SUMMER SCHOOL
EUROPEAN STRING TEACHERS ASSOCIATION
SUMMER SCHOOL EDITION
ESTA Summer School Chichester 2019 August 11-16
Book Now see P38
PAUL ROLLAND 1911-1978 Join us for an exceptional PHOTO: USED WITH KIND PERMISSION OF PETER ROLLAND week of CPD for the string teaching community
I was so privileged to be able to attend the ESTA Summer School and have come away with a wealth of information, inspiration and a SPONSORED BY recharged ambition to provide the best that I can for my pupils.
www.estastrings.org.uk UK BRANCH1 Summer School 2019 vol.45 no.1 BRITISH BRANCH
SUMMER SCHOOL 2019 VOL.45 NO.1 CONTENTS
04 Welcome John Shayler 12 05 Nannie Jamieson Nutshell Fund 06 Upper Strings Pedagogy Joanne May
08 Lower Strings Pedagogy Joanne Erwin
12 Paul Rolland Mathew Lee
14 Mark O’Connor: String Method Mark O’Connor
18 The Still Space Within Jane Fenton
20 String Orchestra Ice Breaker 14 Steve Bingham 20 Gear Without Fear Steve Bingham
24 Getting The Best Out of Pupils Paul Harris
25 Artesian Quartet
26 Preventing injuries in young musicians 6 Sarah Upjohn 28 Teaching and Learning Professor Laura Ritchie
29 Cardiff Violins Instrument Maintenance Dan and Joe
30 Coaching Tools for String Teachers Lucy Hare
25 32 Strings 101 Markus Lawrenson
34 Timetable
36 Summer School 2018
40 Staff Biographies
42 Concerts 36
The statements President Executive committee ESTA secretary/ MUSO Communications and opinions in Nicola Benedetti CBE Philip Aird Membership secretary Hill Quays, 14 Commercial Arco are those of John Shayler Anja Josefsberg Street, the authors and Vice president Steve Bingham [email protected] Manchester, M15 4PZ do not necessarily Christopher Wellington Gwilym Hooson info@ express the views of Sheila Holdsworth General contact details musocommunications.com ESTA. ESTA is a non-governmental Council members [email protected] tel 0161 638 5615 organisation enjoying consultative John Shayler (Chair), ESTA (UK) OFFICERS status with the Council of Europe. Louise Lansdown Editorial queries to Editor ESTA String Teachers Association is Simon Jones CEO [email protected] Sheila Holdsworth a UK registered company no.1110693 Gwilym Hooson Philip Aird and registered charity no.266193. The Vera Pereira [email protected] Designer Registered Office: 35 Calthorpe Road, Elizabeth Goble Peter Davin Birmingham, B15 1TS. Ted Wilson External relations officer Jo Cole Sheila Holdsworth Advertising sales manager Cathy Elliott [email protected] Marcus Netherwood Andrea Jones Cecily Medelssohn Sarah Drury SUMMER SCHOOL SUMMER SCHOOL
ESTA Summer Do you want to develop and broaden your School teaching skills? Would you benefit from a bursary from the Nannie Jamieson Nutshell Fund? WELCOME The purpose of the Nannie Jamieson Nutshell Fund is to award was the first Organising Secretary of ESTA (UK). She was Professor bursaries enabling ESTA (UK) members to develop and broaden of Viola at the Guildhall School of Music and Drama as well as very warm welcome to and producing really excellent results. their teaching skills through: teaching at Chetham’s School and Homerton College, Cambridge. this special Summer • attending Short Courses on string teaching. She helped her students to obtain wide experience of teaching School edition of Arco. How amazing it would be, thought I, if we • having a limited number of one-to-one private lessons in by encouraging them to attend courses here and abroad. She Our editor, and much could bring these two over to the UK, 40+ the Play Better, Teach Better programme. often paid the fees out of her own pocket and the Nutshell Fund, loved administrator for years after those early Summer Schools! So established in 1990, continues this aspect of her work. the Summer School is we invited them, and they said ‘yes’. They The Nannie Jamieson Nutshell Fund was launched by Yehudi SheilaA Holdsworth - many thanks to her. are Joanne May (upper Strings) and Joanne Menuhin in 1990 to honour the memory of Nannie Jamieson who For further information contact [email protected]. Erwin (lower strings), and we welcome The theme for this year’s Summer School them both warmly to the UK for their first is “America”. If you care to read on, I’ll tell ever visit. Many thanks to our bursary sponsors for their kind and generous support. you why... Also in Atlanta, as the headline act at the My membership of ESTA goes right back evening performances, was an American to the early years, in the 1970s. In those fiddler, Mark O’Connor. Reading his CV, days, as some of you out there will still I saw that he had been winning fiddle remember, the Summer Schools were competitions since early childhood, and JOHN SHAYLER held at Homerton College in Cambridge, that more recently he had been performing CHAIR OF COUNCIL and for many years the main presenter with the likes of Wynton Marsalis and Yo was Paul Rolland, a brilliant Hungarian Yo Ma. When I heard him play, I realised born teacher, then based in the USA. that I was listening to something quite His approach to teaching through the extraordinary. He was playing American analysis of actions in the playing of string folk style with a technique that would instruments has had a massive impact on easily take him through the Tchaikovsky our work, not least in inspiring the work Violin Concerto, if he had chosen to - but of Sheila Nelson in this country. It also he didn’t! had a huge transformative influence on me. Later in the Conference, I noticed that Mark was doing a presentation of his When Philip Aird and I went to the teaching method. I hadn’t realised that he ASTA Conference in Atlanta last year, had a fully worked out set of five books jargar-strings.com baerenreiter.com stentor-music.com I was intrigued to see that there would for students, taking then from beginner to be, alongside numerous other things, whiz kid! a Paul Rolland presentation, hosted by two former pupils of his, now senior So we asked him as well - and he said ‘yes’. university teachers in their own right. Their demonstration was, for me, As well as giving a daily class, Mark will absolutely wonderful, reminding me of be performing with his wife Maggie in an what I learned (and what I have forgotten) evening concert, as well as entertaining us all those years ago, and showing at the final party. that the approach is still entirely relevant Other American items are the Artesian Quartet’s concert featuring the Barber Quartet and Dvorak’s American Quartet, as well as a presentation on teaching and partplay.co.uk thomastik-infeld.com hidersine.com learning by our US-born Deputy Course Leader, Professor Laura Ritchie.
Of course, there will be plenty of other activities to keep you busy, motivated and interested throughout the week. Just take a look through the pages that follow!
I’ll look forward to seeing lots of you in Chichester this Summer!
John Shayler universaledition.com wittner-gmbh.de pirastro.com
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Upper Strings Pedagogy Helping you to help your students TEACHING VIOLIN AND VIOLA BASED ON THE PRINCIPLES OF ACTION IN Wittner Finetune Pegs PAUL ROLLAND PEDAGOGY JOANNE MAY Look the same as traditional pegs Joanne May is Assistant Professor of Day one but have precise gearing inside Music and director of the Philharmonic • Principles of movement in upper Day four Orchestra, chair of the string string playing, standing and seated. • New Tunes for Strings by Stanley making tuning quicker and simple. department, and music education • Understanding the physiology Fletcher/Paul Rolland – introduction instructor at Elmhurst College in of movements that are free from of favorites (Cradle Song, March, Now available fitted as standard on Elmhurst, Illinois. During her tenure excessive tension. Hora, Sweet Eyed Sue, and others). at Elmhurst College she founded the • Balance, leverage, repetitious • Essential Action Studies: Shuttle, Hidersine, Stentor and Primavera Place and Lift, Rock and Roll, Fle-Fi- annual Elmhurst College World Music movements, beginnings and endings Fro, PIWTRFATF, Waving, Tapping. instruments. Festival, assisted in writing the course of bow strokes, ballistic movements, string crossings, comfort and ease of • Incorporating actions into ensemble String Improvisation for Educators, and rehearsals. helped to add four new string faculty expressive sounds. members to the department. She Day five has conducted the Elmhurst College Day two • Holding the bow, playing short Horace Bow Guides Philharmonic for performances at the strokes at the middle. • Vibrato pedagogy in individual and Illinois Music Education Conference • Extending the bow stroke. group instruction. Helping your students develop and in Millennium Park for the • Understanding the principles of • Games for specific techniques: Chicago World Music Festival, and she bilateral, unilateral, and balanced Air Play, Ball Balance, Birdie Shifts, the correct bowing. Available for developed annual performance tours for body motions in relation to bowing. Turtle Races, Ghosties, Sirens, Shift- the orchestra in several states. Speak, Story Time, Finger Pops, all sizes of violin and cello. A student of Paul Rolland for three years Day three Salt Shaker, Bump-Finger, Knuckle Knocking, Hinge Arm, Name and as an undergraduate at the University • Advancing bowing techniques – Food Rhythms, Moving on Rests, of Illinois, May has incorporated bouncing the bow, martelé & staccato. Slurring Mania, Bile Them Cabbage Rolland pedagogy into all areas of • Sequential movements – “the wave” Variations. her teaching. She has presented on paired with bilateral motions. • Wrap up/Questions. Rolland techniques at several national • Scale patterns to use as warm ups. and international conferences, and is • Body warm ups, stretches to prepare Bowhold Buddy co-director of the annual University of the body for playing. Illinois Paul Rolland String Pedagogy and Cellophants Workshop. She has received various Rolland, Paul. 1974. Teaching of Action in String awards for teaching, including the Mary Playing. University of Illinois Press. Urbana, IL. Ingenious and revolutionary Book and DVD. Hoffman Award for Teaching Excellence inventions to help shape and by Illinois Music Educators Association, Fletcher, Stanley. 1971. New Tunes for Strings. Educator of the Year and Distinguished Boosey and Hawkes. NY Service Award from the Illinois stabilize bowholds. American String Teacher’s Association, ASTA Journal article, May 2019 edition, “Using Paul Rolland’s Model in Your Summer and Teacher Recognition Award for String Camp to Increase Excellence in Your the Presidential Scholar Program in Program” by Nancy Kredel Washington, D.C. by the U.S. Department of Education. She is immediate past The Strad magazine article on Rolland in the winter 2018 edition by Charlotte Smith national orchestra council chair of Have you got a teacher privilege card giving the National Association for Music Pinkie Strum: Pizzicato Strum Education. – video sample pairing flying . pizzicato with left arm movement – you discount off online purchases? https://youtu.be/3YR67ry2Nhc
UPPER STRINGS: AUGUST 12-16 www.caswells-strings.co.uk DAILY 9.30 -11AM [email protected] Telephone: 01280 707140
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SUMMER SCHOOL
‘ Lower Strings ‘ Pedagogy of the ‘We have grown accustomed to nothing short of Rolland excellence from the pedagogical works of Kathy Approach and David Blackwell. ESTA Arco During 2018 we were delighted to celebrate the Day one Day four ‘‘ 20th anniversary of Fiddle Time. It has been a The general movement principles More attention on the bow hand and pleasure to develop the series over the last two related to the lower strings will be arm will be the focus for this day. The cello established on the first day. This involves and bass have different physical demands decades, from beginner repertoire to our more sitting for cellos and standing for basses or in bowing than the upper strings, recent volumes for advanced players. resting on a stool. The various movements especially when it comes to extending to be done to ensure this is established the bow stroke. The Place and Lift, Rock JOANNE ERWIN without tension are pizzicato with left and and Roll and Flying Pizzicati will be some right hands in various positions. The Left Rolland action studies to aide in the and hand will be set in an octave position. development of the extended bow stroke. Joanne Erwin currently is Adjunct We will also introduce the resilience Cello Professor at Rowan University Day two of the bouncing bow and spiccato. The and conductor of the Rowan University The focus on this day will be the bow placement and heighth of rebound are Community Music Youth Orchestra. hold. It will begin with preparation steps an important factor. The Cradle Song, Having recently retired from Oberlin and move to the actual hold. Each of these Barcarolle and other long stroke songs will Conservatory she is Professor Emerita steps will involve many silent movement be played. of Music Education, earned her exercises to guide players to a thorough Bachelor’s (magna cum laude) and feel of the ergonomic work of the bow Day five Included in the Fiddle Time Student Pack Master’s degree in Music Education hand and arm. The body flexibility, The plan is to move into shifting and Fiddle, Viola, and Cello Time bilateral motion and freedom will also be vibrato motions on this day. Cello and at University of Illinois. She had the new pleasure of working in the Rolland introduced. Bass German and French bow bass have slower vibrati that are easier Student Packs to establish than a violin’s. The shuttle String Project upon completion of his hold will be presented. will return along with tapping fingers in a String Pedagogy course. In addition she different manner than the violins. Vibrato Each handy student pack contains the attended summer ASTA workshops in Day three Some Action tunes will be presented will be added to longer tones in tunes that Europe with Rolland and Fischbach and Joggers book for the instrument, a scale to put the posture, left hand and bow have been learned. Shifting is a broad arm Young. After teaching strings in public holds into practice with the first steps. motion that is development from large book, a Practice Time Notebook, and a pack schools in Illinois and Texas she went These tunes will include Hoedown, motor actions and then brought down to of instrument-specific cartoon stickers. on to earn her Ph.D. in String Pedagogy The Jig, March, Sweet Eyed Sue. The smaller ones. at University of North Texas. She has appropriate sequence for introducing performed as a cellist in the Fort Worth tunes and involving body movement will Symphony and has directed youth be discussed. Fiddle Time Student Pack orchestras in Texas and in Ohio. She has maintained a private cello studio 978-0-19-352649-5 throughout her career in traditional Rolland, Paul. 1974. Teaching of Action in String Viola Time Student Pack and Suzuki approaches. At Oberlin she Playing. University of Illinois Press. Urbana, IL. taught String Methods, Conducting and String Pedagogy with an outreach Fletcher, Stanley. 1971. New Tunes for Strings. Boosey 978-0-19-352648-8 project patterned after Rolland’s. She and Hawkes. NY Polnauer, Frederick.and Marks. Morton. 1964. has presented at conferences and Senso-Motor Study and its Approach to Violin Playing. Cello Time Student Pack conducted festival orchestras both ASTA publisher nationally and internationally. She 978-0-19-352647-1 is a co-author for New Directions FJHmusic.com Szende, Otto and Nemessuri. M. 1971. The Physiology for Strings, A Scale in Time, Strings of Violin Playing. Collets pub. Premiere, Prelude to Music Education £18 each (inc. VAT) and written other articles for American The Strad magazine article on Rolland in the winter String Teacher and Teaching Music. 2018 edition by Nancy Kredel. https://www.youtube.com/watch?v=19B0_BDILAY Pack saves over 20% cello playing with freedom LOWER STRINGS: AUGUST 12-16 Visit www.oup.com/sheetmusic/fiddletime for Fiddle Time videos, blogs, and sound recordings DAILY 9.30 -11AM 2 8
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Outside of the University of Illinois String Teaching Project, Rolland was a founder of the American String Teachers’ Association, the first editor of the journal ‘American String Teacher’; and published numerous articles on string pedagogy in ‘International Musician’, ‘The School Musician’, ‘Violins’, ‘The Paul Rolland Instrumentalist’ and the ‘Journal of Research in Music Education’. BY MATHEW LEE If this has developed an interest in finding out more about the work of Paul Rolland, why not think about attending the ESTA UK Summer School 2019. ESTA UK are fortunate to have Joanne Erwin (lower strings) and Joanne May (upper strings) s a string teacher in the UK, I have frequently running the daily basics classes. Both are experts in the research participated in workshops and training based on Get them started right and aim them and approaches used by Paul Rolland, and will be able to guide ideas developed from the work of Sheila Nelson, in the right direction and they will you through his unique approach to string teaching. For those after joining the Tower Hamlets String Teaching unable to attend, there is also a Paul Rolland Facebook group Project in 1976. So much of the string teaching reach the top ‘Paul Rolland String Pedagogy’ that you may like to join and literature currently used in the UK stems from various Paul Rolland workshops hosted by the School of Music the ground breaking work of this project, yet how many younger stressed in freedom of movement; trying to inculcate the pupil University of Illinois at Urbana-Champaign. A with a feeling of kinaesthesia, a feeling of lightness, both with string teachers have heard of Sheila and her work? Her name may be familiar from covers of various publications, but few will have the bow and the instrument…..naturalness, naturalness, experienced her first hand at one of the many workshops she led naturalness.’ – P.Rolland. ’Young Strings in Action’ revised by for the UK branch of ESTA. We are now unlikely to benefit from Sheila Johnson (Boosey and Hawkes, 1971) any further direct input from Sheila in terms of string teaching, and being such an important figure, she deserves an article in Rolland’s research started from a scientific standpoint, using her own right, but many years ago in the early 1970s Sheila was knowledge acquired from the pedagogical aspects of dance and fortunate to go and study string pedagogy in America under the sport, incorporating Gestalt theory and the principles of both tutelage of another seminal string teacher, Paul Rolland, possibly kinesiology and physiology. He had knowledge of the methods the most pivotal figure in string teaching of the twentieth century, of Suzuki and Flesch, and spent the first period of his study with a legacy that could well carry on indefinitely. researching all previous and current methods of instrumental teaching. For his own work, Rolland felt he needed to develop Paul Rolland (1911-78) can be listed among the most an approach to teaching that had its basis in good motion influential of twentieth century violin teachers. He was a native techniques. In order to build such motion skills, he concentrated of Hungary and studied music at the Franz Liszt Academy of on the areas of highly refined physical actions, coordination, Music in Budapest. For a while he played professionally, as a first timing and patient practice. Rolland labelled the idea ‘total body violinist in the Budapest Symphony Orchestra, then as violist action’ and made great emphasis on the use of the whole body in in the Pro Ideale and Lener string quartets. Rolland then made the development of performance skills. teaching the main focus of his career. Rolland advocates that teachers learn and teach freedom In 1966, the United States Office of Education funded a five of movement using clear, specific and concise instructions. year research project in String Teaching, based at the University His approach is highly analytical, his teaching systematic and of Illinois. The resulting research was ‘The teaching of action in logical. In his studies, every possible movement in string playing string playing’, the findings of a project covering the first two has been analysed. In his studies, Rolland developed the science years of violin instruction by Paul Rolland. In his approach, of playing the violin through a knowledge of the physical body Rolland can be found to emphasise a rhythmic foundation to movements needed to execute each technical action. Rolland playing, using movement that is free from excessive tension. was a strong advocate of teaching in classes, with his own work in this field modelling itself on the masterclass style. The Rolland Philosophy Rolland left a record of his work on film, now available in DVD format. The Paul Rolland Papers along with the audio Music educators should strive to ‘Get them started right and aim them in the right direction and visual recordings, are held with the Sousa Archives and develop players who not only and they will reach the top…..It is a fallacy to believe that the Center for American Music at the University of Illinois, Urbana- careful teaching of fundamentals will slow down the pupil….. Champaign. play in tune with a good sound, Most elements of string playing can be introduced in embryonic but who also feel comfortable form during the first year of instruction and refined thereafter….. Rolland summarised his work in the book ‘The Teaching One would be quite surprised at what pupils can be started on of Action in String Playing’, written in conjunction with Marla and happy in doing so during the first and second years…..Music educators should Mutschler (his research associate) and a series of fourteen films, strive to develop players who not only play in tune with a good each linked to a different pedagogical aspect of the project. There sound, but who also feel comfortable and happy in doing so, and are also a series of tutor books called ‘Young Strings in Action’ who use well-coordinated movements without excessive tension (revised by Sheila Johnson in 1983) and various related materials as they play…..It is of paramount importance to develop a well- commissioned as a result of the project, including ‘New Tunes balanced stance, balanced right and left arms and a balanced for Strings’ by Stanley Fletcher. hold…..Good balance is the key to efficient movements…..
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One of the most Mark O’Connor: talented and imaginative artists working in music - String Method any music - today American String School Programs – Los Angeles Times The O’Connor Method MARK O’CONNOR PHOTO: CHRISTOPHER MCALLEN
ark O’Connor The audience was on its feet . . . Mark O’Connor began his creative a million CDs and gained O’Connor Method and is now the fastest growing will present a journey at the feet of American worldwide recognition as a leading violin method in the country and tens comprehensive look They were moved by Mr. O’Connor’s fiddling legend Benny Thomasson, proponent of a new American musical of thousands can credit the O’Connor at the O’Connor journey without maps, cheering for the and the iconic French jazz violinist idiom. books for learning how to play stringed Method in theory and only musician today who can reach so Stéphane Grappelli. Now, at age 55, instruments. The O’Connor Method practice. he has melded these influences into Mr. O’Connor’s Fiddle Concerto released features American music styles, The sessions will be given by M deeply first into the refined, then the a new American classical music, on Warner Bros. has become the most- creativity, cultural diversity and Mark O’Connor and Maggie O’Connor by way of demonstration from the vernacular, giving his listeners a and is perpetuating his vision of an performed violin concerto composed western classical technical training. instrument, lecturing on the principles complex, sophisticated piece of early- American School of String Playing. in the last 50 years. On his own Mr. O’Connor currently is artist-in- and philosophies of the Method and Mr. O’Connor has won three Grammys, OMAC Records label, the Baltimore residence with the Charlotte Symphony participating by learning and playing 21st-century classical music and then seven CMA awards as well as several Symphony Orchestra recorded his Orchestra, touring nationally with the through some of the materials that have knocking them dead with the national fiddle, guitar and mandolin sweeping Americana Symphony while O’Connor Band and resides in North created a new movement of American champion titles. His distinguished his groundbreaking 9th concerto, Carolina with his wife and fellow string education. browndirt whine of a Texas fiddle career includes representing the The Improvised Violin Concerto was bandmate Maggie O’Connor. United States Information Agency in recorded in Boston Symphony Hall. His During the week, you will be offered The New York Times cultural diplomacy to six continents new touring group, the Mark O’Connor For more information, please see a step-by-step analysis of the O’Connor and performing in front of several U.S. Band consisting of family members www.markoconnor.com Method books illustrated by videos and presidents including being invited to (wife, son and daughter-in-law) debuted www.markoconnormethod.com, powerpoint, covering the technical aspects the White House by President Ronald at #1 on Billboard Magazine’s bluegrass www.oconnormethod.com, and of each lesson plan; the style and musical Reagan to perform as a teen. album chart and their first album www.oconnorband.com. language of each piece; the creativity Coming Home won a Grammy in 2017. . and improvisational components to the After recording a series of albums for Mr. O’Connor is set to release his 47th music as well as the history and cultural Rounder and Warner Bros including feature album on June 7th, 2017, an relevance. The sequence logic of each his multiple Grammy-winning New exciting new CD, O’Connor Band Live! book will be presented as a key component MARK O’CONNOR: Nashville Cats, his recordings for Sony to the O’Connor Method pedagogy. AUGUST 12-16 Techniques of string playing basics; set- Classical with Yo-Yo Ma, Appalachia Mr. O’Connor has authored a series of up, left-hand technique, bowing, tone, Waltz and Appalachian Journey sold educational books called the O’Connor DAILY 11.30-1PM rhythm, phrasing, theory, note-reading and vibrato will be discussed over the course of the week.
The intersection between the solo books and orchestra books of the O’Connor Method utilizing common repertoire are a key component to the philosophy of the American music system and in producing musical artists, not just technicians. How the orchestra books as well as various ensemble settings, including the violin duos throughout the series, becomes a key component in studios and classrooms, replacing all-unison and octave playing in many current group class situations with harmony, counterpoint, rhythm and improvisation. Brilliantly original One of the most spectacular journeys in recent American music The Seattle Times The New York Times PHOTO: MITCH WEISS
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The still space within
YOGA FOR MUSICIANS
oga in Sanskrit means concentration, union. Its At the T12 attachment, the diaphragm intertwines with the objective is to prepare the body for meditation, large back muscle Trapezius, and the deep hip flexor Psoas. JANE FENTON to quieten the mind. These two powerful muscles, influenced by the breath through connection to the diaphragm, reflect our state of being. Bringing our feet to life, widening our base Release and Breathe. Jane is an active of support by waking up each toe, and the outer, We work with the natural breath to experience the spine’s chamber and orchestral musician. She innerY edges of the foot support grounds us. Surrendering to response. Exploring abdominal, thoracic and clavicular received her performance diploma from the pull of gravity allows us to give weight through our bones. breathing. Awakening the spine brings breath into our backs, the Guildhall School of Music where she When we meet the line of gravity we bounce like a ball. We space between the shoulder blades and softening of the ribcage. studied with Stefan Popov and Raphael also explore these elements in sitting. The body has a natural This allows the arms to fly up and away like a bird set free. Wallfisch. It was there that she worked intelligence. We know deep within what it is to be free. with David Takeno and became one of Finding our core allows us to unfold and open from the the founding members of the Guildhall Tensegrity - integrity within tension. If tensegrity sat at the inside out. If we bring these concepts to our bowing arm, String Ensemble. She has gone on to co- midpoint on a see-saw, tightness and collapse sit at either end. each finger has its own aliveness. Strings vibrate at maximum found the International Music festival Without tensegrity, tightness and collapse compensate for one capacity, sound is drawn out not crushed back inside the in Alcala. Jane played regularly with another throughout the body, in attempt at balance. We need instrument. the Chamber Orchestra of Europe and tension to play an instrument, a finely tuned tensegrity. was principal cellist with Glyndebourne Music requires a calm and centred mind, breath is the Touring Opera for eighteen years. Tightness in hip, knee and ankle joints block the pull of key. After all, to breathe is the very essence of life. Breath is She is currently principal cellist with gravity and its rebound. Tension across shoulder, elbow and the bridge between body and mind. Simple, well researched Garsington Opera. wrist joints stop the flow of weight and energy in the arm. This breathing techniques are a great preparation for performance. may be experienced as a technical issue, and heard in one’s sound quality. We will explore these blocks and experience the Heart resonance, also known as coherent breathing is a Jane is a qualified ITEC massage release of tension through simple sequences and pair work. technique we explore. Practising this on a regular basis, benefits therapist and is a yoga teacher with both body and mind. A beautifully gentle, yet powerful, circle the British Wheel of Yoga, having We awaken and release the spine through exploring its of breath. completed her training in 2003 under relationship to the breath. Our spine houses and protects the Peter Blackaby in Brighton. Jane has nervous system, and in the womb is where our unfolding To share our music we need to be present, we need to know taught yoga as an aid to performance in begun. Breathing is frequently done from the front of a tight that still place within. Meditation wakes us up to life. Breath schools as part of the secondary school body and ribcage, clearly communication with our spine is off awareness is meditation, simply using the breath as a focus curriculum and is convinced of the the radar. for attention.The breath is our inner most sense, and through benefits it can bring to every aspect of a it, we are able to be with tension and release that exists in all musician’s life. The wonderful dome shaped diaphragm muscle separates living expressions of life. breathing apparatus from organs, attaches across the bottom of the entire ribcage and connects to the spine at T 12. On As the mind quietens so does the breath, as the breath stops inhalation the diaphragm flattens and contracts; massaging grasping so does the mind. It is the staying with it, the being YOGA FOR MUSCIANS: the organs below. Exhalation releases it back to its dome shape. with it that we learn to surrender. AUGUST 12-16 DAILY 8.30-9.15 AM PHOTO: ALUN DERBYSHIRE
at the still point of the turning world. The miracle is to walk on earth ..at the still point there the dance is Thich Nhat Hanh T.S Eliot
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String Orchestra Ice Breaker
or our opening session or two, and if you have any pieces you’d there’s a chance to meet like the group to try out - perhaps to see if the ESTA (UK) team and they’d be suitable for your school or adult your fellow Summer School ensemble, or just because you’ve never delegates over a stand- had a chance to play them! - please either full of string music! There bring along a full set of parts or let Steve Fmight even be a chance to have a go at know in advance so that he can source a conducting…. set ([email protected]).
Phil Aird, Steve Bingham and Sheila This is a relaxed, fun session that Holdsworth will be there to answer your we hope everyone will join in with. A questions about ESTA (UK), the Summer great way to get to know people at the School, or anything else string-related, and start of a week of exciting concerts and we’ll be playing a variety of string music - presentations! both familiar and unfamiliar - under the baton of Steve. There will be a chance for volunteers to conduct a movement
STEVE BINGHAM
Steve Bingham studied violin with UK and America and his concerto Beyond performing on the violin Emmanuel Hurwitz, Sidney Griller performances include works by Bach, Steve is a conductor of some repute, and the Amadeus Quartet at the Royal Vivaldi, Bruch, Prokofiev, Mendelssohn and currently conducts the Ely Academy of Music from 1981 to 1985, and Sibelius, given in venues as Sinfonia, Ad Hoc Sinfonia and City of where he won prizes for orchestral prestigious as St. Johns’ Smith Square Peterborough Symphony Orchestra, leading and string quartet playing. In and the Royal Albert Hall. with guest appearances with several Gear Without Fear 1985 he formed the Bingham String other ensembles. Steve is a committed Quartet, an ensemble which has become In recent years Steve has developed his teacher, and is Editor and Webmaster one of the foremost in the UK, with an interest in improvisation, electronics for the European String Teachers teve Bingham - ESTA But beware, you may leave Chichester a enviable reputation for both classical and World music, collaborating with Association (UK). He coaches on many Editor, webmaster and self- different person from when you arrived! and contemporary repertoire. several notable musicians including chamber music courses as well as proclaimed technophile guitarist Jason Carter and players such giving regular school workshops to all - will be available all week Steve will give an introductory session The Quartet has recorded numerous as Sanju Vishnu Sahai (tabla), Baluji age groups. He is particularly known to answer your technical outlining the opportunities for trying CDs and has worked for radio and Shivastrav (sitar) and Abdullah Ibrahim for his communication skills and questions about every aspect out gear and learning about technology, television both in the UK and as far (piano). Steve also plays live with No- enthusiasm. Steve is also Joint CEO Sof music technology: recording, looping, and will be able to offer one-to-one or afield as Australia. The group has toured Man, the progressive art-rock duo of of PartPlay, an exciting online music filming, sampling, amplification, electric small group sessions during the week in Europe, the Middle East and Australia Tim Bowness and Steve Wilson. service for chamber musicians. instruments, pickups and anything on specific topics of interest to Summer and has worked with distinguished else you have questions about. Setup School delegates. This will be an ideal musicians such as Jack Brymer, Raphael Steve’s debut solo CD “Duplicity” was Steve’s interests include ornithology, somewhere within the bowels of the opportunity for delegates to learn more Wallfisch, Michael Collins and David released in November 2005, and has photography and Celtic knotwork. Chichester campus will be Steve’s secret about music technology with plenty of Campbell. The Quartet’s educational been played on several radio stations lair; a place full of amps, microphones, time to try things out during the week. wires, electric violins, loop machines, Steve has worked with musicians of all activities have included residencies at including BBC Radio 3 and Classic FM. digital recorders, pedals of all sorts, ages and abilities and has a knack of London’s South Bank Centre, for several His second solo CD, entitled “Ascension”, STRING ORCHESTRA DAWs, apps, and much, much more. Enter explaining how things work! UK festivals and at Radley College. The was released in December 2008 and ICE BREAKER at your peril…..but he guarantees that you Quartet is also known for it’s many has since been followed by “Touchable will leave with your questions answered No problem which you may have performances of new works by some of Dreams”, a CD of poetry and violin with AUGUST 11 2-3.15PM and your fear of technology (should you will be too small or too big: Sometimes the best young composers in Britain. Jeremy Harmer, “Third”, an eclectic mix have one!) most definitely taking a back it’s the really basic issues that cause the of live-looped pieces, and in 2014 “The seat! most problems, so don’t be shy about Steve has appeared as guest leader Persistence Of Vision”, which features GEAR WITHOUT FEAR coming along with the most rudimentary with many orchestras including the the amazing Bach D minor Partita, and AUGUST 11 5-6PM This week-long open clinic will be an questions. As Confucius is reputed to have BBC Scottish Symphony Orchestra, the works by Michael Nyman. Steve has also interactive area where you can leave you said: “The person who asks a question is a Scottish Chamber Orchestra, English released many single tracks, and has an technophobia hanging on a hook at the fool for a minute, the person who does not National Ballet and English Sinfonia. active YouTube channel featuring many door and enter a space where you can ask is a fool for life”! He has given solo recitals both in the weird and wonderful video creations! try out lots and lots of gear without fear.
20 21 Arco4-13 ad 25/9/13 13:47 Page 3
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Getting the Best Artesian Quartet
s individuals and as an ensemble we have worked Issues such as intonation and balance will always come up out of Pupils with the country’s top chamber musicians. and they are they worth addressing carefully as it will encourage During our year as chamber music fellows at the the group to be critical about these things when rehearsing alone. Royal Academy of Music we frequently mentored Are all the players listening enough to their own playing and how first year string quartets. This experience has it relates to everyone else’s parts, or are they so worried about taught us that although no one “lesson plan” getting everything absolutely perfect in their own part because it n his talk Getting the Best out Effective teaching is very much fitsA all, there are some general quartet techniques that are is very difficult to them? How well do they know the score? of Pupils Paul considers some enhanced by the more profound always worth covering. We find it is very important to find the of the more psychological knowledge afforded by the understanding right repertoire to each group; should four people who have We will often demonstrate rather than encourage lengthy aspects of teaching. As virtuoso and consideration of these and other just started playing together dig in with the popular romantic discussions, sometimes we will take the place of one of the teachers we need to develop a related issues –areas that are outside the repertoire? Would it be best for the group to start with something ensemble for a phrase or so to try and make our ideas clear. We breath-taking range of qualities. principal spheres of teaching technique, simpler? try to draw on the most positive lessons we have had ourselves Among them is the necessity to have repertoire and musical language. – Paul and to strike a balance between working on any problem areas I The initial play through, which is generally how we like to whilst also assisting the group to make their own final decisions thought about the deeper and maybe more will discuss these in a practical and hidden reasons why pupils behave and immediately accessible manner. start sessions, will indicate the level of the group and dictate the about what they feel works for them as a group. It is important to respond in certain ways and in what ways type of pace we will be able to work at. For us it is important to experiment with different repertoire and styles and let the group our own actions and manner can affect paulharristeaching.co.uk encourage the ensemble to be confident enough to experiment find what type of repertoire suits them best. Is everyone feeling them. What do we need to understand with new ideas and different extremes. We often question on the same page about that particular choice of repertoire? about our pupils? What makes them tick ourselves and the group why they are playing that particular What is the ultimate outcome everyone wants out of their group? and what makes them behave as they piece and whether there is something else that would help them do? How does a pupil’s character actually progress better and faster. Would it be worth going to a less In this session we will discuss how we address these issues affect their learning and our perception of technically challenging piece and work / let them work on their when coaching young chamber groups and how we got around their learning? Of what do teachers need rehearsal technique without having to worry about how difficult them when we were younger and started the Artesian Quartet to be more generally aware? How does each individual part is, or is it better to learn big repertoire early at college. While coaching the chamber groups, we will be open expectation affect learning, and what so it is in the system already when they come back to it a few years to questions from the audience and will be happy to talk about are the positives and negatives of using later? Younger groups thrive on playing as much well known our individual experience with other groups and our time before praise? How can we use questions to repertoire. Would sight-reading sessions in their own time help college. enrich rather than hinder learning? What balance the issue, as they could get through repertoire and work is success all about? How can we deal seriously on lighter music, or could it be more damaging? with different kinds of difficult pupils and what causes some to be difficult? PAUL HARRIS The Artesian Quartet have debuted at the overall depth and diversity of the the BBC Proms, been broadcast on Radio quartet sound. The past twelve months ARTESIAN QUARTET 3, and have toured the UK as well as saw a number of exciting projects for After studies at the Royal Academy of Music ad the University He is an examiner and adjudicator ad is frequently asked to internationally. They were the 2013/14 the group including recording sessions AN INTRODUCTION TO of London, Paul Harris has now established and international take part in national events including the Chamber Music St Peter’s Prize Winner Quartet, 2014 with Trevor Pinnock. There will also be CHAMBER MUSIC COACHING reputation as one of he UK’s leading educationalists. for Schools Competition, Music for Youth, the BBC Young Park Lane Group artists and are one continuing exploration of contemporary AUGUST 14 3-4.30PM Musician of the Year and he is a rregular judge for Classic FM’s of the three 2014/15 ChamberStudio works following successful associations He studied the clarinet with Professor John Davies, winning teacher of the year. He has also co-authored (with Anthony mentorship groups at King’s Place. with composers Nicola LeFanu and Paul the August Manns Prize for outstanding playing composition Meredith) major new biographies of Sir Malcolm Arnold, Patterson. with Timothy Baxter and conducting with Maurice Miles. He (Malcolm Arnold: Rogue Genius), and Malcolm Williamson, Based at the Royal Academy of Music then went on to study music education at the University of (Malcolm Williamson: Mischievous Muse) and Sir Richard where they are 2014/15 CAVATINA The Artesians also enjoy larger London where he was a pupil of Professor Keith Swanwick. Rodney Bennett. Chamber Music Fellows, the quartet chamber music. They have formed has enjoyed mentoring from musicians various associations to perform the He now has nearly six hundred publications to his name In 2006 Paul Harris’s commitment to the music of Arnold of the Belcea, Endellion, Maggini Mendelssohn Octet, Verklarte Nacht PHOTO: GARETH GRIFFITHS mostly dealing with a vast array of subjects concerning music led to the establishing of an annual Malcolm Arnold Festival and Takacs Quartets. They have also and Souvenir de Florence and have education. His Music Teacher’s Companion (co-written with in the composer’s hometown of Northampton. Under his benefited from the support of the Britten given a number of collaborative lecture Richard Crozier), won the UK’s MIA Best New Book award. directorship, this exciting festival explores and celebrates – Pears Foundation. recitals performing Schubert’s C Major In addition he has written many works ranging from short through a packed weekend of concerts, lectures and films – Quintet. Upcoming projects include education pieces to seven concerts, a ballet and a children’s the music of one of the great British composers of our age. With frequent invitations to give performances of the Arensky opera. Paul’s innovative teaching techniques have found support concerts, the Artesians perform Quintet. all over the world and combine thoroughness, imagination regularly in and around London at He writes regularly for many of the major international music and practicality, the defining qualities of his outstandingly venues including Wigmore Hall and magazines, including Music Teacher, BBC Music Magazine, successful work. the Purcell Room. On their travels they the ABRSM’s Libretto, and the American ICA journal, and have enjoyed dates at the Lake District is in great demand as a workshop and seminar leader and Summer Music Festival, at the Colston adjudicator in the UK, the USA and the Far East, Australia GETTING THE BEST OUT OF PUPILS Hall in Bristol, as well as at a number of and New Zealand. Paul has also undertaken research into regional music societies. specialist music education for the highly talented (the clarinet PAUL HARRIS prodigy Julian Bliss number among his pupils), an interest AUGUST 12 3-4.30PM Managing an increasingly demanding that has taken him to many musical institutions around the schedule, the quartet’s commitments world. He has presented a paper on teaching gifted young are balanced with all four player’s musicians at a convention at the University of Oklahoma. opportunities and geographies. The individual versatility of its members creates a characteristic intensity in
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Dare to believe. Preventing injuries in young musicians Focus on where you want to be with Allianz Musical Insurance. • Instrument & accessory cover n this session, Sarah will present information about incidence and risk factors • Unlimited professional use for playing-related injuries, and will explain how simple preventive measures • Accidental damage & theft can enhance playing, and reduce risk of injury. • Premiums from £3 a month By the end of the session, participants will have an understanding of basic Get a quote: anatomy and biomechanics of the upper limb, and an understanding of how allianzmusic.co.uk Iknowledge from the fields of sports coaching and dance training can be used to enhance the wellbeing of instrumental musicians. 0330 102 2088
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The ultimate musician’s
SARAH UPJOHN practice companion
Sarah Upjohn qualified as a Additionally, Sarah Play along to a huge collection of professionally physiotherapist from the Bristol School is a member of the Healthy recorded chamber music pieces of Physiotherapy in 1983 and gained Conservatoires Network, and of the extensive clinical experience in the UK, Musicians Health Advisory Board of Help Canada, Australia and the USA. Musicians UK (HMUK). Between 1994 and 2002 she was a Senior Lecturer on the BSc (Hons) Physiotherapy In 2011 she began a Doctorate of course at the University of Hertfordshire, Education (EdD) at the University of obtaining an MA in Teaching and Cambridge. Learning in Higher Education in 1997. Sarah’s Doctoral research is a project Since 2008 she has worked in the field of aimed at increasing awareness of risk Performing Arts Medicine, specialising factors for playing-related injury in in assessing and treating instrumental young musicians, in order to decrease musicians. the incidence of these injuries in pupils She has a particular interest in the at the school. ergonomics and bio-mechanics of Repertoire pages with Pause the piece, Bookmark your Play along in real-time instrumental playing, and in prevention commentary and of playing-related injuries. mute or solo favourite pieces with professional PREVENTING INJURIES IN additional videos individual instruments and build your own library musicians Sarah is the physiotherapist at The Purcell School for Young Musicians, YOUNG MUSICIANS and works for the British Association SARAH UPJOHN of Performing Arts Medicine (BAPAM) where, in addition to being a member AUGUST 15 3-4.30 PM partplay.co.uk [email protected] of their Medical Committee, she is an assessing clinician, and part of their trainer network.
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Teaching and Cardiff Violins INSTRUMENT MAINTENANCE Learning WITH PROFESSOR LAURA RITCHIE
he pathway from what the teacher knows to her student’s understanding can be a bumpy road. This session explores how and why we choose certain Tmethods of explaining, showing, or doing in lessons to communicate effectively with each individual learner.
We’ll learn teaching techniques such as different types of modelling and using clear step-by-step approaches to de-stigmatise ‘hard’ topics that students encounter at various levels, include technicalities of introducing the bow hold, practice strategies for gaining speed JOSEPH ROACH DAN KING and fluidity, and opening creative doors to musicality. We may even manage to fit in ardiff Violins will be running Joseph Roach was born into a musical As the son of Chris King of Cardiff Galamian scales as something fun! a workshop during the 5 family, and started playing the violin Violins, Dan grew up surrounded by days of the conference, and at the age of four. It was from here stringed instruments, tools, music and you are invited to visit them that his passion for the instrument musicians. He learnt the cello as a for a free health check and grew, developing an interest in the child, but what he loved most of all was advice for your instruments instruments themselves. At the age of fiddling around with tools, varnish and and bows. C 17 he was offered a part-time position broken instruments, which he would They will be able to carry out work at Cardiff Violins as a sales assistant. painstakingly put together again with such as peg fitting and instrument set-up, During this time he expanded his his father looking over his shoulder. It Laura Ritchie is Professor of Learning promotes excellence across disciplines but will be working on a first-come-first- knowledge of the stringed instrument is no wonder then that he never faced and Teaching in Music. She is a teacher, in teaching and learning, and in served basis, so please do book your time family with a keen interest in tonal the difficult decision of choosing a mother, musician, and dreamer. She is particular provides innovative ways with them as soon as you can after your adjustment for optimal sound- career: joining the family workshop was recognised as an educational innovator to unlock student potential through arrival, or even better, you can also email production. Together with Chris, he an obvious and natural choice for him. and was awarded a UK National practical teaching settings. [email protected] to book a has worked on the sound production Teaching Fellowship in 2012. time slot. of hundreds of instruments. Playing Since his formal arrival at Cardiff Laura pushes the boundaries of remained very important to Joe, and violins in 2007, Dan has fitted up At the University of Chichester she learning for her students and herself. resulted in him enrolling at the Royal thousands of instruments and carried coordinates both the Music with She advocates experiential learning Welsh College of Music and Drama to out all major repairs on violins, violas Instrumental / Vocal Teaching and the and fully immerses herself in learning study violin performance alongside his and cellos : neck grafts, peg bushes, MA Performance programmes. Laura projects, teaching by example. She work at the shop. Upon graduating, he sound-post crack patches, crack has also co-authored the curriculum works across disciplines to actively joined Cardiff Violins full time in the repairs, bass- bar cracks, wood work for the European String Teachers advocate open education and cross- workshop, where he was rigourously repairs, varnish work and more! Dan Association Postgraduate Certificate cultural learning with projects such trained and developed his skills in has built a reputation of his own and is PROFESSOR in Teaching, which is an international, as her open music class #MUS654, instrument repairs and set-ups. now very much in demand, particularly distance learning course. Laura trained cross-disciplinary collaborations for his excellent set- ups. LAURA RITCHIE as a classical cellist in America with Jonathan Worth and #Phonar, (Northwestern University) and London Connecting Classes, and Connected (Royal College of Music) and her PhD Courses. research focused on psychology of music and specifically the impact of students’ self-beliefs on learning TEACHING AND LEARNING and performing. In her academic publications and presentations she LAURA RITCHIE AUGUST 12 5-6PM
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Coaching Tools for String Teachers with Lucy Hare
aving worked as a PROUD TO PRACTISE freelance bass player for over 25 years I had serious doubts about How do you motivate your pupils to increase the quality and quantity of whether my overused practise? Do they have more excuses for their practice. It will help them take back would last for not having practised than reasons for responsibility for the practice they do, Hanother 15 (I am small, the bass is big!), having done so? I certainly used up many and measure their own progress. It can be so in 2008 I trained as a personal and of the standard excuses at the start of my used for daily practice or long-term goals. business coach – a career that I imagined musical journey on the double bass. would replace the one I had loved doing, You will come away with a technique but had worn me out. The intense and You will try out a simple and effective you can use in a myriad of different ways demanding training not only made me coaching tool that will help you motivate to help with practice motivation. passionate about the way coaching helps your pupils, both young and adult, to us think better, but also made me realise I had a choice about playing the bass, and that with the right approach and the right THE MAGIC OF MAKING MISTAKES mind-set, I could probably carry on for at least another 15 years, and work in a way Do you hope not to hear mistakes in your lessons? Honestly? that I really enjoyed. The importance of being attentive to our mistakes is often overlooked. So much can be learned, but only if the Since then I worked as both a teacher is genuinely interested in them too. coach and a professional musician. I believe musicians are some of the most This workshop will look at the true value of resourceful and self-reliant people there mistakes, how to break through our habitual are, and I passionately wanted to bring responses to them, and how you as a teacher can coaching into the music world, to help create an environment conducive to real learning. musicians, teachers and performers support, rather than sabotage themselves Participants will come away with a new with their thinking. I set about adapting understanding of their part in how to work the coaching tools and techniques I had with mistakes, and some thought provoking learnt and benefitted from so richly, questions to help create a rich learning so that performers could use them, for space for their pupils. themselves and for their pupils. Both workshops are highly Saturday 20 April at 1pm These two short workshops are interactive. Teachers will be given participatory. Please bring a pen and the opportunity to try the coaching 2019 Parkhouse Award paper. You will take away techniques techniques out for themselves and ideas that you can use straight away, and discuss how to make them Finals Concert and I also hope you will start to think most effective for their pupils. differently. Coaching is practical, fun Please bring a pen and Wigmore Hall, London and energising and can start a life-long paper. journey of exploration and discovery. Two hours of varied and exciting chamber music will
Lucy has been a freelance bass player corporate settings as well as many be performed by the four for 30 years playing in a huge variety music colleges and orchestras. Lucy is finalist ensembles chosen of styles and places including BBCSO, a trainer for Barefoot Coaching, one of David Parkhouse LPO, Royal Opera House, BBCCO and UK’s foremost coaching organisations. from an international entry. 1930-1989 Matthew Bourne’s New Adventures She is passionate about bringing The jury’s decision will be dance company. For 10 years she ran energising and creative coaching work an Argentinean tango quintet, Tango to performers everywhere. announced c. 3.45pm Volcano and became an obsessive Supported by tango dancer. A love of Celtic and Latin www.parkhouseaward.com Gordon music began from being a founder Foundation member of the Oxford Concert Party, PROUD TO PRACTISE The Tertis a whacky group of six musicians who Tickets: £5 (free to Friends of Foundation have produced 8 CDs and one cookery AUGUST 14 5-6PM Parkhouse Award and Wigmore Hall) Registered Charity book, and spent as much time working 0207 935 2141 Wigmore-hall.org.uk 1014284 in prisons as they have in concert halls. THE MAGIC OF MISTAKES LUCY HARE Her coaching work has taken her into AUGUST 15 5-6PM 30 SUMMER SCHOOL
Strings 101: COLOURSTRINGS 30th Anniversary International THE SCIENCE, HISTORY, Teacher Training Course AND CARE OF STRINGS 10th - 15th August 2019 Roehampton University, London ver wonder exactly how Led by the founders and originators of a musical instrument Colourstrings: string is made? D’Addario has created a brand- neutral presentation that Géza and Csaba Szilvay, demystifies the strings on with colleagues Eour instruments. By detailing the history and Violin, Viola, Cello, Piano, Flute, Kodaly Musicianship, anatomy of strings, we hope Music Kindergarten that everyone will gain more understanding of what best suits their instrument, playing style, and playing THIS WILL INCLUDE PHASE 1 AND PHASE 2a CERTIFICATION FOR VIOLIN AND CELLO level. AND PART 1 MUSIC KINDERGARTEN CERTIFICATION We’ll discuss everything that goes into making and playing on a string, Discounts available for early booking and for students including materials, maintenance, D’ADDARIO WILL BE longevity, rosin, and everything in email: [email protected] between. OFFERING STRING www.colourstrings.co.uk CONSULTATIONS ON D’Addario will also TH TH The Szilvay Foundation is a Registered Charity, number 1062822 AUGUST 12 AND 13 have a trade stand, Cardiffviolins ESTA2013 1-2 17/3/14 15:27 Page 1 providing both FOR VIOLIN AND VIOLA. information and Markus will assess your instrument products for sale and suggest a set of D’Addario strings. at up to 30% off These will be fitted and provided free of RRP. charge.
WWW.DADDARIO.COM
• Large range of Violins, Violas & Cellos for all levels, MAKERS, RESTORERS, DEALERS OF Markus Lawrenson is Orchestral Sales he freelanced throughout the UK & Marketing Specialist for D’Addario performing in various ensembles and from beginners to professional players VIOLINS, VIOLAS, CELLOS UK. His background is as a professional orchestras. • Many brands of cases & accessories available AND THEIR BOWS AND ACCESSORIES violinist. A graduate of the Royal His musical highlights include BBC • Showcase of new makers’ instruments & bows 15-23 The Balcony, Castle Arcade, College of Music, Markus has a wide broadcasts and recordings from • Five trying-out rooms for privacy Cardiff, CF10 1BY range of playing experience. During his the Albert Hall and performing at • Assisted purchase scheme for educational instruments Sat Nav: CF10 1BS studies, Markus developed a passion Buckingham Palace for Prince Charles. • Repairs & restoration of instruments & bows
for orchestral playing inspired by • Insurance valuations [email protected] Phone: 029 20 22 77 61 working under conductors including • Set-ups and tonal adjustment a speciality Open: Tuesday - Saturday, 9am - 5pm Simon Rattle, Lorin Maazel and Bernard STRINGS 101 & Closed: Sundays & Mondays • Distance trying-out of instruments for students via Haitink. Open by appointment in August TRADE STAND their ESTA teachers A member of the Guiyang Symphony AUGUST 11 3.30-4.30PM Orchestra, China for nearly 7 years, Markus toured China and Asia extensively and performed a vast STRING CONSULTATIONS MARKUS LAWRENSON amount of repertoire. Prior to this AUGUST 12 & 13 3-6PM
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the evening concert of Mendelssohn’s D minor Timetable of events Piano Trio reminded me of the difference between loving and being in love with the violin.
BREAKFAST SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY 7.30-8.15AM 11TH AUGUST 12TH AUGUST 13TH AUGUST 14TH AUGUST 15TH AUGUST 16TH AUGUST
Jane Fenton Jane Fenton Jane Fenton Jane Fenton Jane Fenton 8.30-9.15am Yoga for Musicians Yoga for Musicians Yoga for Musicians Yoga for Musicians Yoga for Musicians
15 min change over
Upper strings Upper strings Upper strings Upper strings Upper strings Joanne May Joanne May Joanne May Joanne May Joanne May
9.30-11am Lower strings Lower strings Lower strings Lower strings Lower strings Joanne Erwin Joanne Erwin Joanne Erwin Joanne Erwin Joanne Erwin
Rolland Basics Rolland Basics Rolland Basics Rolland Basics Rolland Basics
Break 11-11.30am
Mark O’Connor Mark O’Connor Mark O’Connor Mark O’Connor Mark O’Connor 11.30am-1pm String Method String Method String Method String Method String Method
Lunch 1-3pm 2-3.15 Steve Bingham String Orchestra Ice Breaker Paul Harris Artesian Quartet Sarah Upjohn 3-4.30pm Getting The Best Music Fair An Introduction to Preventing Injuries to Out Of Pupils Chamber Music Coaching Young Musicians 3.30-4.30 Strings 101 by D’Addario
Break 4.30-5pm
Lucy Hare Steve Bingham Professor Laura Ritchie Lucy Hare Music Fair The Magic of Making 5-6pm Gear Without Fear On Teaching and Learning Proud to Practise Mistakes
Dinner 6.30-7.30pm
Concert Concert Concert Concert Steve Bingham and Mark and Artesian Quartet Steve Bingham Violin and 7.45-9pm Jeremy Harmer Maggie O’Connor Dvořák American PARTY! Murray McLachlan Piano ‘Fire and Ice’ Barber Quartet Op 11
I came away full of inspiration and ideas Networking, New friends, Inspiration, repertoire, - hopefully I will be able to find/create refreshing. New ideas, time out to concentrate opportunities to put it all into practice properly, fantastic concerts, chance to browse music stalls-what a great week!
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Summer School 2018
I have come away from the summer school with a note book full of ideas!
I was so privileged to be able to attend the ESTA Summer School 2018 and have come away with a wealth of information, inspiration and a recharged ambition to provide the best that I can for my pupils.
The evening concerts were a total treat and I loved each and every one of them.
Every moment was pure joy and I look forward to having this kind of work-ethic to spread to others
36 37 SUMMER SCHOOL SUMMER SCHOOL
ESTA Summer School 11 August – 16 August 2019 – University of Chichester
TO BOOK NOW VISIT www.estastrings.org.uk
CONDITIONS OF BOOKING FULL BOARD & TUITION EARLY BIRD* WEEKLY DAY RATE BOOKING Booking is open to members and ESTA Member £529 £559 £110 non-members of the European String Teachers Association. For details of membership please contact the membership Non-Member £615 £645 £140 secretary at [email protected] or visit the website at www.estastrings.org.uk Esta Member - Student £450 £480 £80 Non Member - CANCELLATION OF BOOKING £499 £529 £110 Refund Policy Student Before 30 April: 90% refund 1 May - 30 June: 50% refund Overseas £685 £685 1 July onwards: 0% refund * Early bird prices: until April1st 2019 TUTORS In case of illness or other circumstances Please note: If you book individual days and would like beyond our control we reserve the right to overnight accommodation please be aware there will be a alter advertised tutors but will inform you if £43 charge for each night booked, this includes breakfast. this proves necessary. The daily rate includes lunch.
LIABILITY If you would like to book individual days, please email The European String Teachers Association and [email protected] Chichester University accept no responsibility for loss or damage to instruments or personal belongings.You are strongly advised to provide your own insurance for instruments.
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Staff Biographies Corporate Members
GOLD Pirastro GmbH Dalcroze Society UK The Strad ABRSM. Associated Board Telephone: 0049698400909 Telephone: 01380 813 198 020 7618 3095 of the Royal Schools of Music [email protected] [email protected] [email protected] Telephone: 020 7636 5400 www.pirastro.com www.dalcroze.org.uk www.thestrad.com www.abrsm.org Schott Music Ltd Guernsey Music Service Universal Edition (London) Ltd Barnes & Mullins Ltd Telephone: 020 7534 0740 01481756097 Telephone: 020 7292 9166 Telephone: 01691 652 449 [email protected] [email protected] [email protected] [email protected] www.schott-music.co.uk www.gov.gg www.universaledition.com www.bandm.co.uk Stentor Music Co Ltd Hey Presto Strings Victoria College of Music Bärenreiter Ltd Telephone: 01737 240 226 Telephone: 01527 879 663 Telephone: 020 7405 6483 SHEILA HOLDSWORTH JOHN SHAYLER Telephone: 01279 828 930 [email protected] [email protected] [email protected] [email protected] www.stentor-music.com www.heyprestostrings.com www.vcmexams.co.uk Sheila has been a freelance viola player since 1990 and has John Shayler’s musical life began with violin lessons at Bedford www.baerenreiter.com enjoyed a varied career playing for Covent Garden, BBC SO, School with Helena Langford. While studying sociology at Stringbabies Hobgoblin Music Birmingham Royal Ballet, Welsh National Opera, RPO, West Sussex University, he had part-time lessons at the Guildhall Bridge Violins 01403 256226 or 0773 0876 311 Telephone: 01212129010 Yamaha Music Europe GmbH ( UK) End shows and her favourite gig, the Bootleg Beatles amongst School of Music with Joan Spencer, who persuaded him to do a Telephone: 01529 415 372 [email protected] [email protected] Telephone: 01908 369 235 [email protected] www.stringbabies.com www: www.hobgoblin.com [email protected] others. Sheila has always had fingers in other pies including postgraduate year full-time. www.bridgeinstruments.co.uk www.uk.yamaha.com running her own bra business called Know Knockers winning His association with Bedfordshire Youth Music began in 1968, The Sound Post Ltd Instrumental Music Take a Break’s competition Tycoon Idol in 2004. She is now when he led the then new County Youth Orchestra for a while, Cardiff Violins Ltd. Telephone: 01985 851 122 Perth & Kincross Young Grittleton Chamber Music also running a small felt making business called Felty Towers. before becoming tutor of the violins. After his studies at the Telephone: 02920 22 77 61 [email protected] Telephone: 01738 475000 Courses [email protected] www.tsp-ltd.com [email protected] Telephone: 07968 184038 Sheila has beena member of ESTA’s team since 2013. Guildhall the then new Music Advisor, Michael Rose, offered www.cardiffviolins.co.uk www.pkc.gov.uk [email protected] him a violin teaching job with the Authority, and after a year, Thomastik-Infield GmbH www.younggrittleton.org John became Head of String Instrument Teaching, a post he Cellowise Telephone: 004315451262 John Hornby Skewes & Co. Ltd. held until his early retirement in 2002. Telephone: 028904427092 [email protected] Telephone: 01132 865 381 As well as his association with Bedfordshire, John has been a [email protected] www.thomastik-infeld.com Fax: 01132 868 515 [email protected] member of the Management Committee and Council of the D'Addario Trinity College London www.jhs.co.uk European String Teachers’ Association for many years, and was Telephone: 0191 300 3011 Telephone: 020 7820 6100 appointed Chair of Council in December 2012. [email protected] [email protected] Loughborough Endowed Schools Since his retirement, John has been travelling a lot, exploring www.daddariobowed.com www.trinitycollege.com Telephone: 01509283770 [email protected] the sights and beers of over 50 countries. European Guitar SILVER http://www.endowedschools.org/ Teachers’ Association Telephone: 01484664282 Aitchison & Mnatzaganian Marlborough College [email protected] Violin Makers, Restorers & Dealers Telephone: 01672 892200 www.egba.co.uk Telephone: 01353 668 559 www.marlboroughcollege.org [email protected] Hal Leonard www.aitchisoncellos.com MusicTeachers.co.uk Telephone: 0207 929859 Telephone: 07956500022 [email protected] Alfred Publishing Company (UK) Ltd www.musicteachers.co.uk www.halleonardeurope.com Telephone: 01279 828 960 [email protected] Oxford Cello School Hencilla Canworth Ltd www.alfreduk.com Telephone: 07912 217374 Telephone: 0208 686 5050 [email protected] [email protected] British Association for www.oxfordcelloschool.org www.hencilla.co.uk Performing Arts Medicine EUROPEAN Telephone:02074045888 Royal Conservatoire of Scotland STRING Lark Group LTD [email protected] Telephone: 0141 270 8268 TEACHERS Telephone: 0203 846 5250 www.bapam.org.uk [email protected] ASSOCIATION [email protected] www.rcs.ac.uk JULIA ATKINSON PHILIP AIRD www.larkinsurance.co.uk British Suzuki Institute Telephone: 020 3176 4170 Solihull Music Service Julia Atkinson (violin) has had a busy career as both a performer Philip Aird enjoys a career in music with roles in senior MMA [email protected] Telephone: 0121 704 8001 www.estastrings.org and teacher. Her playing work has included The RPO, Northern management, performance and education. In addition to his Telephone: 01223 312 655 www.britishsuzuki.org.uk [email protected] Ballet and shows. Julia played for a season in Parma , Italy position as ESTA’s Chief Executive (UK) he is also Director of Email: [email protected] www.solihull.gov.uk President: and was a member of the Trondheim Symphony Orchestra Young Grittleton Chamber Music Courses, Joint Managing www.mma-online.org.uk C.D.Wiggins Sheet Music Bruno Giuranna Telephone: 01453 543 132 Stainer & Bell Ltd. , Norway for a year. Julia is currently a member of the Astor Director of PartPlay LTD and a member of the 1st violin section Muso Communications [email protected] 020 8343 3303 String Quartet with Sheila, and plays regularly with the quintet of the Royal Ballet Sinfonia. Telephone: 0161 638 5615 www.cdwigginsmusic.com [email protected] Vice-President: at The Ritz Hotel. Julia is Head of Strings at St Dunstan’s College His playing career includes guesting with the Royal [email protected] www.stainer.co.uk Mark Lambrecht www.musocommunications.com Cardiff and Vale Music Service in South East London. She has taught at Junior Royal College Philharmonic Orchestra, Royal Opera House, Welsh National Treasurer: of Music as well as Junior Trinity College of Music. Apart from Opera, English National Opera, BBC National Orchestra of (CAVMS) Ltd Stringwise Music Industries Association Telephone: 02920891231 Telephone: 020 7561 0864 Clarien Zetsma organising many string workshop days herself Julia coaches Wales and the Royal Scottish National Orchestra. Philip loves Telephone: 01403 800500 [email protected] [email protected] regularly on the South London Youth Orchestra Course and is musicals and has played frequently in London’s West End [email protected] www.cavms.co.uk www.stringwise.com Central Board Members: the conductor for the String Group on the Elizabeth College for shows such as Chicago, Phantom of the Opera, Carousel, www.mia.org.uk John Shayler, Summer Orchestral Course in Guernsey. Showboat and West Side Story. His studio work includes Colourstrings The Tutor Pages Kristian Kolman Oxford University Press The Szilvay Foundation Telephone: 0203 417 2851 When Julia is not working she loves walking up mountains, numerous recordings for film including Harry Potter (The Half Telephone: 01865 355 065 Telephone: 01622 815 578 [email protected] Membership Secretary: along coastal paths and to the pub to enjoy some of the local Blood Prince) and several drama series for the BBC and ITV. [email protected] [email protected] www.thetutorpages.com Isabel Hahn ales! Hobbies include exploring, Rugby and vintage port! www.oup.com www.colourstrings.co.uk
40 41 SUMMER SCHOOL SUMMER SCHOOL
MARK AND MAGGIE O’CONNOR The music emanating from great musicians of the Americas was not only for the purpose of telling their stories, but also to inspire future stories to be told. An American song or tune is a ark and Maggie O’Connor - American living artistic monument – one that changes or even transforms Classics identifies the cornerstones of itself with each era, with each musician and in fact with each repertoire, style and wonderful diversity of performance. The music can change with each performance A New American School of String Playing. because it was designed to be changed. Western European Mining a huge body of repertoire that has classical masterpieces are meant to be replicated; American made its impact on American music, the musical pieces are intended to be recreated again and again. tunesM I have selected and the arrangements I have created from There is no better musical path through which a musician can Concerts them represent stylistic importance, pedagogical value and have learn creativity. timeless appeal. 400 years of music informed by string playing in the Americas establishes relevance for the 21st century music American Classics and the O’Connor Method at its core, pushes audience as well as the student of music through the O’Connor violin playing technique and stylistic development and unlocks Method book series. It does so by returning the violin to its the key to further creativity through the improvisational spirit of rightful place at the center of the very music it helped to create string playing that has reached across the Americas for hundreds FIRE AND ICE: THE ATTRACTION OF OPPOSITES and promote. of years of music history. It also established foundational musical languages by way of four major traditional styles - Steve Bingham - violin and Prejudice (with the Bingham Quartet) - Steve Bingham and The American music styles and compositions contained in hoedown, blues, spiritual and ragtime. Jeremy Harmer - spoken word, singer Jeremy Harmer have explored the oppositions and attractions American Classics helped to create culture and inspire deep between music and words, finding in their appropriate understanding between people of various ethnicities and races. –Mark O’Connor n his final opera, the composer Richard Strauss posed combination a magical symbiosis where music enhances poetry the question ‘which is better, poetry or music?’, just as, and prose and words lead us to hear music differently and more in epigrammatic form, the poet Robert Frost muses richly. CONCERT: MARK AND MAGGIE O’CONNOR on whether fire or ice would destroy the world more AUGUST 12 7.45 PM effectively! In Fire and Ice: the attraction of opposites Steve and Jeremy will explore contrary themes such as love and hate, war and peace, In various shows - including the recorded and internationally pride and humility, age and youth etc in their typical and moving Itoured Touchable Dreams, a homage to Charles Dickens blend of melody and words from around the (mostly English- commissioned by the British Council, and a celebration of Pride speaking) world.
MAGGIE O’CONNOR PHOTO: JASON GOODMAN
Violinist and American fiddler Maggie O’Connor performs a sense of playing off of and with Mark, knowing when to assert variety of musical styles throughout the U.S. and beyond, most herself and when to be empathetic and supportive.” recently as a member of the Grammy Award winning O’Connor Band. Frequently performing with her husband, violinist Growing up in a musical family in the suburbs of Atlanta and composer Mark O’Connor, together they have appeared GA, Maggie started playing the violin at age 7 in a family as guest soloists with the Singapore Chinese Orchestra, band. Concurrently, she took classical violin lessons with the Santa Rosa Symphony, the Walla Walla Symphony, the Larisa Morgulis, a distinguished graduate of the Odessa Nashville Symphony with the O’Connor Band, and many other Conservatory in Ukraine. Playing music with her family symphony orchestras performing his compositions ranging band is where Maggie began to develop an ear for arranging, Steve Bingham is a In another life Jeremy from his “Strings and Threads Suite” to his “Double Violin recording, group playing, and improvisation; skills she has renowned violinist, leader Harmer is an internationally Concerto” and “Johnny Appleseed Suite”. The couple has embraced throughout her musical life. In her early years, she of the Bingham Quartet, and acclaimed education writer also performed violin duos around the world, including the was a member of numerous bluegrass and rock bands while conductor of several regional in the field of English as Leopold Auer Music Academy Hungary as well as the Berlin also being a member and soloist with Atlanta’s top three youth orchestras in the east of a foreign language, but in Konzerthaus celebrating the centennial birthday of the great orchestras. England. He has become music and performance he violinist Yehudi Menuhin. Maggie tours with the O’Connor known for his eclectic is a singer-songwriter (and Band, whose debut album “Coming Home” won a Grammy After growing up playing American and classical music one-man shows, and has amateur violist), a performer Award for “Best Bluegrass Album of the Year” in 2017 at the styles, Maggie continued her professional training at the produced four solo albums of prose and poetry and much 59th Grammy Awards. Along with the O’Connor Band, Maggie Peabody Institute of the Johns Hopkins University where she of music as diverse as Bach, in demand as a narrator with has also frequently performed in her husband’s ensembles studied with violinist Herbert Greenberg earning the Bachelor Piazzolla, Michael Nyman various ensembles. ranging from “Hot Swing” and “American Classics” to “An and the Master of Music degrees in violin performance. She and Mike Oldfield! Appalachian Christmas”, a hit concert tour taking place each was also a finalist in the Marbury Prize Competition for holiday season. Along with performing, Maggie continues Undergraduate Violinists while finishing up her Bachelor’s to work as co-director with Mark at O’Connor Method String degree with distinction and had the honor of being accepted Camps featuring the lesson book series that is rising in into the Five Year Advanced Degree Program along with being popularity each year. Maggie also makes unique violin peg awarded the Career Development Grant while at Peabody. She CONCERT: STEVE BINGHAM VIOLIN necklaces to raise funds for scholarships at these camps. was the recipient of full tuition scholarships while studying at JEREMY HARMER SPOKEN WORD She is also featured on her and her husband’s album “Duo,” the Aspen Music Festival and School for three years. Maggie FIRE AND ICE in which David McGee of Deep Roots Magazine claims “As a currently resides in North Carolina with her husband and technician and as an expressive player, she is formidable, has plays a beautifully handcrafted 1996 violin made by Lukas AUGUST 11 7.45 PM it all. What I find so special about her, apart from the sheer Wronski. soulfulness abundant in the music she makes, is her uncanny
42 43 SUMMER SCHOOL SUMMER SCHOOL
ARTESIAN QUARTET
MURRAY MCLACHLAN Kate Suthers - Violin PHOTO: HELEN TABOR Cassi Hamilton - Violin Matt Maguire - Viola António Novais - Cello STEVE BINGHAM AND Since making his professional debut in 1986 at the age of 21 PHOTO:STEVE BINGHAM MURRAY MCLACHLAN under the baton of Sir Alexander Gibson, Murray McLachlan has consistently received outstanding critical acclaim. Educated STRING QUARTET IN F MAJOR OP. 96 – STRING QUARTET OP. 11, at Chetham’s School of Music and Cambridge University, his ANTONÍN DVOŘÁK (1841-1904) SAMUEL BARBER (1910-81) Steve Bingham - violin mentors included Ronald Stevenson, David Hartigan, Ryszard Murray McLachlan - piano Bakst, Peter Katin and Norma Fisher. vořák arrived in New York on 17 September Samuel Barber is regarded as one of the great American 20th Johannes Brahms: Sonata no.1 in G major, op.78 1892 from Prague to take up his duties as century composers. Also an accomplished baritone, the His recording career began in 1988 and immediately attracted Vivace ma non troppo director of the National Conservatory. Despite Pennsylvania-born composer believed that the music language international attention. Recordings of contemporary music Adagio - Pui andante - Adagio his obligations on the job and as a visiting and variety of the Romanticism still had the potential to surprise Allegro molto moderato have won numerous accolades, including full star ratings, as celebrity, Dvořák continued composing. By the and for innovation. Barber’s writing is very accessible, lyrical, well as ‘rosette’ and ‘key recording’ status in the Penguin Guide end of the season he was feeling very homesick tonal and often evokes the human voice. Despite the parallel Arvo Pärt: Spiegel im Spiegel to CDs, and ‘Disc of the month’ and ‘Record of the month ‘in Dand was invited by Papa Kovarik, a school teacher and choir school of intellectual composers influenced by Schönberg’s ‘Music on the Web’ and ‘The Herald’. McLachlan’s discography master in Spillville, Iowa, to spend the summer in Spillville - a serialism, Barber managed to write in a way that connected to Sergei Rachmaninov: Slow movement from piano concerto no.1, now includes over forty commercial recordings, including the small 300 resident village made out of Czech immigrants who the public and to stay true to his vision. Many of his works are arranged by Murray McLachlan complete sonatas of Beethoven, Myaskovsky and Prokofiev, the preserved the language and culture of their native land. On 5 well established and remain popular in the repertoire. six concertos of Alexander Tcherepnin, the 24 Preludes and June, Dvořák arrived in Spillville with his wife, six children, sister, Ferruccio Busoni: Sonata no.2 in E minor, op.36a Fugues of Rodion Shchedrin, Ronald Stevenson’s ‘Passacaglia maid and secretary. Perhaps stimulated by being surrounded by Langsam on DSCH’ the major works of Kabalevsky, Khatchaturian and his culture, Dvořák started writing the String Quartet in F major The quartet begins with a Presto the complete solo piano music of Erik Chisholm. Op. 96 three days later and completed the first sketches only 72 Andante piu tosto - grave hours later. He added to the end of the manuscript “Thanks be shimmering background that Alla marcia - Vivace to the Lord God. I am satisfied. It went quickly” and completed McLachlan’s repertoire includes over 40 concertos and 25 the quartet on 23 June. Eager to hear his new work, Dvořák took serves as a cushion to the recital programmes. He has performed the complete Beethoven a violin (even though he worked back home as an orchestral pentatonic tune introduced piano sonata cycle four times, as well as the complete piano viola player) and invited three members of the Kovarik family music of Brahms. He has given first performances of works by to play it through with him. He started writing a string quintet by the viola. CONCERT: STEVE BINGHAM VIOLIN many composers, including Martin Butler, Ronald Stevenson, the following day, which he completed on 1 August. Both pieces Charles Camilleri, Michael Parkin and even Beethoven! He has MURRAY MCLACHLAN PIANO were premiered by the Kneisel Quartet in Boston on New Year’s The String Quartet op. 11 was written between 1935 and 1936, but appeared as soloist with most of the leading UK orchestras. day 1894. kept being revised until 1943. AUGUST 13 7.45 PM His recognition has been far-reaching, bringing invitations to perform on all five continents. At the same time he continues The quartet begins with a shimmering background that serves The music in this quartet has great lyricism and expression, to give numerous concerts and master classes in the UK. as a cushion to the pentatonic tune introduced by the viola. surprising for its time between the two World Wars. The McLachlan teaches at the Royal Northern College of Music The tune is followed by a second theme presented by the first movement is packed with sticky diversity and colourful and at Chetham’s School of Music in Manchester where first violin, also pentatonic – a common feature in folk songs contrasts, starting off with dramatic motifs in unison, followed he has been Head of Keyboard since 1997. He is the founder around the world. The slow movement is marked by the depth by a choral-like section and lyrical melody to finish. The middle of the Manchester International Concerto competition for of expression and lyrical beauty of the first melody, sung on movement was originally intended to be an intimate experience young pianists as well as the Founder/Artistic Director of the top of a sad and sustained, yet flowing accompaniment by the for string quartet. Barber arranged it for string orchestra in 1936, world famous Chetham’s International Summer school and 2nd violin and viola, that make the movement and emotional naming it “Adagio for Strings” and became a widely familiar melancholic aria. It is shaped like an arch, starting quietly and festival for Pianists, Europe’s largest summer school devoted piece to everyone around the globe, probably due to the fact building to an impassioned climax before fading to a subdued exclusively to the piano. that it is written in such a way that grants direct access to close nostalgically played by the cello one last time. The third people’s emotions. It is also regarded as an American treasure movement is in ABABA form, although the B section is only a As a teacher McLachlan continues to be very busy and in of the American music. The ‘Adagio for Strings’ was played at slower and minor version of the A section. The major section the funerals of Franklin Delanor Roosevelt and Albert Einstein, demand. Many of his students have won prizes in competitions is very lively and dance-like, while the minor section sounds and continued with their own successful careers as performers. broadcast to the nation after the assassination of John F. Kennedy Murray McLachlan is a pianist with a very mysterious. The middle section of the 1st theme is based and played in orchestras around the world in the wake of the on a song of the scarlet tanager which Dvořák picked up during 9/11 tragedies. Its solemnity and ardent expression embody virtuoso technique and a sure sense of Murray McLachlan is editor of ‘Piano Professional’ Magazine, as his walks around the village. Legend says the bird alighted by feelings of profound loss and grief in a blend of sorrow, hope line. His timing and phrasing are well as Chair of the UK section of the European Piano Teachers’ his window and started singing the tune Dvořák borrowed for and beauty. Barber achieved this by writing an expended melody Association (EPTA UK). As well as performing and teaching, this movement (“this damned bird… red, with black wings”). using step intervals and numerous repetitions. The music moves impeccable, and his tone-full but he is well known internationally for his numerous articles The quartet ends with a Rondo Finale that begins immediately very slowly and resembles Gregorian chant which moves into a unforced in the powerful passages, on piano technique and repertoire. This includes extended with a rhythmic pattern that may be an adaptation of an Indian powerful climax at the high end of the instruments range. The columns which have appeared in ‘International Piano’ ‘Pianist’ drumming. A couple bars later, the 1st violin announces a joyful climax vanishes into one of the greatest movements of silence in gentle and restrained in the more and ‘Piano’ Magazines. In 2012 he was awarded an honorary tune with and around the beat, followed by other melodies with all music history. lyrical- is a perpetual delight doctorate by the University of Dundee for outstanding services the same spirited humour. Dvořák slows down the tempo in the to music and education. This follows on from a knighthood middle of the movement with a chorale, probably derived from awarded in 1997 by the Order of St John of Jerusalem in one o the hymns he played on the organ for services at Saint CONCERT: ARTESIAN STRING QUARTET BBC Music Magazine Wenceslas in Spillville. There is a short restatement after the recognition of his services to music in Malta. AUGUST 14 7.45 PM chorale that ends the work with great joyous optimism.
44 45 A major second.
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