Janos Starker

Conversation with Maria Kliegel (September, 1999)

  German cellist Maria Kliegel's international career started in 1981 when she received the "Grand Prix" of the Concours Rostropovich in Paris. She also won first prizes at the American College Competition, the First German Music Competition in Bonn, the Concours Aldo Parisot, and was in the national selection for "Concerts with Young Artists." After the Rostropovich Competition, the international concerts and tours began: she performed in Basel, and played with the National Symphony Orchestra in Washington, D.C., and the Orchestre National de France in Paris -- each time with Mstislav Rostropovich conducting. She has performed at the Konzerthaus Berlin, Stuttgart Liederhalle, Amsterdam Concertgebouw, Weilburger Schloßkonzerte, Gidon Kremer's Lockenhaus Festival, Gubaidulina Festival in West Germany, Risor Kam in Norway, Alte Oper Frankfurt, and Kultursommer Nordhessen. She has toured Europe, the [...]

Conversation with Laszlo Varga (November, 2002)

Hungarian-American cellist Laszlo Varga has an international reputation as soloist, recording artist, and master teacher. He served as the Principal Cellist of the New York Philharmonic for 11 years under Dimitri Mitropoulos and Leonard Bernstein. Mr. Varga has appeared as soloist with orchestras across the USA, Europe, Japan, Australia, South America, and the former Soviet Union. He has been the featured soloist, chamber musician, and master teacher at the Aspen, Chautauqua, and Shreveport festivals, among others for over 40 years. He is highly praised for his numerous recordings on the Vox, RCA, Columbia, Decca, CRI, Period, and MusiCelli labels. Mr. Varga has premiered numerous pieces for solo cello and is eagerly sought after by composers to present their works. As cellist with the Borodin Piano Trio and former Professor at [...]

Conversation with Gary Hoffman (September, 1999)

American cellist Gary Hoffman was born in Vancouver, Canada, in 1956. At 15 he made his London recital debut in Wigmore Hall; his New York recital debut occurred in 1979. At the age of 22 he became the youngest faculty appointee in the history of Indiana University School of Music, where he remained for eight years. Mr. Hoffman, who is frequently invited to hold master classes, has coached cellists at numerous institutions and festivals, including Aspen, the Gregor Piatigorsky Seminar at the University of Southern California, the Sibelius Academy in Helsinki, the Casals Festival in Prades, the Eastman School of Music, Schleswig-Holstein, Verbier, Ravinia, etc. He achieved international renown following his victory at the Rostropovich International Competition in Paris in 1986. He has appeared as soloist with some of the [...]

Master Class Report: János Starker 2/29/01

Benaroya Hall, Seattle, USA, 2/29/01 The following are my notes from the master class Janos Starker gave in Seattle. 10 minutes before the class was to start, Seattle experienced a 6.8 earthquake. Apparently, Janos Starker was calm as can be backstage when it happened. The class ended up starting only 1/2 hour late. —by Tim Janoff   Left Hand Anticipated Shift -- Slide before the bow change and land on the note at the bow change. Delayed Shift -- Slide after the bow change. Thumb Placement in Thumb Position -- A hitchhiking thumb allows more overtones, but it is harder to play in tune. Placing the thumb on the neighboring string is more solid, but it allows fewer overtones. The technique of the future is to place the thumb beneath the [...]

Conversation with János Starker (February, 2004)

"With his peerless technical mastery and intensely expressive playing, Janos Starker is universally recognized as one of the world’s supreme musicians." (New York Times) János Starker was born in Budapest in 1924 and began studying the cello at the age of six. By the age of eight he was coaching his first pupil, and by eleven he was performing in public. His early career took him through Budapest's Franz Liszt Academy, and on to positions of first cellist with the Budapest Opera and Philharmonic at the end of World War Two. In 1948 he emigrated to the United States where he subsequently held the posts of principal cellist with the Dallas Symphony, Metropolitan Opera of New York, and the Chicago Symphony under Fritz Reiner. In 1956 he started his world-wide [...]

Conversation with János Starker (June, 1996)

  János Starker is known throughout the world as a soloist, recording artist, and teacher. Born in Budapest in 1924, Janos Starker came to the United States in 1948, where he subsequently held the principal cellist chair in three American orchestras, including the Chicago Symphony under Fritz Reiner. Starker then resumed his international performing career in 1958. Since then he has performed thousands of concerts with orchestras and in recitals throughout the world. When not touring, János Starker holds the title of Distinguished Professor at Indiana University in Bloomington, where his classes have attracted talented string players from around the world.   TJ: Is there such a thing as a student with no talent for an instrument? JS: I wouldn't say that a person has no talent, I would rather [...]

Cellist Taeguk Mun wins $25,000 János Starker Foundation Award

Reprinted from The Strad 12/14/2016 South Korean cellist Taeguk Mun has won the János Starker Foundation Award, worth $25,000. Granted to cellists under the age of 30 ‘who have already begun a significant career in music’, the prize was created in memory of legendary Hungarian-American cellist and pedagogue János Starker, who died in April 2013 at the age of 88. Candidates submit an unedited video recording of six works, representing Pre-Classical, Classical, Romantic, 20th Century and Contemporary eras of Western music. A former Juilliard School student, Mun is currently a pupil of Laurence Lesser at the New England Conservatory in Boston. He won the Pablo Casals International Cello Competition in 2014, and the Andre Navarra International Cello Competition in 2011.

By |2017-10-30T04:28:29+00:00December 14th, 2016|Categories: Competition, Janos Starker, News|Tags: , , , , , |

So Why is Improvisation so Important? — by Jeffrey Zeigler

Like so many classically trained cellists, improvising was never something that I felt very comfortable trying. And although most of my professional life has been in the world of new music, improvisation was not something that I had explored in depth until a few years ago. My improvisational journey began literally the day after my final day with the Kronos Quartet when I played a concert at The Stone in New York with John Zorn and several others on one of his monthly improv nights. For those of you who have never been to one, the way that these concerts work is that everyone sits downstairs in the basement and one by one people decide in the moment who plays with whom. It can be duos, trios or quartets—you literally [...]

János Starker Remembrance Week: The Test

After a long journey a young man arrived deep in a forest where the teacher of his choice was living in a small house he had built himself. When the student arrived, the teacher was sweeping up autumn’s falling leaves. Greeting his new master, the young man received no greeting in return. And to all his questions, there were no replies. Realizing there was nothing he could do to get the teacher’s attention, the student went to another part of the same forest and built himself a house. Years later, when he was sweeping up autumn’s fallen leaves, he became enlightened. He thought to drop everything, run through the forest, and say “Thank you!” to the teacher. Instead he stayed sweeping, calm & smiling.              [...]

János Starker Remembrance Week: A Tribute To János Starker

By Maria Kliegel A moment of tense, expectant silence – to me it seemed to be an eternity. A couple of silent smoky clouds floating in the teaching room.  Janos Starker looked at me in his typical manner, a gaze so full of intensity that I could feel it under my skin, followed by a shattering comment, uttered with a cool slowness and a stony, unchangeable look on his face:  “if you ever play as inaccurately as you just did, I will deny ever having been your teacher.“ And again, an eternal moment of silence, this time I sat horrified in my chair, not being able to breathe or move. Silent smoky clouds. One of my lessons in Bloomington ended this way – the Haydn D major concerto. […]

János Starker Remembrance Week: Reminiscences from the Starker Studio

Cello-playing aside, Starker’s intelligence, force of personality, and personal discipline were intimidating to most people, and downright frightening to students.  Our culture generally allows our geniuses and high achievers to be self-indulgent and immature outside of their field of endeavor, but Starker lived out his ideals and principles at all times (that we could see).  This discipline made him virtually bullet-proof as a cellist. During my two years in Bloomington, I carried a relatively light course load, as I wanted to observe as many lessons as possible.  I was in MA 155 many mornings when he came in, looking tired and/or hungover, needing coffee, and not wanting to hear anything too loud.  The student would play for awhile, and Starker would listen as long as he could before had to [...]

CelloBello János Starker Remembrance Week: Janos Starker, Who Is, Was, and Always Will Be My Master

Starker with pianist Gyorgy Sebok – life-long friend and musical partner of Starker. By Michael Haber Many years ago, I was on a family trip to Israel. In a hotel in Beersheva, I was surprised to find Mr. Starker standing in the lobby together with the conductor of the Israel Sinfonietta. I greeted Mr. Starker………”Janos Starker, who is, was, and always will be my master.” What has remained with me since my final lesson with Mr. Starker in August 1966 is his personal brilliance as a man and his deep patience and kindness. His way of being kind, which often meant an uncompromising honesty, was perhaps not for everyone. But what is more kind, in a teacher/student relationship, than taking a student seriously enough to share with them what [...]

CelloBello János Starker Remembrance Week: Life as a Student of János Starker

János Starker “S” Bridge János Starker’s incomparable achievements as a performer and recording artist are well-documented. However, when I first appeared at his door as a new graduate student, my awareness of him mostly stemmed from hearing others speak about him, and from only one of his recordings: that of Zoltan Kodaly’s Sonata, Op. 8. I had developed a mental image of Mr. Starker as an austere, intimidating presence. Paul Katz, with whom I had been studying at Eastman, enjoyed a longstanding friendship with Mr. Starker, and in those years Paul would often send a graduating senior to Bloomington for further education. […]

CelloBello János Starker Remembrance Week April 22-28

CelloBello Remembers János Starker Please join us for a full week of events and video releases,to remember and honor this great figure of the cello world.Preview of upcoming events: New Videos of Never-Before Seen Interviews Newly released interview videos of János Starker in conversation with Paul Katz in 2010.  April 22: Growing as a PerformerApril 23: Releasing TensionApril 24: Rhythmic FreedomApril 25: VibratoApril 26: His Performance AnxietyApril 27: His Difficult, Early Years Please visit our János Starker CelloLegacy section on CelloBello.com each day to view the newest video. Daily Blogs A new blog each day at CelloBlog by former Starker students and family includingRobert Battey, Paul Katz, Maria Kliegel, Alexandra Preucil (Starker’s granddaughter),Brant Taylor and Jeffrey Zeigler. CelloChatsYour chance to ask questions about Starker’s cello teachings and hear personal anecdotes and stories of the master! 3 special CelloChats with former students of Starker Reminiscing: What I Learned From János Starkerall [...]

The Britten Cello Suites (Part 1) — by Aron Zelkowicz

Cellists have as much reason as anyone to celebrate the upcoming Benjamin Britten centenary, if not more so.  The five major cello works he wrote for Mstislav Rostropovich – the sonata, the Symphony Concerto, and the three solo suites – have been taken up in short order as standard repertoire.  By my unofficial count there are twenty recordings of the complete cello suites on the market, not to mention sixteen “incomplete” cycles of one or two suites here and there.  So it can be easy to forget that this music hasn’t been around for very long.  Those of us of a certain age can remember relics like the individually published suites, each score with its distinctly colored cover.  Or Rostropovich’s classic 1970 LP titled, rather definitively, “Britten: The Suites for [...]