tag:blogger.com,1999:blog-35339894127968315032024-03-19T14:43:21.226-07:00Henry Tan's BlogAnonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.comBlogger426125tag:blogger.com,1999:blog-3533989412796831503.post-72322426799755385072023-05-14T15:35:00.001-07:002023-05-14T15:35:46.689-07:00Practicing J.S. Bach Sarabande, BWV 816: In a Sea of Ornaments, first explore an unadorned melody<p>As I revisited J.S. Bach’s memorable Sarabande movement from his French Suite No. 5, BWV 816, I stared at an Urtext score laden with ornaments of infinite variety –trills, mordents, parentheses showing upper and lower accents, loops on trills in opposite directions, etc. and to complicate matters, I was expected, by tradition, to improvise each section, adding more ornaments and original turns of phrases. What a challenge!</p>
<figure class="wp-block-image size-large"><img data-attachment-id="56528" data-permalink="https://arioso7.wordpress.com/2023/05/14/practicing-j-s-bach-sarabande-bwv-816-in-a-sea-of-ornaments-first-explore-an-unadorned-melody/crop-p-1-sarabande-bwv-816/" data-orig-file="https://arioso7.files.wordpress.com/2023/05/crop-p.-1-sarabande-bwv-816.jpeg" data-orig-size="752,1020" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="crop-p.-1-sarabande-bwv-816" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2023/05/crop-p.-1-sarabande-bwv-816.jpeg?w=221" data-large-file="https://arioso7.files.wordpress.com/2023/05/crop-p.-1-sarabande-bwv-816.jpeg?w=752" src="https://arioso7.files.wordpress.com/2023/05/crop-p.-1-sarabande-bwv-816.jpeg?w=752" alt="" class="wp-image-56528" srcset="https://arioso7.files.wordpress.com/2023/05/crop-p.-1-sarabande-bwv-816.jpeg 752w, https://arioso7.files.wordpress.com/2023/05/crop-p.-1-sarabande-bwv-816.jpeg?w=111 111w, https://arioso7.files.wordpress.com/2023/05/crop-p.-1-sarabande-bwv-816.jpeg?w=221 221w" sizes="(max-width: 752px) 100vw, 752px" /></figure>
<p>This time around, after having studied all Six French French Suites, and a large portion of the Little Preludes, I had a revelation that fleshing out a melody, <em>undecorated by ornaments</em> was the very first step in a sensible, layered learning process. Such a fundamental approach would prevent a reading from ornament to ornament in a mad pursuit of successive trills, turns, mordents etc. to cadence. (It’s easy to view a score as a map of these finger-trapping adornments that can become anticipatory landmines– fingers and hands freezing as they approach one symbol after another with surges of anxiety.)</p>
<p>Given the propensity to be intimidated by symbols that attach to what is primarily a melodic journey in the soprano, it’s best to go back to basics: Play a clean melodic line with contour and landscaping–shape it with relaxed wrists and arms, using a singing tone model. In practicing, be aware of Sequences that can invite intensity in ascent, or relaxation of dynamics in descent. In addition, Questions and Answers in four measure parcels or less should create an awareness of Responses and cadences. (temporary resting points)</p>
<p>When adding ornaments, “feel” the natural flow of the melody—and <em>relax</em> through an intricate design without tension-draining energy. Enjoy the <em>ins and outs</em> of these embellished perks of the melody, embracing a positive attitude. Playing beautifully has an underlying <em>psychological</em> component, so be attentive to natural “breathing” through quality repetitions in daily practice. (Spot practicing is important.)</p>
<p>Finally, a well-sculpted soprano melodic line filters through all voices, with or without ornaments. In Sarabande BWV 816, which is basically scored in three voices, the decorated top line, interacts with the tenor and bass that have opposing stems needing balance and delineation. For many learners, these lower lines tend to run into each other without contrast. To advance a satisfying synthesis of all voices, one must individually flesh out each of these lower voices for direction, contour, color, and balance. A stint of voice parceling, permuting Soprano and Bass, without and with the melodic ornaments; and practicing combinations such as Tenor and Bass, etc. help create a convincing rendering in the Baroque genre. Naturally, Harmonic Rhythm influences phrasing and is worth an analysis.</p>
<p>In these attached videos I apply the approach referenced in this posting.</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/A5QZLnFcPqQ?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>***</p>
<p><strong>Play Through</strong></p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/OeMncBkx9DE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2023/05/14/practicing-j-s-bach-sarabande-bwv-816-in-a-sea-of-ornaments-first-explore-an-unadorned-melody/">https://arioso7.wordpress.com/2023/05/14/practicing-j-s-bach-sarabande-bwv-816-in-a-sea-of-ornaments-first-explore-an-unadorned-melody/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-66566404558889862402023-04-27T07:05:00.001-07:002023-04-27T07:05:44.364-07:00Talking About Memory<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKPMoNFhejAUDELgcvG-X0rgvkgammE-ZV2ml9Uz0OHE9l548BmNx5U5GuMYu1hlNJF0KUm-MqahCALGBaAj5PHFLRpS3nYsQ8k62GJ7WyKeJ3prUxI24jY1YMZ12paK9c8hztflAJtiVI93EjbzYGOBM0Mfl4qDKFOYBJbQri39YDHzHWw/s2500/that-s-her-business-KzeOMdcEswk-unsplash.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKPMoNFhejAUDELgcvG-X0rgvkgammE-ZV2ml9Uz0OHE9l548BmNx5U5GuMYu1hlNJF0KUm-MqahCALGBaAj5PHFLRpS3nYsQ8k62GJ7WyKeJ3prUxI24jY1YMZ12paK9c8hztflAJtiVI93EjbzYGOBM0Mfl4qDKFOYBJbQri39YDHzHWw/s320/that-s-her-business-KzeOMdcEswk-unsplash.jpg" width="320" /></a></div>
<br />
With the passage of years, I don't find memorization more difficult, but....different. When I was a teenager, I had a near-perfect visual memory and could memorize pieces just by mentally looking at the score when I played without the music. Until I had catastrophic memory slips in recital, that is. Then I learned to listen, to develop tactile memory, to understand what was going on in the form of the work, and to feel my way through the piece as well. Every five years or so I need to completely revamp the way I memorize.
<p>Angela Hewitt's <a href="https://www.theguardian.com/music/2023/apr/25/angela-hewitt-pianist-memory-muscle" target="_blank">article on memory in the Guardian</a> looks at her own experiences with memory and how it has created a richness in her music-making, in spite of the continual risk:</p>
<blockquote>Memory is a subject we don’t like to talk about – like sex, love and religious beliefs – most likely because we are afraid of losing it. It takes courage to admit even to yourself that your memory is failing. Often friends or family notice it first. We shouldn’t feel ashamed, but rather embrace this normal sign of ageing and then do all we can to keep our brains alive. It upsets me when I can’t remember where I’ve put my boarding pass, as happened this morning at Heathrow (only to find it in the outside compartment of my bag, where I must have put it five minutes previously); when I can’t remember if I’ve taken my daily HRT lozenge (now there’s something that helps older women with memory!); and when I make the same mistake over and over again when learning a new piece.</blockquote>
<p>Angela's remake on how to think ahead and multitask in memory work are elements worth considering, as is the tendency of older pianists to play slower, perhaps because of the slower processing speed of the aging brain. My adult students will be glad to hear that. </p>
<p>(Via <a href="http://www.johnmacmaster.com" target="_blank">John Mac Master</a>)</p>
<p>(Photo courtesy of <a href="https://unsplash.com/@thatsherbusiness" target="_blank">That's Her Business on Unsplash</a>)</p>
<p>More about memorization:</p>
<ul style="text-align: left;">
<li><a href="https://collaborativepiano.blogspot.com/2007/07/memorization-tips-and-hacks.html" target="_blank">30+1 Ways to Help You Memorize Music Flawlessly</a></li>
<li><a href="https://collaborativepiano.blogspot.com/2011/02/memorization-as-emotional-place.html" target="_blank">Memorization as an Emotional Place</a></li>
<li><a href="https://collaborativepiano.blogspot.com/2011/10/memorizing-for-adults.html" target="_blank">Memorizing for Adults</a></li>
<li><a href="https://collaborativepiano.blogspot.com/2018/03/3-ways-to-memorize-music-when-nothing.html" target="_blank">3 Ways to Memorize Music When Nothing Else Works</a></li>
</ul>
<br />
from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2023/04/talking-about-memory.html">http://collaborativepiano.blogspot.com/2023/04/talking-about-memory.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-48895619674593372702023-04-11T02:33:00.001-07:002023-04-11T02:33:49.210-07:00The value of sending supplementary videos to Online students between piano lessons<p>Since I began teaching piano Online in 2011, well before it gained pandemic driven popularity, I’d always felt the need to fill in what seemed to be distance related gaps in the Internet teaching environment. Compensating for my guilt-ridden, tradition-breaking, cyber teaching excursions on Face Time, I’d made sure to give my students an extra serving of video transmitted suggestions between lessons. It was compensation for my corporeal absence that might leave my students hungering for an over your shoulder mentor with a prying pencil to scribble fingering and dynamic reminders—Or as some kind of replacement for my eliminating the piano bench shuffle. (“May I demonstrate a phrase or two”—as the pupil is temporarily nudged out of his comfort zone and put on standby.)</p>
<p>However, as I roll the clock forward to 2023, I realize that all my guilt trips and compensatory efforts about teaching Online were needless.</p>
<p>Currently seated at my “work station” with a HP mega monitor and a QuickTime Record APP, I have no qualms about teaching remotely and <em>regularly supplementing</em> lessons with recordings of sessions in progress. For some students who have Zoom accounts, the recording option is nicely built into their platform sparing me a recording effort–though sometimes, I just want to isolate an issue, and will zone in on it with a shorter video rendering.</p>
<p>With my Face Time pupils, I have two computers running if I choose to record. The older Big iMac can record two view choices of my keyboard–one generated by the internal cam, (a profile), and the second one, activated by my Logitech webcam-model C-920. In practice, I prefer the over my shoulder webcam view since a student can more easily see both my hands at the keyboard joined to my arms and shoulders–a full upper body snapshot of myself seated squarely centered on the piano bench–allowing for leaning in opposing directions as I travel across the ivories. (well not exactly ivories–but a form of plastic that replaced the originals)</p>
<p>Finally, the content of the videos I send to pupils is bundled with important reminders about fingering, phrasing, tone, touch, nuance that over years seems to have promoted their musical growth. It’s an in between lesson feeding that satisfies the learning appetite.</p>
<p><strong>A sampling of Lesson in Progress videos sent to students</strong>-These are recent recordings.</p>
<p><strong>Raw video</strong>–no editing-sent to pupil–Back tempo suggestions–Burgmuller “La Petite Reunion”..Mood setting–various articulations, choreographies–light hearted staccato; seamless legato parallel thirds, nicely voiced, with nuanced groupings and direction–swells and retractions. Set a tempo that is consistent but with lyrical, tasteful rubato here and there. Preserve the singing tone in the Romantic, lyrical tradition, with phrases having direction and relaxed resolutions.</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/w_T-awqLwK0?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>***</p>
<p><strong>Andante Cantabile, Mozart Sonata, K. 545</strong>–Excerpts–Lesson in Progress–phrase shaping, voicing (balance of Alberti bass and solo soprano melody.) Sequences–dynamics. (Raw, unedited video)</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/dprphKsIJio?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>***</p>
<p>Lesson in Progress–<strong>Claude Debussy, Girl with the Flaxen Hair</strong>–Tone, touch, phrasing</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/6CMVBenaZ2k?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>***</p>
<p>Lesson in Progress segment of <strong>J.S. Bach Little Prelude in F Major, BWV 928</strong> (Raw, unedited video)</p>
<p>This short segment focused on a bass voice that has a syncopation below the Subject in the Right Hand. The shaping of the two voices is explored. It’s a short segment that turned out to be one of 4 separate videos emailed to my pupil that explored BWV 928.</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/ZbIGqZO5qRs?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>Video supplements are valuable teaching tools that can be archived by a student and revisited over time. For both a teacher and pupil, they provide an organized, growth promoting journey of exploration and discovery.</p>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2023/04/11/the-value-of-sending-supplementary-videos-to-online-students-between-piano-lessons/">https://arioso7.wordpress.com/2023/04/11/the-value-of-sending-supplementary-videos-to-online-students-between-piano-lessons/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-74305492393052260292023-02-23T14:33:00.001-08:002023-02-23T14:33:22.419-08:00Technology enhancements for Online Piano Lessons<p>Back in 2011, when music lessons by webcam were viewed as out of the mainstream, bucking the traditional a face-to-face, in-person learning environment, I was nevertheless, lulled into cyberspace by an Australian subscriber to my You Tube channel. One day, he messaged me with a promise to send a Logitech webcam that would widen my teaching experience beyond the confines of a dual piano, walled-in music room.</p>
<p>My first Online lesson with the Sydney, Australian was on shaky ground due to my unfamiliarity with all the intricate steps needed to smooth out a lesson transition with satisfying audio/video dimensions.</p>
<p>That’s where his long-distance driven assistance eased a screen to screen exchange in a stepwise journey to proper Settings and adjustments. In those days, I simply clipped the Logitech webcam to the top of my iMac 21 inch computer, unaware that the internal big Mac cam might have have sufficed. But while I could direct the Mac’s big screen (Face Time view) toward my Steinway keyboard, the addition of the Australian’s Logitech webcam provided a wider, more defined keyboard aspect, though to its discredit, the cam’s internal mic (for Audio) produced a hot zone driven sound distortion that to this day, I do not enlist. Instead, I always set my audio to a USB connected Yeti mic.</p>
<figure class="wp-block-image size-large"><img data-attachment-id="56308" data-permalink="https://arioso7.wordpress.com/2023/02/23/technology-enhancements-for-online-piano-lessons/logitech-best-face-forward-3/" data-orig-file="https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg" data-orig-size="1632,1224" data-comments-opened="1" data-image-meta="{"aperture":"2.4","credit":"","camera":"iPhone 5c","caption":"","created_timestamp":"1466663824","copyright":"","focal_length":"4.12","iso":"800","shutter_speed":"0.066666666666667","title":"","orientation":"1","latitude":"37.882191666667","longitude":"-122.28135"}" data-image-title="logitech-best-face-forward" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg?w=300" data-large-file="https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg?w=825" src="https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg?w=1024" alt="" class="wp-image-56308" srcset="https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg?w=1024 1024w, https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg?w=150 150w, https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg?w=300 300w, https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg?w=768 768w, https://arioso7.files.wordpress.com/2023/02/logitech-best-face-forward.jpg 1632w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
<figure class="wp-block-image size-large"><img data-attachment-id="56317" data-permalink="https://arioso7.wordpress.com/2023/02/23/technology-enhancements-for-online-piano-lessons/yeti-mic-crop-2/" data-orig-file="https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg" data-orig-size="2230,1746" data-comments-opened="1" data-image-meta="{"aperture":"2.4","credit":"","camera":"iPhone 5c","caption":"","created_timestamp":"1466069393","copyright":"","focal_length":"4.12","iso":"400","shutter_speed":"0.066666666666667","title":"","orientation":"1","latitude":"37.882222222222","longitude":"-122.28141111111"}" data-image-title="yeti-mic-crop" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=300" data-large-file="https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=825" src="https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=1024" alt="" class="wp-image-56317" srcset="https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=1024 1024w, https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=2048 2048w, https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=150 150w, https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=300 300w, https://arioso7.files.wordpress.com/2023/02/yeti-mic-crop.jpg?w=768 768w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
<figure class="wp-block-image size-large"><img data-attachment-id="56322" data-permalink="https://arioso7.wordpress.com/2023/02/23/technology-enhancements-for-online-piano-lessons/screen-shot-2023-02-23-at-10-58-57-am/" data-orig-file="https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png" data-orig-size="775,427" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="screen-shot-2023-02-23-at-10.58.57-am" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png?w=300" data-large-file="https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png?w=775" src="https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png?w=775" alt="" class="wp-image-56322" srcset="https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png 775w, https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png?w=150 150w, https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png?w=300 300w, https://arioso7.files.wordpress.com/2023/02/screen-shot-2023-02-23-at-10.58.57-am.png?w=768 768w" sizes="(max-width: 775px) 100vw, 775px" /></figure>
<p>The above photo depicts an early 2011 Online piano lesson transmitted from Fresno CA to Sydney, Australia using the Skype platform with a split screen view. As years passed, I transitioned from Skype to Face Time and alternately, Zoom. While I’m still using an old version of Face Time Call Recorder that has since timed out on new computers, I’m able to <em>record</em> Online lessons with 3 view choices: LOCAL view (my own keyboard on full screen); REMOTE (the student’s keyboard) and SPLIT SCREEN which cuts the length of respective student and teacher keyboards. However, the old Mac, having had two hard drive replacements is no longer my lesson giving <em>mainstay</em> though it still assists in the recording cosmos.</p>
<p>My modern day set-up, having evolved over 12 years, adds enhancements that greatly improve cyber lesson transmission. While the venerable and original iMac 21 moved from the Central Valley to California’s East Bay in 2012, MAC, as mentioned, no longer hosts my webcam driven lessons. Instead, my newer 2019 Mac Air (connected to an HP monitor–27″ screen) is powered up on the FACE TIME platform or on Zoom. (HP monitor details:<a href="https://www.amazon.com/gp/product/B01F6V704G/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1">HP 27er 27-Inch Full HD 1080p IPS LED Monitor with Frameless Bezel and VGA & HDMI (T3M88AA)</a> The Mac Air’s Dongle (with added USB ports) connects a Yeti Mic, and one tripod mounted webcam directed at my Steinway grand’s keyboard.</p>
<p>The aging MAC, sitting to left of the 2019 Mac Air, has an older form of iMovie, version 9.09, with its integrated Quicktime App, that easily records (with an attached Yeti mic) my tutorials, performances, uploaded to You Tube. More importantly, iMac 21’s Quicktime also affords in-progress <em>recordings</em> of ONLINE lessons (using its internal cam, or another tripod connected webcam mounted in the area of my piano sculpture.) Recordings of lessons enlisting the older Big Mac are uploaded UNLISTED to You Tube, and sent to students with practicing reminders.</p>
<p>In order to better picture the process, I will have TWO computers running at the same time during LIVE lessons. The Mac Air connected to the big screen 27″ HP monitor shows the student at his/her keyboard, while the Big Mac provides a FACE TIME internal cam generated profile view of myself at the piano–the latter view is only seen by pupils when I send them uploaded, recorded excerpts of their lessons. (It’s a Quicktime APP) This profile or side view afforded by the Big Mac nicely demonstrates supple wrist and relaxed arm motions. (I can also use a web cam mounted alternate view that is a more angled profile–again generated by the Big Mac)</p>
<p>Pupils with Zoom Accounts, however, can rely on themselves to record their complete lessons in full screen or in split screen.</p>
<p>Finally, to reduce all the complexities bundled into a studio bustling with cams, mics, tripods, big and small screens, I’ve attached my latest video-“Having Fun with a New Piano Studio HP Monitor!”</p>
<figure class="wp-block-image size-large"><img data-attachment-id="56341" data-permalink="https://arioso7.wordpress.com/2023/02/23/technology-enhancements-for-online-piano-lessons/two-webcams-long-perspective/" data-orig-file="https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg" data-orig-size="1080,810" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="two-webcams-long-perspective" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg?w=300" data-large-file="https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg?w=825" src="https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg?w=1024" alt="" class="wp-image-56341" srcset="https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg?w=1024 1024w, https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg?w=150 150w, https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg?w=300 300w, https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg?w=768 768w, https://arioso7.files.wordpress.com/2023/02/two-webcams-long-perspective.jpeg 1080w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/elMMvlGAE0M?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2023/02/23/technology-enhancements-for-online-piano-lessons/">https://arioso7.wordpress.com/2023/02/23/technology-enhancements-for-online-piano-lessons/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-12803050822331904232023-02-16T08:33:00.001-08:002023-02-16T08:33:48.516-08:00Music and Community Activism<p>During my many years of teaching piano, nurturing students along of diverse backgrounds and levels, I never imagined that I would find myself channeling music into a form of local activism. But it’s happened here in Berkeley, California on Hopkins Street, with its lovely stretch of trees and quaint shops owned my merchants of many cultures whose employees are a rainbow of minorities.</p>
<p>Upper Hopkins (the Eastern portion of the “Hopkins Corridor”) is lined with the Monterey Fish Market, The Bottle Shop, Gioia’s Pizza, The Hopkins Bakery, Asaka Sushi and Bar, Raxakoul Coffee & Cheese, Magnani’s Poultry, the treasured Monterey Market, Cafe Roma, and various hair salons that are leisurely steps from each other. (Hopkins Hair and Elixir) Add to the mix, two Realty companies, Northbrae, Red Oak, and the long established Hopkins Launderette that sits beside Roma.</p>
<p>For years, “our” merchant family enjoyed a special bond with faithful consumers coming from the immediate area (on the “flats”), into the Berkeley Hills and well beyond.</p>
<p>For the aging population residing in the Hills, a car has always been a necessity as shopping accrues bags of groceries that cannot be otherwise transported without physical challenge. The disabled, in particular, rely on their automobile when shopping, along with many others who need places to park that are within easy range of the merchants.</p>
<p>For pedestrians, who regularly traverse Hopkins as shoppers and/or fitness enthusiasts, the challenge of safely crossing streets without a traffic signal, can be daunting. It’s not just SUVs and smaller vehicles that run Stop signs in their haste–but motorized E-Bikes and E-Scooters pose additional perils. The bikes can travel from 20 mph, to 28 mph in some cases, and without a license or insurance requirement, these engine bearing bikes often blaze through Stop signs (though prohibited by California law) The old-fashioned, generic bikes, that many of our parents purchased for $50 to $100 or more, are currently upended by the German and Netherlands manufactured motor bikes that can run from $3,500 to $10,000 depending on options and accessories. In this climate (no pun intended) who can afford them? Is gentrification an element of a movement to rid Hopkins of cars!</p>
<p>And here’s where a set of troubling issues have arisen amidst the charm of Hopkins with its neighborly merchants and loyal brood of shoppers. The City of Berkeley (that includes the Mayor, City Manager, City Council members, and Transportation Division Manager/consultants) want to dig up Hopkins at its narrowest, and install dual track bike lanes with concrete dividers, going in opposite directions on one side of the street. This incursion will cause a huge loss of parking spaces that will impact the full length of Hopkins from one end to the other. The plan as designed will also confuse pedestrians trying to cross amidst multiple stop sign lanes, (children on bikes, beside motored ones) while drivers in neighboring lanes, and those turning left onto Hopkins will be disoriented. In so many words, the City of Berkeley’s one size fits all agenda of Complete Streets and Vision Zero, powered by the influence of Bike lobbies, is fueling a war on social media–Next Door being the nexus of insults, hurled back and forth.</p>
<p>Representing all Hopkins merchants, Paul Johnson, Monterey Fish owner, had the courage of conviction to make his voice heard loud and clear, when he addressed the City Council at one of its pivotal Hopkins Corridor meetings. (It was so perfectly in synch with what so many of us wanted to say but yet, we felt a sense of powerlessness in the face of well-funded lobbies crushing the voices of Hopkins residents)</p>
<p>Johnson said it succinctly: “I think we are all against putting bike lanes in the street. We all feel that the bike lanes would be better served to the area if they were put on side streets, and to run bike lanes through the commercial area just seems like–it seems so dangerous. It’s unbelievable! Particularly double bike lanes going up and down the street between parked cars. It’s a recipe for disaster.</p>
<p>“…. people are going to be run over. Nobody knows to turn left. It’s like when you go to London, and in the streets, the sign says ‘Look Right!’ It’s really gonna be a dangerous situation. </p>
<p>“…. you’re gonna be cutting down trees, ripping up sidewalks and everything else. It’s going to be endless. …I think pretty much we’re on the same side as the Hopkins Street residents.”</p>
<p>A local, aging resident, Effie Dilworth, expanded on Hopkins Corridor Plan problems in her Letter to the <em>Berkeley Times.</em></p>
<p>“Currently, Hopkins is a two-way street with bicyclists moving either in the same lanes as the car traffic or between the parked cars and the traffic, and they are moving in the same direction as the cars. To turn left onto Hopkins from Carlotta, I do not have a clear view of what’s coming east (on my left), if there is a car parked at the SW corner on Hopkins; it requires creeping out a bit into the intersection. I believe the City is proposing the following for the south side of Hopkins; next to the curb will be two bike lanes, one in each direction; then a lane of parked cars; <em>then </em>the two lanes for cars and faster bikes moving east and west. Therefore, for me to make a Left turn onto Hopkins, I will be first watching for bike traffic that will be moving in two directions, crossing those two lanes, then creeping out beyond the parked cars to watch for cars and bikes traveling east, and finally, for cars and bikes going west in the lane I’m turning into. Can drivers be expected to navigate this multiplicity of lanes safely?”(MY COMMENT- can <em>pedestrians</em> likewise be expected to navigate this multiplicity of lanes safely?) </p>
<p>To add to rancor among warring factions regarding the Hopkins Corridor, Ageism surfaced early on as an issue–well fleshed out in a <em>Berkeleyside</em> Op-Ed by Donna DeDemier ( “a former Berkeley business owner and a self-identified ardent environmentalist.”) <a href="https://www.berkeleyside.org/2022/05/05/opinion-hopkins-corridor-pits-seniors-vs-young-people">https://www.berkeleyside.org/2022/05/05/opinion-hopkins-corridor-pits-seniors-vs-young-people</a> Donna and others eventually inspired a Save Hopkins movement that distributed signs as potent message makers to merchants, residents and neighboring supporters.</p>
<figure class="wp-block-image size-large"><img data-attachment-id="56264" data-permalink="https://arioso7.wordpress.com/2023/02/16/music-and-community-activism/latest-sign-save-hopkins/" data-orig-file="https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg" data-orig-size="1080,810" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="latest-sign-save-hopkins" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg?w=300" data-large-file="https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg?w=825" src="https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg?w=1024" alt="" class="wp-image-56264" srcset="https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg?w=1024 1024w, https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg?w=150 150w, https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg?w=300 300w, https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg?w=768 768w, https://arioso7.files.wordpress.com/2023/02/latest-sign-save-hopkins.jpeg 1080w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
<p>Bundled into Save Hopkins efforts, is an embracing <strong>Friends of Hopkins Street</strong> nonprofit organization that defines “an all-volunteer educational and advocacy group formed by and for Hopkins Street residents, neighbors, business owners, and friends. It “advocates equitable, safe, evidence-based, and common sense designs for Hopkins Street.” <a href="http://www.SaveHopkins.org">http://www.SaveHopkins.org</a></p>
<p>In the spirit of Saving Hopkins, I took three jaunts in and around my neighborhood, snapping photos of support signs– giving expression to my personal community activism. At first I used a generic music choice to accompany my photo slide show –soon to be followed by another “Save Hopkins Neighbors” video where I embedded recorded selections from Alexandre Tansman, (<em>Pour Les Enfants</em>). In a blitz of activism, I again explored the nooks and crannies of Hopkins, taking more photos of Save Hopkins signs, uploading them to the strains of a Domenico Scarlatti and J.S Bach. It was fun, cathartic and empowering!</p>
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from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2023/02/16/music-and-community-activism/">https://arioso7.wordpress.com/2023/02/16/music-and-community-activism/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-29613397165942102812023-02-11T18:33:00.001-08:002023-02-11T18:33:21.925-08:00Arm Weight and Piano Playing<p>My personal arm weight journey began at age 13, when I enrolled at the NYC High School of Performing Arts. The preceding summer, I’d been a music camper at Merrywood in Lenox, Massachusetts where I’d met student cellist, Douglas Freundlich who regaled his aunt Lillian as an exceptional, Manhattan-based piano teacher.</p>
<p>Such a name drop, well timed amidst Bach Brandenburg 5 rehearsals, inspired a musical life-changing event. In a deep well of frustration, partnered with a mentor at the time, who omitted a basic approach to singing tone production and whole arm relaxation techniques, I needed to be relieved of un-blissful ignorance and physical tension.</p>
<p>That’s when Lillian Lefkofsky Freundlich came into my life and made an eternal imprint that was her legacy to my practicing, recording, and teaching.</p>
<p>The first few lessons were singular immersions in dropping my arms with supple wrists and relaxed hands/fingers, onto individual keys. I was being sensitized to “tone” that was full and round–not punched, poked, or squeezed upon impact. The ingredients of “sound imagination” and kinesthetic awareness formed a worthy bond, that included relaxed breathing.</p>
<p>Lillian checked my shoulders, wrists, elbows and hands for any trace of tension, while she assessed the balance of each individual finger that had been dropped with a sense of earthbound gravity—without my resistance to a natural fall–never on “hard turf,” but welcomed into a <em>bed of honey.</em> (an invitation to a cosmos of “density” in piano playing)</p>
<p>These arm drops into one finger after another, well-balanced and centered on each key, were the mainstay of many lessons until they expanded into scales wrapped in a seamless legato–framed by effortless, deep breaths that kept them well spaced, and contoured with a supple wrist. (The various motions of forward wrist rolls, rotations, etc. eventually gave shape to phrases embedded in tonal beauty and musical expression that had welled within me but needed modeling and guidance for development.)</p>
<p>To describe in words, the “feeling” of these arm drops that blossomed into multi-note groupings, flowing through rollouts toward destinations–and often governed by harmonic rhythm–is a challenge.</p>
<p>Therefore, the following video demonstration of what Lillian Freundlich shared during my formidable years of piano study, fleshes out her gift, not only to me, but to my many student partners.</p>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/Uh6pMB0CSk0?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
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<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2023/02/11/arm-weight-and-piano-playing/">https://arioso7.wordpress.com/2023/02/11/arm-weight-and-piano-playing/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-67992463662450361362023-01-27T14:38:00.001-08:002023-01-27T14:38:16.527-08:00Fostering a Healthy Interaction between piano student and teacher<p>With time-honored articles proliferated about emotionally abusive piano teachers and their negative impact on students, it’s time to explore the ingredients of a positive, growth-affirming relationship between two parties striving toward the same goal of creative musical expression. Such a discussion that embodies week to week lessons, addresses an environment of nonjudgmental self-acceptance, patience, and a willingness to explore new ideas, springing from constructive, <em>nurturant</em> criticism. (This includes a seamless flow of ideas between pupil and teacher based on an equality of exchange without a POWER hierarchy.)</p>
<p>In this piano lesson cosmos, suggestions imparted by a teacher should in no way be personal attacks on students student’s difficulty in absorbing a revision; or not meeting a learning deadline or being fully practiced or prepared for a lesson. None of the aforementioned should have any legitimacy in a learning environment. Yet, in some instances, a student who’s had negative interactions with a previous teacher (s) may come to lessons with an overlay of distrust. (This same issue may apply to pupils whose parents were relentlessly authoritarian and regarded lessons as stepping stones to competitions – wins would, in some cases, advance future college admissions and enhance self-worth.) For some piano learners, attaining “first place,” and nothing short of it was the primary goal! (academic awards and decathlons included)</p>
<p>Some of these pupils, (now adults) burdened by a drone of past crippling value judgments and expectations, might view any teacher imparted suggestions as an assault on their personal adequacy–as putdowns or devaluations of self-worth, when they are nothing of the kind.</p>
<p>In many instances, these pupils will voice their misgivings at lessons in a self-punishing tone: 1) “I didn’t practice enough this week so maybe it’s not worth playing today.” 2) “I should have ‘gotten’ this piece by now.” 3) You’ve reminded me of that same fingering change more than a few times. 3) “I’m not making enough progress– not getting where <em>I’m supposed to be</em>. (Expectations drown out the joy of the here and now) The student keeps beating himself up, getting more tense by the minute and tying himself in knots. Wrists and arms become locked, making the lesson a rocky road. It’s almost a self-fulfilling prophecy that’s in motion.</p>
<p>The best way to deal with such mounting tension and negativity is to explain that suggestions or revisions are a means to extract musical expression that’s embedded within the student and bring it to the surface to celebrate and enjoy; that there are NO deadlines imposed in our mutual learning relationship–No grades, progress reports, or anything resembling. In short, we are on a timeless, equal partnered musical journey that is selfless, and without judgment.</p>
<p>In this context, natural breathing, relaxation, and hear and now focus become the best recommended antidotes to repeated trauma themed self-recordings that rewind in and out of lessons.</p>
<p>In my particular teaching practice of all adults, I emphasize a “creative process” that includes “experimentation and mutual self-discovery.” Yet in order to have meaning and validity, we in the mentoring universe must explore our own relationship to the learning process–and cleanse it of ego related strivings, power pursuit/aspirations, or hyper-critical tendencies. In so many words, how we relate to the piano is paramount to how it filters out to our pupils.</p>
<p>Finally, in the realm of a satisfying, uplifting exchange of ideas with a student, I’ve included this video: an exploration of Robert Schumann’s No. 19, <em>Album for the Young,</em> Op. 68.</p>
<p>Every three months our student family gathers for a Zoom Music Sharing event that has evolved as a wonderful venue of support, with a discussion following about what it feels like to play for others–how we prepare, how we navigate our practicing, revisions, etc. We are collectively growing and developing in a loving space that will widen with each revisit.</p>
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<p><a href="https://arioso7.wordpress.com/2022/07/16/expectation-should-not-be-a-part-of-piano-learning-in-the-adult-student-non-competitive-environment/">https://arioso7.wordpress.com/2022/07/16/expectation-should-not-be-a-part-of-piano-learning-in-the-adult-student-non-competitive-environment/</a></p>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2023/01/27/fostering-a-healthy-interaction-between-piano-student-and-teacher/">https://arioso7.wordpress.com/2023/01/27/fostering-a-healthy-interaction-between-piano-student-and-teacher/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-43410453980392363912022-12-29T19:33:00.001-08:002022-12-29T19:33:38.489-08:00Jeremy Denk, pianist, embraces a humanistic approach to music<p>A friend residing in California’s Central Valley, e-mailed a link to a consciousness-raising interview with Jeremy Denk that aired on the City Arts and Lecture Series. (Location: Linda Ronstadt’s home in San Francisco) It was a joyful, music-loving celebration, exploring so many dimensions of creativity at the piano that are rarely shared in the Classical music media. Within an often ignored cosmos of a musician’s connectivity to human existence with its ups and downs–or as Denk terms it, “the sublime and ridiculous of life’s counterpoint,” we have his unique voice resonating above the din of Classical musician related stereotypes, cliches and platitudes. Inevitably, he brings his art to life with a contagious spin of expressively colorful references that feed in and out of his playing.</p>
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<p>In his recently published memoir, <em>Every Good Boy Does Fine</em>, a play on the identified lines of the Treble staff, the pianist soars above the “notes” and into the bliss of music-making that has a universal human connection. He frames his artistry through the lens of literature, philosophy, even chemistry, with a well-defined time travel through the works of Old World composers such as Byrd and Gibbons, going forward to Mozart, Haydn, Beethoven and landing in the contemporary cosmos of Ligeti. His emotion packed artistry knows no limits as he is philosopher, poet, balladeer, vocalist, story teller and even jokester in his piano playing. He fleshes out every dimension of humankind in his recitals and recordings, to the unerring delight of his growing audience of listeners.</p>
<p>Denk loves to juxtapose composers in a half and half progam serving of Ligeti followed by the J.S. Bach Goldberg Variations. He can be just as adventurous with a William Byrd/Orlando Gibbons recipe spilling into Beethoven’s <em>Appassionata</em>. The permutations and combinations of works are an instant draw for the pianist, and likewise, for presenters who promote his modern-day mix of tradition and tradition-breaking repertoire.</p>
<p>With a Renaissance-like profile, Jeremy Denk is a welcome contrast to the singular pursuit of competition-seeking young pianists, seduced by the declaration of a “winner,” who “will least offend jury members.” (paraphrase Denk) While the pianist ekes out some positives attached to meeting deadlines through the gladiator arena— building one’s level of playing, etc, he basically steers away from a tension-filled competitive environment, preferring a growth enduring, selfless path of daily epiphanies and enlightenment which he generously shares far and wide.</p>
<p>To this end, Denk is well read, retrieving excerpts from <em>Madame Bovary</em>–or lines of James Joyce that intertwine his love affair with music, the piano, the opera, chamber music, etc. His passions are infinite and diverse–always infused into his creative universe. In this spirit, he’ll sift through Proust while juxtaposing comical Seinfeld episodes that meander into interviews. “There’s a rhythmic pulse to comedy,” he insists, that relates to tempo running through music –never does he rule out the comical dimension of Beethoven, Mozart and other great composers’ works that have conspicuous infusions of humor. At the drop of a hat, Denk, seated at the piano, will play specific bars and sections of music that give validation to his verbal assertions about the fun side of composer’s personalities. (These demonstrations are ear-catching and attach his soulful, though imperfect, singing voice.)</p>
<p>When Denk explores performance anxiety, he’s quick to promote “natural breathing” as an antidote, or more specifically he quotes, Gyorgy Sebok on “the depths and regularity of breathing.” Sebok was one of Denk’s most influential teachers (Indiana U.)</p>
<p>(As an Oberlin memory reminder that ties in with Denk’s recollections, Gyorgy Sebok came to Oberlin during my student years and delivered an awe-inpiring masterclass at Warner Concert Hall that focused on the “singing tone,” a prominent signature of Denk’s playing.)</p>
<p>Following in Sebok’s footsteps, right into the present, Denk, in his own teaching, advises a complete here and now immersion in a piece, funneling in feelings, emotions just as actors do. Along with relaxed breathing, it’s an escape from gripping nerves that tighten muscles.</p>
<p>***</p>
<p>Denk’s years at the Oberlin Conservatory that commenced at the precocious age of 16, drew out a few degrees of separation. I attended the “Con,” years before him, and recall cello student, Norman Fischer, who’s regaled by Denk as a memorable mentor in the chamber music milieu. Denk admits that he’s traveled through many faculty studios collaborating with vocalists, string and wind players, expanding his horizons beyond the boundary of a solo piano practicing journey.</p>
<p>Jeremy Denk’s Bach is as impressive as his living, breathing renderings of Beethoven, Brahms, Schubert works, etc. As a tribute to his monumental memory, he’s performed all the Preludes and Fugues from the <em>Well-Tempered Clavier</em> without a score or iPad on the rack. Simply astounding!</p>
<p>Finally, in my ecstatic embrace of everything Denk, having its adolescent analog to my love affair with Van Cliburn after his Moscow triumph, I’ve ordered <em>Every Good Boy Does Fine</em> and I’ll promptly reserve a ticket to Denk’s February 12, 2023 piano recital at Berkeley’s Zellerbach Hall. This one I won’t miss! And maybe as one Obie to another, Denk will autograph my copy of his book.</p>
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<blockquote class="wp-embedded-content" data-secret="eGAyeV8cVZ"><a href="https://www.cityarts.net/event/jeremy-denk/">Jeremy Denk</a></blockquote>
<iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" title="“Jeremy Denk” — City Arts & Lectures" src="https://www.cityarts.net/event/jeremy-denk/embed/#?secret=fDiDSDNM8U#?secret=eGAyeV8cVZ" data-secret="eGAyeV8cVZ" width="600" height="338" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></div>
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from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/12/29/jeremy-denk-pianist-embraces-a-humanistic-approach-to-music/">https://arioso7.wordpress.com/2022/12/29/jeremy-denk-pianist-embraces-a-humanistic-approach-to-music/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-51833703290062164382022-12-18T18:35:00.001-08:002022-12-18T18:35:54.472-08:00Pianists can learn from Joyce DiDonato and the vocal model<p>The renowned mezzo soprano, Joyce DiDonato hosted three inspiring Masterclasses at Carnegie Hall’s intimate recital venue this holiday season, and made “process” her resonating theme of creative musical growth. While a select group of young opera singers were by application, brought into a spotlight of “playing” with DiDonato, as she termed the mutual give and take of ideas before a small audience of appreciative listeners, the reverberations of the event reached musicians of all genres.</p>
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<p>As pianists, we, too, must be “singers”–never forgetting the vocal line from our earliest exposure to a new composition–through legato (yes “vowels” please, not those interruptive consonants) DiDonato so convincingly extracted this “legato” from her students through the ins and outs of complex Italian lines that had those distinct rolled “r’s,” and other lingual consonants, carrying a dramatic plot forward. How divinely this young crop of vocalists delivered Italian and French texts through seamless, flowing phrases, while inhabiting the character each was portraying. ( This dramatic dimension of the opera form makes it a multi-tiered journey.)</p>
<p>Pianists may not be immersed in the same audible plot advancement in their playing universe, but they must tell a story without words, inviting themselves into an imagination cosmos –exploring colors, textures, varying articulations that are in the service of the composer (re-creating). Like singers, pianists must learn how to “breathe” –a focus that DiDonato emphasized in her classes. Not to underplay harmonic rhythm as it influences the phrase (suspensions, resolutions, modulations etc) pulling back, going forward–threading the line. One vocalist was prodded to sing “harmony” through an enduring sustained note. It made perfect sense as pianist/collaborator, Ken Noda was an orchestra unto himself, weaving through each operatic solo with impeccable balance and polyphony.</p>
<p>***</p>
<p>The Back Story: My own exposure to opera and how it influenced my piano teaching.</p>
<p>My mother took me to see the 1953 movie version of <em>Aida</em> (with Sophia Loren being dubbed by Renata Tebaldi) For a very young child, it was almost impossible to sit through a few hours of a confusing plot transmitted in Italian with English subtitles. ( “The story revolves around the character Radames who falls in love with what he thinks is a slave in a country his armies has conquered. The young woman is actually the daughter of the leader he ousted.”) This was far afield from Gilbert and Sullivan light operas to which I had been exposed, or to Milton Cross’s Saturday Afternoon Metropolitan Opera broadcasts that were weekly beamed into our North Bronx apartment. I loved the arias without the dramatic activity on the stage and intricate plots. My mother insisted that at 3 or 4 years old, I sang excerpts from <em>La Boheme</em> and <em>Carmen</em> once the broadcasts ended. For me, the music, apart from the recitatives, was emotionally riveting, especially when rendered by celebrated sopranos of the era. (Maria Callas, Joan Sutherland, Renata Tebaldi, et al.)</p>
<p>Murray Perahia, who was my classmate at the NYC High School of Performing Arts was regularly brought as a toddler to the Metropolitan Opera by his father, and his early exposure to well-sculpted phrases must have had a pronounced influence on his artistry. His alliance to the vocal model is so conspicuous in his playing.</p>
<p>While I’ve more often preferred Lieder recitals, or arias programmed apart from the operatic setting, I nonetheless study music with a vocal, singing tone focus that surely sprang from those Milton Cross hosted opera broadcasts of the 1950’s (sponsored by Texaco) But what furthered my own immersion in <em>cantabile</em>, singing tone legato expression (and that very <em>horizontal</em>, seamless line being realized as well in staccato, portato, tenuto and other forms of detached note playing) was finding a vocally centered piano teacher in Lillian Freundlich. During lessons at her townhouse on Manhattan’s Riverside Drive, she sang over my playing, with inflections of her voice prodding me to phrase with give and take densities/contours–so there never could be a flat line through any one dynamic marking.</p>
<p>My very first lesson with Mrs. Freundlich was devoted to rendering long, sustained tones that could not be poked, pushed or squeezed. They had to “breathe” without a grain of tension. Lillian spent a few weeks exposing me to the world of tone production that emanated beyond relaxed arms, wrists and fingers that she encouraged. It was a consciousness that permeated every part of me from head to toe, surely likened to the singers at DiDonato’s masterclasses who were dealing with whole body/soul delivery of operatic works.</p>
<p>Finally, under the heavenly spell of Joyce’s classes, I posted one of my lessons in progress this week where my not so perfect, aging voice (often below pitch) nurtures along phrases through J.S. Bach’s heart-throbbing Sarabande in B minor (French Suite BWV 814)</p>
<p>But first what I most recently recorded, is a beautifully woven tapestry that has many multi-tiered dimensions, though, intrinsically, it’s vocal.</p>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/VIq15oL0HW4?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/u2paxtu-kZk?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
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<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/12/18/pianists-can-learn-from-joyce-didonato-and-the-vocal-model/">https://arioso7.wordpress.com/2022/12/18/pianists-can-learn-from-joyce-didonato-and-the-vocal-model/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-62236042010295733372022-11-20T14:33:00.001-08:002022-11-20T14:33:43.037-08:00The value of revisiting past repertoire, while learning new pieces<p>For many piano teachers as well as their students, keeping repertoire (old and new) in balance supports musical growth. Yet with time constraints for students influenced by in-school academic demands and after school activities, preserving the growth of one piece, partnered with a technique regimen, is a mountain to climb.</p>
<p>Teachers who learn side by side with their pupils, also experience time shortages for practice owing to heavy teaching schedules and family life demands. Given such challenges, they may barely manage to keep up with repertoire their students are navigating. Being immersed in advanced compositions, investing extra time in fingering assistance, harmonic analysis, and phrasing suggestions, mentors may put their own individualized learning projects on hold.</p>
<p>Despite the dearth of time available to both teachers and students in their retrospective and new piano learning journeys, the value of creating a balance between the two should be considered.</p>
<p>In my own experience as a decades long teacher, I make sure to revive pieces that I have learned in the past, parsing them out each month–providing consecutive days to reassess fingering (my biggest revision), and to re-evaluate phrasing/dynamics. During subsequent weeks, I will play these pieces every two or three days to reinforce my revisions and to instill relative comfort in playing them. By the same token, I always make sure to have a new piece on the rack to stretch my own learning curve. With these, I set no deadlines in absorbing them which hopefully, trickles down to those taking their musical journeys beside me.</p>
<p>Students, with less learning experiences, will often express frustration in revisiting older repertoire. The most common chant is, “I can’t believe how this piece that I thought I’d known, feels completely new–It’s like I never played it before.”</p>
<p>Such a response is understandable when a pupil is still building reading skills as well as a relaxed supple wrist, floating arms approach to the piano. In addition, the original exposure to the piece that is being revived, was in an initial layering or foundational phase, so its first exposure might not necessarily be expected to survive a long hiatus. A second and third revisit spaced over time (with additional learning layers) will likely bring the pupil greater satisfaction.</p>
<p>Overall, parceling voices, understanding harmonic flow, and delving into greater contexts of knowledge about a piece, bodes well for its review. And building technique by studying scales and arpeggios around the Circle of Fifths provides a reinforcement of past and currently new repertoire study. (Chords, cadences, etc. that spring from them, give theoretical framing to enlarge musical understanding)</p>
<p>In general, teachers should alleviate their students frustrations surrounding repertoire revisits by reassuring them of steady incremental musical growth with <em>patient,</em> step-by-step practicing–emphasizing that an old piece once experienced as new and perhaps a bit intimidating, will, in time, be a compatible friend under the hands. Nevertheless, there should always be a healthy margin of space to improve and grow this same piece over time, while new ones are percolating. These newer pieces, by dint of their fresh and challenging landscapes will make the older ones feel less out of reach.</p>
<p>***</p>
<p>Example of my having revisited Chopin Prelude in E minor, Op. 28, No. 4.</p>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/KhN7A090Hro?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
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<p>***</p>
<p>I recall this piece that was requested by a student who asked to learn various Enrique Granados Poeticos. It was NEW for me at the time, ushering in an enticement with the composer’s remarkable repertoire. Naturally, this composition grew my understanding of Granados, while it simultaneously advanced all my studies and improved my teaching.</p>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/AKSLD91qr5o?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/11/20/the-value-of-revisiting-past-repertoire-while-learning-new-pieces/">https://arioso7.wordpress.com/2022/11/20/the-value-of-revisiting-past-repertoire-while-learning-new-pieces/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-4055481724738730202022-11-13T19:03:00.001-08:002022-11-13T19:03:25.580-08:00The Bard College Conservatory's Collaborative Piano Fellowship Will Be Accepting Three Pianists in 2023<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;">
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<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsuMJIz0bZGPFs5_IBo15aa4RORoxXPqaGX2ezUB0GfJJeYnCplgztdZSmJYFz6HyAeuMVW7V21Q3lks7IkbcDzGgW-mgJz4LNRZvETRtTJanEfW5K32bWCEXf0DUxlxVrhFuEgMFXiW57-fGV70PzzdrTkt93Mzjx9XPJhORDZzmeLk9yxw/s2700/ES-376-Edit%203.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2700" data-original-width="2700" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsuMJIz0bZGPFs5_IBo15aa4RORoxXPqaGX2ezUB0GfJJeYnCplgztdZSmJYFz6HyAeuMVW7V21Q3lks7IkbcDzGgW-mgJz4LNRZvETRtTJanEfW5K32bWCEXf0DUxlxVrhFuEgMFXiW57-fGV70PzzdrTkt93Mzjx9XPJhORDZzmeLk9yxw/w218-h218/ES-376-Edit%203.jpeg" width="218" /></a></td>
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<td class="tr-caption" style="text-align: center;">Erika Switzer, Director<br />
of the Postgraduate<br />
Collaborative Piano Fellowship</td>
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</table>
<span style="font-family: inherit;">Katie Rossiter sends along the following information regarding Bard Conservatory's collaborative piano fellowship:</span>
<div style="caret-color: rgb(35, 28, 51); color: #231c33; transition-duration: 0s !important;"><span style="font-family: inherit;"><span style="color: black; transition-duration: 0s !important;"><span style="background-color: white; transition-duration: 0s !important;"><br /></span></span></span></div>
<blockquote>
<div style="caret-color: rgb(35, 28, 51); transition-duration: 0s !important;"><span style="color: #444444; font-family: inherit;"><span style="transition-duration: 0s !important;"><span style="background-color: white; transition-duration: 0s !important;">The Bard College Conservatory is seeking applicants for three fellowship positions in the <a href="https://www.bard.edu/conservatory/fellowship/" rel="noreferrer" style="transition-duration: 0s !important;" target="_blank">Postgraduate Collaborative Piano Fellowship</a>, a</span><span style="text-align: center; transition-duration: 0s !important;"> two-year fellowship program designed to give professional experience to pianists who have a strong interest in becoming collaborative artists, with the ultimate aim of easing the transition between school and the working world of a collaborative pianist. Directed by collaborative pianist Erika Switzer, the fellowship is open to students who have already completed a degree in collaborative piano as well as those who have completed a master’s degree in piano performance and have a strong interest in further study in collaborative piano. This fellowship program is tuition-free, and all fellows receive a $28,000 annual stipend for living expenses, as well as access to Bard's Student Health Services. Application and audition information may be found <a href="https://www.bard.edu/conservatory/fellowship/applying/" rel="noreferrer" style="transition-duration: 0s !important;" target="_blank">here</a>.</span></span><br style="transition-duration: 0s !important;" /></span></div>
<div style="caret-color: rgb(35, 28, 51); transition-duration: 0s !important;"><span style="color: #444444; font-family: inherit;"><br style="transition-duration: 0s !important;" />
<span style="transition-duration: 0s !important;">The Postgraduate Collaborative Piano Fellowship allows fellows to expand their knowledge of the core collaborative piano repertoire; to gain experience in playing for high-level undergraduate and graduate students under the mentorship of master musicians; and to deepen their musical understanding through the guidance of the distinguished faculty of the Bard College Conservatory of Music, including artists such as mezzo-soprano Stephanie Blythe, violinist Gil Shaham, and composer Joan Tower. </span></span></div>
<div style="caret-color: rgb(35, 28, 51); transition-duration: 0s !important;"><span style="color: #444444; font-family: inherit; transition-duration: 0s !important;"><br style="transition-duration: 0s !important;" /></span></div>
<div style="caret-color: rgb(35, 28, 51); transition-duration: 0s !important;"><span style="color: #444444; font-family: inherit;"><span style="transition-duration: 0s !important;">Fellows are responsible for playing for studio lessons, master classes, rehearsals, auditions, and performances for the instrumental and vocal students of the Bard College Conservatory of Music and the Graduate Vocal Arts Program. In this capacity, they play for and are coached by the faculty and guest artists of the Conservatory. In the past, piano fellows have performed at Bard Fisher Center, National Sawdust and the Morgan Library in New York City, the Longy School of Music in Cambridge, Massachusetts, and throughout the Hudson Valley. They have also had the opportunity to play for guest artists such as Renée Fleming, Pierre Vallet, and Margo Garrett. </span><span style="transition-duration: 0s !important;">Fellows may also teach, on a limited basis, some secondary piano lessons to undergraduate instrumentalists, under the supervision of the program director, Erika Switzer. Learn about the current fellows on the Bard Conservatory <a href="https://www.bard.edu/conservatory/fellowship/current-fellows/" rel="noreferrer" style="transition-duration: 0s !important;" target="_blank">website</a>. </span></span></div>
<div style="caret-color: rgb(35, 28, 51); color: #231c33; transition-duration: 0s !important;"><span style="color: black; font-family: inherit; transition-duration: 0s !important;"><br style="transition-duration: 0s !important;" /></span></div>
<div style="caret-color: rgb(35, 28, 51); transition-duration: 0s !important;"><span style="color: #444444; font-family: inherit; transition-duration: 0s !important;">Questions? Please contact the Bard Conservatory Admissions staff at conservatoryadmission [at] bard.edu. </span></div>
</blockquote>
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<div style="caret-color: rgb(35, 28, 51); color: #231c33; transition-duration: 0s !important;"><span style="color: black; font-family: inherit; transition-duration: 0s !important;"><br /></span></div>
<div style="caret-color: rgb(35, 28, 51); color: #231c33; transition-duration: 0s !important;"><span style="color: black; font-family: inherit; transition-duration: 0s !important;">The deadline for the program is December 1. <a href="https://www.bard.edu/conservatory/fellowship/applying/">Application information can be found here</a>.</span></div>
<br />
from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/11/the-bard-college-conservatorys.html">http://collaborativepiano.blogspot.com/2022/11/the-bard-college-conservatorys.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-49479374645378954052022-09-29T00:33:00.001-07:002022-09-29T00:33:52.091-07:00Working with One Hand when a piano student has an injury to the other<p>I recall my piano teaching years in California’s Central Valley where I easily counted 10 or more students (usually boys) who had sports injuries. Most often a mom would call about her son’s fractured arm or wrist that was incurred on the playing field–soccer, baseball, or during any number of childhood activities. As a consequence, lessons might be put on hold until a cast was removed. But in a few instances, a pupil would still come to lessons and practice with the uninjured arm/hand. In the case of a functional Left Hand, there was always repertoire specifically tailored to meet the needs of students who had lost the ability to use their Right Hand.</p>
<p>The late Leon Fleisher, pianist, kept up his teaching and performing despite his compromised Right Hand that was diagnosed with focal dystonia. Accordingly, his repertoire became Left Hand focused.</p>
<p>In cases where a young student is less motivated to carry on at the piano due to an injury, a teacher can keep lessons percolating with weekly infusions of theory, keyboard harmony and ear training. These redirects can expand a student’s awareness of music he has studied, providing greater context.</p>
<p>During my years teaching, I’ve also had adults who’ve kept up their lessons during injury and recovery periods. As adjustment, we refocused lessons on the useful hand, while adding sight-reading, theory, and explorations of Solfeggio.</p>
<p>In a recently posted video, I explored the Right Hand in Robert Schumann’s, Op. 68, No. 1 “Melody,” (<em>Album for the Young</em>). This was done to accommodate a student who had reported strain to her Left Hand that might be tied to over-use, (4 hour practice periods) though not yet determined. (My play through below, of “Melody” with both hands, is followed by back tempo Right Hand practice.)</p>
<p>Continuity of lessons, in one form or another during an injury period, carries a benefit to a student’s music learning experience, but flexibility and patience must be woven in, to make it work.</p>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/-7Dcdnfw-9U?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
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<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/09/28/working-with-one-hand-when-a-piano-student-has-an-injury-to-the-other/">https://arioso7.wordpress.com/2022/09/28/working-with-one-hand-when-a-piano-student-has-an-injury-to-the-other/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-44622357827472837702022-08-08T02:33:00.001-07:002022-08-08T02:33:36.092-07:00Experimenting with Phrasing and Choreography in Expressive music-making<p>Often, as pianists, we make our most significant musical strides in a relaxed, un-pressured home environment–experimenting with tonal variation, voicing, phrasing — allowing ourselves to be open to newfound discoveries.</p>
<p>The truth is we are all eternal students with a desire to explore sounds, silences, mood-settings, in ways that can spark our imaginations to new heights. To be immersed in this magical world of creativity without self-judgment, is the greatest gift we can give ourselves.</p>
<p>Teachers, (as inveterate pupils themselves), can inspire their students in these directions, while also deriving the same benefit in a mutual give and take process that feeds reciprocal growth.</p>
<p>To further my own awakenings, I frequently set aside time to delve deeply into pieces my pupils are studying, tracing my baby-step learning process, in a deep dive exploration of basic ingredients of tone production and expressive playing. Two videos come to mind that throw light on my immersion in two compositions from the Romantic era. These derive from Friedrich Burgmuller’s Op. 100, collection of <em>Twenty-Five Easy and Progressive Pieces</em>— “The Limpid Stream,” No. 7, and “Consolation,” No. 13.</p>
<p>Besides having seamless legato lines, their respective harmonic progressions invite waves of swells and resolutions, with cadences and modulations woven into an expressive tapestry. A player can enjoy an immersion in the rhythm of harmonies that form a rich underpinning of melodic lines, while imagining the theme of the each composition in a colorful, programmatic framing. He can grow to appreciate a singing pulse that forms an important element of rhythmic cohesion. These sensitivities grow over time.</p>
<p>The relentless triplets in “Limpid Stream” can drive an experimentation with rotations in such a way that these rhythmic figures flow horizontally with a melodic thread permeating them. The experimenter can sample different approaches to flesh out what he might want to hear–a type of “voicing” journey that requires shifts of arm weight to bring out tiers of tone. Are the wrists supple in these samplings? How do relaxed arms factor into the tone and voicing of phrases? The player takes note without harsh criticism of what he observes might be inhibiting unabashed tension-free energies. He adjusts what he needs to in an ego-less exploration and takes mental and physical notes along the learning route. It’s a layered process without deadlines.</p>
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<p>“Consolation,” Op. 100, No. 13 presents the same opportunity to explore, experiment, and keep a personal mental diary of what contributes to the imaginative setting of the work. One can call it the <em>fantasy</em> portion of the learning process that pulls together an expressive vocabulary that feeds communication of the composer’s intent. In this Romantic era universe of music-making, the singing tone (vocal model) is pivotal to the experimentation. How can it be produced? What is the effect of breathing on well formed phrases? How are the notes grouped, as adjudged by phrase marks, slurs–what steps can be taken to avoid vertical, finger-tapped out lines that hinder the overall horizontal flow? How does harmony influence phrasing? What voices should be fleshed out and balanced in relation to others? It’s a relentless mirroring back of what seems to work, and what can be altered. This very personal dip into the music will feed into lessons, where teacher and pupil share weekly epiphanies with ways to raise consciousness through more experimentation. It’s never-ending!</p>
<p>(Video below is available.. Thumbnail is missing)</p>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/qyoe2fIwuxI?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
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from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/08/08/experimenting-with-phrasing-and-choreography-in-expressive-music-making/">https://arioso7.wordpress.com/2022/08/08/experimenting-with-phrasing-and-choreography-in-expressive-music-making/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-54559879110497530272022-07-16T19:33:00.001-07:002022-07-16T19:33:06.025-07:00Expectation should not be a part of piano learning in the adult student, non-competitive environment<p>As I trekked down a steep hill with my knapsack swelling with groceries, I found myself percolating with ideas about piano study. In a reflective state of mind, I was centered on learning process challenges that are <em>not</em> tied to the basics of producing a singing tone, improving technique, nuancing and shaping phrases, allowing relaxed energies to flow down buoyant arms into supple wrists. Instead, I was focused on my teaching experiences with adults, and how “attitude” can affect musical growth.</p>
<p>One particular impediment to a piano student’s healthy engagement with the piano, is his/her focus on “expectation.” This particular verbal reference is intermittently voiced through lessons and it circumscribes a belief that the piano teacher is “expecting” week by week progress and proficiency. On the other side of the coin, the student <em>internally</em> “expects” a tangible, if not, conspicuously visible level of advancement from lesson to lesson.</p>
<p>As an example, if a student “feels” that the teacher has more than once asked for repetition of particular measures to clarify phrase shaping, it might be construed as follows: “How many times you’ve told me this same thing, and I just don’t seem to get it right. I am not progressing, as I should. I’m not living up to <em>your</em> expectation.” Obviously these are projections onto the teacher that have no basis in truth as to the meaning of the repetition. It is a neutral mentoring prompt that might be imparted for a few weeks without having a value judgment attached to it. (I certainly don’t count how often I make the same suggestions.)</p>
<p>As pertains to my own model for learning, I consider repetitions to embody attentive listening, with adjustments that amplify phrasing and expression. I do not tabulate my repetitions or “expect” a deadline to fully realize all that I “imagine” as a beautiful line. I embrace a baby-step, incremental journey for each composition with immersion in a creative and <em>experimenta</em>l process. My own layered learning approach is embedded in decades long experiences that I certainly don’t “EXPECT” can be instantly absorbed by my students. For these musical voyagers, I have enduring patience grounded in empathy.</p>
<p>In another lesson snapshot with an adult student, a particular assigned piece can span weeks of exposure with a “time deadline” imposed by the “expectation” burdened student. Such impatience drives the pupil to request new pieces that can spread him/her thin. Nonetheless, it becomes a revolving door revisit of the same self-imposed barriers to learning that sprang from unrealistic “expectations.”</p>
<p>Finally, “Expectation” whether radiated outward from the student to the teacher, or self-generated as an internal “pressure” to achieve concrete results, is defeating of a healthy musical journey.</p>
<p>In truth, “progress” is subjective and it’s not a week to week measurement of gains. Considering a demographic of adult students who return to the piano in their retirement years, of which I’m very familiar, I discourage a <em>graph</em> or spreadsheet of progress. Still, I will provide needed reality testing–pointing out how for instance, a staccato rendered scale is now nicely prancing to destination with a bounce of a playground romp. And because I have a video archive of lesson segments, often shared with students between lessons, these can reveal scales or pieces that were played months before and have grown over time in review. In this endeavor, a student will impartially “observe” the difference in his/her playing, with a feeling of self-affirmation and renewed confidence. (This is my hope as a nurturing teacher)</p>
<p><strong>Positive Music-sharing that aids musical growth</strong></p>
<p>Every three months, my adult students of diverse ages–some retired, others, not, participate in our community Online music sharing. The intention is exactly that, to “share” one of more pieces that they’ve been working on. The framing message is that “perfection” is not at the heart of our gatherings. But rather that pieces played are in embryonic stages as no composition will ever reach complete gestation–that repertoire studied will always be reborn with new consciousness and awakenings.</p>
<p>Here’s a lesson in progress, where a student was preparing to share Burgmuller’s “Harmony of the Angels,” Op. 100, No. 21. (This video was edited for teacher suggestions) It explored the “feeling” and phrasing of “rests” that are carried over from silence to sound–where natural breathing is at the center of expression.</p>
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<p>***</p>
<p>Within this relaxed and “timeless” music learning cosmos, one my favorite published diaries is authored by Mildred Portney Chase. <em>Just Being at the Piano</em> is my favorite writing that I meditate upon when I find myself feeling tension in my practicing. It is a form of cleansing, and eradication of self-judgment. It focuses on the merging of self with the music–a ONENESS that is to be sought and treasured.</p>
<p>…and here’s where I evoke the wise words of Mildred Portney Chase:</p>
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<figure class="aligncenter"><img data-attachment-id="5925" data-permalink="https://arioso7.wordpress.com/2011/01/31/music-comes-from-the-heart/justbeingatthepianocover/" data-orig-file="https://arioso7.files.wordpress.com/2011/01/justbeingatthepianocover.jpg" data-orig-size="300,300" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="justbeingatthepianocover" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2011/01/justbeingatthepianocover.jpg?w=300" data-large-file="https://arioso7.files.wordpress.com/2011/01/justbeingatthepianocover.jpg?w=300" src="https://arioso7.files.wordpress.com/2011/01/justbeingatthepianocover.jpg?w=825" alt="justbeingatthepianocover" class="wp-image-5925" srcset="https://arioso7.files.wordpress.com/2011/01/justbeingatthepianocover.jpg 300w, https://arioso7.files.wordpress.com/2011/01/justbeingatthepianocover.jpg?w=150 150w" sizes="(max-width: 300px) 100vw, 300px" /></figure>
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<p>“I am continually finding my way toward the <em>here and now</em> in my music and realizing a whole new dimension to the experience of playing. Nowhere is it more important to be in the here and now than in playing the piano. The slightest lapse in attention will affect every aspect of how I realize the re-creation of a piece of music. One note coming a hairbreadth late in time, may distort the expression of a phrase.</p>
<p>“It is impossible to be self-conscious and totally involved in the music at the same time. Consciousness of the self is a barrier between the player and the instrument. As I forget my own presence, I attain a state of oneness with the activity and become absorbed in a way that defies the passage of time.”</p>
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from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/07/16/expectation-should-not-be-a-part-of-piano-learning-in-the-adult-student-non-competitive-environment/">https://arioso7.wordpress.com/2022/07/16/expectation-should-not-be-a-part-of-piano-learning-in-the-adult-student-non-competitive-environment/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-48544430713060935642022-06-22T20:33:00.001-07:002022-06-22T20:33:34.528-07:00Back To Burgmuller for phrasing in the Romantic genre<p>Friedrich Burgmuller’s <em>Twenty-Five Easy and Progressive Pieces</em>, Op. 100, provide a feast of opportunities to develop a tonal vocabulary of well-contoured phrases. Regardless of tempo or mood set, these individual tableaux draw on the player’s imagination to realize picturesque titles, while creating clean melodic and harmonic lines.</p>
<p>“Tender Flower,” (<em>Tendre Fleur</em>), No. 10, opens with “sighing pairs” of eighth notes, played as delicately as a flower in full blossom. To achieve this sensitively rendered rhythmic/melodic synthesis in the treble, one must both internalize the imagined sound of the opening phrase while putting into play supple wrist rolls through ascending eighth pairs that spill into the Dominant measure following. A natural crescendo, executed by a subtle arm weight increase aids phrase direction.</p>
<p>In the bass, a harmonic underpinning helps pull the melody toward resolution. I call these junctures, “destinations” that keep music ebbing and flowing without flat lines. Such amplifies why pre-fixed dynamic markings don’t tell the complete story about how to shape unfolding phrases.</p>
<p>Where the composition blossoms into longer groups of notes under one slur, as in measures 5 through 8, a pianist must “feel” sub-groupings or dips, that again are aided by supple wrist gulps of notes that overall spill through well-shaped movement to cadence. The <em>ritenuto</em> and <em>diminuendo</em> at this juncture allow for a graceful tapering in the home key of D Major.</p>
<p>The Middle or ‘B’ section starting at Measure 9, and modulating to the Dominant key of A Major, opens at a <em>Mezzo Forte</em> dynamic and has a more formidable interchange between the hands. The sighing treble pairs of the opening measures of the composition, are shifted to the Bass in this second section, without a hint of the staccato markings on the second of the eighth note pairing. And although the sighing pairs at the start had so-called detached releases, they were never to be short or clipped. Nevertheless, in the second section, the listener picks up the relationship of the pairings that are now in the Left Hand, but breathed out as continuous looping figures assisted by wrist inflected groupings and warm pedaling.</p>
<p>Naturally, the ‘A’ section returns in the home key of D Major, as it rekindles the phrasing and dynamics as previously notated in the opener.</p>
<p>In the video below, I flesh out various dimensions of phrasing that accrue to this heartfelt tableau.</p>
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<p>***</p>
<p>In my second video, I present a lesson-in-progress for Burgmuller’s <em>La Tarentelle</em>, No. 20, with its contrasting mood as compared to <em>Tendre Fleur.</em></p>
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<p>With a galloping 6/8 pace, the composition nonetheless has lyrically rendered phrases that are interspersed with legato and combined/legato-staccato back and forth responsive phrases. These are conversations within forward moving lines that create a dialog of emotions at quickly spaced intervals. (A feeling of TWO beats per measure, or Duple Compound permeate this composition with its opening of triplet pairings that intensify <em>forward</em> and <em>pull back</em> in short order with wrist driven motions.)</p>
<p>Meanwhile the chordal underpinnings in the bass, are not overplayed but provide a warm cushion for the melody. These Left Hand chords must be nurtured along with a pliant wrist to avoid a punchy tone. Where the chords become broken, they must unravel seamlessly with clockwise rotations and played softer than the melody.</p>
<p>A march-like section beginning in measure 33, causes a striking shift in character that still preserves a compelling shape through <em>crescendo</em> and <em>decrescendo</em> bars. Following this articulated set of measures with stark rhythmic reinforcement, the pianist must then shift emotional gears and return to a whimsical set of responsive measures with a variety of slurs and articulations. (45-48) Such emotion-packed fluctuations present the greatest challenge to realizing the essence of <em>La Tarentelle</em>.</p>
<p>Finally at the Coda, the fast paced triplet pairings that are imbued by supple wrist groupings, ascend in a gradual <em>diminuendo</em> to cadence, quickly followed by punctuated, forthright chords! (It’s a resounding ending!)</p>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/06/22/back-to-burgmuller-for-phrasing-in-the-romantic-genre/">https://arioso7.wordpress.com/2022/06/22/back-to-burgmuller-for-phrasing-in-the-romantic-genre/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-11749569920970729462022-05-15T19:33:00.001-07:002022-05-15T19:33:38.597-07:00A return to the basics of relaxed arms, hands, and supple wrists in a 4-note arpeggio romp<p>It’s always a pleasure to re-enter the cosmos of a self-hypnotically induced journey across the keyboard in seamless arpeggiated streams. The experience of Oneness produced by well-contoured strands of wave-like, root-third-fifth-root progressions, is surely like dancing lithely across the keyboard. It hearkens back to my most beloved piano teacher, Lillian Lefkofsky Freundlich, who emancipated my tightly squeezed hands and locked wrists from lengthy imprisonment. To this end, she spent the first few months of my lessons nursing along the natural force of gravity that allowed my arms, wrists and hands to fall limply into my own lap, without a grain of muscular constraint. It produced a new physical experience that fed into the creation of a singing tone, at first imagined, but not yet fully expressed in my playing.</p>
<p>At the time, Mrs. Freundlich’s mentoring had just about awakened what took a few years to fully assimilate. The transformative learning process that included “breathing naturally” through vocal-modeled phrases, had played out at a time when I entered the New York City High School of Performing Arts, having just earned admission with a lackluster, “squeezed out” reading of Beethoven’s “Pathetique.” It was alongside a more appealing violin submission of a Handel Sonata that hastened an acceptance letter that bundled in a dual Major. (The school had a dire need for string players.)</p>
<p>Fast-forwarding the clock, decades later, past my Oberlin Conservatory graduation, and a relapse with a faculty member who assigned deleterious, finger-crunching Schmitt exercises–resuscitated by a God-sent reconnection with Lillian Freudlich at her Riverside Drive townhouse– a period was unleashed of gradual musical autonomy that was Freundlich’s ultimate intent: to teach me how to learn independently.</p>
<p>From those days of carefully nurtured study, to my current undertakings as an eternal piano student and mentor, I’m led back to what I’d set out to explore within a universe of well-shaped 4-note arpeggios. (Some credit in this realm is owed to Ena Bronstein, an Arrau student with whom I studied in the Central Valley-CA) She embraced the “wrist rolls” that are conspicuously displayed in my arpeggio renderings.</p>
<p>These progressions should be well-contoured and seamless– spared of any intrusive accents and bumps. They must surrender to a natural flow of relaxed arms, wrists and hands in synchronized harmony that’s best illustrated in a well-prepared video that exceeds words to express.</p>
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<div class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/vHy1EvY3SSI?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
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from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/05/15/a-return-to-the-basics-of-relaxed-arms-hands-and-supple-wrists-in-a-4-note-arpeggio-romp/">https://arioso7.wordpress.com/2022/05/15/a-return-to-the-basics-of-relaxed-arms-hands-and-supple-wrists-in-a-4-note-arpeggio-romp/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-59906486211961112752022-04-26T07:03:00.001-07:002022-04-26T07:03:13.476-07:00The 2022 Edition of The Royal Conservatory's Piano Syllabus and Celebration Series Launches this Wednesday at Koerner Hall in Toronto<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8GqsVQKiZhOB4Zg6d5dLwqZOzkVUBpawCngPfkcE4aw8WASbxG8iVNq4dUvwkQDkDa-OmI4C6QwzJV0xkf1xLeTl9S-IN4X7gjpFzha2ZKQEz3xbT2IvnaNC0je6OLot-y0YBos-GfX4icvUodW3j2yGGOx-SY803Jxin1WZTZhfguIfPA/s440/music%20lights%20the%20way.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="440" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8GqsVQKiZhOB4Zg6d5dLwqZOzkVUBpawCngPfkcE4aw8WASbxG8iVNq4dUvwkQDkDa-OmI4C6QwzJV0xkf1xLeTl9S-IN4X7gjpFzha2ZKQEz3xbT2IvnaNC0je6OLot-y0YBos-GfX4icvUodW3j2yGGOx-SY803Jxin1WZTZhfguIfPA/s320/music%20lights%20the%20way.jpeg" width="320" /></a></div>
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Every seven years, The Royal Conservatory launches a new edition of its Piano Syllabus and Celebration Series in order to reflect new directions in piano pedagogy and to refresh the many selections available for developing pianists to learn.
<p>The kickoff event for the new series and syllabus is Music Lights the Way on Wednesday, April 27 in Koerner Hall at The Royal Conservatory in Toronto. Pianists appearing include Steward Goodyear, Lang Lang, Angela Hewitt, Jan Lisiecki, Tony Yike Yang, Heather Schmidt, and Dianne Werner-Simon. </p>
<p>The in-person event is sold out, but you can still <a href="https://www.rcmusic.com/learning/music-lights-the-way" target="_blank">register to watch the livestream online</a>. </p>
<p>One of the highlights of this event is an announcement that the RCM will be gifting more than 400,000 physical copies of the Celebration Series, Sixth Edition to teachers across North America. </p>
<p>Yes, you read that correctly. Stay tuned over the coming days for more information on how you can redeem your copies. </p>
<p>I'll be posting more articles over the coming months on the new series and how it can inform your teaching. For now, here are a few of the works newly introduced to the Celebration Series that I'm really excited about and are going to have tremendous value for both teachers and students.</p>
<p>From the Level 8 repertoire book, From Moanin' Pines by Harry Burleigh, played by Julia Scott Carey:</p>
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<div class="separator" style="clear: both; text-align: left;">From the Level 10 repertoire book, Troubled Water by Margaret Bonds, played by Samantha Ege:</div>
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<li>More info on the <a href="https://www.rcmusic.com/about-us/rcm-publishing/celebration-series-sixth-edition" target="_blank">Celebration Series, Sixth Edition</a></li>
<li>The <a href="https://rcmusic-kentico-cdn.s3.amazonaws.com/rcm/media/main/about%20us/rcm%20publishing/piano-syllabus-2022-edition.pdf" target="_blank">2022 Piano Syllabus is already online</a></li>
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from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/04/the-2022-edition-of-royal-conservatorys.html">http://collaborativepiano.blogspot.com/2022/04/the-2022-edition-of-royal-conservatorys.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-77072060243441853222022-03-28T02:33:00.001-07:002022-03-28T02:33:14.662-07:00Mitsuko Uchida and Mozart<p>Berkeley’s Zellerbach Hall lit up with the glow of two Mozart concertos, as Maestro Uchida seamlessly mastered the dual role of soloist/conductor. From the piano bench, with her back to the audience bathed in sea blue radiance, her baton-less hands wove expressive lines that soared in the air, before they gracefully descended on the keys. These motions alternated gracefully as the music unfolded. With her well-framed singing pulse and contoured phrases providing a gratifying give-and-take between forces of orchestra and soloist, the pianist earned a well deserved standing ovation.</p>
<p>Uchida is a poet of the piano, in the good company of Murray Perahia who has a similar operatic approach to an instrument that can easily become percussive by its hammer-driven action. Uchida, in particular, by her performance of Piano Concerto No. 23 in A Major, K. 488, and No. 24 in C minor, K. 491 (late and well-developed works) rose above the instrument and its infinite inner mechanical workings–inviting her audience into a universe of arias, interspersed with rising and falling, nuanced, scale-like passagework, while her phrases had an organic beauty embedded with tasteful rubato. Where more thunderous runs took center stage, with tympanic reinforcement in the more symphonic sections of the C minor work, Uchida easily slipped into mood shifts with enviable finesse.</p>
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<figure class="wp-block-image size-large"><img data-attachment-id="55499" data-permalink="https://arioso7.wordpress.com/uchidas-back-to-audience/" data-orig-file="https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg" data-orig-size="1702,1276" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="uchidas-back-to-audience" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=300" data-large-file="https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=825" data-id="55499" src="https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=825" alt="" class="wp-image-55499" srcset="https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=825 825w, https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=1650 1650w, https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=150 150w, https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=300 300w, https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=768 768w, https://arioso7.files.wordpress.com/2022/03/uchidas-back-to-audience.jpg?w=1024 1024w" sizes="(max-width: 825px) 100vw, 825px" /></figure>
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<p>Most memorable for me, was Uchida’s heart-throbbing playing of the middle movement <em>Adagio</em>, Concerto No. 23 that has a heaven sent partner companion in the composer’s Clarinet Concerto in A Major, K. 622. Both in the same key, are ethereal expressions of Mozart’s profoundest emotions.</p>
<p>The only drawback for me in an otherwise immaculate reading of two monumental concertos was the size of the orchestra that tended to overpower the pianist during <em>forte</em> passagework sections. It could have been an acoustical issue tied to the hall itself, or attributed to a well projected force of strings (4 cellos, three Basses, 4 violas, and 15 first and second violins combined, that engulfed the piano by its placement).</p>
<p>Uchida, nonetheless treated the piano as an ever-singing instrument and has over decades, waxed poetic about her sacred relationship to music that includes an embrace of Meditation, Oneness, Mindfulness, and a bristling philosophy of life that springs from her love of the arts in its many forms.</p>
<figure data-carousel-extra='{"blog_id":16562941,"permalink":"https:\/\/arioso7.wordpress.com\/2022\/03\/28\/mitsuko-uchida-and-mozart\/"}' class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><img data-attachment-id="55532" data-permalink="https://arioso7.wordpress.com/uchida-in-front-of-piano-3/" data-orig-file="https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg" data-orig-size="1702,1276" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="uchida-in-front-of-piano-3" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg?w=300" data-large-file="https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg?w=825" data-id="55532" src="https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg?w=1024" alt="" class="wp-image-55532" srcset="https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg?w=1024 1024w, https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg?w=150 150w, https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg?w=300 300w, https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg?w=768 768w, https://arioso7.files.wordpress.com/2022/03/uchida-in-front-of-piano-3.jpg 1702w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
</figure>
<p>One of my favorite Uchida interview snatches on you tube, addresses the question: “Is Talent Enough?” In a second video, the pianist explores the meaning and value of music.</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div data-carousel-extra='{"blog_id":16562941,"permalink":"https:\/\/arioso7.wordpress.com\/2022\/03\/28\/mitsuko-uchida-and-mozart\/"}' class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/qCNTg_8Nf-U?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div data-carousel-extra='{"blog_id":16562941,"permalink":"https:\/\/arioso7.wordpress.com\/2022\/03\/28\/mitsuko-uchida-and-mozart\/"}' class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/fQmG_U_IYoQ?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>I must conclude with an abounding Thank You to a student who bestowed this concert ticket, enriching my understanding of Mozart and his genius–while inspiring musical growth in the realm of learning and teaching.</p>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/03/28/mitsuko-uchida-and-mozart/">https://arioso7.wordpress.com/2022/03/28/mitsuko-uchida-and-mozart/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-7318930159059867612022-02-23T06:03:00.001-08:002022-02-23T06:03:39.074-08:00duo526 Sonata Seminar at Indiana University on May 23-27, 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhodvWa8fd4eop_cW3LIwY4OzCQ3pybMgXL-WY_3la0zQAlg0yrCOWgIv9bFuWt6_UsueWGR-FC-UJA9i_82gJzqc9I_-o7C7cM1S41sCu0zASYlq3AuvgR0XeR3uGQwrDqmmUEImIO12XWjtLgDMLDap5LS_fXJPbcQY7Yie6ujxBnQqjtcA=s2558" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="662" data-original-width="2558" height="126" src="https://blogger.googleusercontent.com/img/a/AVvXsEhodvWa8fd4eop_cW3LIwY4OzCQ3pybMgXL-WY_3la0zQAlg0yrCOWgIv9bFuWt6_UsueWGR-FC-UJA9i_82gJzqc9I_-o7C7cM1S41sCu0zASYlq3AuvgR0XeR3uGQwrDqmmUEImIO12XWjtLgDMLDap5LS_fXJPbcQY7Yie6ujxBnQqjtcA=w486-h126" width="486" /></a></div>
<br />
Those of you who are interested in exploring the extensive violin and piano repertoire might be interested in attending <a href="https://jacobsacademy.indiana.edu/descriptions/duo526.html" target="_blank">duo526's week-long Sonata Seminar at the end of May</a> hosted by the Jacobs Academy at Indiana University's Jacobs School of Music. This is a fantastic opportunity for those interested in deepening their ensemble skills and knowledge of the art of ensemble with violin and piano.
<p>Some information from the website:</p>
<blockquote><span style="color: #666666;">duo526 Sonata Seminar @ IU offers an intensive five-day performance seminar to explore the art of listening for both pianists and violinists. Since 2018, duo526 Sonata Seminar has been offered at Brandon University, Canada; duo526 is thrilled to bring its program to IU’s Jacobs Academy. Up to five duos (five violinists and five pianists) will be selected via the application process. The daily schedule includes mentoring time, wellness time, individual coaching, training, and masterclasses. The program will culminate with the recital performance on the final day. Any pianists or violinists aged 18+ are eligible to apply.</span></blockquote>
<p><a href="https://www.duo526.com" target="_blank">duo526</a> is a duo ensemble with Kerry DuWors and pianist Futaba Niekawa. They'll be joined by wellness instructor David Simpson for the workshop. Registration and audition info is on the IU link above, and the registration deadline is March 15. </p>
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<br />
from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/02/duo526-sonata-seminar-at-indiana.html">http://collaborativepiano.blogspot.com/2022/02/duo526-sonata-seminar-at-indiana.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-47533622855527671312022-02-17T17:33:00.001-08:002022-02-17T17:33:28.389-08:00A Piano Finding Adventure with Twists and Turns!<p>Combing Craig’s List is one of my weekly activities where I delve through listings of pianos with a keen eye for off- the-beaten-path musical treasures. Such expeditions have in the past produced a “Haddy” Haddorff console, and an Aoelian Table Style piano. These gems were warmly welcomed into my piano family as time-honored companions to my Steinway M grand until I moved to the Bay area. With sparser living space, I had to donate these singing beauties to adoptive piano teachers who became faithful caretakers.</p>
<figure class="wp-block-image size-large"><img data-attachment-id="55423" data-permalink="https://arioso7.wordpress.com/table-style-aolian/" data-orig-file="https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg" data-orig-size="825,618" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="table-style-aolian" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg?w=300" data-large-file="https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg?w=825" src="https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg?w=825" alt="" class="wp-image-55423" srcset="https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg 825w, https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg?w=150 150w, https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg?w=300 300w, https://arioso7.files.wordpress.com/2022/02/table-style-aolian.jpeg?w=768 768w" sizes="(max-width: 825px) 100vw, 825px" />
<figcaption>An Aeolian Table Style piano</figcaption>
</figure>
<figure data-carousel-extra='{"blog_id":16562941,"permalink":"https:\/\/arioso7.wordpress.com\/2022\/02\/17\/a-piano-finding-adventure-with-twists-and-turns\/"}' class="wp-block-gallery has-nested-images columns-default is-cropped">
<figure class="wp-block-image size-large"><img data-attachment-id="55425" data-permalink="https://arioso7.wordpress.com/haddorff-photo/" data-orig-file="https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg" data-orig-size="4320,2432" data-comments-opened="1" data-image-meta="{"aperture":"2.7","credit":"","camera":"DSC-W530","caption":"","created_timestamp":"1323067994","copyright":"","focal_length":"4.7","iso":"800","shutter_speed":"0.076923076923077","title":"","orientation":"1"}" data-image-title="haddorff-photo" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=300" data-large-file="https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=825" data-id="55425" src="https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=1024" alt="" class="wp-image-55425" srcset="https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=1024 1024w, https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=2046 2046w, https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=150 150w, https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=300 300w, https://arioso7.files.wordpress.com/2022/02/haddorff-photo.jpeg?w=768 768w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
<figcaption class="blocks-gallery-caption">A Haddorff Console</figcaption>
</figure>
<p>A few months ago, I spotted a Schimmel 48 inch vertical, model 118T (1987 manuf.) that turned up on Next Door.com. Hardly noticed by locals, the posting acquired ONE recorded hit- from me! Not surprising! Most neighborhood piano seekers preferred a used Yamaha or Baldwin with a zero to 100 dollar price tag while my lowdown on the Schimmel, with its impeccable workmanship and European heritage was blissful ignorance for most. Connoisseurs of pianos were a shrinking minority, as digital sales grew.</p>
<p>Despite my modest living quarters, I couldn’t resist making an appointment to play the Schimmel. I needed a small second piano for duet playing that would keep my partner more than an arm’s length from me. Four-hands at one piano would pose a health risk during the pandemic.</p>
<p>After meeting the Schimmel, disappointment came hard and fast. Even with its golden resonance and immaculate voicing, the piano had a very stiff action and heavy down weight that put undo strain on my aging hands. Its touch being impossible to reconcile with its heavenly projection, so regretfully, I passed on it.</p>
<p>Some weeks later another FIND drew my attention. I’d spotted a Charles Walter console (1998 manuf.) on Craig’s List that was housed in Santa Cruz, CA. Not within easy reach, I decided to arrange a Face Time get together with the seller to get a sense of the piano’s tuning. (I always warned my students and others never to buy a piano without sitting on the bench and playing it, so I was beginning to betray my own recommendations, and caveat emptor warnings about selecting a piano.)</p>
<figure class="wp-block-image size-large"><img data-attachment-id="55435" data-permalink="https://arioso7.wordpress.com/charles-walter-pic/" data-orig-file="https://arioso7.files.wordpress.com/2022/02/charles-walter-pic.png" data-orig-size="564,505" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="charles-walter-pic" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2022/02/charles-walter-pic.png?w=300" data-large-file="https://arioso7.files.wordpress.com/2022/02/charles-walter-pic.png?w=564" src="https://arioso7.files.wordpress.com/2022/02/charles-walter-pic.png?w=564" alt="" class="wp-image-55435" srcset="https://arioso7.files.wordpress.com/2022/02/charles-walter-pic.png 564w, https://arioso7.files.wordpress.com/2022/02/charles-walter-pic.png?w=150 150w, https://arioso7.files.wordpress.com/2022/02/charles-walter-pic.png?w=300 300w" sizes="(max-width: 564px) 100vw, 564px" /></figure>
<p>American made Walter pianos (made in Elkhart, Indiana) were few and far between–at least the used ones manufactured in 1998 and prior years, when a British action H-B was installed and then discontinued in favor of the Renner. I’d met a resonant Charles Walter full size upright Online when I mentored a student from the South while Larry Fine (<em>The Piano Book</em>) raved about Charles Walter as one of 3 remaining reputable American builders alongside Steinway & Sons, and Mason & Hamlin.</p>
<p>Walter pianos were praised as hand-made and autographed by Charles Walter or one of the family members. (The paternal founder Charles, passed away in 2019.)</p>
<p>Given my own inside knowledge of Walter pianos, the Face Time arranged visit with the Charles Walter console, should have produced a positive outcome. Instead, it was a shattering disappointment!</p>
<p>As I sat by my Steinway instructing the seller on the screen, to depress each and every note up and down the keyboard, I noticed a nearly a half-pitch LOWER discrepancy from my recently tuned grand. If the owner played a G on the Walter, my Steinway produced a G#. (same key played) While I discerned decent resonance and good decay from note to note, I was gravely discouraged by the nearly 1/2 tone pitch drop, which related to the piano’s 18 year tuning gap.</p>
<p>I wanted to scream at the seller! “Why did you neglect this piano!”</p>
<p>After I signed off with great relief, I decided to hire a capable certified technician in the Santa Rosa, California area to check out the piano for me. Maybe there was a slim chance this frog of a piano could become a prince.</p>
<p>Michael Hagen, RPT fit the bill to provide an honest rundown of what I would describe as a disastrously ill-maintained piano. He’d racked up 32 years as Sonoma State University’s technician while he tuned and maintained pianos for the Santa Rosa Symphony. In all, Hagen had 45 years of piano service under his belt and was percolating around pianos into the present- doting on a particular vintage Steinway restoration. He shared an impressive video diary of his JC Fisher Grand restoration with his own composed music running through the track. To add to his CV, he played the piano quite well!</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio">
<div data-carousel-extra='{"blog_id":16562941,"permalink":"https:\/\/arioso7.wordpress.com\/2022\/02\/17\/a-piano-finding-adventure-with-twists-and-turns\/"}' class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/ANU-lrom_Y0?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>Hagen’s generated report on the Walter turned out to be a ray of hope. While the piano technician acknowledged the pitch issues, he believed the Walter console could be brought into good overall playing condition. Still, without my having touched its keys, I had growing reservations about buying it. With a rush of doubts, I phoned the seller and declined the piano.</p>
<p>Faced with my resolute rejection, the owner persisted —She urged me to take the piano at a much lower than advertised price–quoting a figure that I could not refuse.</p>
<p>After the Paypal transaction was made, I hired Michael Hagen to drive over to the Bay and work on the piano after its arrival. The following day, on a Sunday, Gilbert Meraz performed a one man move at a nice bargain rate thanks to Michael’s referral. Things were moving briskly along.</p>
<p>As the piano crossed my threshold on a dolly, I was forced into an immediate showdown with it!</p>
<figure class="wp-block-image size-large"><img data-attachment-id="55456" data-permalink="https://arioso7.wordpress.com/side-view-charles-walter/" data-orig-file="https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg" data-orig-size="1080,810" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="side-view-charles-walter" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg?w=300" data-large-file="https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg?w=825" src="https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg?w=1024" alt="" class="wp-image-55456" srcset="https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg?w=1024 1024w, https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg?w=150 150w, https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg?w=300 300w, https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg?w=768 768w, https://arioso7.files.wordpress.com/2022/02/side-view-charles-walter.jpeg 1080w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
<p>It was not a happy event! Not only was the pitch disparity more glaring in person, but the piano’s uneven action and bumpy transit from note to note, were intolerable. I didn’t know what to say to Michael after having received his largely positive report.</p>
<p>To check on my own inclinations about the piano, I invited an adult student over who doubled on my doubts. He nitpicked the piano for its deficits as I had done minutes earlier. It was a situation that verged on a complete rejection of the piano, and a reconsideration about keeping it.</p>
<p>Could there be a slim hope that perhaps all the issues surrounding this neglected piano could be addressed successfully?</p>
<p>Hagen rose to the task, enlisting 6 uninterrupted hours of work–He did a pitch raise with a few passes, eased the keys, pulling each one by one, and assiduously adjusted the damper timing in repeated efforts. By afternoon’s end, the piano was remarkably smoothed out and brought up to pitch! It was like night and day!</p>
<figure class="wp-block-image size-large"><img data-attachment-id="55471" data-permalink="https://arioso7.wordpress.com/michael-working-on-piano-1/" data-orig-file="https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg" data-orig-size="1080,810" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="michael-working-on-piano-1" data-image-description="" data-image-caption="" data-medium-file="https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg?w=300" data-large-file="https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg?w=825" src="https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg?w=1024" alt="" class="wp-image-55471" srcset="https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg?w=1024 1024w, https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg?w=150 150w, https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg?w=300 300w, https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg?w=768 768w, https://arioso7.files.wordpress.com/2022/02/michael-working-on-piano-1.jpeg 1080w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>
<p>What a miraculous transformation! All buyer’s remorse inklings quickly evaporated as the Charles Walter console became a permanent family member. No sooner than Michael hit the road for Santa Rosa, I posted some videos of the singing nightingale, sending links to the seller and to Michael! Here’s the most recent one.</p>
<figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio">
<div data-carousel-extra='{"blog_id":16562941,"permalink":"https:\/\/arioso7.wordpress.com\/2022\/02\/17\/a-piano-finding-adventure-with-twists-and-turns\/"}' class="wp-block-embed__wrapper"><iframe class="youtube-player" width="825" height="465" src="https://www.youtube.com/embed/AqYRgXuICSE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation"></iframe></div>
</figure>
<p>Contact information for Michael Hagen, RPT: mchagen88@hotmail.com</p>
<p><a href="https://michael-hagen-piano-tuning-and-service.business.site/">https://michael-hagen-piano-tuning-and-service.business.site/</a></p>
<br />
from Arioso7's Blog (Shirley Kirsten)<br />
<a href="https://arioso7.wordpress.com/2022/02/17/a-piano-finding-adventure-with-twists-and-turns/">https://arioso7.wordpress.com/2022/02/17/a-piano-finding-adventure-with-twists-and-turns/</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-89688472565371185362022-02-07T06:03:00.001-08:002022-02-07T06:03:21.225-08:00Leaving Classical Music?<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiVwQTuG6bwIVuQfSO7j9042DB1HPZjI3tYrXP-9sa0_gzUnjOBdXHdFygPcwB_9mNPH3Be2KTzUEt1EZj1j7MUE_zb8TQxNMCCITg634ussOXZr8xJY3lKT3YyeU6csaJvnoNiNPqo4ksS3ZnsCYHEVqOUTCjV5Fex24_v9sC1VeIEIh8jNQ=s3551" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2663" data-original-width="3551" height="297" src="https://blogger.googleusercontent.com/img/a/AVvXsEiVwQTuG6bwIVuQfSO7j9042DB1HPZjI3tYrXP-9sa0_gzUnjOBdXHdFygPcwB_9mNPH3Be2KTzUEt1EZj1j7MUE_zb8TQxNMCCITg634ussOXZr8xJY3lKT3YyeU6csaJvnoNiNPqo4ksS3ZnsCYHEVqOUTCjV5Fex24_v9sC1VeIEIh8jNQ=w396-h297" width="396" /></a></div>
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Since the start of the pandemic, many classical musicians have made a shift away from traditional classical music work, in whole or in part. Clarinettist Zach Manzi writes about his experience on <a href="https://zachmanzi.medium.com/this-is-why-i-ended-my-career-in-classical-music-88ecad8ae7da" target="_blank">why he left the profession</a>:
<blockquote>
<p><span style="color: #444444;">As much as I’ve felt like a failure over the last almost two years, I don’t regret my choice. I wish it was more normalized to move on from music as a profession , but there’s so much shame around “quitting.” I wish I’d known earlier that moving on would allow me to grow in ways that would not have been possible if I stayed. I’ve been working to know myself apart from my identity as a musician, which I always held in higher regard than my inherent worth as a human being. Even for musicians, life is much bigger than music, but I never really understood that until now. </span></p>
<p><span style="color: #444444;">When I think about why I want to share this story, I think about younger musicians who are struggling to figure out what they want to do with their careers. Many are anxious and depressed, trying to find their way, exactly as I was, realizing that their career in music is not giving them what they had hoped it would.</span></p>
</blockquote>
<p>Zach's follow-up article on <a href="https://zachmanzi.medium.com/what-does-it-mean-to-end-a-career-in-classical-music-489f2301c0bc" target="_blank">what it means to end a career in classical music</a> looks at how is identity changed as he was no longer defining his self-worth in terms of success as a musician:</p>
<blockquote><span style="color: #444444;">So what did I mean by ending my career? Although I would characterize ending my career by no longer depending on the classical music industry for income, that feels like the least significant part of it. I still practice the clarinet occasionally, take gigs when I want to , and enjoy talking about and listening to classical music. It’s still an important part of my life. The most significant part of ending my career in classical music has been far more existential. </span>
<div><span style="color: #444444;"><br /></span></div>
<div><span style="color: #444444;">The end has primarily involved attempting to separate myself from my identity as a musician, which has led to my understanding that I’ve let my talents and abilities define my worth. There were times in my adult life when I literally thought being a musician was the only interesting thing about me. I’d convinced myself I could not give up that identity because then nobody would want me. I thought worth came from being admired for the things I did, having talent and creating something beautiful in the world, and ultimately, my career choice.</span></div>
</blockquote>
<div>
<p>How does it feel to "make it" outside classical music when there are fewer and fewer jobs in orchestras and university teaching jobs are mostly sessional/adjunct positions that don't pay very well? Some of the musicians that I've talked to mentioned these things:</p>
<ul style="text-align: left;">
<li>once you leave classical music, there are <i>way more</i> than the half dozen positions available every year in your field across North America</li>
<li>the pay for an entry-level programming job is often the same as a position in a major orchestra</li>
<li>less anxiety</li>
<li>more time for exercise</li>
<li>since hours are often flexible in remote positions, you can still take on freelance performing work</li>
</ul>
<div>Musicians who have left the profession, what have your experiences been like? Leave a comment below. </div>
<div><br /></div>
<div>(Image courtesy of <a href="https://unsplash.com/@jasmund" target="_blank">Michael Jasmund on Unsplash</a>)</div>
</div>
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<br />
from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/02/leaving-classical-music.html">http://collaborativepiano.blogspot.com/2022/02/leaving-classical-music.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-34990976821850068102022-01-27T06:03:00.001-08:002022-01-27T06:03:25.618-08:00Bebop Mädchen: Effective Practicing, Optimal Time Management, and Pomodoro for Musicians<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiZAHzr34fGOaC52fKsHXXjojBrS9l-HF-aeGGi_7yCu96A21JMkeEzC4z9znim2v3tG0RqN1nLWxCFes2GjruIEWd7fsizbitNPFPoMzbXcuJycKFbsktN_Pz8ciYDYAN2JK4fZjVXmjLSrJ9kEWajDH_XLA-6gdmZfTxofWt_TTXQPKG55Q=s6000" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="273" src="https://blogger.googleusercontent.com/img/a/AVvXsEiZAHzr34fGOaC52fKsHXXjojBrS9l-HF-aeGGi_7yCu96A21JMkeEzC4z9znim2v3tG0RqN1nLWxCFes2GjruIEWd7fsizbitNPFPoMzbXcuJycKFbsktN_Pz8ciYDYAN2JK4fZjVXmjLSrJ9kEWajDH_XLA-6gdmZfTxofWt_TTXQPKG55Q=w410-h273" width="410" /></a></div>
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One of the areas that musicians continually need to improve in is the art of managing our time, including with practicing, studying, and admin work. On a recent edition of the <a href="https://www.youtube.com/channel/UCRB6CjwBs6ayPTkcoMIU2Rw" target="_blank">Bebop Mädchen</a> podcast, Jens Emil Jensen talks about his experiences managing his time as a musician:
<p><br /></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="allowfullscreen" class="BLOG_video_class" height="297" src="https://www.youtube.com/embed/v7DL1tpj-EU" width="357" youtube-src-id="v7DL1tpj-EU"></iframe></div>
<div class="separator" style="clear: both; text-align: center;"><br /></div>
<div class="separator" style="clear: both; text-align: left;">For those who aren't familiar with the methodologies that Jens talks about:</div>
<div class="separator" style="clear: both; text-align: left;">
<ul style="text-align: left;">
<li><a href="https://francescocirillo.com/pages/pomodoro-technique" target="_blank">The Pomodoro Technique</a> is a system of breaking down units of work into 25-minute blocks, with a 5-minute rest between them. Every four Pomodoros, take a longer 15-30 minute break. </li>
<li>GTD is a system developed by David Allen that helps us manage our commitments with a five-step process of capture, processing, organizing, review and engagement. <a href="https://youtu.be/v7DL1tpj-EU" target="_blank">Here's a quick intro to the system</a>. </li>
</ul>
<div>I've been using GTD since 2006, and have found it to be incredibly useful over the long term to organize my inputs and manage my projects. The Pomodoro system is a bit newer to me, but using it has resulted in a noticeable increase in my ability to focus on important stuff and get it completed. </div>
<div><br /></div>
<div>What can be frustrating is setting aside time but not getting to it, as well as overshooting the time we estimate and getting done way too early. To Jens' excellent explanation of the Pomodoro Technique, I would also add the importance of planning the estimated Pomodoros over the day and reviewing whether you achieved them, undershot, or overshot your estimates, and why. This daily reflection helps to create better estimations over time. Also check out Mike Sturm's <a href="https://thetodaysystem.com" target="_blank">The Today System</a> for a related methodology. </div>
<div><br /></div>
<div>(Image courtesy of <a href="https://unsplash.com/@thanospal" target="_blank">Thanos Pal on Unsplash</a>)</div>
</div>
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<br />
from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/01/bebop-madchen-effective-practicing.html">http://collaborativepiano.blogspot.com/2022/01/bebop-madchen-effective-practicing.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-65810076541695767832022-01-24T05:04:00.001-08:002022-01-24T05:04:00.869-08:00The Summer 2022 Collaborative Piano Institute at LSU<div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEigHAYfBY7OmblJ-PpkhSodlCeorIVzcuiVK9vhGj37e1mOCtqFctI_GZsNdsawmyqu4JHmIyj1jDJhTbzHPhU4TQuLzPWMbSC-K500Aoh74QOVwRzPlVFW_hHAJte5xo3TDc9xS1YcoGaNuvdtt9Krje8CjYrtSSLj4XjCvp0fa0bSihyDDQ=s1398" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="782" data-original-width="1398" height="230" src="https://blogger.googleusercontent.com/img/a/AVvXsEigHAYfBY7OmblJ-PpkhSodlCeorIVzcuiVK9vhGj37e1mOCtqFctI_GZsNdsawmyqu4JHmIyj1jDJhTbzHPhU4TQuLzPWMbSC-K500Aoh74QOVwRzPlVFW_hHAJte5xo3TDc9xS1YcoGaNuvdtt9Krje8CjYrtSSLj4XjCvp0fa0bSihyDDQ=w411-h230" width="411" /></a></span></div>
<span style="font-family: inherit;"><br />
Ana Maria Otamendi sends along some information about this summer's Collaborative Piano Institute at LSU:</span>
<blockquote>
<p><span style="color: #444444; font-family: inherit;"><span style="background-color: white; orphans: 2; widows: 2;">It is my pleasure once again to invite your students to apply to the sixth edition of the</span><span style="background-color: white; orphans: 2; widows: 2;"> </span><a href="https://www.collaborativepianoinstitute.org" rel="noreferrer" style="background-color: white; box-sizing: border-box; orphans: 2; text-decoration: underline; widows: 2;" target="_blank"><span style="box-sizing: border-box;">Collaborative Piano Institute</span></a><span style="background-color: white; box-sizing: border-box; orphans: 2; widows: 2;">,</span><span style="background-color: white; orphans: 2; widows: 2;"> </span><span style="background-color: white; orphans: 2; widows: 2;">which will take place between</span><span style="background-color: white; orphans: 2; widows: 2;"> </span><span style="background-color: white; box-sizing: border-box; orphans: 2; widows: 2;">June 5th - 25th 2022</span><span style="background-color: white; orphans: 2; widows: 2;"> </span><span style="background-color: white; orphans: 2; widows: 2;">at Louisiana State University. Our program is open to all pianists who are interested in the collaborative arts, from undergraduate students to professionals. </span></span></p>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><strong style="box-sizing: border-box;"><span style="color: #444444; font-family: inherit;">NEW IN 2022!</span></strong></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><strong style="box-sizing: border-box;"><span style="color: #444444; font-family: inherit;"><br /></span></strong></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;">CPI, the Vocal Academy, and the Collaborative Strings Institute are accepting applications for duos, trios, or larger pre-formed groups! Click <a href="https://www.collaborativepianoinstitute.org/apply-now2/" rel="noreferrer" style="box-sizing: border-box;" target="_blank">here</a> for more information.<br style="box-sizing: border-box;" />
<br style="box-sizing: border-box;" />
<strong style="box-sizing: border-box;">NEW FACULTY MEMBERS JOIN CPI REGULARS:</strong></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><strong style="box-sizing: border-box;"><br style="box-sizing: border-box;" /></strong>We are elated to welcome an even larger roster of collaborative piano superstars: </span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><strong style="box-sizing: border-box;">Anne Epperson</strong> (Director of Collaborative Piano at Indiana University) will join returning faculty members <strong style="box-sizing: border-box;">Martin Katz</strong> (University of Michigan), <strong style="box-sizing: border-box;">Howard Watkins</strong> (Juilliard School, Yale, MET), <strong style="box-sizing: border-box;">Kathleen Kelly</strong>, (Cincinnati College Conservatory, former Director of Musical Studies at the Vienna Staatsoper, and former Head of Music/Music Director at Houston Grand Opera), <strong style="box-sizing: border-box;">Jonathan Feldman</strong> (Juilliard, NEC, Music Academy of the West), <strong style="box-sizing: border-box;">Elvia Puccinelli</strong><strong style="box-sizing: border-box;"> </strong>(UNT), <strong style="box-sizing: border-box;">Christopher Turbessi</strong><strong style="box-sizing: border-box;"> </strong>(Rice University), <strong style="box-sizing: border-box;">Elena Abend </strong>(University of Wisconsin), <strong style="box-sizing: border-box;">Ana Maria Otamendi </strong>(Louisiana State University), and <strong style="box-sizing: border-box;">Elena Lacheva</strong> (Louisiana State University) among many others. For more information please see the attachment or visit our <a href="http://collaborativepianoinstitute.org/" rel="noreferrer" style="box-sizing: border-box;" target="_blank">website</a> and our <a href="https://www.facebook.com/collaborativepianoinstitute" rel="noreferrer" style="box-sizing: border-box;" target="_blank">Facebook page</a> and also check out the <a href="https://2e6e484e69f713c269b21033f263f29c.tinyemails.com/10a74a14d2c47fe507abb7bb6b4efa56/539ee73db0386d55794c4594a2c20b16.html" rel="noreferrer" style="box-sizing: border-box;" target="_blank">Testimonials</a> of our alumni. <br style="box-sizing: border-box;" />
<br style="box-sizing: border-box;" />
Click here for <a href="https://www.collaborativepianoinstitute.org/faculty/vocal-academy-faculty/" rel="noreferrer" style="box-sizing: border-box;" target="_blank">Vocal Academy Faculty</a> and <a href="http://www.collaborativepianoinstitute.org/chamber/" rel="noreferrer" style="box-sizing: border-box;" target="_blank">Collaborative Strings Institute</a> faculty.</span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><br style="box-sizing: border-box;" />
<strong style="box-sizing: border-box;">THE TRADITION CONTINUES</strong></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><strong style="box-sizing: border-box;"><br style="box-sizing: border-box;" /></strong>We continue to offer the intensive learning experience which we are known for, tailored to the individual needs of every pianist through individual lessons, collaboration with seasoned professionals in recitals and masterclasses, and over 50 group classes, lectures, and performance opportunities. To see how a day at CPI unfolds, check out our <a href="https://www.collaborativepianoinstitute.org/a-day-in-cpi/" rel="noreferrer" style="box-sizing: border-box;" target="_blank">Daily Schedule</a> page.</span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><br style="box-sizing: border-box;" /></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><strong style="box-sizing: border-box;"><span style="color: #444444; font-family: inherit;">FINANCIAL AID</span></strong></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><strong style="box-sizing: border-box;"><span style="color: #444444; font-family: inherit;"><br /></span></strong></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;">We have a <strong style="box-sizing: border-box;">higher</strong> number of <strong style="box-sizing: border-box;">scholarships</strong> available, and the scholarship decisions would be made based on the audition recordings and demonstrated need. </span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><br style="box-sizing: border-box;" /></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><strong style="box-sizing: border-box;">APPLICATION DEADLINES</strong></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><strong style="box-sizing: border-box;"><br style="box-sizing: border-box;" />
NEW IN 2022:</strong> Early Bird Application due <strong style="box-sizing: border-box;">February 15th, 2022 ($35)</strong></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;">Regular deadline: <strong style="box-sizing: border-box;">March 15th, 2022 ($55)</strong></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><a href="https://www.collaborativepianoinstitute.org/apply-now2/" rel="noreferrer" style="box-sizing: border-box;" target="_blank"><strong style="box-sizing: border-box;"><span style="color: #444444; font-family: inherit;">Click here to view application</span></strong></a></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="color: #444444; font-family: inherit;"><br style="box-sizing: border-box;" /></span></div>
<div style="background-color: white; box-sizing: border-box; font-variant-ligatures: normal; margin: 0px; orphans: 2; text-decoration-thickness: initial; widows: 2;"><span style="font-family: inherit;"><span style="color: #444444;">For any questions, please email us at</span><span style="color: #283c46;"> </span><a rel="noreferrer" style="box-sizing: border-box; color: #1b6ac9; text-decoration: underline;" target="_blank">collaborativepianoinstitute@gmail.com</a><span style="color: #283c46;"> </span></span></div>
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from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/01/the-summer-2022-collaborative-piano.html">http://collaborativepiano.blogspot.com/2022/01/the-summer-2022-collaborative-piano.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-45381526241131787842022-01-19T07:03:00.001-08:002022-01-19T07:03:45.955-08:00Erika Switzer on Collaborative Resilience<blockquote>
<div class="separator" style="clear: both; text-align: center;"><span style="color: #444444;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhEHuRrVejZnFPGulLCEerViugWpKtGzJ9FUWGOriPD5GzmH_Uim7W2Vor1FKg8AacIP7gNeg3wFWIpX6vDHTViSr9n2iI2_h-DDQLMdcOL8MDKVX1i5gn80kPg7WvsVVqctKH4sV1CycsLJWoTFdzbFTqP2vuUP2gyycNxcPry0qbYtV57tA=s1365" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="1363" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhEHuRrVejZnFPGulLCEerViugWpKtGzJ9FUWGOriPD5GzmH_Uim7W2Vor1FKg8AacIP7gNeg3wFWIpX6vDHTViSr9n2iI2_h-DDQLMdcOL8MDKVX1i5gn80kPg7WvsVVqctKH4sV1CycsLJWoTFdzbFTqP2vuUP2gyycNxcPry0qbYtV57tA=s320" width="320" /></a></span></div>
<span style="color: #444444;"><br />
"In reorienting our systems toward diversity, equity, and inclusion, we inherently acknowledge that it takes more than perseverance to overcome such obstacles. Whereas the internal fortitude of perseverance costs energy, such that we may acquire emotional debt, systemic change universally invests in its constituents through equitable treatment and compensation, making resilience an institutionally supported commodity. In the meantime, as we persevere, resilience must be cultivated by individuals and within communities. In my own work, the essential elements of collaborative resilience are restorative piano practice, socially conscious communication habits, and regular celebration of accomplishments. Taken together, these elements express a global respect for ourselves and for others."</span></blockquote>
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<div>Erika Switzer's <a href="https://secure-res.craft.do/v1/3531xNoNFWFy8dWfvuumUdv4p6ps5cbeZBSEGpvnshaS6wSrWKJdvyMF9FB6gsuLuisjzsC6anxLhC83dPoyZY91J8i5dm2dxNPzji4srRyD11KEn5GvgBq3F8Ky195N7MrRcyBsrVWBFVgsVdQQ5VfHcnR8deAfNQxkQae7okVcJctJCxqdb89kEZHebEXwjzLJHcmKSjBRFnqR6s11qosT2zZqjtBQxwZLCij9b1SiBcRTWCdPakpZLJy2143UePP3NmP54kSq7KYzyCd5nA2FE2qBBw2UeW2AEaZ2yUbcZDWcudazXn3TaoEpRkXHE2rhjTNN/NATS%20JOS%20Collab%20Corner%20Switzer%201-2-22.pdf" target="_blank">Collaborative Resilience</a> in the Jan/Feb 2022 <a href="https://www.nats.org/cgi/page.cgi/about_journal_singing.html" target="_blank">NATS Journal of Singing</a> explores how we can add sustainability into our collaborative work, benefitting others as well as maintaining the well of creativity within us. The sections on restorative practice, communication habits, and celebration of accomplishments are important touchstones for all musicians. </div>
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<div>You can read more about Erika's work <a href="http://www.erikaswitzer.com" target="_blank">here</a>.</div>
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from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/01/erika-switzer-on-collaborative.html">http://collaborativepiano.blogspot.com/2022/01/erika-switzer-on-collaborative.html</a>
Anonymoushttp://www.blogger.com/profile/01436203250158563140noreply@blogger.com0tag:blogger.com,1999:blog-3533989412796831503.post-35275059807094806822022-01-18T05:03:00.001-08:002022-01-18T05:03:31.356-08:00Collaborative Piano Internships at The Trentino Music Festival<div class="separator" style="clear: both; text-align: right;"><br /></div>
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Maddalena Deichmann from the Trentino Music Festival sends along the following information about the festival's new collaborative program:
<blockquote>Trentino Music Festival is an international Young Artist Program that runs every summer in the beautiful Dolomiti region in Trentino, Italy.
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<div>The program has been growing exponentially in its many seasons, and we are now launching a collaborative piano program - offering a few positions with fully scholarshipped tuition and housing provided. The successful candidates will live among a culturally rich international community of talented young artists for 5 weeks, and will work with and receive coaching and tutoring from renowned professionals in the field; they will also be able to enjoy time off in the gorgeous Unesco Heritage Dolomites in the Primiero Valley - or head to Venice or another nearby city such as Verona for the weekend.</div>
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<div>You can <a href="https://trentinomusicfestival.org/project/collaborative-piano/" target="_blank">read more about the collaborative piano program here</a>. The <a href="https://trentinomusicfestival.org/opera-voice/" target="_blank">opera and voice faculty</a> includes vocal coaches Jane Robinson, Peter Nilsson, and Tim Ribchester. Tuition and registration information is <a href="https://trentinomusicfestival.org/tuition-fees/" target="_blank">here</a>. </div>
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from The Collaborative Piano Blog<br />
<a href="http://collaborativepiano.blogspot.com/2022/01/collaborative-piano-internships-at.html">http://collaborativepiano.blogspot.com/2022/01/collaborative-piano-internships-at.html</a>
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