By Kate Powell Every once in awhile you get the opportunity as a musician to substitute for another musician: sometimes it’s a well known community orchestra or a spot in the Kennedy Center pit. What’s important is making the most of these opportunities and leaving the door open for such opportunities again. Below is a list of key things to remember when you are called upon...
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December in the studio can be a stressful time for your students. They are likely busy at home, and some may have end of the semester commitments such as choir/drama performances or school finals. With so much going on, this can be a nice time to take it a bit easier on your students and boost their morale by having some holiday fun. Here are a few suggestions for planning holiday parties/activities at the studio:
The purpose of a masterclass is to give students an opportunity to perform for and be critiqued by an esteemed artist. Performing for a master teacher is considered an honor and an educational opportunity. Observing a masterclass is a rare opportunity to see a great artist at work.
History
The idea of a masterclass was first developed by Franz Liszt in the 19th century. Liszt was one of the most revered and sought after teachers of his generation. He is said to have more than 400 students; many of whom were famous such as Carl Tausig, Hans von Bülow and Emil von Sauer. At these early masterclasses, pianists as well as composers, violinists, cellists, singers, and even painters and poets would gather in Liszt’s home in Weimar to experience his teaching. A rather intimidating experience, it is said that students would enter the music room first and place their scores on the piano. Upon Liszt’s entrance, students would stand respectfully while Liszt went to the piano, leafed through the scores and chose the music to be performed.
This month, I did something at my studio that I’ve never done before — I used my studio to raise money for a local charity.
We have a very beloved charity in our area that works with children with disabilities. Each summer, they host a camp for children undergoing cancer treatment, and invite those children and their families to spend a week in the mountains enjoying outdoor activities, musical therapy and fellowship with one another.
To make this recital unique and also get my students excited about the opportunity, I kept my expectations simple and let them have control. I gave them the option to play between one and five songs of their choice, and called the recital a “Play-a-thon”. Pieces didn’t have to be memorized, and they could be any pieces that they have learned in their time with me. Students LOVED this freedom, and even though we had a few random Christmas pieces thrown in the mix, it was fun for me to learn the pieces that they consider all-time favorites.
By Julia Kossuth As October wraps up and we further approach the holiday season, I want to incorporate celebration and festivity into my lessons, studio atmosphere, and music that my kids learn, of course. This will not only be enjoyable for me as I teach, but also keep piano lessons relevant to everything else going on in the students' lives. Here are a few of those ideas: 1....
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