SYLLABUS 2012

Guest Artist Jaap ter Linden teaching Ms. Witherspoon

TULIO RONDÓN

UNIVERSITY OF WISCONSIN - EAU CLAIRE

HAAS FINE ARTS CENTER 151

EAU CLAIRE, WI 54702

RONDONTJ@UWEC.EDU

715.836.3389

U W E C • C E L L O • S T U D I OUniversity of Wisconsin - Eau Claire

1 2 1 Wa t e r S t . H FA 1 5 1 , E a u C l a i r e , W I , 5 4 7 0 2 • t e l e p h o n e : 7 1 5 . 8 3 6 . 3 3 8 9 • r o n d o n t j @ u w e c . e d u

Table of Contents

1. The cello Studio1.Teaching Philosophy, Practice Requirements, Grading,2.Academic Advising, Academic Integrity, Service for Students 3.with Disabilities, Keyboard Accompanists, Cello Room/Storage,4.Performance Examinations5.

2. Recital Preparation3. Listening List4. Reading List5. Stretching Exercises6. Address List: Sheet Music, Instruments and Repairs7. Instrument Insurance

Appendices

Scales and Bowing by Galamian/ StarkerEvery Day StretchesAn Organized Method of String Playing by Janos Starker

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1.THE CELLO STUDIOTEACHING PHILOSOPHY! Playing a musical instrument involves every essential aspect of the human experience: physical, intellectual, spiritual and emotional. Mastering the craft of performance and the art of interpretation requires dedication from both teacher and student. It is the joy of making music that keeps us moving forward towards our goals.! Each student is a unique individual with special talents. Learning to play the violoncello is not only building new skills, but also finding those more natural motions which will make it easier to play. In fact the basic principles of natural motion are few, but the applications of those principles are virtually unlimited. Mastery will come step by step with discovery of the principles and repetition of their applications.! Being a musician is much more than mere physical activity. Cello students will be challenged to think criti-cally, understand context, engage with other learners, and reflect and act, in short, all of the aspects of liberal learning which are at the heart of the unique educational environment at The University of Wisconsin – Eau Claire.! Teaching has always been central to my musical life, and I began to have students very soon after I started playing the violoncello. For me, playing and teaching are inseparable aspects of being a musician, whether one is teaching others or teaching oneself. It is important to me that you understand the principles I teach well enough to take them with you after you graduate, and be able to articulate them to others when you are teaching. Our ultimate goal is to achieve a measure of independence.! If teaching is going to play an important role in your future, it is essential that you become a competent per-former. That is why I always continue to be an active performer. The more competent I am as a performer, the more I will have to offer to you. We may have to reschedule a lesson or two, but we will reschedule them.! My education include a Bachelor of Music in Violoncello Performance degree from the Simón Bolivar Con-servatory (Venezuela), a Master of Music in Violoncello Performance and Chamber Music degree from Miami Uni-versity (Oxford, Ohio), a Doctoral of Musical Arts from The University of Arizona (Tucson, Arizona), and a Post Doc-toral degree in Early Music from The Royal Conservatory of The Hague (The Hague, The Netherlands). My mayor influences and teachers have been; Jaap ter Linden, Rainer Zipperling, Paul Dessene, Dr. Steven Shumway, Nancy Green, Janos Starker, the Tokyo String Quartet, Vermeer String Quartet, among others.! I am, as many of you know, a new hire at UWEC. Before that I taught at Earlham College, Prime School, and I have been teacher assistant of Dr. Steve Shumway, and Nancy Green. I have played in many symphony and cham-ber orchestras around the world such as, The Arizona Opera Company, Contrasto Armonico, Aragua Symphony Or-chestra, Richmond Symphony among others, and while orchestral playing has continued to be an important part of my career, my main focus since then has been solo performance and chamber music. I have been fortunate to have had opportunities to perform all over the world, give master classes, premier new music, and play concertos and recitals. Although, one of the most rewarding and satisfactory aspect of my career is my students and their accom-plishments. As Janos Starker says, “After a standing ovation, an audience sits down. Teaching passes through genera-tions”.

PRACTICE REQUIREMENTS! The minimum requirements for personal practice time is 18 hours a week (3 hours x 6 days) for students taking one hour lessons, and 9 hours per week (90 minutes x 6 days) for students taking half hour lessons. You will be more successful if you have more time than this to practice, but less than this and you will not make a satisfactory progress in the class. In order to maintain a consistent practice schedule, it is essential that you find regular times each day to meet your requirements. At least one third of your daily practice should be scheduled in the morning. Don’t fall into the trap of thinking that because you are a student it is harder to find practice time now than it will be later. It will never be easy, but good habits developed now will stay with you the rest of your life.

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Model for 3 – Hours Daily PracticeWarm up exercises (yoga, Alexander technique, etc.) Technique (scales, etudes, studies, etc.) Assigned Repertoire Memorization Orchestra - Chamber music Repertoire review Sight reading

Total

10 minutes55 minutes85 minutes10 minutes10 minutes5 minutes5 minutes

180 minutes

Model for 90 – Minute Daily PracticeWarm up exercises (yoga, Alexander technique, etc.) Technique (scales, etudes, studies, etc.) Assigned Repertoire Memorization Orchestra - Chamber music Repertoire review Sight reading

Total

10 minutes25 minutes25 minutes10 minutes10 minutes5 minutes5 minutes

90 minutes

! Obviously, you might need to adjust these proportions to your needs, but your average over the course of the week should be pretty close to this model. It is important that you not neglect any area listed. Just as important as how long you practice is how well you practice. Here are some suggestions:

• Set goals for what you want to accomplish in each practice session. Review your lesson notes and write down any suggestions or observations you have during the week.

• Really take the 10 minutes for stretching and warm up exercises before playing.• Divide the music into sections for detailed study. These sections can be from one measure to one page in

length, depending on the level of difficulty and what you are trying to accomplish. Don’t go on to the next passage until you have made significant progress. If progress seems impossible, however, it might be better to come back to it later with a fresh perspective.

• Mark your music clearly with fingers, bowing, strings, parts of the bow, etc. Do not place a finger number over every note, however. Normally it is best to mark the new finger only after a shift or where the fingering is not otherwise obvious.

• For difficult passages, try:i. Practicing with long-short, short-long, long-short-long, or short-long-short-long rhythmsii. Practicing at tempo “point-to-point”iii. Adding slursiv. Removing slursv. Practicing bowing patterns without the left hand

For passages with alternating strings, try practicing with double stops. For phrase control in longer melodic lines, try using a reversed bowing. For developing pitch awareness in the upper register, try practicing one octave lower. For intonation practice, find open strings to tune fingered notes to.

• Identify the type of connection(s) between notes and isolate each for practice. There are four types of connec-tions, which may occur singly or in combination:i. Finger changesii. Position changesiii. Bow changesiv. String changes

You must determine which of these is causing the problem, and practice each one individually as necessary.

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• Use mirror when working on physical movement.• Use metronome every day. Start from half speed and move up by increments of three notches or so. Do not

increase the tempo until the passage is clean at the slower tempo. When you have learned a passage, try alternating between full and half speed.

• Use a tuner every day. In scales and most tonal music, the tuning pitch can be set to tonic or dominant. Most other music usually has one or more pitch centers to which you can set the tuner. For shifting practice, set the tuner to the target note. We will use as reference A-441 for modern, and A-415 for baroque performances.

• Record you practice at least once a week. Record and play back short sections for immediate feedback. Re-cord rehearsals with accompaniment.

• Invite friends and colleagues into your practice room to listen (but don’t turn this into a chat session!) de-velop practice “partnerships” and/or “teams”.

• If you experience muscle or tendon soreness, use and ice-pack for 5-10 minutes after practicing or at the end of the day to avoid injury. If ice is not available, a cold can of soda is a fairly good substitute! But with the warm up session this should not occur, you must contact me for advice if you feel pain or soreness.

GRADING! You will be graded on the basis of your preparation for lessons, your progress during the semester, and your jury performance. We will set specific goals for you so that you will know what is expected, and I will keep you in-formed about how you are doing. Completion of listening assignments, participation in studio class, and attendance at required events will be figured in your semester grade. Note books will be due at mid-semester and at the end, and you will receive a progress report at mid-semester. Your notebook should include lesson notes, your weekly question and observations, and listening and reading reports (forms provided).! I will keep attendance at studio class, string forums, and at all recitals and special events designed for re-quired attendance at the beginning of the semester. A schedule of required events will be posted on my bulletin board, and the studio web site: www.uwecellostudio.com You will be excused only for illness or an official academic function, in which case I may require an alternate activity as a make-up. Recitals and other special events, such as guest masterclasses, can count towards undergraduate recital attendance; studio classes and string forums cannot.! String forums (group recitals for all string students) will be schedule two or three times each semester. If you wish to perform, please sing in the studio web site or see me.

SEMESTER GRADE

Lesson Preparation and Progress

Listening and Reading Assignments

Attendance at Required Events

80%

10%

10%

Attendance! Attendance Policy:

Participation/attendance grade of A - 0 lesson missed Participation/attendance grade of B - 1 lesson missed Participation/attendance grade of C - 2 lessons missed Participation/attendance grade of D - 3 lessons missed Participation/attendance grade of F - 4 or more lessons missed.

ACADEMIC ADVISING! The University of Wisconsin – Eau Claire has a wide range of advising options available to students, many of which they rarely take advantage of. Most students seem to rely heavily on their friends’ advice, and while net-working can be a valuable resource, there are other possibilities you should consider. First year students living in

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residence halls have an academic advisor assigned to them there. In addition, music students are assigned a faculty advisor in the Department of Music who offers counseling and advice on academic programs, advises the student of the scope and opportunities inherent in his or her particular field, and assists in the registration process. Please con-tact the department office at 836-2284.

ACADEMIC INTEGRITY I consider any academic misconduct in this course as a serious offense, and I will pursue the strongest pos-

sible academic penalties for such behavior.  The disciplinary procedures and penalties for academic misconduct are described in the UW-Eau Claire Student Services and Standards Handbook in Chapter UWS 14 - Student Academic Disciplinary Procedures. 

SERVICES FOR STUDENTS WITH DISABILITIESAny student who has a disability and is in need of classroom accommodations, please contact the instructor

and the Services for Students with Disabilities Office in Old Library 2136 at the beginning of the semester.

KEYBOARD ACCOMPANISTS! You are responsible for finding your own accompanists, and the key is to plan ahead. Try to find pianists or harpsichordists at the beginning of the semester, because at the end they will have no time for you. Contact the coor-dinator of student accompanists or speak directly to anyone with whom you would like to cooperate. Bartering is sometimes effective, but I would try hard to play with someone that likes to give the cello repertoire a look, and wants to do music with you. I recommend a friendly reading session/meeting before deciding on a particular reper-toire, or if you want to play together at all. I will have a list of accompanists on the bulletin board, and the studio web site.

CELLO ROOM/STORAGE! Each of you will have a locker assigned for your cello each fall semester. Please contact HFA room 132. Con-tinuing music student may reserve their former locker through the registration week sing up period. New students may sing up for lockers during the first week of classes. Be aware that cello and bass students have priority in the matter, but non-the less you cannot be late to reserve your locker.

PERFORMANCE EXAMINATIONS (JURIES)! All students registered for music lessons will be required to play a performance examination (jury) at the end of each semester of study. With the approval of the instructor, the jury requirement may be waived at the end of the first semester of study and during the semester in which a junior or senior recital (or graduate degree recital) is presented.

String students will play their juries before the string faculty during final examination week. You will re-ceive comments from the other string faculty can provide valuable insights. These comment sheets will be placed in your permanent file folder in the music office, and you are welcome and encouraged to read them.

Towards the end of the semester I will assign the material you are to perform, which will be selected from lesson material and may include scales, etudes, and/or solo works. I may request that you perform one or more se-lections from memory. Works with piano should be accompanied, and you are responsible for finding a pianist/harpsichordist.

2. RECITAL PREPARATIONRead the material concerning recital performance requirements from the student handbook. Undergraduate

cello students must pass the Junior Standing audition (hearing) before presenting junior or senior recitals.! The repertoire selected for degree recitals must demonstrate technical ability and musicianship, and nor-mally at least three different style periods should be represented. For a half recital, 25 – 30 minutes of music is ex-pected, for a full recital, 50 – 60 minutes. You may be required to perform one or more works from memory.! Cello students are required to write program notes for their recitals. Notes should be 1 – 2 pages in length and include brief historical and biographical information about the composers, and stylistic and analytical informa-tion about the works performed. Programs and notes must be approved by me no later than the date of your recital hearing.! Preparing a recital involves many details. To make sure you do not forget any of them, here is a list of ten things to do and when to do them. Mark your calendar!

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• Schedule a date and location. Make sure that you clear this date with the music office, with than the third week of classes. This is also a good time to schedule a rehearsal time in the hall where you will perform.

• Chose the repertoire. I encourage your suggestions. Look at the repertoire list in this syllabus, do some lis-tening, and play through some pieces you are interested in. Unless the program is theme-based (e.g. all-Beethoven), you should try to have a variety of style periods, lengths of pieces, level of difficulty, and so on.

• Begin doing some research for your program notes at the same time you begin practicing the music. This will give you some information that will help you in your preparation of the music.

• No later than ten weeks before the date of your recital, you should begin rehearsing with your accompanist. You should also prepare your publicity for the concert, including posters, press releases, invitations, and so on.

• The first draft of your recital program is due eight weeks before. By now you should be able to get through most of the repertoire, including any memorized works. Consider whether you would like to have a recep-tion after the performance and how you will organize this.

• Six weeks before your recital, contact the professors whom you wish to serve on your recital committee. This committee is composed of one string faculty, one non-string faculty, and me. The members of your commit-tee should be available for the hearing and your recital.

• Four weeks before your recital, the second draft of your recital program and notes is due. This would be a good time to reconfirm your recital date with the music office and the recording engineer (if any), and to remind your committee of the hearing date.

• Your hearing must be scheduled at least two weeks before you recital, at which time you final draft of your program and notes is due. Find a page turner for your recital.

• If you have followed this schedule, you will be able to enjoy these final two weeks, and spend most of your time practicing rather than doing all the other things you should have done before. During this time I will want to hear you and your accompanist in the hall.

• On the day of your recital, do not schedule any unnecessary activities and do not over-rehearse or over-practice. If you have out-of-town guests, try to schedule most of your time with them after the concert. It is important to conserve your physical, mental, and emotional energies for the performance itself.

3. LISTENING LISTThe following small list represents some the major works for solo and accompanied cello. These are a hand

full of pieces that have come to define cello playing for most of our audience, and which every aspiring cellist should know very well. In addition I have listed a few works that I consider excellent pieces. Those you have not performed should be experienced through concert attendance, recordings and/or study of the scores.

CONCERTOS

Beethoven, L V. Triple Concerto in C Major, Op. 56. (Violin, Cello, Piano and Orchestra).

Bloch, E. Shelomo. Rhapsodie Hébraïque pour Violoncelle et Grand Orchestre.

Boccherini, L. Concerto in Bb Major and Concerto in G Major, G. 480.

Brahms, J. Double Concerto in A Minor, Op. 102 (Violin, Cello and Orchestra).

Dvorak, A. Concerto in B Minor, Op. 104.

Elgar, E. Concerto in E Minor, Op. 85.

Gulda, F. Cello Concerto.

Haydn, J. Concertos in C Major and D major.

Herbert, V. Concerto No. 2, Op. 30.

Kabalevsky, D. Concerto No. 1, Op. 49.

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Lalo, E. Concerto in D Minor.

Prokofiev, S. Sinfonia Concertante, Op. 125.

Saint-Saëns, C. Concerto No.1 in A Minor, Op. 33.

Schumann, R. Concerto in A Minor, Op. 129.

Shostakovich, D. Concerto No.1, Op. 107.

Strauss, R. Don Quixote, Op. 35.

Tchaikovsky, P. I. Variations on a Rococo theme, Op. 33.

Vivaldi, A. All Concertos.

Vivaldi, A. Concerto for two Violoncellos in G Minor, RV 531.

SONATAS & SUITES (for cello and piano unless otherwise listed)

Bach, J. S. Six Suites for Solo Cello! Suite No. 1 in G Major, BWV 1007.! Siute No. 2 in D Minor, BWV 1008.! Suite No. 3 in C Major, BWV 1009.! Suite No. 4 in Eb Major, BWV 1010.! Suite No. 5 in C Minor, BWV 1011.! Suite No. 6 in G Major, BWV 1012.

Bach, J. S. Three Sonatas for Viola da Gamba and Keyboard trans. for Cello.! Sonata No.1 in G Major, BWV 1027.! Sonata No. 2 in D Major, BWV 1028.! Sonata No. 3 in G Minor, BWV 1029.

Barber, S. Sonata, Op. 6.

Beethoven, L. V. Five Sonatas! Sonata No.1 in F Major, Op. 5, No. 1.! Sonata No. 2 in G Minor, Op. 5, No. 1.! Sonata No. 3 in A Major, Op. 69.! Sonata No. 4 in C Major, Op. 102, No. 1.! Sonata No. 5 in D Major, Op. 102, No. 2.

Boccherini, L. Six Soantas for cello and basso continuo.

Brahms, J. Two Sonatas! Sonata No. 1 in E Minor, Op. 38.! Sonata No. 2 in F Major, Op. 99.

Carter, E. Sonata (1948).

Cassado, G. Suite for Solo Cello.

Chopin, F. Sonata in G Minor, Op. 65.

Crumb, G. Sonata for Solo Cello.

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Debussy, C. Sonata.

Desenne, P. Jaguar Songs, Sonata for Solo Cello.

Frank, C. Violin Sonata in A Major trans. for Cello.

Grieg, E. Sonata in A Minor, Op. 36.

Hindemith, Sonata for Solo Cello, Op. 25, No. 3.

Kodaly, Z. Sonata, Op. 4.

Kodaly, Z. Sonata for Solo Cello, Op. 8.

Marcello, B. Six Sonatas for cello and basso continuo.

Mendelssohn, F. Sonata in D Major, Op. 58.

Prokofiev, S. Sonata in C Major Op. 119.

Rachmaninoff, S. Sonata in G Minor, Op. 19.

Schubert, F. Sonata in A Minor, (original for Arpeggione).

Shostakovich, D. Sonata in D Minor, Op. 40.

Strauss, R. Sonata in F Major, Op. 6.

Stravinsky, I. Suite Italien.

Vivaldi, A. Six Sonatas for cello and basso continuo.

4. READING LISTHISTORICAL/BIOGRAPHICAL

Anthony, James R. French Baroque Music: from Beaujoyeulx to Rameau. Rev. & Exp. Ed. Amadeus Press: Portland, OR, 1997.

Campell, Margaret. The Great Cellists. Trafalger Square Publication: North Pomfret, VT, 1989.

Cowling, Elizabeth. The Cello. Scribner: New York, 1983.

De’ak, Stephen. David Popper. Paganinia: Neptune City, NJ, 1980.

Haynes, Bruce. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. Oxford University Press: Oxford, 2007.

Le Guuin, Elizabeth. Boccherini’s body: An Eassay in Carnal Musicology. University of California Press: Los Angeles, CA, 2006.

Markevitch, Dimitry. Cello Story. Summy-Birchard Music: Princenton, NJ, 1984.

Piatigorsky, Gregor. Cellist. Da Capo Press: New York, 1976.

Rosen, Charles. The Classical Style: Haydn Mozart Beethoven. Exp. Ed. W. W. Norton

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& Company: New York, 1997.

Van der Straeten, Edmund. History of the Violoncello and Viola da Gamba: Their Percursors and Collateral Instruments. William Reeves: London, 1914. Reprinted 1971.

Von Wasielewski, Wilhelm Joseph. The Violoncello and its History. Da Capo Press: New York, 1968.

PEDAGOGY

Buelow, George J. Thorough-Bass: Accompaniment According to Johann David Heinichen. Rev. Ed. University of Nebraska Press: Lincoln,

Donington, Robert. The Interpratation of Early Music. Rev. Ed. W. W. Norton & Company: New York, 1992.

Epperson, Gordon. The Art of Cello Teaching. American String Teachers Association, 1980.

Green, Elizabeth A. H. Orchestral Bowings. 2nd Ed. American String Teachers Association, 1990.

Jackson, Barbara. The American String Teachers Association Dictionary of Bowing Terms. ASTA, 1987.

MacClintock, Carol. Trans. Readings in The History of Music in Performance. Indiana University Press: Bloomington, IN, 1982.

Mantel, Gerhard. Cello Technique. Translated by Barbara Haimberger Thiem. Indiana University Press: Bloomington, 1972.

Pleeth, William. Cello. Edited by Nona Pyron. Schrmer Books: New York, 1982.

Smith, Jean G. Cellist’s Guide to the Core Technique. American String Teacher Association, 1974.

Starker, Janos. An Organized Method of String Playing. Indiana University Press: Bloomington, 1979.

Weisberg, Arthur. Performing Twentieth-Century Music: A Handbook for Conductors and Instrumentalists. Yale University Press: New Haven, 1993.

Young, Phyllis. Playing the String Game: Strategies for Teaching Cello and Strings. University of Texas Press: Austin, 1978.

AESTHETICS

Bernstein, Leonard. The Unanswered Question: Six Talks at Harvard. Harvard University Press: Cambridge, 1976.

Copland, Aaron. Music and Imagination. Harvard University Press: Cambridge, 1980.

Green, Barry, and Timothy Gallwey. The Inner Game of Music. Doubleday: Garden City, NJ, 1986.

Sessions, Roger. The Musical Experience of Composer, Performer, Listener. Princenton University Press: Princenton, 1950.

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OTHERS

Caplan, Deborah, P.T. Back Trouble: A New Approach to Prevention and Recovery, Based on the Alexander Technique. Triad Publishing Company: Gainesville, FL, 1987.

Davis, Norman. Europe A History: A panorama of Europe, East and West, from the Ice Age to the Cold War, from the Urals to Gibraltar. Harper Perinnial: New York, 1996.

Winburg, Jack S., M. D. Stretching for Strings. American String Teachers Association,

1990.

5. STRETCHING EXERCISESWARM-UP EXERCISES

All exercises must be done 10 times or repetitions each, unless marked otherwise.

• Shoulder Flexion. Raise both arms outward and overhead, return to side. • Shoulder abduction. Both arms raised forward and overhead, return to side.• Shoulder shrugs. Arms at side, raise and lower shoulders.• Shoulder circles. Arms at side, rotate shoulders in circles. • Claps hand behind hips, pinch shoulder blades together. • Elbow flexion. Arms to sides, bend and straighten elbows fully.• Forearms turns. Hands forward and flat, turn palms up and down.• Wrist bends. Hands forward and flat, raise and lower palms.• Bend wrist to little finger side, then to thumb side.• Spread fingers, squeeze together.• Finger hooks. Curl fingers with a cat-like motion• “Hand puppets.” Forearms vertical, bend first inward. Alternate with “praying Position.” Palms together, lower

forearms. (2-3 times each).• Add other stretches as desired.

COOL-DOWN EXERCISES

All exercises must be done 3 to 5 times or repetitions each, unless marked otherwise.

• Bend neck to right and left, hold each for 5 counts. • Claps hands behind head, elbows out. Lean head back, feel stretch in arms.• Claps hands behind hips, pinch shoulder blades together.• Repeat any of the above warm-up exercises for problem areas, especially “hand puppets”.

6. ADDRESS LISTI. SHEET MUSIC & SUPPLIES

USA

• Boulder Early Music Shop. 731 Main Street, Ouray, CO 81427. Ph: (800) 499 - 1301. http://www.bems.com• Concord Musical Supplies. P.O. Box 916, Maywood, NJ 07607. Ph: (201) 261 – 3871.

http://www.concordmusic.com• Kentuckiana Music Supply. P.O. Box 14124, Lousville, KY 40214. Ph: (800) 523 – 8111.• Mannerino’s Sheet Music. 1605 Hamilton Ave., Cincinnati, OH 45231. Ph: (800)466 – 8863.

http://www.mannerinos.com• Patelson Music House. 160 W. 56th Street, New York, NY 10019. Ph: (212) 582 – 5840. http://www.patelson.com

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• Performers Music. 410 Michigan Ave., Suite 904, Chicago, IL 60605. Ph: (312) 987 – 1196. http://www.performersmusicchicago.com

• Shar Products Co. P.O. Box 1411, 2465 S. Industrial Hwy., Ann Arbor, MI 48106. Ph: (800) 248.7427. http://www.sharmusic.com

• Southwest Strings. 1721 South Cherrybell Strav. Tucson, AZ 85713. Ph: (800) 528-3430. http://www.swstrings.com/

OUTSIDE THE USA

• Ars Antiqua S.L. C/ Ronda de Toledo, 1. Local 3314. 28005 Madrid, Spain. Ph/Fax: (0034) 91 – 366 - 1930. http://www.ars-antiqva.com

• Broekmans & Van Poppel. Van Baerlestraat 92-94, 1071 BB Amsterdam, Netherlands. Ph: (0031) 20 679 65 75. http://www.broekmans.com

II. INSTRUMENT REPAIRS

• The Chicago School of Violin Making. 3636 Oakton Street Skokie, IL 60076. Ph: (847) 673-9545. Fax: (847) 673-9546 e-mail: info@csvm.org

• William Harris Lee & Co. 410 S. Michigan Ave. Suite 560, Chicago, IL 60605.• Ph: (800) 447 – 4533. http://www.whlee.com• William Bartruff and Associates, Inc. 3329 1st Ave S. Minneapolis, MN 55408. Ph: (612) 823 – 3956.

http://www.bartruff.com http://www.bartruff.com• Baroque Violin Shop. 1038 W. North Bend Road, Cincinnati, OH 45224. Ph: (866) 846 – 5469.

http://www.baroqueviolinshop.com

7. INSTRUMENT INSURANCE• Merz-Huber Co. Ph: (610) 544 – 2323. http://www.merzhuber.com• Clarion Associates Inc. Ph: (800) 848 - 2534. http://www.clarionins.com

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