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| Reviews of Joyce Geeting's Janos Starker: King of Cellists |
| Janos Starker: King of Cellists Joyce Geeting |
Music CDs from Cellist Joyce Geeting
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| Review of Joyce Geeting;s Janos Starker: King of Cellists by Ernst F. Tonsing, Ph.D. Professor Emeritus of Religion and Greek, California Lutheran University, Thousand Oaks, California |
Written by Dr. Joyce Geeting, Professor of Music at California Lutheran University, Thousand Oaks, California, and a student of Starker’s, the
book is both a tribute to a great teacher, and a keen examination of the components of a musical career.
Starker is not the only one to come under scrutiny. Within the book, Starker, himself, delivers his judgments in lengthy“conversations his
opinions of other musicians, conductors such as George Szell, Fritz Reiner, Eugene Ormandy and Antal Dorati, and performers such as
Mstislav Rostropovich, Pablo Casals, Joshua Heifetz and many others. They are reviewed with sometimes biting language, but always with
some foundation.
There are two features of this book that make it a valuable contribution to the literature of music. The first is the recounting of the gripping
biography of Starker. Born to a Hungarian Jewish family, his two older brothers were violinists, and before his sixth birthday he was given a cello.
As a child prodigy, he performed in public when he was six and seven, and thereafter, entered the Franz List Academy of Music in Budapest,
studying with a faculty that consisted of well-known musicians—Adolf Schiffer, Leo Weiner, Zoltán Kodály, Béla Bartók and Ern Dohnányi. At the
age of eight he undertook the instruction of other students, and by his twelfth year, had five pupils. He caught the attention of the professional
world at the age of fourteen by playing the difficult Dvoák concerto on three hours notice when another musician became ill.
Anti-Semitism had been institutionalized in Hungary from the nineteenth century as an official policy of the nation’s government, but Hungary
was relatively safe for Jews until 1939 and the Nazi Anschluss. The killings started in 1941 and Starker lost a great many of
his relatives, and later even his two brothers. Starker survived questioning and slaps in the face by Nazi interrogators, an American bombing of
the labor camp in which he was incarcerated when his companions on either side were killed, the shelling of Russian forces, a Russian gun
jabbed into his stomach, and a hernia operation under difficult post-war conditions.
These experiences toughened the young man, and as he commented about the hard work to build his musical career, he was “unafraid of
anyone because he concluded that nothing worse could possibly happen to him.” With determination like “steel,” he set about to refine his
technique and to overcome any obstacle.
This leads to the second aspect of this book that makes it a valuable contribution to the literature about music—what goes into the formation of
a person of such remarkable talents. The word, “genius,” is tossed about with abandon today, but, properly, there arefew instances in which it
should be used. It is entirely appropriate for Starker.
His careers with the Budapest Opera and Philharmonic Orchestra, the Metropolitan Opera Orchestra, the New York and Chicago Symphony
Orchestras, the Grand Prix du Disque (at the age of 24!), over 160 recordings of nearly the entire cello repertoire, the five sets of records of
Bach’s solo suites, his many books and articles on music, and, especially, his numerous exceptional students, is an extraordinary testament to
his genius.
Dr. Geeting’s analysis of Starker’s teaching methods as well as insights into his virtuosity make reading this book a must not only for musicians
and those interested in music, but for anyone who is interested in the formation of the human character and the quality of human endeavor.
book is both a tribute to a great teacher, and a keen examination of the components of a musical career.
Starker is not the only one to come under scrutiny. Within the book, Starker, himself, delivers his judgments in lengthy“conversations his
opinions of other musicians, conductors such as George Szell, Fritz Reiner, Eugene Ormandy and Antal Dorati, and performers such as
Mstislav Rostropovich, Pablo Casals, Joshua Heifetz and many others. They are reviewed with sometimes biting language, but always with
some foundation.
There are two features of this book that make it a valuable contribution to the literature of music. The first is the recounting of the gripping
biography of Starker. Born to a Hungarian Jewish family, his two older brothers were violinists, and before his sixth birthday he was given a cello.
As a child prodigy, he performed in public when he was six and seven, and thereafter, entered the Franz List Academy of Music in Budapest,
studying with a faculty that consisted of well-known musicians—Adolf Schiffer, Leo Weiner, Zoltán Kodály, Béla Bartók and Ern Dohnányi. At the
age of eight he undertook the instruction of other students, and by his twelfth year, had five pupils. He caught the attention of the professional
world at the age of fourteen by playing the difficult Dvoák concerto on three hours notice when another musician became ill.
Anti-Semitism had been institutionalized in Hungary from the nineteenth century as an official policy of the nation’s government, but Hungary
was relatively safe for Jews until 1939 and the Nazi Anschluss. The killings started in 1941 and Starker lost a great many of
his relatives, and later even his two brothers. Starker survived questioning and slaps in the face by Nazi interrogators, an American bombing of
the labor camp in which he was incarcerated when his companions on either side were killed, the shelling of Russian forces, a Russian gun
jabbed into his stomach, and a hernia operation under difficult post-war conditions.
These experiences toughened the young man, and as he commented about the hard work to build his musical career, he was “unafraid of
anyone because he concluded that nothing worse could possibly happen to him.” With determination like “steel,” he set about to refine his
technique and to overcome any obstacle.
This leads to the second aspect of this book that makes it a valuable contribution to the literature about music—what goes into the formation of
a person of such remarkable talents. The word, “genius,” is tossed about with abandon today, but, properly, there arefew instances in which it
should be used. It is entirely appropriate for Starker.
His careers with the Budapest Opera and Philharmonic Orchestra, the Metropolitan Opera Orchestra, the New York and Chicago Symphony
Orchestras, the Grand Prix du Disque (at the age of 24!), over 160 recordings of nearly the entire cello repertoire, the five sets of records of
Bach’s solo suites, his many books and articles on music, and, especially, his numerous exceptional students, is an extraordinary testament to
his genius.
Dr. Geeting’s analysis of Starker’s teaching methods as well as insights into his virtuosity make reading this book a must not only for musicians
and those interested in music, but for anyone who is interested in the formation of the human character and the quality of human endeavor.
| Listen to four Sample's from Joyce Geeting's Spanish Cello Music CD. |
| or her Soul Stirring music CD. |
During the period of 1963 to 1967, this reviewer was fortunate to attend the largest and
arguably best music school in the United States , concentrating in vocal music. The
educational atmosphere there was incredible with genius level students and faculty abounding.
Music School Dean, Wilford Bain, had put together a faculty team of some of the topmost
musicians in the world.
Yet, most were some of the top music teachers as well. One of these super performers who
arrived on the Indiana University scene a year before I attended was the cellist János Starker,
whom I knew informally and by reputation.
This musician is considered to be an almost super human professional with enormous
teaching loads and world performance schedules that would reduce most peers to tears. This
biography does an excellent job of explaining Starker's roots and career and the important
influences on him. The author not only defines his many skills and attributes, but she also
explains how and why he is the performer and teacher he is.
His history traces him from a Russian tailor father and uneducated Ukrainian mother to
Hungary where the family became literally citizens without a country, with no official
documentation or recognition.
arguably best music school in the United States , concentrating in vocal music. The
educational atmosphere there was incredible with genius level students and faculty abounding.
Music School Dean, Wilford Bain, had put together a faculty team of some of the topmost
musicians in the world.
Yet, most were some of the top music teachers as well. One of these super performers who
arrived on the Indiana University scene a year before I attended was the cellist János Starker,
whom I knew informally and by reputation.
This musician is considered to be an almost super human professional with enormous
teaching loads and world performance schedules that would reduce most peers to tears. This
biography does an excellent job of explaining Starker's roots and career and the important
influences on him. The author not only defines his many skills and attributes, but she also
explains how and why he is the performer and teacher he is.
His history traces him from a Russian tailor father and uneducated Ukrainian mother to
Hungary where the family became literally citizens without a country, with no official
documentation or recognition.
|
| Review by Bob Spear, Publisher and Chief Reviewer of Hearland Reviews |
From his childhood prodigy days through his survival of a World
War II labor camp and American carpet bombing, he managed to
survive and thrive after the war.
He not only developed his own skills, but also managed to
become a keen analyst of players' physical and emotional
problems and knowing how to correct them on the spot with
lasting results. The tales of his skill, stamina, strength,
memorization skills, and musicality are mind-boggling.
The author made a comparison of five leading cello teachers to
fulfill the dissertation requirement for her Ph.D. in music
pedagogy. It explains why she chose Starker as her subject for
this book, since he obviously impressed her the most of the five.
She goes behind his sternly severe public mask to an inner core
of genuine love for his fellow man.
Her portrayal of Starker's personality, his many almost James
Bond-like experiences dealing with bureaucrats on both sides of
the Iron Curtain, his uncompromising personal and musical
standards of behavior and performance, and his courage to
outspokenly give his opinion of sacred cow institutions and
performers who just don't measure up provides the reader with a
clear picture of who and why this incredible man is.
As a lovely bonus, the author includes a musical CD of her own
cello performance skills which are smooth as silk. Dr. Geeting
proves she knows whereof she speaks about cellists and the
competitive classical music scene. She takes us behind the
scenes to discover the horrendous stresses of this career field,
the massive amount of dedicated work it demands, and the
abilities such people are blessed with that place them on
pedestals high above the general population. She truly opens a
doorway into a world that few people even know exists.
János Starker personifies a heroic image of those who compete,
win, and leave their competitors in the dust. Dr Joyce Geeting
communicates this phenomenon in a cogent, fascinating
manner. Her biography should be a fascinating read for both
those people in the business and those who are aficionados or
who are contemplating entering this career field. We rated this
fascinating, truthful work five hearts.
War II labor camp and American carpet bombing, he managed to
survive and thrive after the war.
He not only developed his own skills, but also managed to
become a keen analyst of players' physical and emotional
problems and knowing how to correct them on the spot with
lasting results. The tales of his skill, stamina, strength,
memorization skills, and musicality are mind-boggling.
The author made a comparison of five leading cello teachers to
fulfill the dissertation requirement for her Ph.D. in music
pedagogy. It explains why she chose Starker as her subject for
this book, since he obviously impressed her the most of the five.
She goes behind his sternly severe public mask to an inner core
of genuine love for his fellow man.
Her portrayal of Starker's personality, his many almost James
Bond-like experiences dealing with bureaucrats on both sides of
the Iron Curtain, his uncompromising personal and musical
standards of behavior and performance, and his courage to
outspokenly give his opinion of sacred cow institutions and
performers who just don't measure up provides the reader with a
clear picture of who and why this incredible man is.
As a lovely bonus, the author includes a musical CD of her own
cello performance skills which are smooth as silk. Dr. Geeting
proves she knows whereof she speaks about cellists and the
competitive classical music scene. She takes us behind the
scenes to discover the horrendous stresses of this career field,
the massive amount of dedicated work it demands, and the
abilities such people are blessed with that place them on
pedestals high above the general population. She truly opens a
doorway into a world that few people even know exists.
János Starker personifies a heroic image of those who compete,
win, and leave their competitors in the dust. Dr Joyce Geeting
communicates this phenomenon in a cogent, fascinating
manner. Her biography should be a fascinating read for both
those people in the business and those who are aficionados or
who are contemplating entering this career field. We rated this
fascinating, truthful work five hearts.
| "János Starker, King of Cellists would well serve as a template for similar biographies of other outstanding musicians." Midwest Book Review |
|
I picked up the new biography of János Starker, “King of
Cellists” (Los Angeles: Chamber Music Plus, 2008) expecting
to spend a couple of hours reading through it before attending
to some pressing chores. However, I could hardly put it down
until I had read through the pages of narration, recollections
and “conversations” about music, making music, and the
gripping story of one of the century’s greatest musicians.
Cellists” (Los Angeles: Chamber Music Plus, 2008) expecting
to spend a couple of hours reading through it before attending
to some pressing chores. However, I could hardly put it down
until I had read through the pages of narration, recollections
and “conversations” about music, making music, and the
gripping story of one of the century’s greatest musicians.
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|
János Starker: King of Cellists
Wisconsin Bookwatch: The Music Shelf by James A. Cox, Editor-in-Chief
A legendary figure in the music world, János Starker was so gifted a cellist that at the age of twelve he was teaching five
students to play the instrument. He went on to enjoy a phenomenal recording career with a productive output unrivaled in
his field to this very day. In "János Starker, King of Cellists" musician, author, and former Starker student Joyce Geeting
has written an informed and informative biography of the man and his music. Covering his formative years as a young
student, then as a budding professional, and finally his mature career as a teacher, concert artis and recording artist,
"János Starker" also includes a chapter of Starker's cartoons and anecdotal stories about him by some of his students.
Enhanced with an accompanying CD, a Coda, Starkers recordings available on Amazon.com and on iTunes; a
bibliography, a 'Chronology of Events', and a 'user friendly' index, "János Starker" is a seminal work and recommended for
personal and academic library Music History & Performer reference collections and supplemental reading lists. Indeed,
"János Starker, King of Cellists" would well serve as a template for similar biographies of other outstanding musicians.
Wisconsin Bookwatch: The Music Shelf by James A. Cox, Editor-in-Chief
A legendary figure in the music world, János Starker was so gifted a cellist that at the age of twelve he was teaching five
students to play the instrument. He went on to enjoy a phenomenal recording career with a productive output unrivaled in
his field to this very day. In "János Starker, King of Cellists" musician, author, and former Starker student Joyce Geeting
has written an informed and informative biography of the man and his music. Covering his formative years as a young
student, then as a budding professional, and finally his mature career as a teacher, concert artis and recording artist,
"János Starker" also includes a chapter of Starker's cartoons and anecdotal stories about him by some of his students.
Enhanced with an accompanying CD, a Coda, Starkers recordings available on Amazon.com and on iTunes; a
bibliography, a 'Chronology of Events', and a 'user friendly' index, "János Starker" is a seminal work and recommended for
personal and academic library Music History & Performer reference collections and supplemental reading lists. Indeed,
"János Starker, King of Cellists" would well serve as a template for similar biographies of other outstanding musicians.
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