PRESIDENT Katherine Schultz (‘06)

503.312.4444 woofypup@hotmail.com

SECRETARY

Barbara Smoody (‘08) 503.249.8300

smoodyb@ohsu.edu

TREASURER Wayne Nutsch (‘06)

503.838.1411 wayne@nutsch.com

ADMINISTRATIVE MANAGER

David Keyes 503.997.8179

dfkeyes@ipinc.n et

NEWSLETTER EDITOR Laura Saddler 503.771.9347

Laurasaddler@hotmail.com

WEBMASTER Joe Harchanko

Harchanko@wou.edu 503.838.8874

Board Members

Naomi Blumberg (honorary)

503.252.7543

Jess Dishman (‘06) 503.226.4551

jmdishman@hotmail.com

Nancy Ives (honorary) 360.590.1872

cellonancy@mac.com

India Jobelmann (honorary) 503.524.0789

jobelmann@aol.com

Dorothy Lewis (‘08) 503.699.1337

carothy@mindspring.com

Bruce McIntosh (‘07) 503.585.4298

bvmcintosh@comcast.net

Una O’Riordan (‘07) 503.287.0669

Unacello@msn.com

Sherill Roberts (‘07) 503.472.7286

shrobert@linfield.edu

Lynne Roe (‘08) Roefamily2000@yahoo.com

503.675.1942

Joan Sargent (‘07) 503.223.5687

sargentjb@hotmail.com

Charlene Wilson (‘07) 503.691.1196

cwcello@comcast.net

President’s Message

Happy New Year! I hope everyone had a safe and enjoyable holiday. Now it’s back to the daily grind. Fortunately, that means we have some OCS sponsored events coming up. The Student Recital is coming up at the end of Feb-

ruary. Any student who is a member (or whose teacher is a member) may participate. Application forms will be sent out to teachers. The Annual Scholarship Audition, along with the inaugural audition for the Bud Arm-strong Scholarship, will take place in April. The Scholarship Audition is open to any student 15 or under (as of April 1, 2007). Cash scholarships, along with prizes donated by local music shops, will be awarded to the students. The Bud Armstrong Scholarship is a single scholarship of a larger sum to be given to a deserving cellist between the ages of 15 and 18. Applications will be distributed to teachers, or for more information you may contact OCS at 503-312-4444. Our fall Cello Day in October turned out to be a fun-filled afternoon. Electronic cellists Adam Hurst, Joe Harchanko, and Tony Rogers enter-tained the crowd, Sherill Roberts educated us about our performing health with her “What Every Cellist Needs to Know About the Body” lecture, scholarship winners gave riveting performances, and Naomi Blumberg was named OCS President Emeritus in a small ceremony. Fine bows and cellos made by Ken Altman and Jonathan Franke were at our disposal for playing and admiring, and a good time was had by all. — Katherine Schultz

Bridge & Bow Oregon Cello Society — Winter 2007

www.oregoncello.org

Events Calendar…………………….……………………….. 2 Conjunto Iberico to Perform in Salem…………………….. 3 Ask Dr. Cello: Getting Started with Electric Cello……….. 4 Winter Classes at the Community Music Center………... 6 Bud Armstrong Memorial Scholarship……………..……… 7 Barbara Conable on Performance Anxiety…...…………… 8 Cello Teacher Listing………………………………………..11 Starker Master Class DVDs……………………………….. 15 OCS Board Meeting Minutes…………………………….…16

Not

es

Bridge & Bow — Winter 2007

Events Calendar January 11, 2007: Tokyo String Quartet Beall Hall, University of Oregon, Eugene, 8:00 PM. January 15 & 16, 2007: Takács Quartet, Lincoln Performance Hall, Portland State University, 7:30 PM. 503 224 9842 or www.focm.org for tickets. January 17: The Ahs (cello/banjo duo), Berbati's Pan, 231 SW Ankeny St, Portland, OR 97204 8pm? $6 Available at door on day of show only. http://www.theahsband.com or http://www.berbati.com January 21: The Portland Cello Project at Holocene, 1001 SE Morrison St.Portland, 9 pm. $5 Available at door on day of show only. http://www.myspace.com/celloproject or http://www.holocene.org January 26: Solo cellist Adam Hurst at Mississippi Studios, North Portland. 7pm, $10.

February 2: The Ahs (cello/banjo duo) open for "Paul Curreri." Mississippi Studios, 3939 N Missis-sippi, Portland, 7 pm $8adv/$10door http://www.mississippistudios.com

February 7, 2007: Heidi Grant Murphy and Kevin Murphy with the St. Lawrence String Quartet. Reed College Kaul Auditorium, 8:00 PM. www.cmnw.org or 503 294 6400 for tickets. February 8: Gideon Freudmann, solo electric cello. Willamette University Chapel, Salem, 11:30 AM. February 10: The Astoria Festival Chamber Players (Amy Moretti, Joel Belgique, Dorothy Lewis, Cary Lewis) at the Portland Scottish Rite, 7:30pm. February 11, 2007: Amelia String Trio. Beall Hall, University of Oregon, Eugene, 3:00 PM. February 11: Kronos Quartet plays Charke, Narayan and Riley. Kaul Auditorum, Reed College, Portland, 3:00 PM. 503-224-9842 for tickets.

February 16: The Astoria Festival Chamber Players Linfield College Ice Auditorium, 8 pm. February 22: Portland Cello Collective - a noontime concert of classical and contemporary music by a new Portland Cello group, OSU, Corvallis, noon. March 4, 2007: Cuarteto Casals with Thomas Gal-lant, oboe. Beall Hall, University of Oregon, Eugene, 3:00 PM. March 5 & 6, 2007: Borodin Quartet, Lincoln Per-formance Hall, Portland State University, 7:30 PM. 503 224 9842 or www.focm.org for tickets. March 11: Gideon Freudmann, solo electric cello. Freed Gallery, Lincoln City, 3pm. www.freedgallery.com. April 1: Florestan Trio (Janet Guggenheim, piano, Carol Sindell, violin, Hamilton Cheifetz, cello). 4 PM at Lincoln Performance Hall, PSU. Tickets at 503-725-3307, TicketMaster, or at the door. $12-25. April 8 & 9, 2007: Pacifica Quartet, Lincoln Per-formance Hall, Portland State University, 7:30 PM. 503 224 9842 or www.focm.org for tickets. April 9: Western Sequoia Piano Trio, faculty ensem-ble of Western Oregon University, performs Mozart, Dvorak, Shostakovich and Harchanko. Smith Recital Hall, Western Oregon University, Monmouth. Free. 503-838-8275 May 5 & 6, 2007: Alban Gerhart plays the Schumann Cello Concerto with the Oregon Sym-phony, Schnitzer Concert Hall, Portland, 7:30 PM. Fridays: Original music by Adam Hurst, all solo cello with drone in the Gypsy, Middle Eastern, and Indian influenced style. Siam Society, 9-11pm, 2703 NE Alberta St. FREE. First Thursdays: Adam Hurst at Urban Wineworks, 7pm, FREE. More info at adamhurststudio.com Second Tuesdays: The Music Workshop—Adults perform classical chamber music with and for each other. 10:00 AM, Community Music Center, 3350 SE Francis Street, Portland.

2

Oregon Cello Society

The Grace Goudy Distinguished Artists Se-ries will continue this spring with a performance by Conjunto Iberico in Salem on Monday Febru-ary 12 at 7:30 pm. Based in Amsterdam, Conjunto Iberico is the only full-time cello octet in the world. Created by conductor, Elias Arizcuren, Conjunto Iberico has worked its way to the musical foreground and is highly acclaimed by the international press for its high quality performances and also for the many initiatives Arizcuren has taken. These have resulted in world premieres at re-nowned chamber music venues all over the world; a collection of over 100 beautiful songs from Spain and South America performed with sopranos of international renown; theatre pro-ductions with modern dance groups; and a col-laboration with queen of flamenco, Carmen Linares. Since Conjunto Iberico began perform-ing in 1989 some of today's best-known compos-ers have picked up their pens resulting in 60 pre-mieres and 11 CDs. Soprano Pilar Jurado has distinguished her-self both as singer and composer. As a recitalist, she has performed in Europe's most important concert halls and has appeared as soloist under

the batons of renowned conductors including Luca Pfaff, Christophe Coin, Jordi Savalli, Arturo Tamayo, Adrian Leaper, J. Levine, Gar-cia Navarro and Josep Pons. A recipient of several composition prizes, Pilar Jurado taught counterpoint and fugue at the Conserva-toire Superior de Mu-sica de Madrid from 1991-1996. Recently

she has been rewarded with Premio 'Ojo Critico' de Musica Classica de RNE (Radio Na-cional de Espana).

Monday, Feb 12, 2007, 7:30pm, Hudson Hall, Willamette University

Tickets: $20 adult, $12 students/seniors are available at the Pentacle Theatre ticket office, 145 Liberty St. NE in Salem, 503-485-4300 (service charge added). Tickets can also be pur-chased at the door. "Total technical perfection, intensity, and colourful interpretations." —The Strad, London "A true miracle… irresistible sensuality and obsessive rhythm merge into a grand unity; classical and Brazilian influences are per-fectly in balance." —Luister, Amsterdam

Cello Octet Conjunto Iberico to Perform in Salem with soprano Pilar Jurado

Cello octet Conjunto Iberico and conductor Elias Arizcuren.

Soprano Pilar Jurado will perform with Conjunto Iberico.

3

Bridge & Bow — Winter 2007

Ask Dr. Cello practical advice for cellists from guest columnist Joe Harchanko

Dear Dr. Cello, I have a secret desire to play the electric cello. How do I get started? —Starstruck Dear Starstruck, You’re in luck: Dr. Joseph Harchanko, who teaches at Western Oregon University (and also moonlights as the OCS webmaster) is an expert in these matters. In this issue he’ll describe various types of electric cellos, and next time he’ll give ad-vice about how to choose and what other equip-ment you’ll need to get started on your stairway to cello heaven. —Dr. Cello Electric Cellos: from Zeta to Air Travel

We’ve all seen them. They’re cool. And ad-mit it -- who doesn’t fantasize about being a rock star? But when I began playing electric cello in 1993, “What is THAT?!” was the common re-sponse to seeing my instrument on stage. Today in-formation, choices, and inspiration are much easier to come by. For some, the draw is the ability to transform the sound of their instrument to limitless possibilities. For others, it’s the cross-over possi-bilities into genres beyond classical music. And for a few, it’s just a question of portability.

So what does one look for in an electric cello? The essential difference between electric cel-los and the traditional instrument comes down to the resonating chamber or body. Many electric cel-los bare only a residual resemblance to their acous-tic ancestors. While much of this is stylistic, it can allow for a more compact design and potentially greater portability. Predictably, many musicians find that the more an instrument departs from the standard design, the less it feels like playing the in-

strument we have spent so much time learning

to play. The other fac-tor that the solid body design allows is the ab-sence of any sound, save the vibration of the string. Playing such an instrument under-scores the importance of the cello body. A solid-body electric cello that is not con-nected to an amplifier creates just enough sound for the player and a couple of close friends to hear, and then only if they are in a quiet room.

While this alone makes for a nice practice instrument, especially for those liv-ing in apartments, the real benefit comes when you plug these babies in. The main difference from ampli-fying a traditional in-strument is that you can now turn the “cello sound” up or down in the mix. The downside is that in order to get the classic cello sound, a solid-body instrument needs a lot of help to emulate the reso-nance of the acoustic body. In this article, we’ll look at some of the specific models available. Next issue, we’ll explore the broader world of electric cello playing.

THE CELLOS

Perhaps the best-selling, best-known brand of electric bowed string instruments is Zeta. Their

4

Zeta Strados Fusion Cello

Oregon Cello Society

ments, it does not eliminate the need for further proc-essing. The SVC-100 is listed at $2795, but I found it as low as $1956.

The Yamaha SV-200 reminds me a bit of the starship Enterprise in its design. The sides collapse into the body for easier portability, but fold-out to regular cello dimensions for familiar play. The most impressive feature of the SV-200, however, is its in-ternal DSP chip which addresses the resonance factor by dialing up various on-board reverb settings, al-lowing you to simulate various concert hall reverbs without additional equipment. It lists about the same as the SVC-100. www.yamaha.com

Ned Steinberger’s NS Cello follows a sleek, if simple, design allowing for compactness and port-ability. Available in four, five, and even six-string models (adding a low F and a high E string) the NS Cello stands out for its versatility. Its unique design allows for interchangeable mounts. The player can place it on a tripod for standing and playing, at-

Strados Fusion Cellos represent their top-of-the- line instruments. They range from $3295 to $3895 depending on the choice of wood. These are beaut iful instru-ments with great-sounding pick-ups. The Zeta website states that these instruments are “MIDI ready.” This means that you can plug them in to any synthesizer, sound-module, or MIDI-ready computer, allowing you to use the expressive interface of the cello to play any synthesizer or sampler, rather than using the standard piano-style keyboard. However, this is a little mislead-ing. This ability requires addi-tional hardware (to be described in the spring 2007 issue). This hardware works with any elec-tronic signal, including a micro-phone. So in truth, all electric cellos are midi-ready. What

makes the Zeta system special is their proprietary multi-out-midi jack. Zetas use four separate pick-ups, one for each string. When used in conjunction with their Symphony II MIDI controller, it allows for each string to be assigned to a different MIDI chan-nel. This not only allows for greater accuracy on double-stops when controlling a synth, but it can even be used to assign a different instrument sound to each string. The four pick-up system allows the string volumes to be adjusted separately, but this is not a feature I have ever particularly felt important. www.zetamusic.com

Yamaha currently offers three models of electric cello. The SVC-50 is a less expensive and compact model for those wanting a compact travel instrument. It lists at about $1400. The SV-100 and SV-110 have been showing up in various music vid-eos lately. Its body is the exact same dimensions as an acoustic instrument, making its portability less practical (but no less than we cellists are used to dealing with). The nice feature of the SV-100 is that it has a small resonating chamber to add extra warmth. Basic acoustics dictate that this smaller resonating chamber will do little to enhance low-range tones. Although it may some warmth and reso-nance to the dead-sound of the solid-body instru-

5

NS Cello

Bridge & Bow — Winter 2007

tach an end-pin/chest brace system for traditional playing, or attach a shoulder harness to allow walk-ing mobility (my favorite!). Additionally, the pick-up has a toggle switch for switching between arco and pizzicato. This increases the sensitivity to the string by detecting the lateral motion when bowed, versus the more vertical vibration of the plucked string. Of course, the instrument works fine in either mode, but the difference does allow for greater flexibility in de-termining the instrument’s sound. Also adding to the NS Cello’s flexibility is the dual mode preamp al-lows the performer to select different tone qualities, one favoring more of a classic electronic sound, the other a better emulator of acoustic instruments. Added to its standard 2-band EQ, these features add great flexibility in the performer’s ability to custom-ize the sound of his/her instrument. The NS cello ranges from $2950 for the four-string model to $3375 for the six-string. The tripod attachment comes standard, but the end-pin stand and shoulder strap are extra. www.nedsteinberger.com

The Jordan electric cello, by John Jordan, strikes an interesting design while maintaining the important contact points. Most interesting about this instrument is the number of upgrades available in

buying a custom in-strument. The basic price is the rather hefty sum of $7000, much higher than other in-struments reviewed. A fifth string adds $1400 and for a six-string in-strument add $2,200. A fingerboard exten-sion for the low e,

making it a cello/bass hybrid, is another $220. Speaking of fingerboards, you can avoid the whole messy business of intonation by upgrading to a fret-ted fingerboard for $430, but at the much higher cost of losing all those sweet “in-between-the-notes” mo-ments that make the cello such an expressive instru-ment. One drawback of the Jordan cello is that the closest dealer is located in California. If you are go-ing to plunk-down $7000-$10,000 on an instrument, you will certainly want to arrange an audition for the instrument before you buy. www.jordanmusic.com

Jumping from high-end to low-end brings us to the Prakticello. As its name suggests, the

(Continued on page 15)

Winter Classes at the Community Music Center Welcome Back to Piano (Age: 18 & Up) Already have some keyboard experience from "way back when" and would like to pick it up again? Obtain guidance on the most appropriate instruction level for your skill & ability to con-tinue studies with confidence. This is a one-time class, after which students may be placed in the best-fitting continuing class offered. To register you can call us or just stop by CMC. 503-823-3177. W 1/03 6:30pm-7:30pm Cheshier $12 YouTunes What's on YOUR digital music player? Discover new download files and sites that fit your style or expand your horizons. Come away with 1) new insights about what makes a composition work, 2) a network of like-minded listeners, and 3) a list of great tunes to add to your library. Bring: your fa-vorite digital music (any style) on an MP3 player or CD, plus an open mind! Just DROP IN - no registration required. Teens: Sa 1/6 10:30 am - 12:30pm $10 Adults: Sa 1/6 2:00pm - 4:30pm $15 Continuing Classes for All Ages Winter Term starts January 8. Join us! Register by phone or in person (prerequisites may apply). 503-823-3177. YOUTH - Chamber Music, Choir (The Center Singers), Guitar, Music Skills, Piano, Strings (Violin, Viola, Cello, Bass), String Or-chestra, Voice. ADULT - Chorus (The Francis Street Singers, Choral Part Singing Class), Guitar & Guitar Ensemble, Recorder, Renaissance Winds & Song, Sight-Singing, Strings (Violin & Cello), String Orchestra, Voice. Note: continuing youth and adult registrants from fall term have automatically been enrolled into the continuing winter term courses; re-registration for winter term is only neces-sary for continuing Early Childhood Music class partici-pants - all activities for age 6 mo. to 5 yrs.

Community Music Center 3350 SE Francis Street Portland 503-823-3177

www.communitymusiccenter.org

6

The New Jordan Electric Cello

The Bud Armstrong Memorial Scholarship When the OCS holds its annual scholarship auditions this spring there will be an additional opportunity for students in high school (grade 9-12 as of April 1, 2007). [Teachers, please take note.] Bud wanted a scholarship to go to a student of high school age. When he passed on this last May, his family designated OCS as a fitting memorial, and right now we have about $2,000 in the Bud Armstrong Scholarship Fund, donations having come from his family, former work, golf and symphony colleagues, chamber music friends and OCS members. The Board has decided to donate $300 each year to the Scholarship, and the interest from the Fund will be added to that and awarded to a high school cello student from Oregon or the most southern counties of Washington. Bud's family has also given his cello

to OCS to be offered as an additional award. One school age student will have the use of this very good full-sized cello for a whole year! There will be no rental or fee, but the student split insurance costs for the year with OCS. The criteria will be need, as well as excellence in performance. When the applications for the annual scholarship auditions go out, teachers will have to specify whether a student is applying for an award for students 15 and under, for the award for a high school student (at this time it will be awarded to only one student), or for the award of the use of Bud's cello for a year (probably from end of September to beginning of October, our fiscal year...or possibly to coincide with the school year...to be de-cided by the board in our January meeting). Bud's legacy of love for the cello, and his service to the Oregon Cello Society cont inues, and our students are the beneficiaries. What a wonderful memorial! —Charlene Wilson

Vernon “Bud” Armstrong.

Bridge & Bow — Winter 2007

There are four distinct phenomena that go by the name performance anxiety. Each requires a different response, so it is important to name all four and distinguish them from each other so that the appropriate response may be chosen. Mixing re -sponses guarantees failure. FOUR KINDS OF PERFORMANCE ANXIETY: One: butterflies. Two: self-consciousness. Three: emotions associated with inadequate preparation. Four: debilitating fear, terror, dread, panic. DEFINITIONS: One, butterflies, the fluttery sensations, sometimes in -tense, that precede performance and disappear as performance begins, often regarded by seasoned performers as indicative of readiness to perform but often mistaken for performance anxi-ety by inexperienced performers. Normal, not pathological. Two, self-consciousness, defined in my dictionary as “morbidly aware of oneself as an object of attention for others.” A brilliant definition. I’d like to shake the hand of the person who wrote it. Self-consciousness is a pathology, but rather eas-ily remedied. To call it performance anxiety is a misnomer be-cause anxiety is not involved, as you will learn if you carefully question a self-conscious person. He or she will say, “Oh, I don't feel any fear, I'm just so self-conscious.” Three, emotions associated with inadequate preparation. A witches’ brew of shame, confusion, avoidance, and fear, not pathological, just human, often mistaken for number four by those who don’t want to acknowledge the truth that they are not ready to perform. Shame predominates in this mix. Four, pathological, debilitating fear, terror, dread, panic. Intense emotion, coming in waves, usually expressed physically as sweating, shaking or other involuntary movement, rapid breathing, dry mouth, senses distorted or diminished, e.g., “It sounded like the piano was a quarter of mile away.” TIME OF OCCURRENCE: One, butterflies, occurs in the hours immediately preced-ing performance. Two, self-consciousness, occurs whenever the performance is thought about. Three, emotions associated with inadequate preparation. Pretty constant in the weeks preceding performance. Usually low grade because of the avoidance factor. Four, debilitating fear, terror, dread, panic. Grandly epi-sodic throughout the entire period of preparation. Middle of the night. While driving one’s car. At a party. Walking past the concert hall. Talking with one’s accompanist on the phone. Taking a walk. Sudden. Unpredictable. Subsides, only to reap-pear another time, like herpes.

EFFECT ON PERFORMANCE: One, butterflies, enhances per-formance. Two, self-consciousness, compromises the whole perform-ance, start to finish. “I always play better in practice than in perform-ance.” Emotional expression and meaning are compromised. Three, emotions associated with inadequate preparation. Performance spotty and substandard because of the inadequate preparation, not because of the associated emotions. Four, debilitating fear, terror, dread, panic. May stop performance altogether. Performers may refuse to play or sing at the last minute or they walk off stage mid con-cert. If they play or sing the whole concert, the fear and its physical manifestation are episodic throughout. The sweating and shaking may be visible and result in wrong notes. The sen-sory distortion may interfere with ability to read the notation or to hear the other players so that performance has to be stopped and started again. Often results in “memory slips” or rhythmic distortion. Rarely if ever compromises expressiveness. In fact, some performers claim they are not expressive unless they are filled with fear, terror, dread, panic. REMEDIES: One, butterflies. Learn to enjoy them. Begin the perform-ance and they disappear. T wo, being self-consciousness, morbidly aware of oneself as an object of observation for others, requires a two step rem-edy. First, get clear about the fact that the audience pays money and comes to the concert hall to make the music the object of attention. If the audience paid money and came to the concert hall to make YOU the object of attention, you wouldn’t have to play the music. You could just sit there and let them look at you. Second step in the remedy, develop self-awareness. True self-awareness (kinesthetic, tactile, emotional) is the great, reli-able remedy for self-consciousness. This two-step remedy can work literally overnight and solve the problem forever if the first step is truly comprehended. The music is what it’s all about. The music is the object of observation for the audience and for the performer, who have a mutual interest in the music. Three, emotions associated with inadequate preparation. Cancel or postpone the performance or the audition, or get a sub. No other response is appropriate. Then, get yourself ade-quately prepared. If you don’t know how to prepare, find some-one who will teach you. Never, never use performance anxiety as an excuse when it was inadequate preparation that compro-mised the quality of your performance. Teachers, don’t let your students get by with this, either. Nail them. Call them on it. It’s your job. Don’t let them perform unprepared. Four, debilitating fear, terror, dread, panic. The remedy for this is strenuous, demanding, difficult, uncompromising, but it

What To Do About Performance Anxiety By Barbara Conable

8

Barbara Conable

www.artmusicbywhimsy.com Karen Bates-Smith,

Composer TEL 503-347-0692

Music for Violin/Cello duets & String Trios

works. The remedy will be described in great detail later in this essay, but, first, I believe it is important to understand that this type of performance anxiety happens in a context. In my experi-ence, the context must be credited in order for the sufferer to do the work of liberation. THE CONTEXT: Performance fear, terror, dread, panic is not purely per-sonal and cannot be remedied without some understanding of its cultural context. In order for musicians to exert themselves to genuine change, they need to sense they are changing not just themselves but also the musical culture. In other words, they are doing it for everyone. Let’s look at the problem from the perspective of circumstances in which performance anxiety rarely or never occurs. Then, let’s examine some unusual fac-tors in the way music is taught and heard in our culture. Third, please consider the status of musicians in our culture as a factor in the fear musicians feel. Let’s look first at the circumstances in which performance anxiety rarely or never occurs in order to shine some light on the circumstances in which it does occur. Performance anxiety rarely occurs among pro-ams, as they are now fondly called, that is, amateurs who play at a professional level. It rarely oc-curs among church musicians, especially those who regard themselves as having a vocation for music, and it rarely occurs among Indian classical musicians (those who play the tradi-tional ragas), though their music is at least as complex and de-manding as western classical music, and it rarely occurs among African drummers, though their music is far more complex rhythmically than is western music. I have the impression that performance anxiety is less frequent among western jazz and rock musicians than among western classical musicians. Pro-ams tell me they feel eager anticipation when they perform. One said it is like preparing a fine meal for friends. Pro-ams play a lot of chamber music, and the music itself is the motivating factor, the joy of hearing it, the joy of playing it, the joy of discovering something new about it. For these highly skilled amateurs there are no bad con-sequences in their imagination if they don’t for some reason play well, no loss of job, no scorn from colleagues, and the like. Church musicians tell me they attribute their absence of fear to the fact that even their very finest performances are not ends in themselves but rather dedicated to the overall effect of the celebration. Organists sometimes tell me it helps them that they are not seen by the congregation, or not watched as a concert pianist is. Indian classical musicians tend to attribute their comfort in playing to the communal nature of their training and to the fact that they usually live with their teachers, who teach them every day, not every week, and offer the ongoing nurture and sup-port in supervised daily practice. The students never experience the isolation so many young musicians experience in our culture.

One of the great African drummers at a Percussive Arts Society convention, when asked about performance anxiety, said he had never met anyone who suffered from it. Laughing, he said, "We are not afraid of music." Then he became serious and named some ele ments in the training of drummers that may prevent performance anxiety. First, he said, "We never ever name a mistake. Naming mistakes seems silly to us,” he said, “like naming the ‘mistakes’ in a young child’s talking or walk-ing.” He went on to say that young children are kept at the same level of playing for a long time and not allowed to go to the next level of complexity until they are practically bursting to do so. Then, when they do go to the next level, they can achieve it easily, they have so long anticipated it in their minds and be-cause they have heard it and seen it for so long from others. In addition, African teachers play with their students or for their students all or most of the time, and there are no competitions, only performances. Rock musicians, in my experience, are free of perform-ance anxiety. When I ask them about this, they generally attrib -ute it to the connection they feel to their audience. They are deeply, profoundly aware of their audience as they write and rehearse, so it is as if the audience is perpetually present. The audience is not something to be feared but something to draw strength and inspiration from. Listen to interviews with great

rock musicians and you will hear them talk about their audiences in the same way some well-known novelists talk about theirs. A mutual loyalty is being described. Jazz musicians share to some degree the sense of audience, especially those who get a follow-ing in certain clubs, but they have the further cush-ion of improvisation. Improvisation is a very de-manding enterprise, but it does give a kind of space that the strict notation of classical music does not. There are some aspects of the ways music is heard in our culture that we take for granted much of the time, but which are nevertheless quite unusual and may contribute to the debilitating fear some mu-sicians experience. An audience sitting in rows fac-ing a stage with nothing else to think about is un-usual in the world. In other cultures people wander in and out of the performance space, paying close attention when they like and peripheral attention at other times. The musicians are not watched so in-tently. Nowadays many people have CD's of the mu-sic being performed. Notes not written by the com-

Bridge & Bow — Winter 2007

poser have been corrected on the CDs, and therefore people's ears are geared to a level of technical perfection that is unrealis-tic. Also, audience members may be comparing a university professor’s performance to the performance of the finest con-cert musicians in the world. The comparison spoils what would otherwise be a profoundly enjoyable experience, and, to make matters worse, the performer may also be making the compari-son, contributing to performance fear and dread. Some fine mu-sicians perform infrequently, upping the ante on any one per-formance, like getting to play one or two poker hands a year. And then there is the matter of envy. I will not write about envy in this essay because it has been discussed so brilliantly by James Jordan in The Musician’s Soul, a book all musicians need to read and study because envy is a truly significant factor in performance fear and dread. As is status. Musicians’ status is our culture is described in one word: low. Evidence: joke. Three people appear at the pearly gates. The doctor is welcomed right in, likewise the lawyer. The musi-cian is directed around to the back door. Evidence: COVER STORY in city magazine: HOW TO IMPRESS YOUR FRIENDS THIS YEAR. Tip number ten: BUY SEASON TICKETS TO THE SYMPHONY AND NEVER, NEVER GO. Evidence: musicians’ salaries at universities as compared with others who have spent decades of hard work in preparation for what they do. Evidence: the way musicians are treated at the White House. Rosalyn Carter made sure that musicians were greeted when they arrived and that they were served good food and had a comfortable place to change clothes and warm up and rest between performances, but other occupants of the White House have not followed her example. Evidence: the reluctance of symphony management to adopt and adhere to elementary safeguards for musicians and their instruments, like temperature control, reasonable sched-ules, and ear protection. Evidence: the failure of universities to credit practice time and score study as work hours. Many university musicians work a full work week in addition to their practice and study time. From a non-musician’s point of view, this is cruel and counter productive, like asking a scientist to do research after hours, and it contributes to performance anxiety because the performing professor is tired and sometimes resentful. I have been privileged to spend some time in a culture in which musicians are held in the highest esteem, revered, cared for, regarded as very, very special. Their status is in shocking contrast to that of musicians in American mainstream culture.

THE REMEDY FOR PERFORMANCE FEAR, TERROR, DREAD, PANIC: I derive some linguistic pleasure from building the remedy on the letters in the word F-E-A-R, thus: F—feel the fear. E—embody the fear. A—arrive. R—relate. The devise also helps my students remember what to do. Feel the fear. Embody the fear. Truly arrive in the performance space. Truly relate to the space, the music, and the audience. It sounds simple, but it is actually very mentally demand-ing, and the feeling and the embodying must be done over and over again throughout the preparation period whenever the epi-sodes of fear occur, so it is a day by day commitment over a period of weeks or months, and it is particularly demanding at the time of performance because feeling and embodying must continue unabated while you at the same time truly arrive in the space and truly relate to it. Not simple. Not easy. Why do I rec-ommend something so demanding as remedy? Because it’s the only thing that works. Believe me, I’ve seen everything you can imagine tried to solve this problem and nothing but this demanding procedure really works. If you don’t believe me, try all the others and then do

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Beaverton Corey Averill 503.526.3908 Hyun-Jin Kim 503.591.7542 hk003g@yahoo.com Corvallis Ann Grabe 541.758.0638 acello@peak.org Eugene Robert Hladky 541.746.0135 Gresham Jane Day jjday@comcast.net 503.665.5850 McMinnville Sherill Roberts 503.472.7286 shroberts@linfield.edu Portland / Northeast Katherine Schultz 503.312.4444 woofypup@hotmail.com Portland / Northwest Jerry Bobbe (also Beaverton) jbobbe@comcast.net 503.626.1075 Hyun Kim 503.617.9876 Fred Nussbaum 503.292.5549 FredTrain@aol.com

Mulino/Oregon City Gayle Budd O’Grady 503.632.8207 leonora@fastmail.fm Portland / Southeast Collin Heade 503.775.2894 collinheade@aol.com Gideon Freudmann

503.231.7755 gideon@cellobop.com www.cellobop.com

Portland / Southwest Hamilton Cheifetz 503.725.3185 hamtone@aol.com Dorien de León 503.246.0093 dorien.deleon@comcast.net Salem Bruce McIntosh 503.585.4298 bvmcintosh@comcast.net Sherwood Renee Dolphin 503.957.1156 rdolphin@ oregonmusicacademy. com

Cello Teacher Listing

Teachers: what a deal! Your name, telephone number and e-mail address can appear here for regular member dues plus an additional $5.00 per year.

Sunriver Ezma Hanschka 541.593.9407 ehanschka@mac.com Tigard India Jobelmann 503.524.0789 jobelmann@aol.com Hermann Jobelmann 503.524.0789 jobelmann@aol.com Kathie Reed 503.639.3795 ReedHess@aol.com Tualatin/Lake Oswego/West Linn Dorothy Lewis 503.699.1337 carothy@mindspring. com Charlene Wilson 503.691.1196 cwcello@comcast.net

Bridge & Bow — Winter 2007

this, hard as it is. No one ever said being a successful performer was going to be easy, only that is was going to be fulfilling and in keeping with our deepest humanity, so the reward is great. So, here is how it’s done, letter by letter. FEAR. F: FEEL: Many people make the mistake of trying not to feel their fear, terror, dread, panic, or they try to diminish it, or they try to ignore it. This turns them into two people, the person who is feeling the fear and the one who is suppressing or ignoring it. You can't perform split. It just won’t work. So, the first task in solving the problem of performance fear is to just agree to feel what you’re feeling full out in every part of your body, not diminishing any tiny bit of it. Now, understand that fear, terror, dread, panic only over-whelm if they are experienced in isolation from other sensa-tions. So, your next FEEL task is to feel also all the other emo-tions in your experience. You may think there are no others, but you will be wrong about this. If you go looking for them, you will find the others -- anger, perhaps; self-compassion, we hope; your love for the music you will be playing, your antici-pation, yearning; hope for a fine performance; regard for the other musicians on your concert. The key here is to let all those other emotions live in your experience and come into relation-ship with the fear you feel. If you let them live there with the fear, the other emotions will cushion the fear, change its tex-ture. Probably they will not diminish its intensity, but that’s okay, really, because they will change the physical expression of the fear. Sweating and shaking will subside. Your body only produces these expressions of your fear if your fear is all you’re feeling, if it’s alone there in experience, all by itself. When you’re feeling all your other emotions at the same time, the monochromatic response of shaking and sweating gives way to a rainbow of expression that also prevents the sensory distor-tions that compromise performance so seriously. You may want to actively cultivate and enhance some of your other emotions. If you love music, right there in the pres-ence of all your fear, expand and enhance that love. If you have some joyful anticipation of playing this marvelous music for people in the audience, enhance that. Don't stop feeling the fear, just give it good company. You are cultivating richness in your experience. If you allow it to, the music will help you as you practice it. Be sure you are making the fullest possible emo tional response to the music you are practicing. You will need to make your entire nervous system available to the music, then it will provide you with the richest possible context for your fear. Music teaches you how to feel what it expresses. That is one of its glories, and it is how music helps you with your fear. Now, remember, this is just the first step, and it will not work in isolation from the others to solve your performance fear problem, but neither can it be skipped or cheated. You will have to do this step consistently, day after day, in your practice

and every single time you feel an episode of performance

fear coming on. FEAR. E--EMBODY. Now you go the next step and give all your emotion a la r-ger context. You need to put all your emotion in the company of all your other physical sensation. Just like fear never over-whelms when it is given the company of other emotion, so emotion never overwhelms when it is given the company of other sensation. We call this strategy embodying the fear. First, put all your emotions in the context of your tactile experience, the feeling of your skin, your tactile sensation of your shoes, socks, floor, clothing, the temperature and move-ment of the air as perceived by your skin. Find it all and put your emotion firmly in relationship to it. Then find all your kinesthetic sensation, that is, all your experience of your moving, of your position, of your size. You will be moving to perform, and you will need to feel your mo v-ing with great clarity in order to choose the best movement and in order to change your moving if it needs to be changed. So, in embodying your emotion, you are also availing yourself of in-formation crucial for performance anyway, apart from its func-tion as a primary cushion for fear. As you become kinesthetically awake, you will feel overt movement and what is fashionably called micromovement, all the inner hum of muscular and visceral activity. You will feel this all as related, like an orchestra of sensation, not isolated like orchestra members warming up. You want to be sure you are feeling any other sensation that may be present. Pain, if it’s there, hunger, thirst, pleasure, the whole richness of being. Then your fear is like a clarinet in the orchestra, just one element of a complex but unified whole. This reclaiming of experience requires intention, or will, but it is worth all the mental effort it takes to recover it. To repeat, you must make this recovery every single time you feel the fear, terror, dread, panic, in the months coming up to performance. There is a discipline in this, a consistency. Every time. FEAR. A--ARRIVE: Then you have to put all this richness in the context of the actual performance situation. We are nesting experience here,

12

you see, like those nested Russian dolls, one within another. Your fear is the littlest doll, which you put within all the others so that you have it in a safe context. You have to truly arrive in the space. Now, this is the opposite of unsuccessful strategies like, “I try to pretend I’m still in my practice room.” The pretending strategy is disastrous on two counts: it removes your from real-ity, and it ties up your imagination, which you need for per-formance. Arrive. Come to the concert hall early. Walk out onto the stage. Get clear about where the walls are, the floors are, the seats are. Sense the space. Relate to the space. Claim the space. Be in the space. Get clear about the objects in the space, learn-ing where the piano is, for instance, the music stands, the chairs, the lights. Watch in the wings as the audience filters in. Do this arriving in your dress rehearsals so you’re used to it for performance. You can also practice this by truly arriving in your prac-tice space, using the same strategy for your practice you will use later for your performance. In your practice space, even if it is very small, you will need claim a space for your moving that is at least as big as the space you will perform in, otherwise coming into the larger per-formance space will be a shock. Many successful musicians ordinarily claim a much larger space for their moving than a concert hall, but the size of the concert hall is the smallest that works. This does not mean that you imagine you are in the con-cert hall. No. Rather, you claim, own, move in, command, oc-cupy a space in practice big enough for performance. Arrive. An audience is coming into this space in which you will perform. Part of arriving is acknowledging the likely nature of that audience. If some of your audience is hostile, may write bad reviews, will be catty, you will need to arrive to that fact and really be present with it. There’s no pretending they are other than they are. Hostile people, along with those who are kindly and truly interested in hearing the music, must be treated as audience. You are not responsible for how they be-have, but you are responsible for how you behave, and it is your job to play or sing in good faith for all the members of your au-dience, including the hostile and the catty and the uppity. This is rich and complex experience, which is just how it is for an artist. FEAR. R--RELATE: Which brings us to the final maneuver in eliminating per-formance fear as a problem. Fear remains, perhaps, as an emo-tion, but it is no longer a problem because you know how to handle it. You feel, you embody yourself and your feeling, you arrive, and you relate. You relate to the space; you relate to your audience, and you relate to the music. One result of feeling-embodying-arriving-relating is that time has a different flavor. There seems to be more of it. There is enough time to make choices. There is a temporal spacious-ness that allows you to recover and renew your feeling-

embodying-arriving-relating if it weakens. This all becomes sec-ond nature over time, as it is first nature for those who never lost it. The deliberate-ness falls away; the need for will falls away. Feeling-embodying-arriving-relating is no longer a disci-pline, but just what one does, naturally. Fear as a problem is a poignant me m-ory. BEST TIPS FOR ELIMI-NATING PERFORM-ANCE ANXIETY AMONG YOUR STU-DENTS ? Help your students see that their fear is not purely personal

but is a shared, cultural phenomenon that requires a cul-tural change as well as a personal one, to which they may contribute.

? Frequently remind your students that becoming a highly

accomplished amateur is an option for them. ? Encourage your students to explore and enjoy all kinds of

music and to see themselves as part of a community of mu-sicians that includes all kinds of musicians.

? Encourage your students to seek out performance opportu-

nities, to perform in nursing homes, for instance, or at their own dinner parties.

? Encourage your students to play or sing chamb er music at

every possible opportunity, just for the joy of it. ? Cultivate a positive environment in your studio and set

clear rules for how students treat each other. ? Always perform on your students’ recitals, always. They

need to see your preparation and they need your modeling. ? Keep your own performance at a high level and perform

frequently even if you primarily earn your living by teach-ing.

? If a student comes to a lesson unprepared, practice for the

student, talking to the student about what you’re doing, e.g., “Notice that I repeated that passage because I changed my mind about how it goes.” Or, offer to observe the stu-dent’s practicing, coaching the student in good practice technique. Never, never just ignore or overlook the fact that the lesson is unprepared.

? Play with your students. Play for your students.

13

? Face your students whenever possible. It’s a great help for them to see what you’re doing. They can’t see you if they are on a stand with you.

? Help your students from the very first lesson to truly know

their instruments. Many students are handicapped and fear-ful because they are playing fantasy instruments which dif-fer greatly from the instruments they actually have (like a piano student listening to the keys instead of the strings; like a piano student imagining that the point of sound is at the key bed). Always let the students know the limitations of the instrument they are using so they don’t feel bad be-cause they can’t make their student violin sound like your Strad.

? Deal constructively with wrong notes. Much of the time

you don’t even need to point them out. Just play the piece again yourself, asking the student to listen carefully. If you feel it’s important to give feedback about the note, just say that the student played a note the composer didn’t write and always play that note yourself. “You played this (you play B flat); the composer wrote this (you play B natural).” Give the student time to hear the difference and to play the difference, one and then the other, so that the correction can truly be assimilated. Put the correction in a musical context, asking, “Why did the composer choose B natural here instead of the B flat you played?” Sometimes the student will have played something that actually sounds better than what the composer wrote. Al-ways acknowledge that when it is true.

? Be very, very careful to give students age

appropriate and skill appropriate music and not too much of it.

? Keep the students at a skill level for a long

time, letting them enjoy their success in coming to that level, so that year after year as they grow they get to experience real competence and musicality.

? Never, never, never let a student perform unprepared. Just reschedule the student to the next recital.

Bridge & Bow — Winter 2007

? Keep your young students out of competitions and seek

opportunities for them to play for supportive, knowledge-able colleagues in non-competitive situations. Stay with them in those situations so you know they are being treated well and constructively.

? Be as educated as you can be about the youth choirs and

orchestras and the music camps in your area so that you can steer your students away from harsh circumstances and into nurturing, supportive circumstances.

? Teach your students to improvise, right from the first. If

you don’t know how to improvise yourself, join Music for People and let David Darling and his certified improv teachers teach you how.

? Help your students build a genuine sense of having an au-

dience. In the beginning it will be the parents and friends who come to the recitals. Refer frequently to the audience and to the pleasure the audience will take in the music.

? Make it clear that in your studio musicians are held in high

esteem, consistent with the intelligence, humanity, and art-istry it takes to do the job.

? Model for the students a very high level of self-regard and

self care. ? Teach your older students how to treat auditioners and ju-

rors as genuine audience. — Retired Alexander Technique teacher Barbara Conable is the author of What Every Musician Needs to Know About the Body. For more information, see www.bodymap.org.

National Cello Institute: www.creativeharmony.com/members/nci Cello Festivals: www.cello.org Chamber Music Northwest: www.cmnw.org Friends of Chamber Music: wwww.focm.org Camerata Musica: www.open.org/~camerata American Chamber Music Players: www.acmp.net Internet Cello Society: www.cello.org Salem Youth Symphony Association: www.youth-symphony.org fEAR nO MUSIC: www.fearnomusic.org Four Daring Celli: www.apocalyptica.com New Directions Cello Association: www.newdirectionscello.com Los Angeles Violoncello Society: www.lacello.org Violoncello Society of London: www.loncellosocietylondon.org

Cello Resources on the Web

An Opportunity for Cellists! The ASTA Concerto Competition is scheduled for April 22, 2007 at Mt. Hood Community College. Cel-lists who study with teachers who are members of ASTA are encouraged to apply. First prize is a per-formance with the MHCC orchestra in the following year. The ASTA String Certificate Auditions will be held on Saturday May 19, 2007. Information for this program can be found at http://www.asta.net/cps.htm. The cer-tificate program for strings provides a standardized set of criteria for evaluating progress and achievement.

14

Janos Starker Master Class DVDs Available

DVDs of Janos Starker's April 2006 master classes at PSU are now available in a set of four discs, with each DVD lasting two hours and featuring three play-ers. Anyone interested in purchasing them should con-tact Hamilton Cheifetz at hamtone@aol.com or 503-725-3185. The price: complete set is $50 or any two DVDs for $25. ? DVD #1: Eric Allen, Debussy Sonata; Boris Pap-diuk, Elgar Concerto, first mvt.; Mark Cox Bach Suite No.3 ? DVD #2: Sarah Stone, Popper Hungarian Rhap-sody; Adam Esbensen, Boccherini Sonata in A Major;

Amy Kwon, Tchaikovksy Rococo Variations ? DVD #3: Elaina Kim, Faure Elegy; Lauren Shin, Elgar Concerto, Fourth mvt.; Alex Chung, Dvorak

Concerto ? DVD #4: Katherine Schultz, Brahms Sonata in e minor; Ashley Peck, Brahms Clarinet Trio; Una

O'Riordan, Haydn Concerto in D Major

Ask Dr. Cello: Electric Cello (Continued from page 6)

Prakticello is designed to address those logisti-cal issues that plague cellists on the go. Its design is unique in that it disassembles to fit into a case of only 5.5 x

6.5 x 30 inches, and weighs only 7 lbs. with its case. Only slightly longer than a violin case, but much narrower, the Prakticello fits easily into any car trunk or airplane over-head compartment. It is listed at a mere $995. Still too much? Buy the plans for only $32 and build your own! The Prakticello is not nearly as pretty as the other instruments, but it is well designed for those on-the-go-cellists who want to practice on some-thing that feels most like a real cello without all the real-cello bulk. Although technically not an electric instrument, the Prakticello is easily outfitted with a piezzo pick-up, making it

useful as a solid-body instrument. www.practiceviolins.com

Finally, the electric cello I am most fa-miliar with is made by Eric Jensen of Seattle. His cellos come in three basic models: Standard Series, Air Travel, and Orion. The Standard and Air Travel are quite similar but with a heightened spatial economy on the A.T. which shortens the peg box and the string length below the bridge. The Orion is a beautiful and sleek design developed from a sketch by cellist Kendall Reid. This sort of custom de-signing is one of the most attractive features of Eric Jensen’s work. It is hard to define his instruments because of his flexibility to depart from the ba-sic models. When I bought my cello from him in 1993, the A.T. design was still deve loping and we were able to discuss the features and specifications

that I was looking for. All cellos are available in four, five, and six-string versions and with addi-

Prakticello

Bridge & Bow — Winter 2007

Oregon Cello Society August ’06 Board Meeting Minutes

Minutes of OCS board, Cello Day 2006 planning meeting, Sunday August 20, 2006. Meeting at Katherine Schultz's home, 3:00 pm Members present: Katherine, Charlene, Joan, Lynn, Jess, Sherill, Barbara and David. Katherine has the six students from the spring scholarship competition lined up to perform during the Cello Day proceed-ings (probably after booths close and before annual meeting.). 1. Sherill will present "Body Mechanics for Cel-lists" 2. Joe Harchenko and his electric cello, and other names suggested include Hamilton, Skip van Kuske and Adam Hurst. 3. A "virtual Gideon" (Gideon Freudmann will be on tour and can't attend this year's Cello Day), but he could send along a DVD of himself. Barbara will check into availability of player/monitor at Maryl-hurst. 4. Annual meeting of OCS members will take place at the end of the day. 5. Recognition of Naomi Blumberg's founding of OCS (with Bruce McIntosh) and sixteen year presi-dency/leadership; at start of recital. 6. Vendor table fees. In past, we have charged ven-dors $100/table to participate in Cello Day. We voted to keep the fee the same this year. Two may share a table and split the fee. The To-Do list Kat, fill out electronic cello panel, contact vendors Joan, publicity, contact KBPS and other media Barbara, contact Marylhurst about facilities, space for vendors, closing time, Kathie OMEA membership for emails to teachers Tentative schedule: 1 to 1:45 Electronica 2:15 to 3:00 Sherill Roberts 3:30 Naomi recognition (by Bruce?) then student recital 4:45 (approx) annual meeting Out by 6 pm.

tional features such as more expen-sive pick-ups and MIDI interfaces. The Jensen Standard Series prices range from $2950 for a four-string with the Barbera Multi-Transducer Pick-up to a very rea-sonable $3750 for a six-string cello with a Series 2000 Transducer Sys-tem allowing for polyphonic outputs and MIDI compatibility. Like the Zeta system, the MIDI compatibility refers to an output that uses differ-ent pick-ups for each string to allow the player to create chords on syn-thesizers by playing double-stops on the cello. As always, an additional MIDI converter is required. The Air

Travel Series are priced the same as the Standard Se-ries. The Orion Series are priced a little higher, rang-ing from $3800 to $4700. www.halcyon.com/jensmus

—Dr. Joseph Harchanko, formerly of the band Tao Jones, teaches cello, composition, and music technology at Western Oregon University. Contact him with any questions at harchanko@wou.edu. Free software downloads for electric cellists are available at his website at www.wou.edu/~harchanj

Jensen Standard

NEXT ISSUE: Dr. Cello tackles the questions, “How do I go about selecting an electric cello, and what else will I need?

A (very) Bad Cello Limerick A very young cellist named Hatch Was fond of the music of Bach. He said, "It's not fussy Like Brahms or Debussy. Sit down and I'll play you a snatch!

16

continue to arrange this event (probably in April 2007). 5. Adult Cello Orchestra: Katherine suggested that we should look ahead to late 2007 or winter 2008 for another all-cello adult orchestra. Sherill has a lot of music available from a recent conference. She sug-gested the board and others should plan a reading night to run through her collection, or if anyone else has music that might work for an orchestra. 6. Officer Elections due at January Board Meeting: Charlene and Bruce volunteered to find a slate of of-ficers. Katherine would prefer to go back to vice-president, with an as yet-unidentified candidate for president. We think that Wayne is still planning on taking care of the treasury, and I (Barbara) am still willing to be secretary (despite my tardy submission of minutes, which may annoy, but no one has been bothered enough to want to take over the job). 7. Leftover Music from Cello Day Exchange: Katherine and Barbara will arrange to send music to schools in Bolivia, as K. has contacts there (a cousin, I think). 8. Meeting adjourned at 6:15 pm.

Oregon Cello Society October ’06 Board Meeting Minutes

Board Meeting Oregon Cello Society 8 October 2006 The meeting started about 6 pm, following our bien-nial Cello Day, held at Marylhurst University. Mem-bers of the society present: Katherine Schultz, Joan Sargent, Sherill Roberts, Charlene Wilson, Bruce McIntosh, Barbara Smoody, Lynne Roe and Renee Dolphin. 1. Nomination of New Board Member: welcome to Renee Dolphin, she and her husband are musicians (instrumental and vocal) who have a home studio, Oregon Music Academy and are also instructors in schools. She was recruited by Sherill (thanks, SR!) Her contact information is rdol-phin@oregonmusicacademy.com, 503-957-1156. 2. Bud Armstrong Scholarship Fund: Charlene re-ported that the fund is now up to $1,895. We dis-cussed how to handle this money, probably we will invest the whole amount (as with our current treas-ury) and add the interest accrued to the amount avail-able for awards, with a specific award named in Bud's honor. Suggestions were made to add $1000 from OCS general treasury to boost the amount for this specific award, or to add some interest income from OCS to the Bud award account. No decisions were made at this meeting. Bud's family decided to donate his cello to the OCS for use by a student. We also deferred for now how to administer this gift. Several years ago OCS received the use of two cellos for five years, with the insurance premiums paid half by the student and half by the OCS. Use was based on need. In this case, I suppose we will rely on teachers to bring to the board's attention students who are deserving of the opportunity to use this cello. 3. Adult Recital and Student Recital, both in Febru-ary? Katherine would like to have someone take these events over. In the recent past, David Keyes has arranged the adult recital (and we don't know if he is still able to arrange it). Charlene has done the student recital, she specifically asked to have some-one else take this over. No one volunteered, so we will have to wait until the next board meeting (in January?) to see if these events will happen on schedule in 2007. 4. Student Scholarship Auditions: Katherine will

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