May 2008 This issue of the Bridge & Bow - OCS · PDF file• Concert includes...

Inside

President’s Message 1Events Calendar 2Treasurer’s Report 2What Every Cellist Needs to Know About the Body Part 4: Arms 3Gerald Kagan Master Classes & Performances 5Student Essays 62008 OCS Scholarship Auditions 6Cello Teacher Listing 8OCS Member Survey 10The Adult Recital 12OCS Board Meeting Minutes 14OCS Needs Your Help 15OCS Membership Form 16

Brid

ge &

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Oregon Cello Society ~ Spring / Summer 2008

Bridge & BowOregon Cello Society

PO Box 4035Portland, OR 97208www.oregoncello.org

President’s MessageMay 2008

Greetings to you from the green season! As we ease into summer, I hope you all have a good time at concerts and camps.

This issue of the Bridge & Bow takes a look back at our spring activities plus some bodywork advice. Check out “What Every Cellist Needs to Know About the Body Part 4: Arms.”

Please read the “OCS Needs Your Help” section in this issue (see page 15). Three important duties in the work of the OCS are lacking the attention they deserve, and I ask you to please share your time and skills.

The OCS board is planning an all-cello concert in early- to mid-2009. We will include adult and high-school-age players, and perhaps some members of the Portland Cello Project. Stay tuned to the B&B or the monthly e-mail update as we begin to organize and, once again, ask for your participation. Just how many cellists are there in Portland? And how many can we fit into one place—bows, music stands, and all??? Join in the fun; we’ll make room for you!

Sincerely, —Barbara Fischer Smoody, President [email protected]

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OFFICERSPresident

Barbara Fischer Smoody (’08)503.249.8300

[email protected] President

Katherine Schultz (’09)503.312.4444

[email protected]

Sherill Roberts (’10)503.472.7286

[email protected]

Wayne Nutsch (‘09)503.428.7209

[email protected] Manager

David Keyes503.997.8179

[email protected]

Joe Harchanko503.838.8874

[email protected] Editor

[email protected]

BOARD MEMBERSNaomi Blumberg

(President Emerita)503.252.7543

Renee Dolphin (’09)503.957.1156

[email protected]

Nancy Ives (honorary)360.590.1872

[email protected] Jobelmann (honorary)

[email protected] Lewis (’08)

[email protected]

Justin Kagan (’10)503.319.0576

[email protected] McIntosh (’10)

[email protected]

Lynne Roe (’08)[email protected]

503.675.1942Charlene Wilson (’10)

[email protected]

Treasurer’s Report ~ Spring 2008As of May 4, 2008

I am pleased to report that the treasury contains $8,718.81, and the Bud Memorial Endowment contains $2,235. The total is $10,953.81, and all bills and deposits have been processed.

—Wayne Nutsch, Treasurer [email protected]

Events Calendar Spring / Summer 2008JUNE 3, 8:00 pm: Portland Cello Project and Pink Martini at Fundfest 2008

McMenamins Crystal Ballroom (1332 W. Burnside, Portland)•Doors open at 7:00 • pm

JUNE 11, 8:30 pm: Adam Hurst and the Underscore Orchestra Perform at Mississippi Pizza Pub

Address: 3552 N. Mississippi Avenue, Portland•

JUNE 13, 7:00 pm: Florestan Trio Featured at the Cascade Head Music Festival on the Central Oregon Coast

Lincoln City Cultural Center (540 NE Highway 101, Lincoln City)•

JUNE 20, 8:30 pm: Adam Hurst Performs with Oxcart at the Slabtown BarAddress: 1033 NW 16th Avenue, Portland•

JULY 3, 8:00 pm & JULY 4, 7:30 pm: Chamber Music Northwest Presents “Music of the Americas”

Concert includes Golijov’s • Omaramor for solo cello and Villa-Lobos’ Bachiana Brasileira No. 5 for soprano and eight cellosKaul Auditorium at Reed College in Portland•

JULY 12, 9:00 pm: Portland Cello Project Limited Edition EP Release PartyDoug Fir Lounge (830 E. Burnside, Portland)•Doors open at 8:00 • pm

JULY 24, 8:00 pm & JULY 25, 8:00 pm: Chamber Music Northwest Presents Sophie Shao Performing Claude Debussy’s Cello Sonata

Thursday’s concert (July 24) is at Reed College’s Kaul Auditorium in •PortlandFriday’s performance (July 25) is at the Cabell Center Theater at Catlin •Gabel School, Portland

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What Every Cellist Needs to Know About the BodyPart 4: ArmsBy Sherill Roberts

In previous articles, I have written about Barbara Conable, the well-known Alexander Technique teacher who developed Body Mapping with her husband, cellist Bill Conable, who founded Andover Educators and taught the course, “What Every Musician Needs To Know About The Body.” Barbara has since retired and is no longer teaching, but I am happy to report that in April I presented my trial course, “What Every Cellist Needs To Know About The Body.” Barbara observed, and she has certified me to teach it officially as an Andover Educator. For me, this is the culmination of ten years of training, and the beginning of a new aspect of my cello career. I will be teaching this course in a variety of venues all over North America, so stay tuned!

In the process of preparing my trial course, I was reminded of the importance of mapping all the parts of our arms in structure, size, and function. Much pain would be avoided and we would play with more sound at the point [tip of the bow] if we recognized that our arms have not three but four joints. They are the wrist, the elbow, the shoulder, and the sterno-clavicular joint.

What is a sterno-clavicular joint? The arm consists of a hand, a wrist, a lower arm, an upper arm, a collarbone, and a shoulder blade. The only joint of the arm with the rest of the body is at the place where the collarbone (clavicle) meets the breastbone (sternum), right at the base of the front of your neck. This sterno-clavicular (SC for short) joint is often ignored, but it is very important in cello playing. If you have ever tried to hold your shoulders still while bowing, you were inhibiting the natural movement of your collarbone and your shoulder blade at the SC joint, and overworking the shoulder joint. This can result in tendonitis and rotator cuff injuries, as well as a diminished sound at the point, or a tense bow hand as we attempt to counteract the natural leverage we have available when we let the arm move at the SC joint. This leads us to the issue of rotation.

There are three rotations available in the arm structure, and we cellists need them all. There is the rotation of the forearm at the elbow (try it with arms bent), the rotation of the upper arm at the shoulder joint (try it with arms straight out at the sides), and the rotation of the shoulder blade over the ribs as the collarbone rotates in the SC joint (try it with a swimming motion). As we move the bow from the frog towards the point, first the forearm rotates, then the upper arm, and finally the shoulder blade joins in. As we return to the frog, the bones rotate back to neutral in reverse order. It all happens in a beautifully fluid rhythm, allowing us to maintain the friction of the bow on the string at the point, without having to squeeze the bow with the hand.

With the left arm, we need the three rotations as we move up into thumb position. Try it. Better yet, hug your cello with hands together below your bridge. Feel the movement of both your shoulder blades as they move

Cont’d on page 4

Photo courtesy of Sherill Roberts

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apart and rotate up over your ribs. Feels good, doesn’t it? I do this every day when I first sit down at my cello. It reinforces my body map of the structure and movement of my whole arms, and prepares me to make music effortlessly.If you have questions about this or any other aspect of body

use, I invite you to e-mail me at [email protected].

Sherill Roberts is principal cellist of the Portland Opera Orchestra, and teaches cello at Linfield College and George Fox University. She has a large private studio in McMinnville. Her CD, Mello Cello, was released in December and is available at www.CDBaby.com. She is a certified Andover Educator and teaches the course, “What Every Cellist Needs To Know About The Body.” Sherill’s Web site is www.mello-cello.com.

What Every Cellist Needs to Know… cont’d from page 3

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Gerald Kagan Master Classes and PerformancesKagan Visit to Portland Delivers Stellar Performances, Tips, and Praise of Local Talent

By Marshall Tuttle

This year, the Oregon chapter of ASTA (American String Teachers Association), in collaboration with Mt. Hood Community College, had the honor of presenting Maestro Gerald Kagan to give a performance of Saint-Saëns’ Cello Concerto No. 1 in A Minor and a series of master classes for cellists. Mr. Kagan also served as a judge and clinician at the Northwest Orchestra Festival, March 14–15. Mr. Kagan recently retired from a thirty-nine-year career as assistant principal cellist at the Metropolitan Opera.

The first master class took place on Wednesday, March 12, at Mt. Hood Community College, for cello students in the Mt. Hood Orchestra. Cellists who performed at Mt. Hood included Ivan Caluya, Owen Hoffman Smith, and Leana Mikhaylov. Mr. Caluya sat in as soloist with the Mt. Hood Orchestra as they learned the Saint-Saëns concerto and studied the piece for the class. Owen Hoffman Smith brought in the prelude to Bach’s Cello Suite No. 4 in Eb Major and the first movement of Dvorák’s Cello Concerto in B Minor. Leanna Mikhaylov, a high school student who performs with the MHCC Orchestra, brought in Piatti’s Caprice No. 12 in E Minor and the first movement to Bach’s Cello Suite No. 6 in D Major. Leanna is the current winner of the Oregon Cello Society’s Bud Armstrong cello prize.

The second class was open to the public and took place on the afternoon of Sunday, March 16, at the Community Music Center in Portland. The public master class featured David Kim (age 10), performing the Fauré Élégie pour violoncelle et orchestre; Kris Duke (age 15), performing the third movement of the Saint-Saëns’ concerto; Evan Wu (age 15), performing the first movement of Elgar’s Cello

Concerto in E Minor; and Lauren Kim (age 9), performing the Sonata in G Minor, by Eccles. Those who arrived early had the pleasure of hearing Mr. Kagan warm up by playing the preludes to the C major and Eb major Bach suites in the performance hall. The acoustics of the hall and the beauty of sound of his instrument (made in 1690, five years after Bach was born) were a rare treat.Before getting to the details of the classes, it is notable that at the end of a very busy week here, Mr. Kagan confided in me that he was quite impressed with the quality of music-making in the region here. He commented that just when he was beginning to give up on American music education, based on what he was seeing in New York, he was surprised and gratified to see that American music is alive and well in the Pacific Northwest. That is a testament to our teachers, conductors, and parents, who set and maintain such

high standards, and to our students, who succeed in achieving those standards.

During the classes at MHCC, Mr. Kagan remarked that the Bach suites are among the most difficult pieces to teach, as there are no manuscripts in Bach’s handwriting. The slurs marked in the available manuscripts are not clearly written, so it is often extremely difficult to determine how to bow them. (This is unlike the

situation in Bach’s original manuscripts, which are always clearly marked).

Consequently, Mr. Kagan emphasized the scholarship of Anner Bylsma as redefining the problems of teaching the Bach cello suites. Mr. Bylsma has published an extensive work in which he advocates strict adherence to every marking in the original manuscripts, and Mr. Kagan asserted this is the current stance on how to approach these works. (I note here that when I studied with Bylsma some years ago, he held the opposite position, thus emphasizing the difficulties in teaching these pieces!)

In discussing the Saint-Saëns’ concerto, Mr. Kagan referred to Saint-Saëns as the ultimate romantic classicist. An appropriate style of interpretation requires inaudible shifting (lifting bow pressure to avoid slides), and the melodic lines have to be long and even (with no notes sticking out in performance), particularly in the syncopated melody built from 8th–4er–8th note Cont’d on page 7

Mr. Kagan confided in me that he was quite impressed with the quality of music-making in the region here. He commented that just when he was beginning to give up on American music education, based on what he was seeing in New York, he was surprised and gratified to see that American music is alive and well in the Pacific Northwest.

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2008 OCS Scholarship Auditions2008 Oregon Cello Society Scholarship Auditions: The Results Are In!

The Thirteenth Annual Oregon Cello Society Scholarship Auditions were held on Saturday, May 10, at Lewis & Clark College in Portland. Twenty-five students (representing ten different teachers) participated, auditioning for scholarship money and other prizes. They were heard by a panel of judges, consisting of Justin Kagan, Sherill Roberts, and James Smith, all professional cellists, performers, and educators locally.The $500 Bud Armstrong Memorial Scholarship was awarded to Sarah Kang, 17, student of Hyun-Jin Kim, performing Pampeana No. 2 by Ginastera.The winners of the six $200 OCS Scholarships were:

Vivian Chang• , 15, student of Hyun-Jin Kim, performing the first movement of the Dvorák Cello Concerto in B Minor;

Elan Green• , 13, student of Katherine Schultz, performing the first movement of the Elgar Cello Concerto in E Minor;

David Kim• , 10, student of Hyun-Jin Kim, performing Fauré’s Élégie pour violoncelle et orchestre;

Harry Kim• , 10, student of Hyun-Jin Kim, performing the second movement of the Vivaldi Cello Sonata in E Minor;

Leana Mikhaylov• , 15, student of Marshall Tuttle, performing Piatti’s Caprice No. 12 in E Minor;

Jinn Shin• , 15, student of Dorien de Leon, performing the first movement of the Haydn Cello Concerto No. 1 in C Major.The $75 bow rehairs from David Kerr went to:

Joanne Huang• , 15, student of Dorien de Leon; Andrew Ponec• , 15, student of Charlene Wilson.

The winner of a bow rehair by Ken Altman, donated by Nutsch.com Aviation Services was Kiarra Seito-Beckman, 9, student of Deborah Johnston.The $50 store credits from Paul Schuback were awarded to:

Coleman Neher• , 6, student of Kathie Reed; Daniel Scoggins• , 11, student of Dorien de Leon.

The two winners of $25 gift certificates to Sheet Music Services were:Dawn Dravis• , 8, student of Kathie Reed; Mara Newman• , 7, student of Jane Day.

The collapsible music stands from Geesman Fine Violins were presented to:Joshua Sealand• , 12, student of Kathie Reed; Jin Yang• , 12, student of Charlene Wilson.

The six winners of $10 gift certificates to Manselle’s Music were:Quentin Carver• , 8, student of Katherine Schultz; Brandon Chang• , 13, student of John Hubbard; Coby Hart,• 9, student of Kathie Reed; Galen Nahas• , 14, student of John Hubbard; Daniella Ohnemus• , 13, student of Charlene Wilson; Conor Somervell• , 12, student of Charlene Wilson.

2008 OCS Scholarship Auditions:

Student EssaysAs part of the application process, each audition participant is asked to write and send in a short essay about why they enjoy playing the cello or about a musician they find inspirational. Here are some excerpts from the essays of this year’s scholarship winners.

I like cello because playing music is fun. The cello is my favorite instrument. I like it because I like instruments that have low sounds. So far, my favorite piece is Élégie, composed by Gabriel Fauré. I like the rhythm of this song because it has a lot of syncopation. I like syncopation because it is challenging. Fauré is one of my favorite composers even though I have only played one of his pieces. Sometimes after I practice, I compose my own short cello pieces.—David Kim, 10

Cont’d on page 9

Cont’d on page 7

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Student Essays Cont’d from page 6

It was Yo-Yo Ma who first introduced the sound of a real solo cello to my ears.… His playing is such an inspiration, and even more so if you’ve actually watched him perform. Yo-Yo Ma puts so much soul into his music that you can tell just by looking at him. He plays passionately and with such incredible feeling that you can’t help but be swept up in the wave of music he produces. The sound he creates is so smooth and eloquent that it either lulls me into a serene calmness or fills me with extreme awe and wonderment. Yo-Yo Ma seems to know exactly how to pull at your heart strings the way he wants them to be pulled—the way his vibrato can go from slow to fast and fast to slow, or go from a sound devoid of vibrato and then smoothly transitions into an unhurried, easy vibrato that makes your heart ache. Then when he plays a happy, peppy song, you can’t help but imagine the notes doing a little jig and do a bit of dancing yourself. What I like about him best is that in every piece, his last note lingers in your ears like a sweet dessert on the tip of your tongue. When that time comes and the song ends, I’m already pumped up to play my cello. —Sara Kang, 17

I have been playing cello since I was four years old. My inspiration for playing the cello was my dad. Almost every night, I would hear my dad playing his cello and I would fall asleep to it.

I like playing because it is fun and the music is so beautiful. I am so glad to be playing the Elgar cello concerto. I feel proud to be playing it at such a young age. This has always been my favorite piece for the cello. My teacher let me play this piece because of my determination and commitment. I love the beautiful melodies. The technical challenge has really

expanded my playing skills.—Elan Green, 13

Since I can remember, there has always been music in our house. My brother and sisters also have a musical background. Oddly enough, neither one of my parents has anything to do with music, but they have always supported

us. My love for music began at an early age and was greatly influenced by my brother and sisters because they all played the violin. I began playing violin at the age of eight, and I played it for five years before I switched to cello. I always dreamed of playing the cello, but when I began music, there wasn’t an opportunity for me to learn.… Later on, in sixth grade, the doors for playing Cont’d on page 10

Since I can remember,there has always been

music in our house.

patterns. In that melody, accent must be kept on the beat, not on the syncopated note. Other points included:

When sliding, he suggested the arrival note has to •be stronger than the approach.

Appoggiaturas need to be marked with a faster •vibrato on the nonchord tone and a slower vibrato on the note of resolution.

Avoid too much rubato, as it can disturb the •relationship with the orchestra.

The F major section needs to sound soft and warm.•In general, the French nature of the approach to melody

and expression needs to be primary. Avoid a heavy expressionistic approach, and let the grace and charm of the piece come through its long, elegantly composed phrases. When discussing the Piatti caprice, Mr. Kagan brought in a quote from a student of Piatti’s who remarked that the staccato and spiccato bowings in this piece were performed in a variety of different ways by the composer, with some on the string and some off the string. Additionally the artificial harmonic section was characterized by two rather substantial ritards at the end. Mr. Kagan demonstrated artificial harmonics with a very broad bowing style. In the

Saint-Saëns concerto, he used virtually the full bow for each of the artificial harmonics in the extended scale section.

The public master class began with the performance of the Faure élégie by David Kim. Mr. Kagan’s initial response was that he found it difficult to critique David because he played so well! He did, however, find much to say about the piece and its performance:

The repeat of the opening melody should be •performed softer, but also the color should be changed to something light and airy. Let the bow float across that string.

At the repeat of the opening melody, put the 3rd •finger on the D string and portamento to the beginning of the next phrase.

The second phrase is an echo of the first phrase.•Flex the fingers of the right hand on bow changes •

to assist in the creation of a legato.Lean on down bows, letting the weight of the arm •

sink into the bow.Do not be afraid to slide in this piece for legato.•When necessary to avoid slides: stop the bow, •

shift, and then start the bow again. Generally, he suggested that all notes sound like they are

Gerald Kagan… Cont’d from page 5

Cont’d on page 9

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Albany Sean Mills 541.791.3627 [email protected]

Corvallis Ann Grabe 541.758.0638 [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]

McMinnville Sherill Roberts 503.472.7286 [email protected]

Monmouth Joe Harchanko (also Salem) 503.269.3377 [email protected]

Portland—Northeast Katherine Schultz 503.312.4444 [email protected]

Portland—Northwest Jerry Bobbe (also Beaverton) 503.626.1075 [email protected]

Hyun-Jin Kim 503.641.4273 [email protected]

Portland—Southeast Collin Heade 503.775.2894 [email protected]

Marion Van Namen 503.956.4046 [email protected]

Portland—Southwest Hamilton Cheifetz 503.725.3185 [email protected]

Salem Joe Harchanko (also Monmouth) 503.269.3377 [email protected]

Bruce McIntosh 503.585.4298 [email protected]

Sherwood Reneé Dolphin 503.957.1156 [email protected]

Noah Seitz 503.569.0051 [email protected]

Sunriver Ezma Hanschka 541.593.9407 [email protected]

Tigard Kathie Reed 503.639.3795 [email protected]

Tualatin / Lake Oswego / West Linn Charlene Wilson 503.691.1196 [email protected]

Cello Teacher Listing

What a deal!

Teachers: Your name,

telephone number, and e-mail address

can appear here in the

Bridge & Bow

for regular member dues plus an additional $5.00

per year.

Contact Wayne Nutsch OCS Treasurer

[email protected]

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2008 OCS Scholarship Auditions Cont’d from Page 6

The remaining students were awarded a cake of rosin, donated by Paul Schuback, and a Mello Cello CD, donated by Sherill Roberts.

There will be a few new developments taking place next year. Last year, OCS added the $500 Bud Armstrong Memorial Scholarship to the annual scholarship auditions, which is a single award given to a high school student. Due to the complexity of running an audition with two different age categories, as well as the overlap of 15-year-old high school students entering both divisions, starting next year we will be changing the age range for both groups. Rather than having a specific cutoff age, the OCS scholarships and gift certificates will now be for students in eighth grade and below, and the single Armstrong scholarship will now be for students in ninth grade and up. Eligibility for previous scholarship winners will remain the same for the younger group, meaning a student cannot enter the year after winning and cannot win more than a total of two times. However, the Armstrong scholarship will be

treated as a separate entity, so an eighth-grade scholarship winner will be eligible to audition for the Armstrong scholarship the next year. A student may be awarded the Armstrong scholarship only once.

I would like to specially thank all the generous donors who gave us our wonderful gift certificates and prizes. Without them, we would not be able to ensure that all our participants leave with at least a little something as reward for their hard work. Thanks also to Dorien de Leon for hooking us up with Lewis and Clark, which ended up being a perfect venue for the auditions. Thanks to the judges; to Margaret Murer, who is such a flexible accompanist; to Dorien; to Bruce McIntosh; and to Charlene Wilson for all their help at the auditions. Thanks also to all the parents and teachers who have invested so much of their time in these talented students. We hope to see everyone back next year!

—Katherine Schultz, Vice President [email protected]

coming out of the same hand in this piece. Every note should be vibrated in this style.

In discussing the Elgar concerto, he commented that Elgar, of all composers, was one of the most meticulous in marking his parts. It is important to observe precisely what he wrote an e.g. not to ritard at the end of the opening solo. Mr. Kagan’s other comments included:

Use an even vibrato all the way through each note.•In the “ad lib,” sections, do not allow the •

expression to deviate from the written score (no insertion of rests or pauses, and so on).

Do not change Elgar’s bowings; it alters the mood •of the piece too much.

When bowing the dotted quarter-eighth patterns, •maintain the quality through the entire pattern. Do not let it become slow or heavy.

The bow must move smoothly and not jerk at the •end of notes.

Use vibrato to soften the texture of the sound.•Keep the left hand loose when shifting or the shift •

is likely to be missed. If anything, broaden the vibrato on a shift.

Follow Elgar’s bowings.•Mr. Kagan generally expounded the philosophy that the

left hand is responsible for creating rhythm and melody, and the right hand just follows along. The left hand—not

the bow—should be used to create emphasis. Use a lighter touch with the bow and work the left hand more, in order to soften tone quality. The weight of the bow has to match the vibrato in order to maintain a beautiful, supple tone quality. In commenting on the Eccles sonata, Mr. Kagan suggested:

Sixteenth-note runs should be played away from •the frog.

Observe dynamics.•Raise the left elbow when shifting up to higher •

positions.Don’t let short up-bows stick out.•Don’t leave harmonics until absolutely necessary •

when shifting.After the classes, Mr. Kagan expressed to me a wish to

have more time teaching the principle of making music with the left hand. He suggested that a lot of stiffness in bowing comes from a rigid left hand and an attempt to force phrasing out of the bow. Referring to a master class given by the famous cellist Greenhouse, Mr. Kagan repeated Greenhouse’s emphasis that it is the left hand that makes the music, the melody, and the rhythm. If an attempt is made to communicate this responsibility to the right hand, it leads to tension and a stiff, inflexible sound.

Clearly, there’s always more to learn and discuss in cello technique as well as music in general, and we’ll all look forward to the next time Gerald Kagan comes to town.

Gerald Kagan… Cont’d from page 5

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cello began to open for me, and so I jumped at the chance. I have been playing cello for four years, and I have enjoyed every minute of it. My lifetime goal is to keep cello in my life and continue improving in my playing.

—Leana Mikhaylov, 15

All musicians are talented and special. They are passionate about music, and that makes them inspiring and admirable. However, if I had to choose one, I would have to choose Jacqueline du Pre. She was a brilliant musician who wanted to share her passion with other people. I love the fact that she was deeply connected with the Elgar concerto. That special connection is something that made her performances more amazing and inspiring. Even after being diagnosed with multiple sclerosis, even after she went through so much emotionally and physically, she was still dedicated to music. I admire Jacqueline du Pre for her ability to overcome all the obstacles that could’ve ended her music life. Talent doesn’t make anyone an exceptional musician; dedication and passion come before talent. —Jinn Shin, 15

For the first few years of my cello studies, cello didn’t really interest me, and I almost felt like I was wasting my time practicing something that was inhibiting my precious free time. However, as time went on, and the repertoire became more interesting and challenging, I began to see that cello wasn’t just that “boring, second instrument of mine” (I play piano also). I found that

Cont’d on page 11

Member SurveyWe need your feedback! What activities would you like to see the OCS offer, and which ones would you participate in?

Live master classes

Master classes on video

Informal reading orchestra (all-cello)

Cello Day 2008? Speaker/subject suggestions

Movies of a “cellistic” nature with potluck dinner or dessert

Other activities

Please send your suggestions to [email protected] or send this paper copy to OCS Suggestions, PO Box 4035, Portland, OR 97208. Thanks for your input!Notes:

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Cel

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there were many things the cello was capable of that other instruments were unable to give, such as the thick, rich baritone/tenor tone (which comes with practice, of course).… Along with the realization that the cello was not a burden came the knowledge that I was playing to make music rather than to make my parents and teachers happy. Today, the cello…is a big priority in my daily planning and pretty much dictates my schedule, between lessons and PYP. I know that cello will remain an important part of my life, and I hope I can achieve great success in my cello studies.

—Vivian Chang, 15

Before I started cello, I played the violin. I thought it was going to be very fun. But as I got better, I realized that it was too high-pitched for me. I remember when I went to a PYP concert for the first time and I saw the cello. I liked its low sound, and it just sounded good to me. That is why I decided to play the cello.

—Harry Kim, 10

I also wanted to share with you the essay of one of our other talented participants, Andrew Ponec. I feel his words reflect the spirit and purpose of the Oregon Cello Society, and they are a reminder to us all to be accepting and encouraging.

Like every cellist, I love the cello because of its beautiful sound. That is why I chose to play the cello in the first place, and this is the biggest reason I still enjoy it today. But more than that, the reason I think the cello stands out among many other instruments is the friendly environment cellists create. When cellists come together to show what musical ideas they’ve had or interpretations they’ve made on a piece, it is not a competition. Cellists don’t come together to “beat” the other cellists or see who is the “best” musician; instead, they play to demonstrate, to share, to help, to encourage, and to inspire those around them to do similarly great things with music. At a recent master class with Willamette University professor Dr. Wu (and this is true for others as well), the performers were not hoping the others would play less musically or miss notes so they would look “better” in comparison. They realized that there is no finite amount of music in the world, and everyone can make more without taking from others. This optimistic, friendly attitude toward music is the biggest reason I am proud to be a cellist.

—Andrew Ponec, 15

Essays compiled by Katherine Schultz, Vice [email protected]

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www.oregoncello.org

Adult Recital Who We Are

By Kathleen Culligan

If the performers at this year’s adult cello recital are a representative slice of OCS membership, we belong to an eclectic group.

Some started studying cello in early childhood, while others began in their forties or even fifties. Thus, some have played nearly their entire lives, while others are relative newcomers with just five or six years under their belts.

Some of the women had to fight sexist attitudes early on about the “unladylike” pose required of cellists.

A few have played the cello exclusively, but many began their musical careers with other instruments—piano, flute, viola.

Some have belonged to OCS since its inception, while others count their membership in months.

And what’s the common denominator? The joy that comes with playing the cello, alone and with other musicians, of course!

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The Adult Recital. Pictured here are cellist David Keyes and clarinetist Jules Elias. Photo credit: Barbara Smoody

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www.oregoncello.org

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All Hail “Recreational” Cellists: The Adult Recital Is Back!By Kathleen Culligan

OCS’ Adult Cello Recital is always a treat for both performers and audience. Intended for nonprofessionals, it gives adult cellists an opportunity to play with and for their musical peers, as well as provide an entertaining evening for family and friends. Last year the recital did not take place, but thanks to the efforts of OCS board member Lynne Roe, OCS president Barbara Smoody, and a number of willing OCS musicians and their friends, the talent and musicianship of nonprofessional adult cellists in Oregon was on display the evening of March 29 in Portland.

First to perform were OCS member Marion Van Namen and David Frierman, bringing a bit of Versailles to the Community Music Center with Concert á deux violoncelles by François Couperin. As one would expect from the court composer of Louis XIV, the music was an intricate conversation between the two cellos, rich in counterpoint. Marion and David have been playing the piece together for two years, but it wasn’t until they began preparing for the recital that Marion “kept discovering the many layers of the piece. For the first time I experienced the depth of the music, the endless opportunities. This wouldn’t have come about without the recital.”

Next it was time for a quick trip across the Channel and the first movement of the Sonata I in G Major by Stephen Paxton, a little-known eighteenth-century English composer. Played by OCS members Susan Glosser and Kathleen Culligan, the allegro moderato was a light-hearted diversion after the dense texture of the Couperin. Susan and Kathleen were paired two summers ago when they took part in the adult chamber music class at the Community Music Center, and they have continued to play together as busy schedules have permitted.

Following the Paxton, Susan left the stage and pianist Ephraim Miller joined Kathleen to play the larghetto, adagio and andante tranquillo movements from Ralph Vaughan Williams’ Six Studies in English Folk-Song. Whereas few in the audience had likely heard the Paxton before that evening, it was obvious that many were well acquainted with Vaughan Williams’ reworking of old English melodies. The music—often lilting, sometimes surprisingly modern harmonically—has a timeless quality that speaks of love and longing. This was the first time for Ephraim and Kathleen to perform together, although they have played chamber music together occasionally over the years.

American composer Rick Sowash’s music has been performed before at OCS events. Rick was the composer in residence for the cello orchestra concert in 1997, and two years ago clarinetist Jules Elias and cellist Boris Popadiuk performed a moving Sowash piece, Born of the Same Wild Mother, dedicated to Bud Armstrong. This year OCS administrative manager, David Keyes, paired with Jules to play two movements from Sowash’s Convivial Suite, “Waltz” and “Blues.” Filled with American soul, the music

Cont’d on page 15

The music was an intricate conversation

between the two cellos, rich in counterpoint

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RECURRING EVENTS

First Monday Cello Class with Cello Professor

Hekun Wu Willamette University, Rogers Rehearsal Hall

Free and open to the public.

Contact Professor Wu at 503.370.6453 to register.

Fridays 9:00–11:00 pm

Original Music byAdam Hurst, Solo Cellist

Siam Society 2703 NE Alberta Street

Portland, OregonFREE admission

Second Tuesdays 10:00 am

The Music Workshop at CMC

Adults perform classical chamber music with and for each other in this unique monthly

workshop.Community Music Center

3350 SE Francis StreetPortland, OR 97202

For more information,

please visit www.

communitymusiccenter.org

OCS Board Meeting Minutes ~ May 4, 2008Held at Barbara Smoody’s house in Portland Attendees: Barbara Smoody, Renee Dolphin, Sherill Roberts, Katherine Schultz, and Doug Jenkins from the Portland Cello Project

January meeting’s minutes • are in the Winter 2008 B&B.Treasurer’s report• delivered via e-mail (see page 2)Scholarship proposals• : Katherine proposed that: (1) there be a place on the application form for instruments previously studied and (2) we not limit the number of years a student can win Bud’s cello. Both proposals passed. Scholarship eligibility clarified• : The OCS scholarship is for students through eighth grade, and Bud’s scholarship is for ninth grade and up.Adult cello concert• : Our last adult cello concert was six years ago. Doug Jenkins is interested in doing a joint concert with OCS adults and the Portland Cello Project.

Tentative date1. : October? Barbara will check the Oregon Symphony schedule, and Sherill will send to Barbara and Doug the October schedules for the Portland Opera, Oregon Ballet Theatre, Portland Baroque Orchestra, Vancouver Symphony, Salem Chamber Orchestra, Linfield Chamber Orchestra, and Newport Symphony.Venues2. : Doug suggested Skyview High School in Vancouver; rental is about $1000 each time. We would need it twice, once for the dress rehearsal and once for the performance; Doug will follow up as soon as we get dates. We think we will need two additional rehearsals, and Doug will scout out a venue for these.Repertoire3. : Doug and Sherill will determine this.Recruitment4. : Should all cellists be OCS members? Doug will run this by his Portland Cello Project members.Conductors5. : Sherill will ask. Librarian6. : Publicity7. : Doug will handle this.Benefit concert8. : The proceeds will go to benefit OCS and some other worthy community cause yet to be determined.

Meeting commenced • at 4:00 pm and adjourned at 5:15 pm.Next meeting: • Sunday, June 29, 5:00–6:00 pm.

Note: On May 12, Barbara decided to postpone the concert, mainly due to lack of response to her e-mail asking for volunteers to help with the concert.

—Compiled by Sherill Roberts, Secretary [email protected]

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OCS Needs Your HelpDue to various changes in our board membership, I have been doing two of these three tasks somewhat ineffectively. Please consider how you can help out the membership by assisting with one of the following needs. —Barbara Fischer Smoody, President

Post Office Box DutyOur post office box is in Portland, but our current treasurer doesn’t live in town. We need someone who can go to the main post office at NW Hoyt three or four times a month to empty the PO box and forward the appropriate contents to our treasurer. We would all benefit from a reliable handler so your membership and advertising payments get processed as quickly as possible. Please contact Barbara Smoody if you are able to take over this duty: [email protected].

Monthly E-mail EventsOur current e-mail event coordinator will be leaving that duty at the end of 2008, and OCS needs someone

to take over this useful service. A file of e-mails exists, and you would need to be able to surf local music calendars, and receive and edit notices of events which would otherwise not be included in the printed Bridge & Bow. Please contact Lynne Roe if you are interested: [email protected].

Newsletter CoordinatorOur newsletter editors need help planning future issues, soliciting articles, arranging interviews, and thinking of ways to make the Bridge & Bow a good resource for cello news. The B&B comes out in fall, winter, and spring. Long-term planning is on the order of two to four months ahead, with a few hours of work needed closer to deadline. Please help, or find a partner to share the duty! Just contact Barbara Smoody if you are able to take over this duty: [email protected].

Adult Recital Cont’d from page 13

was a distinct change in idiom from the preceding works. David and Jules have played together off and on for the past ten years, and they hope to work on the remaining movement of the suite at some point. Jim Strassmaier has been a member of OCS “since the beginning, practically,” and a frequent performer at OCS events. This year he outdid himself by putting together two groups for everyone’s enjoyment. First came the adagio and allegro con brio movements from Beethoven’s Piano Trio, Opus 38, masterfully performed by Jim, Emi Frost on violin, and Glenn Goodfellow on piano. This was followed by a series of songs, J. S. Bach’s “Oh Sacred Head Now Wounded,” Beethoven’s “Die Himmel Rühmen, Ich Liebe Dich,” the Beatles’ “Michelle” and “Yesterday,” and Debussy’s “Le Petit Negre,” performed by Jim and fellow cellists Happy Hillyer, Anne Horner, and Maureen Sunderland.

The trio recently dubbed itself “Fromage á Trois,” an indication of self-deprecating humor on their part because there was nothing cheesy about their playing. The quartet has been meeting for about five months and is still unnamed. According to Jim, they decided to go for “a cluster of short pieces you could call tasty and fun, while musically challenging. The sheet music bins for trombones and bassoons helped a lot.” You can be sure the lyrics were going through the heads of many in the audience as the quartet played.

Barbara Smoody joined OCS to play in the first all-cello orchestra in April 1987, but this was her first appearance at an OCS recital. Barbara grew up in a musical family, and she was joined on stage by her sister, pianist Meredith Fischer Bach. Although they didn’t play any Bach, they did treat us to short works by Purcell, Schubert, and Spohr. Then Barbara told us a story. Meredith had heard a piece by Richard Dworsky on “Prairie Home Companion” and had attempted to buy the score—unsuccessfully, as it turned out. So Meredith asked a friend to transcribe it, to the ongoing enjoyment of family and friends. Indeed, “A Toast to the New Year” seemed a fitting close to the evening, reminding us of just how much perseverance—even stubbornness—is required to play at the levels in evidence that evening.

OCS adult recitals are a great way for nonprofessional musicians to master new (and old) music, challenge performance anxiety, get to know other musicians, deepen current friendships, and have lots of fun. “There are always moments that are a surprise,” noted David Keyes, “but that is part of playing live music.” Moreover, the audience couldn’t have been more supportive or appreciative.

Jim Strassmaier said it best when he declared, “Let’s not let this event get dropped again.” And for those of you who considered playing in the recital but held back, for whatever reason, we’ll see you next year!

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May 2008 This issue of the Bridge & Bow - OCS · PDF file• Concert includes...

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Transcript of May 2008 This issue of the Bridge & Bow - OCS · PDF file• Concert includes...