"Fritz Magg 1995 ""Tribute"" Playback for Memorial Service"

Oh Iraq. No.

I will address above all the young cellists on the professional truck whose

minds are excited by the first meaningful game sis of the wonderous world of which they expect to become honorable citizens. I shall talk to them of the stand that they can expect upon entering and graduating from colleges and conservatories and of the criteria they will have to meet the soloists and the future members of small and large ensembles. Include it will be a discussion of orchestral additions with two entire sessions devoted to samples of the most frequently required excerpts from the symphony cater at your one dealing with the footy passages and one with orchestral sortie. I also would like to furnish food for thought to any fellow professionals who desire corroboration or controversy with regard to their own experiences as performers and teachers. And I would certainly wish to communicate with dedicated amateurs not

only many of them very capable but they are by definition people who love what they are doing and deserve all possible encouragement. Perhaps if you are relatively simple technically apply if you cations could open new vistas of the more colorful dynamics stadia various rhythms and the more reliable information and the richer inventory of those drugs. I do hope that the coming discussions will contribute to the greater ease and enjoyment of those amateurs whose greatest love in life may indeed be the cello but who for one reason or another earned their living in another profession. So I think one can talk of what is a plague in spite of factional or personal idiosyncrasies.

What cannot be pinned down of cause is the ever changing taste. If this won by some songs delighted audiences in days gone by when it was still Iraq the plum bird like this. And then reaction set in after a while toward a more slender style. This teaches us nothing so much as that our way is too apt to

be out of fashion some other time some other place. Meanwhile we are all conditioned by many circumstances peculiar to our civilizations and can do no better. Whether we are innovators or if he counts then to study the search he believes and then the mother by having a minimum of physical shortcomings interfere with our steady convictions to combat this shortcomings will be the task of our coming sessions. It is very dull to practice more than one needs. There's so many other things to do in life but it is unprofessional if not educated enough to strive enough to realize months full potential and then to take one further step beyond one's apparent limitations.

It is impossible to generalize on how much is enough quickness in music perception and retention innate and developed at an early age can reduce the necessary practice time general athletic aptitude can be a factor as well as the natural strength and suppleness of the hands are well padded. If being at the HPs are and how they callous some extraordinary soloists who perform very frequently in public can see it as justification that they need to practice very little. But. Basically reflexes are not apt to become quicker with Advantage advancing age. I doubt that it is wise to start practicing in one sport is because by the end of one supposedly knows it all. It strikes me as significant that it was the continued careful work on fundamentals all through their lives that enabled the super talents of Heifetz and because I was to remain so potent into their 70s. To

us ordinary mortals practice is made sweeter when it involves a lively imagination. Not just talk with me repeat that exercise as it asks for complete clarity of purpose and method. And always for rhythmic vitality. If we can do no better than just to go through the motions we may just as well take a walk. Don't draw your inspiration only from your favorite cellist. Learn from debased violinists and wind players and pianists them become people you know of and of my of the Italian tenor and the depth of sound of a Russian buster of the immaculate trait of the group thrush and to Grace food with big balance of the horses in getting us Spanish Riding School and experiences like these have touched us. We should know what direction to give our work. But now enough philosophizing at our next session we should begin to discuss in detail

how when we acquire the manifold and finely honed tools of a serviceable to look technique. Until then goodbye. Get that across and help them understand the change process. All this whole

mandate I'm moving through it and implementing their plan after it's written is going it's going to be easier. Finally in day four again you have been leaving for a period of time in which to now go back and apply what they've learned in this section of the seminar. You go through the same process you did when they left you before is to give them some time to look over tasks that need to be revisited one thing they didn't do well from the last series of steps the ones they didn't do it all and looking toward the directions of things that they now need to accomplish new which would be getting some goals and objectives written because they're going to come back for day 5 really prepared with as much information to begin looking at how you assemble this into a plan. How are you.

Going. I will address above all the young cellist on the professional track whose

minds are excited by the first meaningful game sis of the grandiose world of which they expect to become honorable citizens. I should talk to them of the stand that they can expect upon entering and graduating from college this and conservatories and of the criteria they will have to meet as soloists and as future members of small and large ensembles include it will be a discussion of orchestral additions with two entire sessions devoted to samples of the most frequently required excerpts from the symphony cater at your one dealing with it put the passages and one with orchestral sortie. I also would like to furnish food for thought to any fellow professionals who desire corroboration or controversy with regard to their own experiences as performers and teachers. And I would certainly wish to communicate with dedicated amateurs

not only many of them very capable but they are by definition people who love what they are doing and deserve all possible encouragement. Perhaps if you are relatively simple technique if life occasions could open new vistas of them are colorful dynamics to study of various rhythms in a more reliable intonation and the richer inventory of postdocs I do hope that the coming discussions will contribute to the greater ease and enjoyment of those amateurs whose greatest luck in life may indeed be the cello but who for one reason or another earned their living in another profession. So I think one can talk of what is good still a plague in spite of factional or personal idiosyncrasies.

What cannot be pinned down of cause is the ever changing taste. If this won by some songs delighted audiences in days gone by when it was still Iraq the plum bird like this. And then reaction set in after a while toward a more slender stride. This teaches us nothing so much as that our wish to apt to

be out of fashion some other time some other place. Meanwhile we are all conditioned by many circumstances peculiar to our civilizations and can do no better. Whether we are innovators or it be grounds then to study the search. We believe and then in my done by having a minimum of physical shortcomings interfere with our steady convictions to combat this shortcomings will be the task of our coming sessions. It is very dull to practice more than one needs. There's so many other things to do in life but it is unprofessional if not an ethical enough to strive enough to realize months full potential and then to take one further step beyond one's apparent limitations.

It is impossible to generalize on how much is enough quickness in music perception and retention innate and developed at an early age can reduce the necessary practice time general athletic aptitude can be a factor as well as the natural strength and suppleness of the hands how well padded the finger tips are and how they callous. Some extraordinary soloists who perform very frequently in public can see with justification that they need to practice very little. But since physical reflexes are not apt to become quicker with Advantage advancing age I doubt that it is wise to stop practicing in one's Fortis because by then one supposedly knows it all. It strikes me as significant that it was the continued careful work on fundamentals all through their lives that enabled the super talents of Heifetz and cause us to remain so potent into their 70s. As to

us what the unary boatless practice is made sweet that when it devolves your lively imagination not just softly repeated exercises it asks for complete clarity of purpose and method and all ways for rhythmic about polity you can do no better than just to go through the motions we may just as well take a walk. Don't draw your inspiration only from your favorite cellist. Learn from the best violinists and wind players and pianists and become people you know of and admired the Italian tenor and the depth of sound of a Russian bison on the immaculate trail of the group thrush and the graceful big balance of the horses in getting us Spanish Riding School and experiences like these have touched us. We should know what direction to give our work. But now enough we are surprising at our next session. We should begin to discuss in detail

how when we acquire the manifold and finely honed tools of a serviceable cell of technique. Until then good bye. A.