bud wanted OCS to encourage and support high school students. This annual scholarship award reminds us of his own amazement that he played more music in his retirement than golf! He started playing as a grade school student, and the love of music lasted his whole life. All the awards of cash are used for tuition, music camps, or other related educational expenses. A complete list of all winners (cash awards as well as gift certificates from local luthiers, bow makers, and other vendors) plus excerpts from student essays will appear in the Fall B&B; be watching for that report. Winners of cash scholarships will perform at our annual meeting in October 2010. (Note: the teacher's name follows the winner's in parentheses.) We wish good study to the current winners, and encourage all other qualified students to compete again next year. --Barbara Fischer Smoody, President ([email protected]) $500 Bud Armstrong Scholarship: Vivian Chang (Hyun-Jin Kim) $400 OCS Scholarship: Harry Kim (Hyun-Jin Kim) $200 OCS Scholarships: Jonathan Huang (India Jobelmann), Hailey Kang and Daniel Scoggins (Dorien de León), Julia Kim (Hyun-Jin Kim)

Treasurer's Report

We have opened a new bank account at a local Chase bank and will be moving our accounts from Morgan Stanley Smith Barney over the next few weeks. The primary reasons for this change are that Morgan Stanley has moved our account to its main office in New York City, so we have to bank by mail and are charged a financial management fee of $150 per year. The Chase account is no-charge with our usual balances. The current balance on April 30, 2010, is $4839.54 between these two accounts. We have transferred our accounting to QuickBooks on the recommendation of our new accountant, Jerrold Richards, and we are preparing full financial reports quarterly for our fiscal year of October 1 through September 30. If you would like either paper or electronic copies of our financials, please call David Keyes at 503.505.9611 or send an e-mail to [email protected] --David Keyes, Treasurer ([email protected])

Forsyth Master Class Feedback cont'd from page 9

a key role in the art of cello. I learned to relax, savor, and feel the music. By watching others play, I observed that the expressions and motions of a cellist caused even the audience to feel the emotions of the music. I am so glad that I had the opportunity to participate in this exciting event. Through this wonderful experience I learned much more about performing and becoming a better cellist." --David Kim

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Bridge & Bow

Oregon Cello Society PO Box 4035 Portland, OR 97208

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Note: The short code above your name shows the status of your membership. If your code is not PD10, ST10, or TC10, please take a moment to return this form with a check for your 2010 dues. This will guarantee that you receive your newsletter regularly.

OCS Membership Form

Please send to: Oregon Cello Society attn: Treasurer PO Box 4035 Portland, OR 97208

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