1 ' f t' I '

THE WINSTON CHURCHILL MEMORIAL

TRUST OF AUSTRALIA

Report by Anna Sleptsova

The Mr. and Mrs.Gerald Frank New C.l\urchill Fellowship To integrate pedagogic elements of Western and Russian piano teaching for implementation in Australia.

Anna Sleptsova MMus(Hons)

102 Leake Street Bayswater 6053 Western Australia Tel/Fax: 08 9272 1025 asleptsova@hotmail. com TABLE OF CONTENTS

Introduction 3

Executive Summary 4

Program 5-8

Main Body: Places, People, Events 9-14

.C-onclusions and Recommendations 15 3 INTRODUCTION

In July-August 2001 , I travelled to France, Switzerland, United Kingdom and Germany to attend masterclasses, conferences and festivals. I had the pleasure and the honour to represent Australia as a Churchill Fellow in these memorable events. My next planned destinations were New York and Banff, Canada. However, events of September 11 forced me to return home and I was able to complete the fellowship in January 2002. My aim was to investigate piano teaching techniques around the world and because of this valuable learning experience to enhance my own piano playing and teaching as a part of the Australian Music education system.

I would like to acknowledge those people in Australia who made this discovery trip possible:

Mrs.Patricia New, who generously sponsored my Fellowship

Emeritus Professor David Tunley, Professor Roger Smalley and Prof Vincent Moleta­ highly respected referees of mine

The trustees and committee members of the Winston Churchill Memorial Trust who awarded me with fellowship

The staff of the Trust, in particular Meg Martin who were at all times helpful and supportive

My students and their parents who missed regular lessons with me

My family, friends and colleagues who believed in me making this fellowship successful and beneficial. 4

EXECUTIVE SUMMARY

Anna Sleptsova, MMus (Hons) The Mr. and Mrs. Gerald Frank New Churchill Fellow 2001

102 Leake Street Bayswater 6053 Western Australia Tel/Fax: 08 9272 10 25

Occupation - Concert Pianist, Piano Performance Teacher on tertiary level since 1992. Unfortunately, after returning from the Churchill Fellowship, I was not offered an employment at UWA were I was teaching since 1997. Therefore, I am a Freelance Performer and Teacher.

Project description: To study the latest methods and approaches in western piano performance teaching for the purpose of integrating elements into teaching in Australia.

Highlights:

It was a most inspiring and informative journey in my life-a highlight of my professional development! However, I would consider the Taubman Approach to piano playing as the main discovery I was looking for. When in Oxford, during the European Piano Teachers Association Conference, I attended the lecture about this powerful technique, presented by Edna Gollandsky, co-founder of the Taubman Institute. Immediately, I knew -I was searching this philosophy for years! Pianists in Australia do not know this unique Taubman approach. I am determined to share the knowledge, experience and expertise I have gained abroad with my colleagues and students everywhere in Australia. I have already presented two workshops for piano students at the Western Australian Academy of Performing Arts and continue to seek every opportunity to implement this powerful method in piano performance. 5

PROGRAM SUMMARY

French Piano Institute Piano Festival July 4-20,2001 , La Schola Cantorum

July 4- 6am -Arrival Recital by Roger Muraro July 5-Performed in Public Master Class with R.Muraro July 6-Master Class with R.Muraro Recital by Jean-Efflam Bavouzet July 7-Master Class with J.E Bavouzet July 8- Performed in Master Class with J.E Bavouzet July 9-0ut-of-town excursion - to Amboise and Azay le Rideau July 10-Lecture on "Humour in Debussy "by Guy Sacre July 11 -Lecture/Demo "French Teaching Repertory Performed in Master Class -G.Delente Recital by A.R.El Bacha July 13- performed in Master Class with A.R.El Bacha Soiree Musicale July 14- Master Class with El Bacha July 15-Recital by Dominique Merlet July 16-Performed in Master Class with D.Merlet July 17- Master Class with D.Merlet Recital by Neil Rutman July 18- Master Class with D.Merlet July 19- Performed in Final FPI Recital The " Sweet Sorrow" of parting. July 20- Departure by train to Verbier

Verbier Festival and Academy, Switzerland

July 21-28 - attendance atMasterclasses by D.Bashkirov, J.Silverstain, R.Diaz, L.Harrel. In one short week, I met and observed many famous musicians in rehearsals and performances -among them are the legendary names of , Evgeny Kissin, Ida Haendel, Leif Ove Andsnes, and Emanuel Ax. Alongside with established names, young artists were demonstrating their skills in various free concerts. 6

Oxford,UK EPTA Conference

Wednesday, 1 August 9.15-Psychology for Performance-Lucinda Mackworth-Young 10.15-Music and Dyslexia- Sheila Oglethorpe 11.45-Baroque Dances - Nicola Gaines 2.15-' The Big Picture' Keynote Speaker Lucien Jenkins 2.30-Christofer Norton Workshop: Exploring Modem Style 5.00-The Music Practice-Angela Ross 5.15 Honours Recital-EFTA UK Piano and Composition Competition winners 8.15pm -Recital by Tom Poster - BBC 2000 Young Musicians Competition keyboard finalist.

Thursday, 2 August 9:00 -The Magical Flow-Sally Chapppell 10:00 -World Piano Pedagogy Committee on Historical Perspectives 11.00-The Taubman Approach - Edna Gollandsky 2.15-Dr.Peter Renshow, Keynote Speaker 2.30-Creative Approaches to instrumental Teaching-Sean Gregory 5.00-Beethoven Master Class by Marious Papadopoulos 8.15pm- Recital "Authentic Gershwin": The Piano improvisations recreated by Jack Gibbons

Friday, 3 August 9.00- Sparking the Musical Imagination-Jenifer Snow 10.00- an exploration of Repertoire Arranged for Piano Duet-A. Applin & G.Pratley 11.45- The Piano Lesson from a Dalcroze Perspective-Jacqueline Vann 2.45- Keynote Speaker Susann Hallam-Learning to Play an Instrument in the 21 st Century. 8.15pm-Music for a Summer Evening-Recital Luiz de Moura Castro

Saturday, 4 August 9.00-Four Centuries of keyboard Music-Martin Souter 10.00- The Art ofRubato- Graeme Humphrey 2.00-The Secrets ofMusical Confidence 3.00-Lecture-Recital by composer Lionel Sainsbury 5.15-Edna Gollandsky Master Class 8.00pm-Angela Hewitt with the Oxford Philomusica, conducted by Marious Papadopoulo 7

The Oxford Philomusica International Piano Festiva12001

Sunday, 5 August 16.30- Master Class by Bryce Morrison 20.00-Lecture "Eileen Joyce: a celebration a cautionary tale". Lecturer: Bryce Morrison

Monday, 6 August 9.30- 12.45- Master Class by Oxana Yablonskaya 14.00-16.00- Master Class by Neil Immelman 8pm -Piano Recital by Filippo Gamba-Winner of the Geza Anda Competition

Tuesday, 7 August 9.30- Master Class by Filippo Gamba 14.30-Lecture"Motion in Music" by Marious Papadopoulos 16.30-Master Class by Oxana Yablonskaya 8 pm- Piano Recital by Pierre-Laurent Aimard

Wednesday, 8 August 9.30- 16.00-Master Class by Pierre-Laurent Aimard 16.30-Lecture Recital- performing on two pianos Olga Balakleets/Julian Gallant 8pm - Piano Recital by Festival Participants

Thursday, 9 August 10.00-Master Class by Maria Curcio 14.00-Lecture "Forgotten Melodies:Nicolay Medtner unearthed ".Lecturer: Francis Pott 16.30- Master Class by Maria Curcio 8 pm- Piano Recital by by Oxana Yablonskaya.

Friday, 10 August 9.30- Master Class by Cristina Ortiz 16.30-Lecture"Backing into the future:a study of transcription as innovation". Lecturer:Malcolm Troup 8 pro-Chamber Music:Neil Immelman , Yuri Zhislin,Matz Lidstrom

Saturday, 11 August 9.30- Master Class by Michael Young 11.00- Master Class by Maria Curcio 14.00- Master Class by Menahem Pressler 8pm-Oxford Philomusica Orchestra with Cristina Ortiz

Sunday, 12 August 10.00- Master Class by Rosalyn Tureck 14.00- Master Class by Menahem Pressler 8 pm-Final Piano Recital by Festival Participants 8

Masterclasses at the Musikhochschule Lubeck, Germany 15-22 August 2001 Leonard Hokansen conducted daily piano workshops-an integral part of the Schleswig­ Holstein Music Festival program.

The Banff Centre for the Arts Short-term Residency 12- 25, January 2002 13-18 January - working with distinguished visiting artist Menahem Pressler. The program included: private lessons, observing him teaching piano and chamber music, attending his rehearsals and performance of Dvorak Piano Quintet. Also attended and participated in several concerts as a soloist and chamber musician. In general, it was an intensive artistic exchange with fellow-musicians from many countries and diverse musical backgrounds.

New-York, USA January 27-February 5 The Taubman Institute: Lincoln Center Library: watching videos on the Taubman Approach Daily lessons with Edna Gollandsky, observing lessons. Meetings, interviews, observing lessons: Yoheved Kaplinsky-Chair ofPiano Department at Julliard School ofMusic Bruce Brubaker-Piano Dpartment, Julliard School ofMusic Phillip Kawin-PianoFaculty of Manhattan School ofMusic Brian Hill-Music Department, Oxford University Press. January 25-February 1,2002- attended Festival of Contemporary Music in the Julliard Theatre. 9

MAIN BODY

Before I started my Churchill Fellowship, I was considered mainly as a product ofthe"Russian Piano School," which is famous for exceedingly solid and thorough training. Since the very beginning of my teaching in Australia, I felt that a more creative and perhaps less rigid and idealistic approach could be more useful here. I came to the realization that I could assimilate my musical heritage if I remain open-minded and go on growing as a professional and individual. I knew also that various schools of thought are products of environments and attitudes, it is therefore important to visit and explore such environments. It was altogether an overwhelming experience, to feel the ambiance of the places, to talk and mingle with musicians and non-musicians, to see how certain elements were taking precedence over others in the process of creating a specific creative ground.

In Paris, The French Piano Institute offered an excellent opportunity to learn both traditional and contemporary styles of piano playing in France. The exclusively French Faculty was sharing with us the art of authentic interpretation of French music. The festival took place in the Schola Cantorum.It is located in the Renaissance comer of the Latin Quarter, which leads to the beautiful church ' Val de Grace '. Famous Debussy, Messian, Satie, Albeniz had all been associated with the Schola since its establishment in 1896. The Internationally acclaimed Faculty included D. Merlet, J.E.Bavouzet, R.Muraro, A.R El Bacha, and G.Delente. The Master Classes, presented from the individual angle of each artist, have created a well-balanced picture of uniquely French piano style. The recitals were very different from one to another and yet, I was totally convinced by the way each artist played. It was also fun to practice in old historic rooms, filled with different grand pianos like Pleyel, Erard, Gaveau, Sauter.Each piano had a distinct feel, sound and appearance, although they are no longer being made. The opportunity of such exploration helped me, no doubt, to find the feel of the distinctive color and aesthetics of French piano sound. It was definitely beneficial for me, who had never been in Paris before, to have such a rewarding exposure to French Musical Culture. 10

In Verbier, I had a marvelous week of indulgence in music. Every day I went to Master Classes, rehearsals and workshops. The Concerts (of highest standard) were going non-stop. The atmosphere of Verbier is a very special one -it is sheer magic and surprisingly casual at the same time. I encountered some of the great pianists of our time- Martha Argerich, Emmanuel Ax, Dmitri Bashkirov, Evgeny Kissin, Leif Ove Andsnes. There was no time left for lengthy conversations or discussions - it was a musical, not academic world, after all. In chamber concerts, I heard them playing with Ida Haendel, Yuri Bashmet, Misha Maisky, and Lynn Harrel. Notable, that the young emerging artists shared the platform with the'legends' . Among them, such piano' sensations ' as Lang-Lang, and Arcadi Volodos. In addition, free performances in varied settings were in abundance. On my last evening there, Verbier Festival Youth Orchestra conducted by James Levine, performed the glorious Mahler Symphony #3. As a performer and teacher, I learnt a lot from the exposure to this standard in performance and from the cosmopolitan spirit of Verbier. I played in many festivals in many countries. However, I found it beneficial and necessary to experience the role of an audience again. As full time musicians, we are so busy to make a living that we do not have any time/energy/resources to be concertgoers anymore!

Oxford - was yet another new adventure for me. When I came to Australia in 1995,my English was below a' survival' level. In August 2001 , I took part at the International Conference of Piano Teachers, and my English was good enough to communicate freely with my fellow pianists who spoke mostly 'Oxford' English! The European Piano Teachers Association Conference in Oxford was an excellent occasion to talk"pedagogy", to listen, to watch, to question and see what is different and what is common for us pianists. Patricia Powell, an active performer and educator herself, organized and put together a most informative program. The aim of the gathering was reflected in the title "Music, Hearts and Minds. Linking Pedagogy with performance." In these four days, the old notion that playing and teaching are separate disciplines was strongly challenged. There were teachers playing and players teaching, interactive workshops for both pupils and teachers, composers who perform, and performers who compose. It was without doubt a well balanced, efficient and informed way to promote the progressive concepts in the field. Edna Gollandsky, the Associate Music Director of the Dorothy Taubman Institute in the US, presented a lecture of introduction to the Taubman approach to piano playing. For me it was the moment of Discovery! However, I did not approach Edna right away. Why? -I needed more time to reflect and to do my research. In addition, I was trying to avoid the disappointment of finding another "miraculous" method. I knew that I would be more ready to investigate when in New York, as planned, in September.Meanwhile, the conference ended. The last concert, at the historic Sheldonian Theatre was already the tart of the Third International Piano Festival. 11

The Oxford Philomusica International Piano Festival 2001

Established in 1999,the Festival has a global reputation. Masters like Rosalyn Tureck, Maria Cursio, Menahem Pressler, Pierre-Laurent Aimard, Oxana Yablonskaya, Cristina Ortiz came in 2001 to teach 75 students from every continent. The residential course provided masterclasses, lectures, and concerts on a daily basis. Classes took place at the Jacqueline du Pre Music building and University Faculty of Music. The city of Oxford is a magnificent place to study, and the peaceful setting at St. Hilda's College, by the River Cherwell is a delightful place to relax and contemplate. As an active participant, I experienced what it is like to be a student in the West today.

It was my privilege to hear a living legend, Rosalyn Tureck, described by the New York Times as the"high priestess of Bach." Marios Papadopolous shared freely his profound knowledge of playing and teaching Beethoven without a hint of imposing his ideas on you. I was delighted to meet Menahem Pressler, the founder and member of the Beaux Arts Trio since 1956. For me he is the most inspiring example of music excellence and dedication. I will go and study with him later, in my next chapter. I had met Oxana Yablonskaya, who left Russia in 1977, when I was a student there. Those days it was dangerous even to pronounce her name! I totally admired the emotional intensity of her music approach and full command ofthe instrument. Cristina Ortiz's appearances were full ofBrazilian passion and spontaneity. She is brilliant in performing and has a special gift for communicating with students through Masterclasses. French pianist Pierre-Laurent Aimard, is a leading figure in the world of 20th century Music. His name is closely associated with music of such composers as Messian, Boulez, and Ligetti. He performs throughout the world with the most eminent orchestras and conductors. Above all, he brings a very personal light on music, which was evident from the recital he gave in Oxford. Maria Curcio did not fit the picture of a formidable Grande Dame of the piano- she had the warmest smile I ever saw in Masterclasses! Pianist from all over the world have sought her help and advice including artists of international reputation such as Marta Argerich, .Peter Frankl, , , Pierre -Laurent Aimard, Niel Immelman, Eric LeSage and . Admittedly, the Festival had a most impressive list of the world's leading authorities on piano performance: internationally famous concert performers,teachers,music critics and writers, broadcasters,researchers.What can I say-I was fortunate to be there ,in 2001. The final concert of the Festival took place in the oldest Concert Hall in Europe-the Holywell Music Room. To represent Australia, at such an occasion was a rewarding and memorable experience for me. 12

From England, I went to Lubeck, Germany.

Unfortunately,Leon Fleisher cancelled his much anticipated visit to Lubeck at the very last moment. It was too late for me to change my route and I decided to attend. Professor Leonard Hokanson, who is teaching at the Indiana University School of Music, replaced Fleisher. He also studied with legendary Schnabel, who was probably the most important influence on music performance in 20 century- his Music Legacies are timeless.

Despite my initial disappointment, the week in Lubeck turned out to be very productive. The exposure to one teacher of a high caliber like Leonard Hokansen allowed me to learn in depth the historic roots of his Viennese pedagogic style. It brought to me a series of revelations about music re-creation. Again, I was convinced that every young musician should try to extract a maximum information from one teacher first, until he is mature enough to absorb the wider range of influences.

Masterclasses at the Musikhochschule were part of the Schleswig-Holstein Music Festival. Leonard Bernstein created an orchestral academy for young instrumentalists,and every year 500 students from all over the world apply for these masterclasses. I heard this orchestra, performing with great cellist Yo-Yo Ma and Eschenbach as conductor- very impressive, indeed. The Musikhochschule is situated in the middle of the beautiful historic town of Lubeck. The facilities of these premises, as well as the organized structure of the course created a very satisfying learning environment.

Events of September 11 did not allow me to complete my Fellowship as planned. When I discussed the situation with Meg Martin on the telephone, she suggested skipping New York and going to Canada only. However, I knew already how important the New York visit was going to be in my pursuit of The Taubman Technique. I decided to wait for better timing. I would like to thank The Trust for giving me the extra chance. In January 2002, I went around the world again .In three days, with a short visit to Hong-Kong and overnights in London and Calgary (an inventive Qantas itinerary), I made my way to

The Banff Center for the Arts in Canada

I had met Menahem Pressler in August, during the Festival in Oxford. When Mr.Pressler confirmed his visit to Banff in January, I took the opportunity to study with him. Mr.Pressler was born In Germany and received most of his early musical education in Israel. In 1946, he won the Debussy competition in San Francisco, which started his career in US. In 1956 the Beaux Arts Trio was formed-perhaps, the most successful and recorded chamber group in music history. 13

For the following 44 years he has pursued and expanded internationally a three-track career as a soloist, chamber musician and teacher. In 1998, Mr.Pressler received one of only five Lifetime Achievement Awards granted in the last fifty years by Grammophone Magazine, placing him in the distinguished company of Joan Sutherland, Sir Georg Solti, Dietrich Fischer-Diskau and Yehudi Menuhin. Mr.Pressler holds the position of Distinguished Professor of Music at Indiana University. In Banff, I had an opportunity to work with "The Master" for a whole week. It is unbelievable luxury, considering how busy he is ! As a person, he is extremely warm, enthusiastic, and full of enormous vitality. Apart from individual lessons and attending his sessions with other musicians, I spend almost all remaining time talking, or rather listening to his fascinating stories and anecdotes. Often Marc Durand, a well-known Canadian pedagogue, joined our "round table"in the dining room. I loved to watch Mr.Pressler's daily rehearsals and the memorable performance - Dvorak Piano Quintet with the young talented quartet from Australia. I will always remember my lessons and days spent with the great Artist, Menahem Pressler, who set an impeccable musical example for me. Without exaggeration, I can say that The Banff Center for the Arts is a unique place for renewal and inspiration, for meeting new friends, for exchanging ideas and playing music together. When magnificent nature and rich creative spirit combine in such a setting, it is a most cherished experience one can get.

New York, The final stage of my project and the most innovative and crucially important for my professional development. While all previously described stages were, without doubt, gratifying and beneficial, the Taubman Approach transformed me totally. The essence of my time in New York was to learn as much as I could about, what I think, the most liberating piano technique. Dorothy Taubman has spent more than forty-five years of study and research in the field of piano pedagogy. Her concepts and principals are revolutionary, but based on knowledge of physiology and coordinate motion. The Approach enables pianists to play with technical security and ease. Taubman says:" The body is capable of fulfilling all pianistic demands without a violation of its nature if the most efficient ways are used; pain, insecurity and lack of technical control are symptoms of incoordination rather than lack of practice,intelligence,or talent". Taubman and Edna Gollandsky, her associate and former student, launched the institute in 1977,with an annual summer program and International Piano Festival. The reputation of the Institute and the Festival is growing rapidly and The Taubman Approach has been praised in numerous publications. Edna Gollandsky is the leading exponent of the work of Dorothy Taubman.She is earning wide acclaim throughout the United States and abroad with lectures and Master Classes on the Taubman Approach. 14

Edna had a schedule ready on my arrival in New York. First, she suggested I see some of the 10-part videotape series on Taubmann technique in Lincoln Centre Library. Watching these videos was a revelation. In my own teaching practice, I have repeatedly encountered physical rigidity of all kinds in students of all ages. Very often, it is the result of wrong and uninformed technical foundation. Some of my empirical solutions to these problems were similar to what I discovered in Taubman's system. Consequently, I saw the benefits for my own playing and teaching immediately. I took the opportunity to learn as much as I could about the work of Taubman's genius with Edna Gollandsky .I had daily private lessons and was observing her teachings. In addition, Edna kindly altered her schedule in trying to fit me in. Apart from doing an intensive course on Taubman, I interviewed some authorities in Piano. Yoheved Kaplinsky is The Head ofPiano Departament in Julliard School of Music. She also studied with Dorothy Taubman. According to her, this Approach is the main tool of her own piano teaching at present. Bruce Brubaker, also from Julliard, is a brilliant exponent of contemporary music. He shared with me his ideas about future in music. I met Phillip Kawin and observed his brilliant teaching in Manhattan School of Music. The rest, and very little, of the time was spent going to free concerts in Julliard and catching up with friends. After a very productive ten days, it was time for me to go home. 15

CONCLUSIONS AND RECOMMENDATIONS

While away, I consumed music avidly. I experienced a total submersion in music, which brought me to a higher level of understanding ofPiano Performance and Teaching. I feel that my goals for the study period were achieved in many ways. I have gained more confidence in my professional skills. My goal now is to inform the music community of Australia of the knowledge and expertise I have acquired abroad.

I have already presented two workshops at the Western Australian Academy of Performing Arts on the innovative Taubman Approach. The response from piano students was overwhelming. The Western Australian Music Teachers Association invited me to present workshops and master classes in 2003.

There are many ways how I will implement my newly acquired knowledge:

•!• to introduce the Taubman Approach to the music community in Australia through publications

•!• to conduct Interactive Teaching Demonstrations with students of all levels

•!• to play lecture-recitals around the country

•!• to present The Contemporary Piano Technique Course for students and teachers who seek help

•!• to assist in improving of the instrumental/piano training at secondary level,the area of music education that needs improving the most

On my return from the Churchill Fellowship, I intended to continue teaching at tertiary level; ironically, my employment at UWA was discontinued soon after I came back. It means, that tertiary students have not yet benefited from the insights I gained during my Fellowship. I can only hope for the situation to improve in the future.