EUROPEAN STRING TEACHERS ASSOCIATION

www.estastrings.org.uk BRITISH BRANCH AUTUMN 2017 vol.43 no.3

KAZAN INTERNATIONAL ESTA CONFERENCE

PLUS DO I REALLY NEED TO SIGHT READ? CONTEMPORARY STUDIES WORKING WITH AN AMATEUR STRING ORCHESTRA AUTUMN 2017 vol.43 no.3

BRITISH BRANCH

Contents

5 Editor’s welcome 12 6 From the Chair – a message from John Shayler

7 Diary Dates – ESTA events

8 New Products

12 Do I really need to sight read?

16 Contemporary Studies 35 22 Bring me my bow...O clouds unfold!

30 An update from the ESTA PG Cert course

35 Letters and feedback

36 Bursary reports

46 42 Release and Breath

46 Kazan ESTA Conference 2017 52

52 Reviews

62 Historical Notes: George Bridgetower

62 5 trusted by Editorial here is a definitely autumnal feel to the weather as I write this, gazing out of my upstairs home office window for inspiration! This leads me to contemplate Tthat the next time I write an Arco editorial – for the February issue – I’ll be generations looking out of a different window, having moved house in early January, handpoured in england swapping rural Cambridgeshire for rural Norfolk! Meanwhile I have October’s Arco to get to you all, and – hot on it’s heels – a winter issue of Jesta. I’m keen to keep up student involvement in Jesta so please Steve Bingham do talk to your students about what they would like to see in the magazine, and also if they, or you, have contributions you’d like to make. I’m particularly keen to hear from students in situations where learning an instrument is more of a challenge, either through financial issues, lack of provision, prejudice, disability or other problems. They can write to me at [email protected]. In Arco this time we have a detailed report from the International ESTA conference in Kazan, for those many of us who didn’t manage to get there. We’re also covering sight-reading and studies – everyone’s favourite topics of course! – with thought-provoking articles from Paul Harris and Simon Smith, plus an experienced view of working with amateur string orchestras. BRITISH BRANCH There’s also a review of the ESTA PG Course so far: A very positive tale, and hopefully – as John Shayler mentions below – a sign of more things to come on Arco the courses front! Editorial queries to In response to feedback last time we’re putting reviews into sections by [email protected] instrument or type, which I hope will make finding relevant items easier. Arco is produced for I was, of course, very keen to get my first issue of Arco, back in June, as lacking ESTA UK by MUSO Communications in errors as I possibly could. But sometimes, however long (and it was long!) one Ever since Francis Hider Hill Quays, 14 Commercial spends proof reading, one sometimes misses the obvious. And so I come to my Street, Manchester, M15 4PZ began his love affair with the first apologies as editor…. info@musocommunications. double bass, generations of com Apologies to Naomi Yandell for omitting her as author of the article “Lighting musicians across the world tel 0161 638 5615 the Fire”, even though she did appear in the list of contributors. Also apologies to have relied upon Hidersine Editor Rosin to ensure their Steve Rossell, who was the un-named author of the Bass Bar review on the new Steve Bingham products page. instruments perform. Designer Peter Davin In our Shropshire Advertising STEVE BINGHAM workshop, the Marcus Netherwood ingredients for Mr [email protected] • @estaeditor Hider’s original recipes are carefully heated and mixed by hand, and when molten, the rosin mix is transferred to small curing urns where the waxes and resins Contributors are boiled to remove impurities. When the elixir is quite ready, it is carefully handpoured into the Paul Harris Simon Smith Robin Wedderburn moulds that are flamed, then cooled to produce the is one of the UK’s most influential music has recorded Kurtag’s “Signs Games and Robin was full-time resident string and World’s Most Popular Rosin. educationalists. He studied at the Royal Messages”, along with the Bartók Solo general music teacher at Malvern Academy of Music where he now Sonata for the Resonus label. In College and St Paul’s School in West teaches. He is in great demand as a addition to performing as a soloist and London and also chief string coach for Francis Hider teacher, composer, and writer (he has written over 600 chamber musician he teaches at Birmingham Conservatoire, the Scottish Schools Orchestra Trust. Now retired, he plays the Est. 1890 books); and his inspirational masterclasses and workshops Wells Cathedral School and the Royal College of Music Junior violin and viola as much as possible, conducts West London ® HIDERSINE ARE PROUD TO FUND EDUCATION BURSARIES IN ASSOCIATION WITH THE continue to influence thousands of young musicians and Department. He has also given masterclasses in China, Strings, composes (largely for less experienced string players) teachers all over the world in both the principles and practice Singapore and Russia. and teaches. EUROPEAN STRING TEACHERS ASSOCIATION of musical performance and education. His highly acclaimed LEARN MORE: HIDERSINE.COM/EDUCATION series “Improve Your Sight Reading!” has now been translated hidersineHIDERSINE.COM - FB.COM/HIDERSINEThe Hidersine - @THEHIDERSINECOCompany, United Kingdom into many languages.

Hidersine Rosin ARCOsize 2017.indd 1 9/11/2017 12:55:08 PM 6 WELCOME DIARY DATES 7

From the Chair ESTA EVENTS MEMBERS’ EVENTS

Following the very successful 2017 ESTA Cello Workshops with Lowri Blake Summer School do please make a note in London October 14 your diary of the dates for 2018, which are 5th Winchester November 18 to 10th August. The Summer School will Lowri will be giving two cello workshops this again take place at the University of autumn, in Hampstead, North London on Saturday Chichester. 14th October and in Winchester on Saturday 18th November. The 2018 International ESTA Conference will To book please contact Lowri by email at be held in Malta from 10th to 14th April. Our [email protected] to reserve your place for the editor, Steve Bingham, will be there for the Hampstead Cello Day or Dr Lucy Pearce at [email protected] for the Winchester Cello Day. whole conference, and will also be giving a Full details are available at www.cellosatbelleserre.com lecture entitled “Technology in String Teaching: The Pleasures and the Pitfalls!” as well as a recital on violin and electric violin. Yorkshire Junior Strings Play Day October 15 10am – 4pm 2018 also sees our inaugural AuditionPerform A day for young bowed string players from around STA’s summer has been dominated by the concertmaster of the Royal Philharmonic Orchestra course. ESTA is currently working in 1 year’s playing experience to about Grade 3 Summer School at Chichester, where two and soloist, Gary Levinson, senior associate principal conjunction with The Strad and Musical Orbit standard. Music will be provided and all sessions Ecourses took place alongside each other. The concertmaster of the Dallas Symphony Orchestra, to present an intensive five day course in will take the form of a string orchestra, with a short traditional School was joined by the staff and 14 soloist and chamber musician, Juan Miguel 2018 aimed at preparing for auditions, presentation for family and friends at 3.30pm. students of our new PGC course for teachers, now Hernandez, violist of the Fine Arts Quartet, soloist competitions and exams. Venue: Whitcliffe Mount School Turnsteads Ave Cleckheaton BD19 half way through its first year of existence. All the and international guest principal, Robert Demaine, 3AQ Cost: £15 signs are that under the able course leadership of principal cello of the LA Philharmonic Orchestra, It will run from 5th to 11th August 2018, and Full details are available on the events page of the ESTA website – Richard Crozier and his great team of mentors, soloist, chamber musician and composer and Enrico full details can be found here: estastrings.org.uk/event-listing.html everyone on the course is relishing the challenge Fagone, soloist, chamber musician and principal www.auditionperform.com and looking forward to completing early next year. double bass of the Orchestra della Svizzera. The Applications for next year’s course are now open, course will concentrate on the skills required (which, Breathing Bow Workshops and now that it can clearly be seen as a realistic path by the way, can be very different from one country ESTA BRITISH BRANCH with Ruth Phillips to success, thanks to our 14 intrepid first year to another) for auditions, competitions and exams. President Cornwall - November 21 - 24 2017 students, I would urge all of you to think seriously And that’s not the end of new initiatives from David le Page London - January 21 2018 Cornwell details from thebreathingbow.com about your possible involvement. Take a look at your very active Executive Committee and Council. Vice president Christopher Wellington London details from welltemperedmusician.com/studio- http://www.estastrings.org.uk/pg-cert.html. Philip Aird and his team are always thinking of new Council members oneworkshop-series If the PGC course seems a little daunting, we are projects, and of course welcome ideas from you, our John Shayler (Chair), Jo Cole, Cathy Elliott, Elizabeth Goble, or contact Ruth on [email protected] also looking at the CME qualification, which has membership. Gwilym Hooson, Simon Jones, Louise Lansdown, arisen from the Henley Review of music education. I am bursting to tell you about our latest idea – Vera Pereira, Kay Tucker, Ted Wilson It is now very possible that the Government will but I cannot. It is still under wraps. Hopefully I’ll be Executive committee Philip Aird, Steve Bingham, Sheila Holdsworth, insist on all of us having this qualification if we are able to tell all in the next edition of Arco. Gwilym Hooson, Ted Wilson The statements and opinions in Arco are to teach in the public sector. Watch this space. These are positive and exciting times for our those of the authors and do not necessarily ESTA (UK) OFFICERS express the views of ESTA. ESTA is a Next year’s Summer School will also be beloved ESTA, and I hope you will be interested to Chief Executive Officer Philip Aird non-governmental organisation enjoying introducing a brand new course for professional see where it all goes. Against a background of [email protected] consultative status with the Council of Administrator Sheila Holdsworth players wishing to gain a place in a professional government and local authority cuts, we remain Europe. ESTA String Teachers Association is [email protected] a UK registered company no.1110693 and registered charity orchestra. It is called AuditionPerform – take a look proactive and are dedicated to promoting your ESTA secretary/Membership secretary no.266193. The Registered Office: c/o Chantrey Vellacott DFK at www.auditionperform.com – and it is to be skills and talent for a new age. Anja Josefsberg [email protected] LLP, Cheviot House, 53 Sheep Street, Northampton, NN1 2NE. International Liaison staffed by some pretty impressive people: Clio John Shayler Gould, concertmaster of the London Sinfonietta, ex JOHN SHAYLER [email protected] All our events are listed and can be booked at our General contact details website www.estastrings.org.uk, [email protected] or by email: [email protected]. 8 NEW PRODUCTS NEW PRODUCTS 9 NEW PRODUCTS The latest products designed for string teachers and players

There is a problem with mutes!

The company state that the cello mute, when Overall I don’t think I will be immediately not in use and clipped to the C string, can also be replacing my everyday mute, mainly because I In fact there are two problems: Firstly the quality of the sound produced when using a helpful in wolf note reduction, with some trial as to mostly need to add or remove a mute very quickly. specific mute, and secondly the speed with which the mute can be safely added to or resting position. We were able to verify this to some However for recording work, or pieces that don’t removed from the bridge. extent, but it will undoubtedly depend on the need quick changes, I will certainly be considering either of these problems, unfortunately, several finishes: I’ve been trying out the gold ones, individual setup. On my violin I was able to change the W Mute as I do like the sound. ‘I’ll definitely be have a simple answer. Sound quality is, in my and an ‘onyx’ (grey/black) practice mute. They also my very minor wolf note issues a bit, and so I keeping the practice mute in my case. Nexperience, rather a personal thing, and also come in a silver finish. suspect it may be something worth considering. dependent – to a certain extent – on circumstances, However care needs to be taken with the ‘resting’ If you don’t mind spending some money, and whilst speed of deployment of a mute may be vital So I tried the mutes for sound first, with a few position: The viola mute in particular has a tendency would like to have options when it comes to muted in some music and irrelevant in other works. colleagues. Across all instruments the sound output to spin around on the string if clipped on too far sound, then a W Mute is well worth investing in. But was lowered, but had much less of the dulled down the mute, so causing it to be difficult to move don’t throw away your old mute yet! I, like I suspect many others, have normally gone quality of some mutes. On my own violin I like the into position when needed. for the easiest mute to deploy quickly in short rests. Whilst writing this I also had a look around the Some ‘speedy’ mutes don’t always give a good I also tried both the viola and cello mutes on my well presented W Mutes website (wmutes.com). sound, and I have often found myself trying to half own violin out of curiosity! My instrument did not There I discovered something that potentially put them on in order to mitigate their effect on my like the cello mute at all (though it did fit), but both makes me much more excited than their normal sound. This can cause other issues, such as the mute the violin and viola mutes worked fine, with slightly mutes: Commissioned custom made mutes! vibrating loose. different qualities of sound. Now this I really like: They will take a design of And so it was with some interest that I received a The violin practice mute was very easy to use your choosing – a logo or drawing – analyse it and set of mutes from W Mutes in Spain. Designed by a and very effective, and of course doesn’t need to be send you back their proposed mute design. This professional player the first impression is of how as quick to put on or off. could be for an individual or an ensemble. I doubt much effort has gone into the packaging! I have a it will be cheap, but I’m off to the drawing board to string quartet set in a beautifully produced little These mutes are small! The cello mute feels a make my design. See you later… box, and a violin practice mute in a velvet bag. I good size to handle, but the violin and viola mutes guess the latter will be useful, but since the idea of slight edge to the muted sound. There is less sheer are tiny, and this could lead to them being more Steve Bingham the main mutes is to remain on the instruments it volume drop than with other mutes. This seemed to difficult to put on and off, and easier to lose. Speed will be almost a shame not to keep using the box! be the case with viola and cello as well. However of deployment for all the mutes is slower than that wmutes.com there are issues of even damping, and my viola of some other models, and so here their use will Prices from €31 to €81 The standard mutes themselves are tiny and colleague encountered problems getting an even very much depend upon your particular W Mutes are bringing out a double bass mute later in the autumn seem to be very well made – rather beautiful sound over all four strings. She found that placing circumstances. custom-made clothes pegs! They’re available in the mute between the C and G strings worked best. 10 NEW PRODUCTS NEW PRODUCTS 11

Keeping tabs on your violin

There have been several high profile cases over the years of stolen instruments, some end But provided that you have a better memory Available from The Sound Post Ltd happily and others not! In any event it’s a traumatic experience for the player. than me this might not be a problem, and should well be offset by the value of being able to track Retail Price: £760. Includes Device with first year’s subscription to he Sound Post Ltd have sought to address minimum of fuss, locate it, discover if it is still in your instrument. GPSlive mapping software, and £5 PAYG SIM top up. this by custom fitting some of the excellent transit, and then alert the authorities if needed. If Negri violin cases with a GPS tracking unit. you’re in a concert venue and have just forgotten The Sound Post Ltd are, I think, to be http://www.thesoundpost.co.uk/negri-cases-gps/ T congratulated on making this product available. I This clever idea allows the owner to follow the where you put your case then this system should movements of their violin either via the web or with also help you to find it, as the accuracy is very good. know that they are also continuing to work to a mobile app. update and improve the setup, including looking at However, as Jeremy Clarkson is fond of saying, smaller GPS units with longer battery life. As with all I tried this out over the summer, when I was there are perhaps one or two problems: The GPS technology I suspect that this type of product will travelling around the UK a lot. Setup of the tracking device itself is relatively large – about 77mm x quickly become very popular. If the security of your device is fairly easy, and I chose to download the 47mm x 22mm – and so the custom built pocket in instrument is paramount then you should consider free app from Rewire Security in order to follow my the Negri case is quite visible, leading me to worry buying this now. For others you might wish to wait travels. The tracker comes with all the details you that a thief would notice it and remove the tracking for the next generation of GPS devices, but I feel need to create an account and so, once you’ve unit. In my mind at this point I see armed police sure that they will become commonplace in the not charged the device stopping a pickup too distant future. and installed it into truck driven by a the custom pocket small elderly lady Steve Bingham inside the Negri and finding a case, you’re quickly lonely tracking ready to go. unit in the back, it having been You can then placed there by the access lots of clever thief some information about miles back at a where your case service station… has been, with dates, times, an Maybe not! overlay onto a map and even speeds (these devices are mostly used to A bigger concern for me was the battery life of track vehicle fleets). It’s all very fascinating, but is it the unit. It can run for about three days, depending useful? on the device settings, but I quickly found this a real issue. I know that we all have many devices these I think the answer here is a definite yes: Knowing days that require regular charging, but having one where your violin is at all times gives a certain peace in my violin case and – more importantly – of mind, and particularly for a musician who travels remembering to charge it, was something I was not a lot, or is visiting places where security might be an used to. Given time I think it might become a habit, issue, a GPS tracker would seem to have clear but I have to admit to finding it a bit of a pain – and benefits. If your case is lost or stolen you can, with a I kept forgetting to charge it! Do you know of, or are you developing, any products designed for string teachers, which are less than six months old? Let us know at [email protected] 12 SIGHT READING 13

here – pulse and sub-division of the pulse. Teach triadic patterns that can be read in a single glance both carefully and thoroughly (in whatever ways (or ‘saccade’, to use official term.) These patterns you favour), ensuring that pupils really understand should elicit an immediate response. all rhythm patterns and how they relate to the Ultimately we want pupils to look at music and pulse. Clap the piece or exercise. And do it like this: fully understand what they see. We would like them “Do I really need to tap the pulse with a foot and clap or tap the rhythm to think ‘I know what that’s about. I know exactly simultaneously. There’s no time to work out rhythms what I am going to play. I know what it’s going to once sight-reading has begun. Patterns need to be sound like’. securely known so that the response is immediate sight read?” and intuitive. Encourage pupils to count in 2 bars: The importance of the first aloud and the second internally. understanding what we’re Now we turn our attention to the melodic reading is fundamental to Paul Harris explores the perennial problem of aspects. First of all we need our pupils to understand building fluent, accurate and the key. They need to learn to think in the key…so confident sight reading. teaching sight reading what does this mean exactly and how will they do it? It means they have to know the scale and hen pupils can sight-read, not only do onwards. If we do, not only will pupils be able to arpeggio – they need to play the patterns from Get pupils used to hearing music in their heads they do well in exams but (rather more read confidently and fluently but they will also will notation and from memory many times. They need – encourage them, for example, to take their music importantly) it allows them to learn enjoy sight reading! Gone will be the kind of to know the finger patterns. Pupils must also be on a car journey or on holiday, to read alongside W aware of melodic patterns. Music is full of melodic their reading books. If they can’t hear the melody at pieces more quickly, freeing up our teaching time, scenario outlined above! allowing us to concentrate on developing the patterns – point them out, teach your pupils to first, they can begin with the rhythm. Just like musician. Ultimately it gives them independence: So how do we do this? recognise them – like recognising familiar words. reading words, pupils don’t have to play music out they can learn music on their own, join orchestras, Look out for and comment on recurring and loud to ‘hear’ what it sounds like. Over time this skill take part in all manner of ensemble playing with When we, as experienced musicians, look at common melodic shapes (the musical equivalent of will develop. confidence – in a way, it’s the greatest gift we can music, we understand what we see and we ‘get’ the words like and, the, what etc), especially scale and give our pupils. (musical) point allowing us to give a fairly (or completely) accurate and musical rendition When an average pupil is presented with some immediately. Our pupils can be taught to do this sight-reading with little or no preparation the result too. It takes time but is one of the most worthwhile may be all too predictable – the pupil usually skills we can help our pupils to develop. struggles through; there is scarcely a real sense of pulse or rhythm; wrong notes, key not observed. The importance of understanding what we’re And the likelihood of any shaping or character is reading is fundamental to building fluent, accurate predictably remote! The pupil is left feeling and confident sight reading. We teach this by being inadequate, incompetent, embarrassed and really thorough. Whenever any new ingredient is probably annoyed. All of which result in unpleasant introduced, a new rhythmic pattern, a new key, negative feelings and the fostering of an increasing staccato or some form articulation for example, we dislike and fear of sight-reading. must ensure that pupils absorb, digest and fully understand it, and, simultaneously, make strong Sight reading can be taught. All pupils can learn relevant connections with other closely related to sight read accurately, fluently and confidently if musical areas – especially with aural, scales they are guided through the process in a systematic and theory. manner. The first connection we must make in preparing To do this we do need to commit to teaching a piece of sight reading, is being absolutely certain sight reading in a methodical, structured and (and do I mean absolutely certain!) that the rhythm engaging way, from virtually the very first lesson is understood. There are two aspects to consider 14 SIGHT READING 15

Whenever we speak, we put expression into the music internally. If we are thinking exams here, what we say (without exception), whatever our eventually, with careful methodical practice, your Selling mood. It’s a point you might like to discuss with pupils should be able to scan the music for the your pupils. Similarly, whenever we play music, it traditional half a minute and really understand it, should be both expressive and characterful. Even resulting in confident, accurate and fluent playing. Instruments & when sight-reading! Pupils must always be And if preparation was comprehensive then there is encouraged to give their performances shape, unlikely to be any serious mistakes in the dynamic colour and character. But if they are still performance. If they are aware of making a slip Bows That Work having to decode and process rhythm or melody by during the performance ensure they know to this point there will be no brain space left to think disregard it and simply carry on. After the One of Europe’s leading string shops. At Bishop about character and shaping. So make sure rhythm performance try to encourage your pupils to assess Instruments & Bows we have an extensive range of violins, and pitch are understood absolutely. the performance objectively. If there were any slips violas, cellos and bows by the world’s finest contemporary (and they will almost certainly know if there were craftsmen and the old masters. As a start it’s important to follow all markings on and what they were) discuss why and then maybe the page – but this is only a start; there are other repeat the piece. Never allow a pupil to say that Director and expert Sean Bishop, will personally help you considerations. As pupils read the piece through in wasn’t very good or some other similar subjective find the right instrument or bow. their head, encourage them to evolve an idea of its response. It just wastes time. character and of how they will interpret the music. Email him directly [email protected] For example, does it require a crisp, energetic As a start it’s important to approach or more gentle, sustained playing? Will the first beats need accenting, or playing without follow all markings on the emphasis? Does it require a fairly strict pulse or page – but this is only a would a degree of freedom be appropriate? start; there are other Encourage pupils to look for the clues and then play considerations. accordingly. They should never play blandly.

Sometime during the preparation process we Finally, here is a list of Super Golden Rules for need to find out what exactly our pupils are seeing your pupils, which, if taken seriously on board, and understanding. Ask them appropriate should produce some really confident sight reading. questions or suggest that they give a running commentary on the music describing exactly what • Don’t play too quickly, always at a they see. They will begin to connect appropriate manageable speed and keep the chosen notes into patterns, read these patterns at a glance, pulse as steady as you can. and notice repeated, or near-repeated patterns. As • Look at the music with your musical brain well as melody and rhythm patterns, pupils should switched on – ask: what are the main also be encouraged to comment on character and features of this piece? dynamic shape. All of this will aid fluency and • Notice the key, melodic and rhythmic accuracy. patterns and changes of hand position. • Exaggerate all the markings. So…when preparing to sight read a piece, • It’s a piece of music you’re playing! Play it encourage pupils to think in the key (that means as if you mean it! really knowing the scale and arpeggio), check rhythms and look for fingering and position Do set aside quality time to teach your pupils to changes if appropriate. Encourage them to decide sight-read – they’ll be very grateful in the long run. on a sensible tempo. One in which all the rhythmic It’s very much a part of giving your pupils musical ideas and any technical manoeuvres can be dealt independence. And when it comes to exams, with comfortably. They should always try to hear they’ll simply sail through the sight-reading!

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Bishops - Full Page Ad - September 2016 1-0.indd 1 19/09/2016 15:18:45 16 CONTEMPORARY STUDIES 17

As we move forward into the 20th century there The second aspect, and in my view equally are example of Studies and Caprices, including important and sometimes overlooked, is that they works by two of the greatest composers, Martinu can be exercises in style and musicality. and Hindemith, and the Schradieck works on Flesch’s list are certainly worth investigating as a Part of the problem is of course that I am aware Contemporary starting point. But I see no evidence of anything that the variety of music we are required to play, as emerging which will come close to the universal professional musicians, has never been wider. nature of some of the works on these lists. Rather there is an obvious change in approach, with both For many years I worked as a freelance chamber Studies Ševčík, and later Galamian himself, leading the way. orchestra and session violinist in London. I could Exercise based material began to be more have been recording a Mozart Symphony with the commonly used. This was not a new concept, but Academy of St. Martin in the Fields, imitating the seems to have grown to play a larger part in sound of a Bollywood string section at Abbey Road I have long held a theory that we as teachers need to use more recently composed student’s development. Studios, using extended techniques in Lachenman studies and caprices in addition to the standard works. My study, performance and with London Sinfonietta at the Royal Festival Hall, recording of Kurtag’s “Signs Games and Messages” has led me to the conclusion SO HOW COULD WE (OR SHOULD WE), REVISIT and then appearing on stage at the Barbican Hall to that these works can play an important part in filling that gap. THESE STANDARD LISTS TO INCORPORATE MORE play jazz with a big band. All in the same week. No CONTEMPORARY MUSIC? group or set of studies will equip us for all of those experiences, it would take a huge volume to deal hree of the most famous violin teachers, GALAMIAN I have personally found the pedagogical possibilities with Lachenman alone (and all those interested in Leopold Auer, Carl Flesch and Ivan Galamian of Kurtag’s “Signs, Games and Messages” for solo this sort of repertoire should be aware of the superb each published lists of the studies they would Kreutzer, Forty-Two Etudes (1799) violin (and it is worth pointing out that versions manual by Irvine Arditti and Robert Platz, which is a T exist for viola, cello and bass too!) are quite terrific resource for anyone playing this sort of use, in the sequence in which they would be Fiorillo, Thirty-Six Etudes (1790) studied. Almost all of us can trace our violinistic Rode, Twenty-Four Caprices (1813) exceptional. Although these are works that are music seriously, but hardly the gentle introduction family tree back to these names, and their methods Gavinies, Twenty-Four Etudes (ca. 1800) equally at home on the concert platform and not in needed for the reluctant student!). inform every teacher working today. Dont, Twenty-Four Etudes, op. 35 (1849) any sense to be regarded as studies or caprices, Dancla, Twenty Etudes, op. 73 (ca. 1870) they are in my view composed, like Bartók’s Duos or Perhaps this variety has discouraged composers LEOPOLD AUER Sauzay, Le violon harmonique (1889) his Mikrokosmos for piano, with the pedagogical from trying to write extensive study material. I am Wieniawski, L’École-moderne, op. 10 (1854) concept in mind. more concerned with finding ways to break down Kreutzer, Forty-Two Etudes (1799) the barriers that stop players embarking on the Rode, Twenty-Four Caprices (1813) A number of things stand out to me from (At this point I need to make a couple of wonderful voyage of discovery that contemporary Rovelli, Twelve Caprices, opp. 3 and 5 (1820/22) these lists. definitions clear, and perhaps make some music can offer. Dont, Twenty-Four Etudes, op. 35 (1849) assumptions, many of which in themselves will be Paganini, Twenty-Four Caprices, op. 1 (1820) • That there are studies that are universal – open to debate.) As I go through a few examples from the Signs, Kreutzer, Rode and Dont Op 35 are in every list. Games and Messages : CARL FLESCH • That there are some nearly forgotten works – To begin with we need to understand what the Rovelli, Sauzay, for example are not works that I function of a study or caprice is. For me, loosely • I will aim to show how Kurtag touches on Kreutzer, Forty-Two Etudes (1799) am aware of any of my colleagues using. speaking, a study is primarily mechanical, and a certain fundamental principles of extended Fiorillo, Thirty-Six Etudes (1790) • That there are works I would have expected to caprice is primarily musical, but in both the techniques and notation. Rode, Twenty-Four Caprices (1813) be on the lists that are not – Mazas for example. composer will have chosen material that explores a • I will aim to show how some technical areas, Sauzay, Le violon harmonique (1889) narrow range of technical requirements. that are not covered by standard material, are Vieuxtemps, Six Concert Etudes, op. 16 (1846) But most interestingly: almost none of these are developed in a study like manner. Dont, Twenty-Four Etudes, op. 35 (1849) written after the middle of the 19th Century. Of So the value of studying them is, firstly, that by • Most importantly though, I wish to show ways Schradieck, Twenty-Four Studies (ca. 1900) course this can be partly explained by the era in exploring this technique over an extended piece, in which the study of these works, and Wieniawski, L’École-moderne, op. 10 (1854) which they were working, particularly for Auer and rather than in just one moment of a piece, the contemporary music in general, can develop Sauret, Eighteen Etudes, op. 24 (1886) Flesch, but how many of us, regularly use study and student will develop a mastery and control over this the skills of a young musician in ways that they Paganini, Twenty-Four Caprices, op. 1 (1820) caprice material that is composed later? Have any of technique to be applied in more “serious” repertoire. will apply to all of their playing, as they learn to Ernst, Six Polyphonic Etudes (1865) us moved on? extend their expressive range. 18 CONTEMPORARY STUDIES CONTEMPORARY STUDIES 19

playing quarter tones during the first stages of feel this is a very good example of how our learning vibrato. But out of this simple idea he expressive range can be developed by the constructs a hauntingly beautiful little piece, in concentrated study of contemporary music. which the use of a proper vibrato infused sound right at the end can resolve the tension. The most virtuosic piece in the set is Carenza Jig. This combines string crossing from Perpertuum Mobile, interval work from a number of pieces and has the added fun of being asked to make a sound (Example 1: “Homage à John Cage” Lines 1 and 2) (Example 2: “Hommage à J.S.B” Lines 1 and 2) “Like the screeching of a bird of prey”.

Homage à John Cage uses relatively simple By contrast, a more traditionally hard piece is notes. But there is some use of non-standard Hommage à J.S.B. The number of dissonant intervals notation. You can see the commas – these are (7ths and 9ths) makes for a challenging exercise in specified in a note at the bottom to be uneven – intonation. The actual techniques, of shifting in (Example 4. “In memoriam Blum Tamas” never the same length. The quavers are on the other double stops, are not in themselves unknown to an Lines 6 and 7) hand supposed to be played evenly. The sign that advanced student, and given an early enough That piece finishes with some very long notes, looks like a pause without the dot is actually a long exposure there is no reason for a student to find it and this is a real feature of many of the works. In (Example 6. “Carenza Jig” Lines 3 and 4) rest, but not one that should relate to the pulse of much more challenging than studies such as Dont memoriam Blum Tamás for example, which begins the quavers. (There is another sign, an upside down Op 35 No. 7, which covers the same ground but in with an exploration of small intervals and unisons pause without a dot which is a short rest.) The lines consonant intervals. (and near unisons) ends with a section in which Even working at Conservatoire level I have come are of an uneven length, and there is a further semi-breves and breves need to be joined and across players who have had no experience of marking at the end of the second line. And perhaps Other pieces in the set centre around different phrased. To set a tempo that allows the phrasing anything later than a little Shostakovich, Stravinsky most crucially there are many slurs – from groups in groups of intervals, seconds in one, sixths in another. and the dynamics and the correct rhythmic and Debussy. Young people can be very flexible and pairs upwards. Each line of the piece gets longer Taken together and in a suitable order they can relationships is a real challenge. Others are more open minded, so long as they are under the right and includes more levels of slur. equip a player to be unfazed by the more advanced extreme still, Antifona Hiromniak has the added influences. Of course we as teachers should model chromaticisms in music from the early 20th century difficulty of some very high double stops. this. All of these signs indicate phrase lengths or onwards. Issues of control of string crossings, and of shapes. The student needs to interpret these using course phrasing are ever present. There is great 20th century repertoire, at all all the means we have at our disposal to create levels. Most UK teachers will be aware of the two direction and shape in music (choice of fingering fantastic collections “Spectrum” and “Unbroken and bowing, rubato, dynamics and articulations). Tracks” that include some very interesting This is a very effective exercise in control and contemporary pieces for young violinists. The gaps conception of phrasing that can be applied to all for me are in terms of study and caprice material. types of music. There are, and as I have already mentioned, always (Example 5. “Doloroso” Lines 1 and 2) have been, a number of initiatives to fill these gaps. I have always started my introduction to this set Perhaps it is unrealistic to assume that something with this piece. Although the instructions are as universal in its usefulness as Kreutzer’s 40 Studies incredibly detailed it gives the opportunity to (Example 3. “Panaszos nóta” Lines 1 and 2) My favourite piece in the set is Doloroso. This will emerge, but we must all keep looking, and reinforce the idea that no composer can mark in the combines elements of many of the previous pieces maybe Kurtag has given us a set of pieces that can score everything they want to hear. And of course, previously mentioned. It is a fantastic exploration of be of great value, artistically and technically. although the instructions can be intimidating, the Kurtag also provides a few examples of sound colours, starting from minimal material, that Simon Smith relatively easy notes are not. And like the majority microtones, and most noticeably in Panaszos nóta. expands and then returns to the original mood. The of these works, it is short! A real bonus to the hard Subtitled “Vibrato Preparatory Study”, there is control, of bow speed and point of contact, of Kurtag’s “Signs, Games and Messages” is published by working (or perhaps slightly lazy) student! clearly a little joke here: we have all heard violinists shifting and vibrato, that is required is enormous. I Editio Musica Budapest and the music examples have been used with the permission of the publishers 21 Dare to believe.

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Both views are, I think, wrong. Music matters; player has really highlighted to me the joy and people matter. If either is undervalued in any sense of accomplishment one can get from just musical enterprise in any context then, surely, playing music for the sheer fun of it.’ something is wrong. ‘I am a semi-retired professional musician in ‘Bring me I’m speaking to myself as I write. Since 2009, piano and flute and have come only recently to following retirement from full-time schoolteaching, discover the joys (and pains) of learning the violin I have had the privilege of looking after an adult and enjoying string ensemble playing. amateur string orchestra, West London Strings, as my bow... conductor (we welcome string players of Grade 4 West London Strings has offered me the most skill-level and above). Pretty much everything I set wonderful and unexpected opportunity to play down here as advice or observation is something with other string players of all ages and abilities and O clouds which I need to go on learning and bearing in mind, to learn repertoire, some standard, some more and which I have at times failed to act upon. Lesson unusual and some arrangements of familiar and One, to be called to mind before each session, is: unfamiliar music. Two concerts a year ensure a unfold!’ Take both the people and the music seriously. It’s certain standard of professionalism and expertise, not simply a question of ‘finding a balance’; be playing works that have been suitably chosen to intensely careful of both aspects, ambitious and stretch us technically and also to allow freedom of hungry for delight. The players give up an evening expression in easier pieces.’ Reflections on working each week and are looking for joy. For many of them this means more than one could guess; that is ‘I’ve certainly had immense pleasure from the with an amateur string strongly brought home in short videos you can find orchestra. I really hardly knew how to hold the viola orchestra online on the websites of two other similar string three years ago, let alone follow a score. You may groups, the East London Late Starters’ Orchestra say, of course, that nothing has changed...’ (ELLSO) and the New York Late Starters’ Orchestra, ‘You sound like a bunch of bad amateurs’. That where the comments of some players are quite We’ll go to practicalities now, and I begin to ask denunciation, uttered more than once in my powerfully moving. Do read, if you haven’t done so myself ‘For whom, exactly, am I writing all this?’ hearing by the irascible, but actually rather inspiring, already, the short piece in this summer’s arco (apart from myself, as implied above). Perhaps I conductor of the student orchestra I played in at describing the genesis, the activity and the spirit of shouldn’t worry, since so much of what’s done in an music college in the late ‘60s, highlights one Cardiff Friendly Strings, which started very recently. amateur-group context will apply elsewhere or at negative view of amateur music-making, especially It’s delightful, and so indicative of how we should least open up useful avenues of thought. orchestral playing. (To be fair to the late esteemed, do things in this corner of musical life. fiery Mr H, his inclusion of ‘bad’ makes his remark Organization: less universally dismissive.) Then there is the I told the players in my group that I was going to West London Strings was started by two members opposite view; that even a rash attempt by amateurs write about all this and asked them to let me have of ELLSO, Riq Willitts and Katharine Makower, for to perform that which is completely beyond them is any thoughts of their own which might be helpful. I whom the long trip right across London each week, worth airing in public. quote from four at this point, connecting with what even for the great enjoyment and benefit gained, I’ve written above. was becoming rather arduous with cello cases. The trouble is that we so often see things from ‘...were it not for orchestra I would have quit even one angle only and so blind ourselves both to what trying to play the violin. It is such a hard instrument A smallish group, largely there through individual is good and to what is simply shoddy. Perhaps a and practising alone and always just playing alone contact, soon grew to something between 20 and faithful, communicative amateur performance has is not rewarding enough. I look forward to orchestra 30. Initially Riq acted as Treasurer-cum-Secretary its rough edges - ‘You can hear that music played so even though I have usually worked all day on the and he and Katharine between them fulfilled the much better (by the Academy of St Martin’s) on day of rehearsals. Playing with other people means rôle of organizing committee, Katharine nobly YouTube’. The amateur performance is therefore, the world to me and motivates me to practise. looking after the tea-break refreshments (a job as apparently, invalid. Or, ‘How splendid that these Nothing else would motivate me as much as vital as it is demanding - anyone contemplating the dear people are having a go; it sounds ghastly, but orchestra because I don’t want to let others down.’ setting up of a group should consider this as one of never mind’. The performance is therefore, the top priorities). In time, as Riq and Katharine apparently, worthwhile. ‘After playing and teaching guitar professionally handed over these responsibilities, a committee of for so many years now, being an amateur violin six players was formed - Secretary, Treasurer, 24 25 concerts and term dates overseer, provider of as in others. There’s also the question of sheet both in musical style and in level of demand is Dolphin’ Suite in front of the group. (And, I now see, refreshments, charities liaison representative (linked music. Scores and sets of parts need to be obtained always good. Also, as with a pupil, it may be a good this isn’t stated as being designed for children. Yes, with our supported charities in our twice-yearly (enough parts for each player to have one). Who will idea to start each session with a couple of I’ll try it. A small masterpiece. Other string-orchestra concerts) and publicity secretary. This has worked pay for these? Who will be their owner when the technically-focused things - perhaps something pieces by him are also very fine.) very well; among other things the committee can music has been performed and the orchestra moves short, worked at by rote and imitation, and then give feedback at one remove from the membership on to something new? This needs to be worked out, something notated, which may need to be prepared Choosing repertoire which makes demands to the conductor, which is useful. Our publicity preferably at the outset with a fresh conductor. in advance. which are completely beyond the players’ secretary looks after our website, a very important Even if the conductor prints out some of the capabilities will, indeed, result in something ghastly- function which is a vital means of informing people material this costs money and should really be a More on that shortly. As for the pieces which will sounding. In the end this satisfies nobody. Barber’s about what we do and attracting new members. claim on orchestra funds. Another, very long- make up a season’s music, we certainly need at least Adagio, Bartók’s Divertimento and the Tallis Fantasia one more substantial work and some shorter things, have to be off limits for us. We’re lucky enough to including items which make lighter demands. I have some more advanced players to give a lead in avoid watered-down classics (like ‘Theme from the more demanding music but you can’t leave others New World Symphony’) but others may be happy to simply out of their (technical) depth; it’s no fun for use them. I listen attentively to players’ suggestions. them. ‘Robin, could we do the Barber Adagio?’...’I’ll think about it’...(inwardly, after 3 seconds: ‘I’ve thought As each new season approaches this aspect of about it. And certainly not the chopped and filleted directing the orchestra gives me something of a Barber-for-Dummies version in A minor which is headache. After eight years, and not wanting to available.) ‘Thanks for the idea, Bernard,... ahem... repeat things too much, what shall I choose now? I’m not sure.’ At times players have given me We did a Corelli Concerto Grosso last time; we’ve suggestions which hadn’t occurred to me and have already done three of those (superb, and very turned out to be successfully worked on and much playable) Telemann Ripieno Concertos (published enjoyed. One of these, which we prepared and by Severinus Press - each of the three works we’ve performed this year, was Hendrik Andriessen’s done has been a gem; why are they so little played?). Kuhnau Variations; I initially thought it was too We’ve done the two string suites by Holst - our less difficult but after hard work we achieved an effective confident players were not so happy with the St performance and the orchestra loved working at it. Paul’s Suite although we managed a performance It’s a fine piece. of it which stood up. The first two of Hindemith’s Finance: established amateur string orchestra has built up its five pieces for strings from op.44 were very good to Members pay a termly subscription, out of which own library - but then it has to be stored somewhere. There is a problem, though, in this aspect of work at and perform but the others were just too the conductor’s and professional leader’s fees, the things, unless the orchestra’s skill level is higher much for us. We might come back to those. Schubert cost of hiring the church hall where we rehearse There is a rather crucial equation here: unless than ours in West London Strings. There are Waltzes arranged by Wolfgang Fortner (Schott) - and our concert venue are paid. you have upwards of thirty-five members all paying ‘standard’ works, including a lot of Baroque nice, those. Some arrangements of simpler Bartók something like the going rate for membership of an repertoire, which will do well for a group like ours, piano pieces - a lovely Prelude by Elena Roussanova We also invite about four professional players, amateur group, or unless you have generous but unless you play only music from the Baroque Lucas - Peter Maxwell Davies’s ‘Farewell to Stromness’ including a double bassist, to join us for concerts. subsidy from someone or somewhere, it’s going to period, greatly reducing the possibility of variety, (arr.Furniss - for hire only) - Alan Rawsthorne’s Light They, too, are paid out of orchestra funds. At least be hard work to make ends meet if all costs, the options are quite limited. I think that this is Music for Strings - Glazunov’s Theme and Variations once each season we have a section-practice including professional fees, are adequately to be because the large majority of easier works for (lovely, very playable) – two pieces by Walton from evening; leader and conductor look after violins met, assuming the employment of a conductor and strings are written for children. I’ve always reckoned his music for the wartime film of Shakespeare’s and violas and we engage a professional cellist to a professional leader. This assumes that two that excellent things by Sheila Nelson, Anita Hewitt- Henry V - other things, too. We did the Elgar work with the cellos. (Usually this is Susanna Wilson, professional musicians, conductor and leader, are Jones, Katherine and Hugh Colledge, Kathy and Serenade and got away with it, with pleasure. The teacher of some of our cellists, who ably took over employed. For us our leader, Rachel Cooper, is David Blackwell and others just aren’t quite what a easiest two movements from Grieg’s Holberg Suite the conducting when a patch of illness took me out indispensable and much valued. group of grown-ups want to work on. Am I wrong? went well. But after about five years, getting of things.) For the first time this year we were Possibly. Some of this music is lovely, beautifully through nearly twenty items a year, the possibilities supported by a sponsor; this was a lifeline since Repertoire: worked out for less experienced players and seem to have shrunk alarmingly. This autumn I have finances are always quite tight. A pub-style Quiz What are the factors I should have in mind when excellently edited and presented. Perhaps I should chosen Krenek’s seven easy pieces (Schott), which Night last year also brought in some money. More choosing the music we will work on? As with a try this more. I am a big fan of Edward Huws Jones’s are quite easy but verging on atonal. Some members would, of course, be a plus in this respect single pupil, the old principle of aiming for variety, work and have thought of putting his ‘Day of the eyebrows may rise a bit initially, but in the past I’ve 26 27 found that outlandish, unfamiliar repertoire can go fourteen easy pieces (Schott), which are essentially individual stands, something that many groups memorably exploded at the violins after some down surprisingly well. We’ve done the odd smaller- little studies. There are interesting, useful and refuse to do. Among other things, that allows sloppily-executed pizzicato, ‘That was like dried scale solo concerto, sometimes with outsiders. I’m enjoyable things there. for different eye-stand distances, individualised peas being dropped into a galvanized bucket’. sure that there is excellent and suitable published fingerings, people who want to enlarge their OK for conservatoire students but perhaps a bit music which I’ve missed and am always hungry for A criterion I always want to apply when choosing parts, players who want to write in note names strong for intelligent adults who are there for advice on this. or writing new music for the group is this: is there in clefs they are not comfortable with, etc. I pleasure. something significant for everyone to play? That’s think it’s simply crazy that some groups forbid I arrange and write for the orchestra, partly so important (and rules out, for instance, dance this.’ Concerts: because of this problem of running out of fresh items where the bass line has nothing but crotchets It’s very good to have a performance to aim for ideas, partly because I enjoy the challenge and also on the first beat of the bar all the way through, and It’s more or less essential to have an as we meet week by week. We play in a church to provide music in five parts when we have a usually the violas too). I failed on this very instrument at hand in sessions, to demonstrate on two Sunday afternoons each year (December disproportionately large cello section, as we often spectacularly once and - justifiably - was given a bit the points you are making. I find it useful to and early July). The afternoon is planned in such do (late-starters tend to prefer the cello, it seems). of earache over it. We dropped the thing. I avoid have a viola rather a way that our supporting Gibbons’s ‘The Silver Swan’ goes very well, with using violin 3 as viola substitute - a dismal makeshift. than a violin with me; professionals are with us divided cellos, as does a good deal of music, vocal We are rather short of violas just now and I have then it’s more likely to within a three-hour window and instrumental, from that period, where the asked an able and enterprising member to move be possible to play a which includes both richness of a five-part texture was often preferred from violin to viola, to which he has kindly agreed; cello line at pitch (as rehearsal and concert (with by composers. We have played music by Dowland, he has borrowed a viola and is brushing up on the well, of course, as a only a half-hour gap Gervaise, Gibbons and others in this configuration. clef. ‘My arms and hands are too small for the viola’ viola line). between the two). This A Bruckner motet (Locus Iste) was a success last won’t wash these days, when you can buy modest Organizing the makes things quite tight season and we’re going to try his gorgeous 1861 and fairly cheap violins which have had the viola- seating carefully is but it does seem to work if Ave Maria this autumn. I try to hold back from conversion operation (a hole drilled through the another aspect which we’re efficient in rehearsal. presenting too many of my own pieces (although table where the treble foot of the bridge is located must be attended to Careful choice and ordering the group are on the whole kind over this). I also and an elongated soundpost pinned to that foot). - choosing section of the programme is, of aim to write short technical studies, one each week. The result is strikingly effective; instead of the principals, perhaps course, vital. Once a season is under way we start each session bronchial-wasp effect generated by simply putting changing the seating with the study introduced the week before, and the viola strings on a violin you get a real, if not huge, for some of the Coda: new study is tried after the tea-break. Each study, viola sound, even on the C string. (These are sold by pieces, including There must be truth in the therefore, fades from the scene after two weeks. Stringers of Edinburgh and London.) moving second notion that a country’s There are challenges here; the patterns have to lie violins to first for amateur musical life is the conveniently for both cellos and violins-and-violas Rehearsals: some easier pieces, most powerful indicator of (we have no bass at the moment, employing a We’ve nodded in this direction a bit already but the and vice versa. This its musical health in player for performances). Initially the study is in following comments from one of our players raise needs to be planned general. It’s clearer than unison, highlighting a specific technical issue (e.g. some important things to be conscious of: in conjunction with a ever that actively engaging distribution of the bow) but if there’s time in the concert programme with music is of huge week I follow that by a short, non-unison piece ‘Maintaining high standards while being kind so that there are not benefit to anyone of any which develops the unison study into some kind of and supportive.’ more than one or age. Our country has a musical statement. ‘Creating a sense of “professionalism” in an perhaps two wonderful tradition in this amateur group. By this I don’t mean treating changeover respect and although there If others are inclined to do this, and I’ve little amateurs like pros, but imparting some of the moments. are huge areas of rich doubt that some do so already, these observations meticulousness that a professional group would musical culture which an may help; you need to be proficient in a notation take for granted: starting and ending precisely on Doing things efficiently, in earnest, but with amateur string orchestra can hardly touch it program on the computer (I use Sibelius) and to time, for instance; deep attention to bowing and a gentle touch seasoned with good humour, can have so much to offer. I am indeed lucky to have a decent printer (ideally one which does A3). I intonation; marking parts carefully.’ always aiming to bring out the best in the be involved with one - and a very special go brain-dead if I try to compose at the screen, players - perhaps that’s the kind of approach to bunch of people it is. Would anyone - or needing pencil-on-stave and the piano and violin or aim for. Easier said than done, of course. Humour anyone’s pupil or friend - like to consider viola. If this kind of thing isn’t your cup of tea, and I ‘Age and its ill effects: vision, memory, cognition, should be reasonably benign; The joining us? know that for some it isn’t, then try Harald Genzmer’s hearing... We already accommodate by allowing aforementioned Mr H of my student days once Defending Stradivarius for more than 20 years

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Editorial from a PGCert student (part of musicianship but also to include a wider range of of a completed essay module for the teaching techniques which can in turn address course): multiple learning styles, keeping our young students engaged. As instrumental music teachers, While in our personal practice string teachers we can draw on the wealth of materials available for may fall into two categories, those who focus almost general musical teaching including elements drawn An update entirely on technique and those who, like me, are from Kodaly and Dalcroze. We need to build perhaps too focused on general musicianship, as a technical skills incrementally, perhaps in a more cohort our teaching tends to fall far more into the cyclical fashion. We need to make sure our pupils first camp. Until recently, we have had the luxury of have sufficient theoretical knowledge to learn new from the relying on generalist music teachers in primary and pieces independently at home and carefully equip secondary schools to provide education in them to become musical explorers, ready to take fundamental musical concepts and skills, meaning control of their own learning and create their own ESTA PG that we could focus our own instrumental lessons interpretation of a piece. We need to teach them on technical points and the physical aspects of the skills to practise effectively on their own at playing the violin. Un fortunately, that situation is home, especially when parents are less likely to Cert no longer the norm. This means that we are provide support for their learning. Home practise confronted with a real need to cover these basics – will only become effective if we provide our sense of pitch and rhythm, understanding of students with the necessary technical understanding RICHARD CROZIER AND LAURA RITCHIE (COURSE LEADER AND DEPUTY COURSE LEADER) notation, fundamental ensemble skills – in our and exercises and an awareness of how to apply course instrumental lessons. We are also faced with an these to their repertoire; it will only be enjoyable increasing demand for whole class teaching and the (and consistent) if we provide our students with a likelihood that our lessons are the primary exposure positive musical experience, which inspires and Just one year ago we were busy devising the ESTA PG Cert (String Teaching) to playing music that our students will receive. encourages them to take their instruments out of qualification and course, and now writing this, we are in the midst of the 2017 the case. ESTA Summer School, working with our students face-to-face at the University Because of this, it is imperative that we expand Julie Robinson of Chichester. The first cohort of students, with teachers from Australia and Cardiffviolinsthe focus of our lessons ESTA2013 not only1-2 to 17/3/14 include aspects 15:27 Page 1 Canada in addition to the UK, have already completed their first unit on teaching strategies for string teachers. Now, they are work-shopping and preparing presentations and demonstrations for their second unit’s assessment which focuses on teaching effective technique for playing bowed stringed instruments.

he PG Cert is primarily a distance learning As applications come in for next year’s course, course, and we use online forums, webinars, which starts in April 2018, it really begins to feel like Tand Skype for Business to discuss with one ESTA, in collaboration with the University of another, working both live (synchronously) and Chichester, has taken an important step towards replying to one another as our time-zones allow ensuring that future generations of string teachers (asynchronously). Sharing aspects of our own will be full equipped to meet the challenges of • Large range of Violins, Violas & Cellos for all levels, MAKERS, RESTORERS, DEALERS OF experience, historical practice, and the view points teaching children and young people for decades to from beginners to professional players VIOLINS, VIOLAS, CELLOS of other practicing professionals in interviews and come. • Many brands of cases & accessories available AND THEIR BOWS AND ACCESSORIES • Showcase of new makers’ instruments & bows through publications is proving to be a rich source 15-23 The Balcony, Castle Arcade, • Five trying-out rooms for privacy of knowledge, understanding and ideas. Students If you would like to know about how the course works, what you Cardiff, CF10 1BY • Assisted purchase scheme for educational instruments Sat Nav: CF10 1BS are guided through each unit within smaller have to do, and how to make an application please visit www. • Repairs & restoration of instruments & bows [email protected] Phone: 029 20 22 77 61 mentor-groups. Conversation and collaboration estastringspgc.org.uk • Insurance valuations • Set-ups and tonal adjustment a speciality Open: Tuesday - Saturday, 9am - 5pm Closed: Sundays & Mondays within instrument groups and across the whole • Distance trying-out of instruments for students via Open by appointment in August student cohort has resulted in a truly valuable their ESTA teachers exchange of teaching experience. Arco4-13 ad 25/9/13 13:47 Page 3

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STENTOR MUSIC CO. LTD have fun exploring modern Ask your local retailer or search REIGATE,STENTOR RH2 MUSIC9EZ, UK CO. LTD favourites and timeless classics ABRSM Encore Violin online. Tel:REIGATE, 01737 240226 RH2 9EZ, UK Email:Tel: [email protected] 240226 Email: [email protected] develop particular technical skills ABRSM supports the teaching and learning of music fi nd perfect pieces for concert in partnership with the Royal Schools of Music. performances www.abrsm.org /abrsm @abrsm ABRSM YouTube 34 35 BURSARY FUNDS Letters and feedback ESTA British Branch has set up special funds for members in memory of the two gifted teachers who contributed greatly to the formation and work of the British Branch DAVID ANGEL of ESTA. INTEGRITY – PASSION – HUMOUR Nannie Jamieson Nutshell Fund (NJNF) Joan Dickson Chamber Music Fund (JDCMF) If you want to develop and broaden your teaching skills If you have pupils who are keen on chamber music, then they then you could benefit from a NJNF bursary. The or you could benefit from a JDCMF bursary. The purpose of the ny ensemble in which David played was life seemed to consist of a constant string of purpose of the Nannie Jamieson Nutshell Fund is to Joan Dickson Chamber Music Fund is to award bursaries wonderfully infected by his unique sense of performances. I remember a concert at the Yehudi award bursaries enabling ESTA (UK) members to enabling pupils of ESTA (UK) members to attend chamber fun and humour. This humour was so Menuhin School (where David and Levine had been invigorate their teaching through either attending short music courses or to award bursaries to ESTA (UK) members to A magnetic that it generally took over completely students) with Nigel Kennedy in the audience – all courses on string teaching or having a limited number help in the setting up of chamber music projects for their from any possible tensions that inevitably creep in our teens. Also, many music club performances of one-to-one private lessons in the 'Play Better, Teach pupils. For detailed information on who qualifies and how they into chamber-music rehearsals. David’s participation and even the Albert Hall! I think we were like a wild Better' programme. For detailed information on should apply, please see the web page in any ensemble was memorable because of this club – one we all missed when we went our separate whether you qualify and how you should apply, please www.estabursary.org.uk conscious or subconscious rehearsal atmosphere. ways. A year or two later David and I were playing see the web page www.estabursary.org.uk Somehow, his presence was benignly at the centre together again in the Bochmann Quartet, this time of any musical group. He had a deep sense of professional. This lasted 10 years before I left and fairness and his deep integrity as a person and the Maggini Quartet came into existence. For further information contact musician were ever-present. People of great integrity stay with you and affect [email protected] or [email protected] We first met at the RAM as students in our teens your attitude in all you do – whether present or and formed the first line-up of the Bochmann absent. Everyone, I think, who knew David came Quartet with Levine Andrade and Raphael Wallfisch. away touched with a deeply positive experience of They were wonderful and irresponsible times. In life, one that lives on. What greater life and legacy? ESTA would like to thank the following companies rehearsals, we sometimes laughed so much we were completely unable to play a single note for Michael Bochmann for their generous support of the bursary funds. falling about! Coaching was with Sidney Griller and

Bochmann Quartet c.1983 - (from left to right) Michael Bochmann, David Angel, Michal Kaznowski, Martin Outram. 36 BURSARY REPORTS 37

Some specifics that really struck home were: Course report for the Suzuki Early 1. Ted Wilson’s use of harmonics (moving between harmonics on the same string) to help children change position on the violin without Childhood Education teacher gripping. A Week in 2. Bojan Cvetreznik’s introduction to a new training course in Belfast 22nd to language, called ‘Chicaboomian’. Boom is a crotchet and chica is 2 quavers. You can use it to dictate Chichester rhythms to children, get them to play a scale with a 29th July 2017. changing rhythm, or create a story where they t felt strange to arrive at the Ulster Museum in was obvious that children graduating from this invent the rhythm for each bar. Both in terms of the Belfast without my violin for the SECE (Suzuki program should have a solid musical foundation in sound and the feel of it in the mouth, it is more Early Childhood Education) but I was not terms of pitch, rhythm, dynamics and tempo. The Nannie Jamieson Nutshell appealing than ta and tete. I 3. Jessica O’Leary (in a PG cert class) disappointed with the findings. About 30 Suzuki Fund, sponsored by Jargar, teachers from all over the world convened in Belfast The parents have also been trained to follow reminded us to pay careful attention to how our on this course hosted by the wonderful Keri Cassidy- instructions, notice and celebrate tiny steps, enjoy supported my attendance pupils are reacting to the information given, Taylor and presided over by the inspirational repetition, and see the benefits of listening to music at the ESTA summer school, because if they get worried then they won’t manage and they won’t practise. Dorothy Jones from Canada whose life work this regularly. I am looking forward to setting up my from August 6th to 11th in course and classes really are. own classes in the near future. 4. Again in a PG cert class we had an Chichester. I was attending interesting discussion on the advantages and Whilst studying in Japan with Dr Suzuki in the I would like to give a huge thank you to the the summer school as a disadvantages of teaching beginner violinists to use 1980’s, Dr Suzuki advised Dorothy ‘Don’t forget Nannie Jamieson Nutshell Fund Bursary, sponsored the 2nd or 3rd finger before 1st finger. about the babies’ . She took this to heart and has by Wittner for contributing to the course costs. student of the new ESTA Post 5. In Jessica’s (PG cert) class on vibrato we spent the remaining years developing interactive Graduate Certificate course, so discussed teaching vibrato to violinists with the hand in 4th position, wrist against the body of the music classes for babies age 0 to 3 embracing the Louise Carey in that respect the fund has many tenets of the Suzuki philosophy including instrument, then, as the pupil begins to get ‘Every child can learn’, ‘Ability Develops Early’ and contributed significantly to my comfortable with the movement they can come ‘Environment Nurtures Growth’ down to 3rd or 2nd position but with a rolled up year of study. Many thanks to pair of (clean) socks filling the gap between wrist The whole week was spent learning and the NJNF and to Jargar. and instrument. We also talked about occasions observing a carefully thought out music curriculum when it might be helpful to have a particularly high for babies which was more about teaching empathy For students on the PG cert course there were left thumb, and other times when a pupil will need and compassion through music. The week was filled classes every day, presented by Jessica O’Leary, who to have their thumb low to create the right effect. with nursery rhymes, practising percussion Residential Courses is one of the course mentors. These covered all the 6. Paul Harris came to present a summer aspects of Unit 2 of the PG cert course, ‘Teaching school session on sight reading which the PG cert instruments and honing our observational skills for Summer Schools the tiny developmental steps. technique for bowed string instruments’. However, students were able to attend. Then we were very string • wind • keyboard there was also space on our timetable allowing us fortunate to have Paul come to one of our PG cert The calm and positive feel of the actual classes composing • conducting to attend some of the summer school events. classes in the afternoon to talk to us and present his was a wonder to behold as every baby from about 6 ideas on ‘Simultaneous Learning’. Of all his incredibly months to aged 2 was totally engaged in the hour Featured Course In general, it was wonderful for me to be useful and perceptive comments, one which really String Trios Plus with immersed in a string teaching atmosphere where resonated was the negativity created by a situation long class. Some of the older children displayed Symphonia Academica everyone in the place was passionate about where a lesson proceeds on the basis that the pupil some beautiful solo singing in the Cuckoo song and Mon 20 - Thu 23 November 2017 the tidying away the scarves to the ‘Folding scarf’ Resident: £410 Non-Resident: £315 teaching, communicating music, and keen to will play and the teacher will tell them what they’ve And many more....please see our discuss and share that with those around them. done wrong. song was a lesson in team work and cooperation website for further information from all. www.benslowmusic.org There was so much useful information to be Overall it was a very useful and enjoyable week. absorbed. I was a bit concerned that my brain Many thanks again to the bursary fund, and to all Before the course I was hoping to develop my 01462 459446 • [email protected] understanding of how to teach music to the very wouldn’t be able to hold onto everything, but who presented to us over the week. Benslow Music, Benslow Lane, Hitchin, Hertfordshire SG4 9RB young in order to try and build this into my Suzuki Sheila Holdsworth has kindly emailed presentation A company limited by guarantee. Registered in England no 408404. Reg Charity no 313663 teaching (where they can start at age 3 or 4) and it notes from all the sessions. Yvonne Bryson

ESTA.indd 1 26-Sep-17 3:13:06 PM

Rehearsal Orchestral Orchestral Orchestra repertoire courses repertoire courses for advanced players for advanced players  London weekends spring and autumn

 Edinburgh Festival summer week “The Rehearsal Orchestra does invaluable work on the quiet and with the minimum of fuss.” Sir Simon Rattle www.rehearsal-orchestra.org Follow us on Facebook Twitter @RehOrch Registered charity Artistic Director number 237816 Levon Parikian

40 BURSARY REPORTS 41

NJNF: Arpeggione Viola Course 2017. ESTA SUMMER SCHOOL REPORT

I recently attended the ESTA Summer School for the first time. I am so appreciative that I was able to attend – the course met all my expectations and many more.

ello Basics with James Halsey has increased incorporate movement into my lessons. I will now my awareness of what makes good add to my repertoire of games an activity that Sian Ctechnique. My method before was flawed as Davies modelled. She made us bounce a ball on the I could only analyse my own technique and translate downbeat while she played various metres on the n April 2017 I was fortunate enough to be have the chance to try them out immediately this to the pupil’s body. However, if a pupil had a piano. This could help with ABRSM aural examples accepted as a student teacher on the Intermediate afterwards, with instant feedback. differently proportioned body, I did not know how when the pupils have to show a stronger beat when Arpeggione Viola Course. This is a residential During the week I was tasked with giving to help them. James Halsey’s approach is to find the clapping in time with the music. Then, she visually I natural resting position of the hand and body, and represented the down beat in 4/4 by using one course for young Viola players and Violinists trying individual support to a student who was struggling out the Viola to play together and perform to each with her note-reading and ensemble playing. All then to transfer this onto the cello. I will now be large ball and then three tennis ball. She pointed to other, under the tutelage of leading performers and the teachers gave me constant support with this, more conscious of how I teach the left-hand finger each ball in turn while we clapped the rhythm. She teachers in the Viola world. Students play to visiting and bounced ideas around with me on how best to position. Using James’s example, I will get pupils to then removed one ball each in turn so to represent professors on the course in daily masterclasses, as help her improve. This really helped my ‘problem shake out their arms with their fingers pointing rests. I think this method could really help some of well as playing in a Viola orchestra and Viola solving’ approach to teaching, and with 7 people downwards to find the rest position and then get my pupils who struggle when listening for how chamber groups! Thanks to the support of the giving me help, there was never a shortage of new them to place their hand on the fingerboard. I hope many beats in a bar in the aural test. Nannie Jamieson Nutshell Fund and the sponsorship and helpful ideas! this will create a softer hand shape. I would like to thank The Nannie Jamison of Thomastik-Infeld Vienna, I was able to attend the I gave a technical warm-up on the last day of the I have also picked up lots of tips from Kay Tucker Nutshell Fund, sponsored by Thomastik-Infeld course in the capacity of student teacher, observing course, having observed and taken part in the daily on how to teach young children. Kay brought in Vienna, for their financial support, which enabled masterclasses and chamber coaching, as well as warm-up throughout the week. I was given advice various props that she uses to sensitise a child’s me to attend the course. giving some coaching myself. on the planning of this session, and was able to take fingers and help them feel softness. I have already It was fantastic to sit down at the end of each day ideas from the sessions I had observed in order to made a list of props to add to my teaching bag that Alice Hyland of the course and report back what I had observed lead one of my own. Two other teachers joined in I will take into primary schools with me. This list in masterclasses and coaching sessions. This was an with the students taking part in the session, to includes a clothes peg to help strengthen fingers, a amazing opportunity to ask all the questions that support me and then sit down and have a chat with little felt toy to put in the palm of their bow hand, a there is never any time to ask in the daily life of a me about potential improvements I could make in shaker to help practise vibrato, and a teddy bear to teacher, and to have a team of 7 incredibly future. slide up and down the strings to get the sensation Are you inspired by experienced and knowledgeable Viola teachers This was a fully immersive learning opportunity, of shifting. there to answer them. We covered important topics and I came away from it not only with a folder full of Kathy Blackwell reminded me of the power of these reports? As an including, but certainly not limited to: child- new ideas, but with a new confidence in my non-verbal communication, particularly when ESTA member, you are protection and how to set boundaries when teaching, having spent a week receiving brilliantly teaching a group. I loved the warm-up that she did teaching physical Viola techniques; approaching constructive criticism and positive encouragement with a fun backing track. We got our instruments entitled to apply for a teaching students with additional needs; and how from a team of expert Viola teachers. Arpeggione is into playing position and then tapped the strings, grant from our bursary to use the unbridled energy and enthusiasm of a an excellent course and I feel very privileged to wiggled our thumbs and slid up and down the 10-year old to enhance their learning and Viola have had the opportunity to have been a part of it; instrument in time with the music. I will certainly be funds. Find out more on playing. Although there are often chances on thank you! using this warm up when I teach First Access teaching courses to learn about teaching in theory, classes. page xx. it is rare to have an opportunity such as this one to Joanna Patrick I loved the Dalcroze sessions in the morning and talk about techniques and approaches and then it has prompted me to make a bigger effort to 42 43

gravity pulls the lower half of the body down, whilst looked at the positioning of the right arm, as well as the upper half grows tall in the opposite direction, shifting up and down with the left. There are some thus elongating the spine. This concept was differences here between the violin and cello and I revolutionary to me and, as a violinist, so important. am now interested to explore this more from the and Even just standing still, the stability I felt in my lower violinistic point of view. Release half, coupled with the lightness in my top half was a The last part of the workshop focused on new freedom and made so much sense. Breathing approaching a piece, in this case the Allemande into the stomach instantly helped to join the two from the Bach Cello Suite in C. The concept was to halves of me together again, having been crumpled find the basic gesture, which comes from our centre, up over my violin, or computer! I have since by making a skeleton of the music – eg finding key discovered this simple standing posture and notes which form the underlying shape of a phrase. Breathe breathing is a great way to focus when you are The physical gesture then creates this shape and we nervous, bringing simultaneous strength and calm. embellish and refine it by adding other notes, ‘During this workshop we will explore freedom and presence through the liberation The next session involved a seated meditation without losing the simplicity and ease of the of the spine and breath. Through gentle yoga based exercises, we will find our and Ruth encouraged us to focus on the breath, gesture. Ruth demonstrated how a physical gesture, ground, our backs and look at even the smallest movement as it originates at noticing any thoughts we had, but to be non- or impulse, started by the breath, could then our centre. Through breath work we will learn how the natural expansion and judgemental and just move on and refocus the generate the other gestures naturally. The music contraction of the body supports effortless phrasing and technique from bow changes attention on the breath. As performers we tend to had such an organic flow as the physical and to shifting. Through mindfulness practice we will learn how to free ourselves from have a lot of unhelpful inner dialogue and musical were one and the same - both coming from crippling thoughts and judgements and delight in the present moment.’ meditation is about observing that but not reacting, the most natural movement of the body – the letting it pass. We started to look at where the breath. I could have watched this all day. Ruth origins of movement are by just standing with our worked with another participant on the Bach and was perusing the ESTA Facebook page when I and so the workshop was about the combination of eyes shut and breathing. Almost all of us noticed the difference afterwards was huge. It was saw a poster for the Release and Breathe these skills to approach the issues of tension, stage that our breath was starting gentle movements in interesting to watch somebody else apply the Iworkshop, with professional cellists Ruth Phillips fright and performance anxiety. the arms. There was room in the sessions for concepts as although it made so much sense, I and Jane Fenton. I intuitively knew I should go. The The day was structured into four main parts and discussion and a number of us spoke about our could see that it would take some practice – Ruth concept of turning stage fright into stage presence we began with breath work and yoga exercises led personal experiences of nerves before moving onto made it look easy! really resonated with me and I felt it could have a by Jane. Starting lying down with a ‘body scan’, we how we felt about what we had learnt so far. Again, The changes I felt both in my body and my profound effect on my playing and well-being. My slowly paid attention to each part of the body, from it was good to talk to people in a comfortable playing were instantaneous. I am integrating the motivation was to learn some techniques to the toes to the head, before moving onto gentle environment and share experiences. The discussion breath work and yoga into my daily routine to achieve a sense of presence in my solo work yoga poses such as Child’s Pose. We worked in carried on through our lunch break, where we maintain the new-found freedom. I am looking at and to combat nerves in auditions, and, as a pairs on the floor to release the hips by shared food and that really helped to build a warm my teaching and have realised that I need to look at teacher, I also wanted to learn some new ways stretching the legs to find more space in the atmosphere. new ideas to promote a more holistic approach to to help my students manage their nerves and body. As well as being very relaxing it was great to After lunch we were all keen to get our posture, movement, and music making so that they develop more self-confidence. focus our awareness on the often neglected parts instruments out and explore what we had been become an integral part of teaching and my The Craxton Studios was the perfect of the body. We looked at feeling the breath learning and Ruth led a session on linking breathing students’ journey on the violin. I got so much from venue - spacious but intimate and with a in different parts of the torso, not just the with bowing. We counted beats, breathing in and this one day and would definitely recommend a positive atmosphere from the outset. front of the chest. As instrumentalists we out while bowing and, rather than striving for a Release and Breathe workshop or retreat whether There were nine of us, from various tend to focus on the front and upper perfectly even speed and pressure, I found the you are professional or amateur, teacher or playing and teaching backgrounds, and parts of the body rather than the back speed of my bow adjusted to fit with the breath and performer - I have already signed up for the next it was nice to meet some new people. I even though there is more lung tissue every bow sounded alive. For the first time I felt a one in November! felt quite nervous but Ruth and Jane are there. As the ‘emotional brain’ the stomach strong connection between my inner self and my Marian Givens old friends and it was clear that we were can hold huge amounts of tension and bow. The bow was breathing and it really did blow in good hands. Both being professional I found focusing the breathing here my mind! Add to that my breathing was now If you are interested in future workshops there are currently cellists, they understand the demands really helped to release it. already much more focused and deep and it felt so, events in Cornwall from 21st to 24th November 2017, and in of the music business and have first- Jane practices Scaravelli-inspired so different. We also looked at the movement of the London on January 21st 2018. hand experience with performing yoga, which focuses on releasing the right arm and I personally found that my upper arm Cornwall details from thebreathingbow.com and nerves. Jane is a yoga instructor spine and feeling the divide at the had been active in an unhelpful way, but that it London details from welltemperedmusician.com/studio-one- and Ruth runs Breathing Bow retreats 5th lumbar point (waist) where could move more freely. We started to ‘let go’ and workshop-series Also available by WILLIAM ALWYN are the following titles: STAY IN TUNE Cricketty Mill for Piano Solo (catalogue number WAF 001) WITH CASWELL’S ON price £6, Three Winter Poems SOCIAL MEDIA for String Quartet score and parts – (catalogue number WAF 002) price £15, Clearance sales / Instrument advice / Friday blogs / Assisted instrument purchase scheme / Find a teacher tool / Competitions / Prize giveaways Selected Works for Viola and Piano (catalogue number WAF 003) price £17, Selected Works for Piano Solo Vol.1 (catalogue number WAF 006) price £12, Selected Works for Piano Solo Vol.2 (catalogue number WAF 007) price £12, Selected Works for Piano Solo Vol.3 (catalogue number WAF 008) THE WILLIAM ALWYN price £12, caswells-strings.co.uk Follow us @caswellsstrings FOUNDATION Music with Flute score and parts – is pleased to announce its latest publication – (catalogue number WAF 009) William Alwyn Two Irish Tunes for Cello Quartet price £12 (catalogue number WAF 011). This is the first By DOREEN CARWITHEN publication of some highly attractive music that the following titles: would appeal to cello ensembles that wish to add Collected Songs for Voice and Piano The Szilvay Foundation is delighted to announce some light relief to their repertoire. The music (catalogue number WAF 004) would suit those at an intermediate level and price £10 COLOURSTRINGS TEACHER TRAINING also should appeal to schools with an active Sonatina for Piano Solo for Violin, Viola and Cello music department. (catalogue number WAF 005) with price £10 Géza Szilvay, Csaba Szilvay, The book is published as a score and four separate Pirkko Simojoki and David Vinden parts and is available directly from APK Music Sonata for Violin and Piano (catalogue number WAF 010) and colleagues Promotions Ltd at a cost of £15 plus postage and price £15 at packing (£2.50 for UK orders); for overseas rates Roehampton University, London Further titles are in preparation please enquire to the contact address below. This weekend can be used as a stand alone weekend for Colourstrings teachers who wish to refresh their skills, Cheques should be made payable to update their knowledge and catch up on new material with the founders of Colourstrings. The William Alwyn Foundation and forwarded to WAF This is the second of two separate weekends that together ful l the training requirements the address below. We regret that we are unable for Phase I of the Colourstrings accreditation. to accept payment by credit and debit cards. THE WILLIAM ALWYN FOUNDATION Second Weekend Friday 9th – Sunday 11th February 2018 To register your interest email [email protected] for further details Administered by APK MUSIC PROMOTIONS LTD www.colourstrings.co.uk 30 Florida Avenue, Hartford, Huntingdon Cambridgeshire PE29 1PY tel: +44 (0)20 8546 0114/ +44 (0)7971 280 556 Tel: 01480-456931 E-Mail: [email protected] The Szilvay Foundation is a Registered Charity, number 1062822 46 47

Rachmaninov, this 3-hour long (!) concert by the Simon is followed by Wolfgang Klos, President of Tatarstan State Symphony Orchestra ends with the KAZAN ESTA CONFERENCE 2017 ESTA Austria and Professor of Viola in Vienna, who most exciting performance - appropriately raw and makes out a compelling case for using orchestral brutal - of Stravinsky’s Rite of Spring I have ever A typical conversation about this excerpts as studies in their own right as well as in heard. On the long walk back to the hotel, we make year’s venue: preparation for orchestra auditions. a detour to do our only bit of city sight-seeing: the “I’m going to Kazan.” Kazan Kremlin, just after sunset, is breath-taking. “Eh? Where’s that?” In the break before the Gran Duo Italiano’s concert, Within the Kremlin complex, besides the presidential “In Tatarstan.” some of the British contingent spend a congenial palace and parliament buildings, are the “Where’s that?” hour having a drink and a chat with Bruno Giuranna Annunciation Cathedral and the Kul Sharif Mosque, - a highlight of the week for me! After the concert, powerfully symbolising the peaceful co-existence we are bussed back to our hotel for a meal sponsored of Christianity and Islam in this country. by the Ministry of Culture - tasty food, but no alcohol available! Wonder why dessert (a sweet Sunday: We spend today at the Kazan State jammy sponge cake) is served before the main Conservatoire. With another long trek to get there, course? we arrive in time to hear most of a concert of solo items by secondary special music school and Saturday: Foregoing a masterclass at 8:30 a.m.(!), conservatoire students: a varied programme with some of us plod to the IDPO in time for Dutch cellist violin, viola, cello and bass all represented. Although Rata Kloppenburg’s presentation ‘Theatre in Music’. technically highly accomplished, the players have Rata sets out her case for how a “theatrical” approach very little interaction with their audience, rarely can develop musicians’ creativity, imagination and even smiling as they stiffly acknowledge the stage presence, enlivening every performance and applause. making it special. The most vital element is PLEASURE for performers and audience alike. Some After a good, cheap canteen lunch, we have the reluctant teenage violinists are cajoled into taking chance to observe some ‘open lessons’. I choose to part in a simple practical demonstration of this idea, see a chamber ensemble class: a violin and piano then explain that it’s in Russia, about 550 miles about Tatarstan, published by the Ministry of based on the tune London’s Burning. It illustrates duo coached by Natalia Frantsuzova. These 12-year- east of Moscow and - yes - still in Europe, being Culture. We are then bussed (mercifully!) to Rata’s point, although the youngsters are evidently olds are just starting chamber music lessons, but are Iwest of the Urals. Famous Tatars include Nureyev, ‘Children’s Music School no.5’ for the rest of the out of their comfort zone. by no means “beginners”. They are studying a Weber Chaliapin, Gubaidullina .... Hence the theme of the day’s events. A modern building, the hall here is sonata, working mostly on basic general points. The Conference: ‘Where East meets West’. spacious, light and airy, with comfortable seats. This afternoon we are taken to the “Ekiyat” Puppet atmosphere is good-humoured; the tutor interacts Theatre, a children’s arts centre - an impressive sympathetically with the students, and our Jumping through all the required hoops to actually After the Tatarstan Youth Orchestra concert we have building where we are greeted by larger than life translator is given time to explain what is being said. get there is a palaver not for the faint-hearted. an extended “coffee-break” with generous supplies Disney-like characters. We attend the official The violinist seems rather shy and nervous, and says Nonetheless, eight of us made it from the UK. of Tatar snacks (the ubiquitous “pirozhki” - their Conference opening reception, with drinks, an little. Because of the odd lay-out of the room, she is Alison, as a cellist, concentrates on lower strings in answer to Cornish pasties, and “chak-chak” - extensive finger buffet and numerous speeches. positioned behind the pianist, who has to turn right her report; my perspective is that of a seasoned honeyed puffed rice cakes). Live music from the Nobilis Ensemble includes a round to see her. The pianist is more confident and delegate and viola player. spirited rendition of Boccherini’s Fandango, forthcoming in contributing to the discussion. Then comes the British presentation: Simon Smith complete with castanets; the solo cellist, Svetlana Professor Frantsuzova demonstrates some points of Friday: Almost all the Conference participants are on ‘the pedagogical potential of Kurtag’s Signs, Tovstukha, in a striking ‘Madame Suggia’-style red phrasing and ornamentation on the piano, even staying at the Hotel “Nogai”, centrally situated and Games and Messages and the development of dress, really does engage with her audience, bearing though (according to our programme) she is a well-appointed. Not yet realising how inexpensive contemporary violin studies’. This is more interesting out Rata Kloppenburg’s philosophy, unlike many of violinist. I then visit the viola department, where a taxis are (if pre-negotiated), we have a long walk to than its clunky title suggests! Simon illustrates his the young performers we see this week. conservatoire student is working on the first registration, at the Institute for Advanced Training talk with live demonstration, and provides a useful movement of the Walton concerto with Nikolai (IDPO). Here we collect our “goodie bags”, which hand-out of musical examples. His lecture is well We are bussed on to the splendid Saydashev Laptev. The atmosphere is serious and intense. contain a programme brochure and schedule, structured, and is ably translated into Russian by Concert Hall for the opening event in the “White Laptev has no instrument with him, so gives no tickets and ID badges, and an illustrated booklet Valerie Maclean. Lilac” Festival. Predominantly featuring demonstration. The poor student, willowy and pale, 48 KAZAN ESTA CONFERENCE 2017 49 is evidently finding the whole experience a real older children of the “Magic Bow” ensemble perform Tuesday: Although last night’s concert officially disappointed that, in this, and at most of the other ordeal. Gisella Bergman (ESTA Netherlands) a sequence of pieces, a couple of which also include marked the close of the actual Conference, most concerts, we didn’t hear any local folk music or local questions why she is so nervous, and invites her to easy parts for the little ones, all played from memory. delegates have stayed on for an excursion to composers. There were many other events during take part in her own presentation tomorrow. Especially touching is Nocturne by Arno Babajanyan, Sviyazhsk - a pleasant and sociable day out. We the 4-day conference, but I will focus mainly on the played to remember Elspeth, and followed travel to this national heritage site at the confluence cello and double bass activities. After a chamber music recital, including some immediately by the bright and breezy Shostakovich of three rivers (including the Volga) by boat. We are The conference used various music schools in heavyweight piano quartet and quintet movements, Polka. The children’s enjoyment is obvious, and given a guided tour, in language groups, of the Kazan, which meant that we were kept fit by walking we head straight to the Saydashev Hall next door ESTA Samara’s celebratory presentation is main sights of this “island-town”, founded as a a lot. On the first day, I eagerly walked from south to for a tango concert entitled “By the Samovar” from enthusiastically received by parents, siblings and fortress in 1550 by Ivan the Terrible. There is some north of the town to hear a double bass masterclass the Kibardin Quartet (accordion, violin, guitar and Conference participants alike. beautifully preserved architecture - notably the given by Sergey Davidov, only to find that the wooden Holy Trinity church; and in the splendid synopsis timetable I looked at had recorded the silver-domed cathedral we are treated to some incorrect time. I had missed it. However, on the glorious singing from the local monastery choir. On third day I got to hear two double bass students the return boat journey, with refreshments laid on have a masterclass on Bottesini’s Carnival of Venice including Russian champagne, some singing of our variations, and the first movement of Koussevitzky’s own breaks out, to an accordion accompaniment, including - of course! - Song of the Volga Boatmen.

On our last evening in Kazan, the “Britpack” rounds off this whole memorable experience with a meal together in a local restaurant. Next International Conference? April 2018 in Malta ...

Janet Thomas

After a difficult time obtaining bass concerto. Both students were very impressive, bass). This brilliant change of style is exactly what is and the tutors, Sergey Davidov, Marat Volkov and needed as welcome light relief. The evening is This afternoon we attend a gently subversive our “Cultural and Humanitarian Vasiliy Shipov were obviously amicable colleagues. rounded off, back at our hotel, with a buffet supper “interactive meeting” led by Gisella Bergman. This is Visas” Alan, my husband, and I The atmosphere in the room was very friendly courtesy of Thomastik-Infeld Vienna, the one of the very few instances - despite the were excited to be going to this towards tutors, students and observers alike. In the Conference’s principal sponsor. In a buzzing Conference’s putative title - of a genuine practical ESTA conference in Kazan, the evening that day we heard an impressive cello atmosphere, we enjoy good food (and wine!), along encounter between East and West. Gisella’s aim is to sextet “Celli Armonici” at a buffet supper given to us with entertainment from “Celli Armonici”. discuss ‘questions and doubts as they occur in a capital of Tatarstan, Russia. We courtesy of Thomastik-Infeld Vienna. The sextet “normal” lesson’. Three conservatoire viola students had made contact with some included a very impressive student, Kamil Monday: There are clashes on this morning’s have been persuaded to take part including other delegates going from the Mukhametdinov who had played a cello version of timetable between parallel sessions involving, and yesterday’s Walton player. The two girls are very Sarasate’s Zigeunerweisen at a students’ concert about teaching, young children. Ludmila Volkova, apprehensive at first, seemingly trying to work out UK and travelled to Kazan on the previously that day. with her pupils from Samara, is not to be missed, the “right”/expected answers to Gisella’s insightful same flights as Valerie Maclean, Earlier that day we had a concert by a cellist from despite taking place in a far-flung venue. Ludmila’s questions. They certainly look happier and more who luckily spoke some Russian. Slovenia, Damir Hamidullan, who had been a presentation is dedicated to the memory of Elspeth relaxed - even smiling - after Gisella’s efforts to free student at the Kazan Conservatory. His playing was Iliff, in recognition of Elspeth’s major role in setting up their approach to playing, and her assurances Arriving early enabled us to do very Russian and had a bit too much vibrato for my up this Russian ESTA branch. At last - children that ‘mistakes are OK! Trying to be perfect is trying some sightseeing on our first day taste, although I know that for the Rachmaninov having fun! This is the best session of the Conference. to achieve the impossible’. The boy plays a Kurtag there. Andante from the Sonata and the Brahms F Major First on stage are the younger children, in home- piece. When Gisella asks ‘What can I help you with?’, Sonata it is appropriate. I enjoyed the Shostakovich made animal and insect costumes, to present his reply is ‘Nothing. I don’t need help.’ Make of that The conference started with a concert given by Sonata, particularly the playing of his piano partner, Grasshopper Violinist, a charming story with acting, what you will ... the Youth Orchestra of Tatarstan, which played a Madina Nabiullina. singing, dancing and incidental music. Then the selection of classical arrangements. I was The next and last day Damir Hamidullan together 50 KAZAN ESTA CONFERENCE 2017 with Luciya Nikolaevna Ismagilova gave a couple of tangos! This concert was in the Saydashev Great students a masterclass. Luciya Ismagilova talked Concert Hall, where we were previously privileged about Röstäm Yaxin, a local composer that she had to hear a concert of the first two Rachmaninov known, who, amongst mostly songs, wrote the piano concertos and the Paganini Variations given IF PEOPLE CAN BE national anthem of Tatarstan and the Elegy which a by the State Symphony Orchestra of Tatarstan The young cellist then played. It was a lovely piece, but soloists were amongst the 5 finalists of the Moscow I am not sure if it was originally written for the cello. International Competition for Young Pianists aged MUSICIANS Damir Hamidullan then tried to improve the 11 to 16 held in Moscow last year. The first concerto student’s vibrato, but mainly encouraged her to get was played brilliantly by a 14-year-old Russian Ivan a better cello. I thought the same. He then coached Bessonov from St Petersburg, the second concerto AND DEAF PEOPLE ARE PEOPLE WHY CAN'T DEAF PEOPLE BE MUSICIANS?

Deafness can be isolating. a young boy who played one part in an arrangement was played by the young British pianist George for piano and two cellos of the Adagio of the Harliono and the Paganini Variations by Sandro Schubert Octet. It was lovely, and in my view was Nebieridze from Georgia, who had won joint first But deaf children, young people and adults can access and benefit from not improved by Damir Hamidullan trying to prize. Fantastic performances from them all. During romanticise it with more dynamics, changes of the second concerto there was an amusing incident music making and participation. fingerings and more vibrato. Admittedly the boy’s when the conductor Alexander Sladkovsky dropped vibrato needed improving, but not in that piece. his baton inside the grand piano and retrieved it a That evening the conference came to a close few minutes later! with a lovely concert by the Kazan Chamber Throughout the conference we were entertained Visit www.matd.org.uk to find out more. Orchestra with Russian violinist Graf Murzha. The magnificently by our hosts and the sponsors. We first Paganini violin concerto was suitably played had a lovely buffet in the Puppet Theatre with music with panache, but the highlights for me were the provided by “Nobilis”, a baroque group of which two Piazzolla pieces: Tango Ballet for string orchestra Ramil Sadriev, the head of ESTA Tatarstan, was a and Four Seasons in Buenos Aires arranged by member, and on our last day we were given a boat Leonid Desyatnikov for violin and strings. Both trip down the Volga to an historic island, Sviyazhsk, these pieces were new to me and showed me that made into a fortress by Ivan the Terrible. T: +44(0)1422 734026 Piazzolla was a great composer of music other than Alison McNaught E: [email protected] ESTA members can get funding to run local events. registered charity no: 1000025 To find out more, email [email protected] 52 REVIEWS 53 BOOK REVIEWS student who you would like to less technically challenging, and the orchestration, scraps of lyrics and Violin the keyboard part. One important “The Kangaroo” is especially encourage towards very imaginative arrangements would work well for a alternative bars from the 1737/1754 quibble here is the lack of right attractive, with a very “hoppy” performance, then this album mixed cello ensemble of versions. I would have preferred hand realisation at the end of each rhythm and spiccato bowing. would be a lovely addition to more intermediate to advanced ability. separate notes rather than having section of the first movement. A “The Tiger” captures the mood of regular teaching material. JUDITH MATTHEWS the extra information in the cello very, very long tedious note is the the depicted creature very well, VIVIENNE BLUMFIELD part. result! However, I would warmly with a superb “ roaring” in the piano The arrangement uses the higher recommend the sonata as a part, plus the opportunity for some registers of the cello, and most of pleasing addition to any violinist’s simple double stopping (with one Cello the movements are in tenor clef, library. open string), and a wide range of with some treble clef sections and RACHEL GREENWOOD dynamics. WILLIAM ALWYN numerous uses of the left thumb. “The Elephant” earned the accolade Two Irish Tunes The piano part is relatively of “quite cool” and beautifully for Cello Quartet straightforward. Score and Parts

suggests the trumpeting sound. WaF I expect that this arrangement

The William alWyn FoundaTion “The Gorilla” is not easy rhythmically, WaF 011 would be of interest to advanced Sonata Locatelli for Violin and having cross rhythm/polyrhythm to students who wish to explore Continuo contend with. “The Wolf” depiction French music of this period through Ut Orpheus suggests howling, but do be aware the medium of the cello. ISMN 979-0-2153-2451-0 that in the violin part of “The Wolf”, JUDITH MATTHEWS Approx grade: 6 randomly, halfway down the page, William Suite Castor and Pollux

administered by aPK music Promotions ltd ISMN 979-0-708087-10-6 £19.95 is inserted the score of the30 Florida opening avenue, hartford, huntingdon by Jean-Philippe Rameau Cambridgeshire Pe29 1Py Tel: 01480 456931 email: [email protected] This sonata was first published for three bars, albeit with the first bar (03/2017) The William alWyn FoundaTion Transcribed for cello and piano by Mats final 4 cellos.indd 1 3/03/2017 3:05 pm flute in 1732 as Op.2 No 6 in G and part of the second bar partially William Alwyn Two Irish Tunes for Lidström minor. It has four movements which hidden by the illustration. Cello Quartet Published by CelloLid.com are enjoyable to play and show the “The Rhinoceros” is suitably The William Alwyn Foundation This edition takes music from influence of Corelli. There is none of “In the Zoo” book 2 lumbering whilst the final piece, Many cellists love the opportunity Rameau’s 1737 opera and its 1754 Locatelli’s more famous virtuosic For violin and piano (violin part “The Peacock” gives the opportunity to play ensemble music together, revision and presents a transcription writing, for example double- Grade 3 – 4, piano part a little of practising little glissandi and and there is an appetite both for of 15 mainly short movements for stopping, bariolage or high more) seems very modern in its harmonies, multi-cello transcriptions and cello and piano. The arranger’s aim positions, but there is already a By Aleksey Igudesman maybe to suggest a peacock original repertoire in this genre. I is to bring Rameau into the recital glimpse of the composer’s £11.99 screeching - but perhaps not to am sure that this will be a welcome halls and he therefore suggests adventurous harmony, seen Publisher: Universal Edition everyone’s taste . . . addition to the repertoire. three different programmes, two of particularly in the rather quirky first This album contains ten short The pieces are printed without key These pieces were originally written Rameau movements in alternative movement. Perhaps in the other pieces, each descriptive of a signatures, therefore there are a in 1933 for students at the Royal selections, and a longer programme J.S. Bach : movements there is an over-reliance different creature at a zoo e.g. number of accidentals in the parts. Academy and have now been which adds the Debussy sonata in Fifteen Two-Part Inventions on the sequence; nevertheless this kangaroo, elephant, peacock etc. The album is, though, illustrated reconstructed for publication as the middle. Arranged for cello duo by Rolf Hennig- certainly makes the music very “The Turtle” has interesting changes with absolutely delightful and part of a series by the William Alwyn Castor and Pollux was described as Scheifes accessible. of harmonies and is good for charming drawings, different for Foundation. a tragedy put to music by Rameau Edition Dohr The edition is an academic one with encouraging careful listening to the violinist and the pianist. This is a beautifully produced but the pieces in this collection are I must congratulate Rolf Hennig- copious historical and editorial intonation. I would be wary of giving this album edition, providing along with a set not particularly sombre, with a Scheifes for producing these information, together with a bass “The Crocodile” catches the to a dyslexic child as the spacing of of parts a book containing the good number of cheerful dance arrangements. I had started to work part. This kind of publication of snapping movement of the jaws some of the notes/rhythms is score, a biography of William Alwyn, movements alongside the sad airs. on a very similar project myself, course does make it a little more really well, however “The Camel” – inconsistent and might therefore and editorial notes. The cello writing is legible, with with the aim of producing some difficult for the player to read, with slow and all in semibreves - was make the music more difficult to Two short tunes, They Say my Love some useful fingering suggestions. pieces that I could play with brackets round many notes and sadly perceived as boring by my read. is Dead and A Wee Bag of Praties are In places it tends more to the intermediate level students, and smaller print for the right hand of obliging but honest younger tester. If you have a talented primary age arranged for 4 cellos. The parts vary scholarly than being a performance now the work has been done for in difficulty, the lower parts being edition, with notes on the original me. It seems such a simple and 54 REVIEWS 55 useful idea to use the Bach two-part provided. In the String Quartet It is clear from the cover that the given us a wonderfully upbeat and Good bowings and some practical has been providing bass teachers inventions as the basis for a cello version, there is one sheet for each repertoire is for young players. joyful way to get some rhythm! fingerings have been added which across the world with excellent duo, giving each player a melodic part; in the String Orchestra version Indeed, it is full of fun and energy, I found these pieces also worked are useful guides for the repertoire and teaching pieces for and equally interesting part. there are 8 vocal sheets, and a with titles such as Rumbling Rumba, well for a string quartet. inexperienced player. In addition to many years, through his publishing If you know these pieces in their generous number of parts (6,5,4,3,2) Blues of the Poor Grade in Math and VERONIQUE MATARASSO the usual bar numbers, there are company Recital Music. The Great original keyboard version, it is a for the respective string sections. Heavy Strings. These pieces are rehearsal letters to help identify Wall of China started life as a double slightly surreal experience to play a There are two verses of the well- catchy and expressive but with passages, and also clear D.S. and bass quartet and translates into an single line on the cello, free of the known Christmas carol with notes that are accessible enough Chamber Coda instructions. effective and memorable concert co-ordination issues that face the instrumental introductions and for competent students from Grade The arrangements are varied in piece for Junior String Orchestra. piano student. A few of the coda. It is in the key of G major and 4 onwards yet with plenty also to style and mood, and in performance The piece is of substantial length, Inventions have also been suitable for players of around challenge Grade 5 and 6 pupils. The they sound warm and generous in but provides an array of teaching transposed to make them more Grades 2-4. The arrangement is parts are well-balanced and there is timbre, using the most ‘friendly’ points for this level. Each part cello-friendly, but there is still a straightforward and traditional with lots of scope for listening to the range of the instruments that includes extended techniques, good range of keys. Overall, this the melody in the Violin 1 part other parts, either for matching or sounds good together even in the which are presented clearly on the collection provides good material which has an elegant descant in contrasting rhythmic patterns. hands of less-experienced players. page and provide an accessible for short performance pieces for triplets between verses and briefly There are bar numbers, repeated They are immediately rewarding to introduction to col legno, Bartók students about grade 5 and above gives the tune to the second violins. sections and several of the pieces play, with interesting part-writing in pizzicato and sul pont for both the to play as pairs or with a teacher. The piece starts on the third beat of have D.S and Coda signs which are which the instruments take equal learner and the listener. The catchy JUDITH MATTHEWS the bar, unlike the more familiar clearly marked and good practice turns at the musical limelight. The melody is first played in unison, choral versions which start on beat for young players. The tunes are in pieces are in 1st to 3rd position and encouraging homogenous bowing 1 (see Carols For Choirs 1). This string-friendly keys with some there are additional technical and secure intonation across the Orchestra could be an interesting musical accidentals, and do not go beyond String Trios From Around The challenges with well-judged ensemble, and then repeated just challenge for performers used to third position. There is variety of World opportunities for pizzicato, simple enough times during the piece to hearing ‘Hark!’ as a strong downbeat, mood and tempo but the defining David Brooker double stopping, syncopated become ingrained and familiar. particularly if used with a characteristic of the pieces is in the UE 36 993 rhythms, harmonics, tempo The second violin part is a suitable congregation as part of a church fairly complex rhythmic interplay ISBN 978-3-7024-7454-6 changes, and suggestions for challenge for the post-grade 1 service. which potentially presents a good Individual parts for Violin, Viola and Cello and dynamics. learner, making repeated use of the As this clear and well-presented challenge to an intermediate separate Score This collection of pieces is a rich and C sharp on the G string. The cello arrangement is likely to be used by mixed-ability ensemble. There are 10 intermediate level interesting introduction to playing part has a couple of tricky bars groups of varying age, ability and There are numerous markings for arrangements of traditional tunes in an independent string part for which sit across positions, but experience, an optional third violin fairly ambitious articulation which this edition of String Trios by young or amateur adult players. would provide a good opportunity part would have been a welcome contribute to the complex look of experienced teacher and viola They are tuneful and enjoyable to to focus on intonation beyond the addition to enable maximum the pieces. They don’t ‘look’ easy. player David Brooker. They comprise play with gentle musical and usual beginner comfort zones of flexibility in seasonal performances Some students will learn to play an imaginative and musically technical challenges and provide first and fourth position. The double of this much-loved carol. them by feel and listening, which of accessible choice, including some excellent written material for bass section (all too often an after- Hark! The Herald Angels Sing VERONIQUE MATARASSO course is also an essential skill in well-known airs, such as The Skye chamber music coaching. They thought in beginner ensemble Felix Mendelssohn Bartholdy ensemble playing, and some will Boat Song, but also less familiar represent good value and I publications) are given centre stage Arrangement by Wolfgang Birtel for String take the lead in reading and melodies which present new recommend them as a highly with an effective drum kit style Orchestra Strings Today: Nine Peppy delivering accurate rhythms. repertoire to players of around welcome addition to the current passage and plenty to play in first Edition Dohr 16478 ISMN M 2020-3478-1 Encores for Young String Players The pieces are an excellent resource Grades 4-5 standard. ensemble teaching repertoire. position. Arrangement by Wolfgang Birtel for String Martin Bärenz for developing rhythmical skills These pieces are very clearly and VERONIQUE MATARASSO As with all Recital Music Quartet (Double Bass ad lib.) Breitkopf and Härtel: KM 2308 whilst pitching reasonably attractively laid out using complete publications, the printing is of high Edition Dohr 16460 ISMN M 2020-3460-6 ISMN 979-0-004-50344-7 straightforward notes. It is very pages in the string parts and they quality and the layout and stave The difference between these two This lively-looking edition is useful to have repertoire in which it look very inviting to a player new to David Heyes size suitable for the ability level. volumes, which each contain a presented as a score of 36 pages, is possible to focus on a challenge chamber music. They have been The Great Wall of China There are some helpful bowings score, string parts and vocal part with parts on CD-ROM which are to and in which all the players can well-edited in order to avoid Recital Music printed in the part and the more (melody only plus English and be separately printed off for Violins improve their skills together. The awkward page turns, with the RM962 unusual ‘special effects’ are clearly German words), is only in the 1 and 2, Viola with a Violin 3 option, pieces were certainly fun to play. In exception of one in the violin part £22.50 explained. number of string or vocal parts Cello and Bass. his ‘Encores’, Martin Bärenz has which would need a photocopy. British Double Bassist David Heyes GEMMA ASHCROFT 56 CORPORATE MEMBERS

GOLD Oxford University Press Cardiff and Vale Music Service Stringwise Telephone: 01865 355 065 (CAVMS) Ltd Telephone: 020 7561 0864 CONTEMPORARY STRING QUARTET REPERTOIRE ABRSM. Associated Board of the [email protected] Telephone: 02920891231 [email protected] Royal Schools of Music www.oup.com [email protected] www.stringwise.com Telephone: 020 7636 5400 www.cavms.co.uk www.abrsm.org Pirastro GmbH The Tutor Pages Telephone: 0049698400909 Colourstrings Telephone: 02034172851 Three progressive collections of new repertoire from Barnes & Mullins Ltd [email protected] The Szilvay Foundation [email protected] Telephone: 01691 652 449 www.pirastro.com Telephone: 01622 815 578 www.thetutorpages.com leading composers to encourage and facilitate the [email protected] [email protected] www.bandm.co.uk Schott Music Ltd www.colourstrings.co.uk The Strad development of ensemble playing. Telephone: 020 7534 0740 020 7618 3095 Bärenreiter Ltd [email protected] Dalcroze Society UK [email protected] Telephone: 01279 828 930 www.schott-music.co.uk Telephone: 01380 813 198 www.thestrad.com [email protected] [email protected] www.baerenreiter.com Stentor Music Co Ltd www.dalcroze.org.uk Universal Edition (London) Ltd Telephone: 01737 240 226 Telephone: 020 7292 9166 Compiled and edited by Liz Partridge, each volume Bridge Violins [email protected] Guernsey Music Service [email protected] Telephone: 01529 415 372 www.stentor-music.com 01481756097 www.universaledition.com [email protected] [email protected] contains works commissioned especially for this series www.bridgeinstruments.co.uk Stringbabies www.gov.gg Victoria College of Music [email protected] 020 7405 6483 designed for quartets formed of players of similar ability. Cardiff Violins Ltd. www.stringbabies.com Hey Presto Strings [email protected] Telephone: 02920 22 77 61 Telephone: 01527 879 663 www.vcmexams.co.uk [email protected] The Sound Post Ltd [email protected] www.cardiffviolins.co.uk Telephone: 01985 851 122 www.heyprestostrings.com Yamaha Music Europe GmbH (UK) [email protected] 01908 366700 Cellowise www.tsp-ltd.com Hobgoblin Music [email protected] Each piece contains different elements and techniques Telephone: 028904427092 Telephone: 01212129010 www. uk.yamaha.com [email protected] Thomastik-Infield GmbH [email protected] to consolidate and enhance the players’ skills as soloists Telephone: 004315451262 www: www.hobgoblin.com Young Grittleton Chamber Music D’Addario [email protected] Courses and as ensemble members. Telephone: 0191 3003011 www.thomastik-infeld.com Instrumental Music Perth & Telephone: 07968 184038 email: [email protected] Kincross [email protected] www.daddariobowed.com Trinity College London Telephone: 01738 475000 www.younggrittleton.org [email protected] [email protected] European Guitar Teachers’ Telephone: 020 7820 6100 www.pkc.gov.uk Association www.trinitycollege.com Telephone: 01484664282 John Hornby Skewes & Co. Ltd. An accompanying CD, with performances by the Tippett email:[email protected] SILVER Telephone: 01132 865 381 www.egba.co.uk Fax: 01132 868 515 Quartet, provides demonstration recordings of all Aitchison & Mnatzaganian [email protected] Hencilla Canworth Ltd. Cello Makers, Restorers & Dealers www.jhs.co.uk included pieces. Telephone 02086865050 Telephone: 01353 668 559 [email protected] [email protected] Marlborough College www.hencilla.co.uk www.aitchisoncellos.com 01672 892200 www.marlboroughcollege.org EUROPEAN MMA Alfred Publishing Company (UK) STRING 01223312655 Ltd MusicTeachers.co.uk TEACHERS’ www.mma-online.org.uk Telephone: 01279 828 960 Telephone: 07956500022 ASSOCIATION [email protected] www.musicteachers.co.uk Muso Communications Ltd. www.alfreduk.com www.estastrings.org Telephone: 0161 236 9526 Oxford Cello School [email protected] www. British Association for Performing Telephone: 07912 217374 musocommunications.com Arts Medicine www.oxfordcelloschool.org/ President: Telephone:02074045888 Bruno Giuranna Music Industries Association [email protected] Royal Conservatoire of Scotland Vice-President: 07739469100 www.bapam.org.uk Telephone: 0141 270 8268 Mark Lambrecht hwww.mia.org.uk [email protected] Treasurer: British Suzuki Institute www.rcs.ac.uk Agnes Stein V. Kamienski Lark Group LTD Telephone: 020 3176 4170 Central Board Members: Karen Valeur John Shayler Telephone: 02038465250 [email protected] Solihull Music Service [email protected] Membership Secretary: www.britishsuzuki.org.uk 0121 704 8001 Isabel Hahn www.larkinsurance.co.uk [email protected] C.D. Wiggens Sheet Music www.solihull.gov.uk Music Industries Association Telephone: 01453 543 132 Telephone: 01403 800500 [email protected] Stainer & Bell Ltd. [email protected] www.cdwigginsmusic.com 020 8343 3303 www.mia.org.uk [email protected] www.stainer.co.uk

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Major new titles by Kathy and david BlacKwell

Solo time for viola Concert pieces for viola and piano • A graded series for the intermediate to more advanced level player • An exciting variety of styles and techniques Graded exams designed to develop from the Baroque to the modern era • Helpful fingering and bowing suggestions, unique and creative musicians plus notes on the pieces • Carefully arranged piano parts included with Our graded exams support the way musicians learn, testing each book performance and technique through exciting repertoire, carefully Book 1 (Grades 3-4) £13.95 selected technical work and specially designed exercises. Book 2 (Grades 5-6) £15.50 Book 3 (Grades 7-8) £15.95

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◗ Unparalleled choice and flexibility to allow candidates to play to their strengths, enabling them to gain recognition for their own unique skills as performers more String time JoggerS ◗ Options for improvisation and performing original compositions, allowing candidates to be creative and express their musical identities 17 fun and characterful ensemble pieces for beginner strings ◗ Bespoke syllabuses for each instrument and the voice, recognising the importance of • Flexible scoring from two parts to large string ensemble developing specific technical skills • Teacher’s book with score (including piano part), teacher’s notes ◗ A uniquely diagnostic mark scheme, providing detailed musical feedback that can be and warm-ups, and CD used to inform continued learning and development • CD includes performances and backings of all the pieces ◗ A range of high-quality materials and resources including books, audio recordings and videos, supporting engaging teaching and learning teacher’s Book £20.95 ◗ Friendly examiners who are rigorously trained and standardised, resulting in an violin Book £4.75 viola Book enjoyable and motivational exam experience £4.75 cello Book £4.75 double bass part £4.50 Teacher support At the heart of our activity in music education is teacher support. We hold events all over the world and offer free teaching resources, articles, forums and more through our music In 2017 Kathy and David Blackwell support site. Find out more at trinitycollege.com/support received an ESTA UK Award in recognition of their exceptional services to string teaching.

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Arco ad Master.indd 1 13/07/2017 14:11 62 GEORGE BRIDGETOWER

HISTORICAL NOTES George Bridgetower

Sonata per un mulattico lunatico

ame a historic violinist of African descent? I The manuscript was hardly finished, with say historic rather than famous, because Bridgetower reading the second movement over NGeorge Augustus Polgreen Bridgetower – Beethoven’s shoulder! whose father was African, probably West Indian, During the first movement Beethoven had and who lived from 1778 to 1860 – definitely written a scale passage in the piano part and qualifies, but would not be classed by many apparently on the repeat Bridgetower imitated this as famous. on the violin, at which point the composer leapt up, His father was a servant in the Esterházy court embraced him and then continued playing! The for a time – though he did claim to be an African performance was very well received and Beethoven prince! – and his mother was Polish. Perhaps the dedicated the new sonata to George Bridgetower musical atmosphere at the Esterházy court helped with the somewhat tongue-in-cheek inscription the young George toward his destiny, but it’s “Sonata per un mulattico lunatico”. Beethoven also unclear how and when he took up the violin. presented the violinist with his tuning fork, which is What is documented is his first public now in the British Library. performance, at the age of about 9, which took Sadly the story didn’t end well as Bridgetower place in Paris in 1789. The journal Le Mercure de later made a defamatory comment about a lady France wrote: “his talent is one of the best replies known to Beethoven. Beethoven was incensed and one can give to philosophers who wish to deprive the two men were never reconciled. Beethoven people of his nation and colour of the opportunity then re-dedicated the sonata to the player whose to distinguish themselves in the arts”. name it still bears: Rudolphe Kreutzer! A few months later the Bridgetowers came to When Kreutzer received the sonata however he England, and George’s performances, including a declared it unintelligible and unplayable and so the concert attended by King George III, were a huge sonata that still bears his name was never performed success. Due in part perhaps to his father’s flare for by him in public. publicity George’s successes continued and in 1790 Little is known of George Bridgetower’s later life. he came to the attention of the Prince of Wales, who He gained a music degree at Cambridge, wrote became his patron. some choral and instrumental works and taught the This allowed George to continue his studies, and piano. He was rumoured to have died in 1850, but his career flourished. But his claim to fame – and the his death certificate states that he died in Peckham reason for this article – started in 1802 when in 1860 and was buried in Kensal Green cemetery. Bridgetower obtained permission to visit his mother “Lunatico” he might have been, but his life speaks in Dresden. In 1803 he visited Vienna where he of someone who managed to transform his met Beethoven. circumstances through music, and who shared his The remarkable upshot of this meeting was a passion and his talent with his friends, pupils and concert in Vienna on 24th May 1803, where audiences. He is not completely forgotten, and Bridgetower, with Beethoven on the piano, gave perhaps that is fame enough. the first performance of the Sonata for Pianoforte and Violin in A. STEVE BINGHAM Come visit us at Mondomusica in Cremona,st 2017, th–Oct 1 Sept 29 hall 2, booth in 128Shanghai, and th 2017, Music Chinath–14 Oct 11 hall W1, booth D11