In a recent post, The Masterclass: Then and Now, I discussed the purpose and importance of a Masterclass. Masterclasses are an integral part of my studio and I usually hold two or three per studio year. I enjoy the benefits of having my teaching validated by another colleague and it is so helpful for students to hear the some of the same ideas reinforced...
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Every year, many of my piano and voice students participate in our local Junior Festival, hosted by the Illinois Federation of Music Clubs. Preparation for Festival begins in November when they choose their pieces, and then they work hard for the next four months learning, memorizing, and perfecting.
Needless to say, it’s a stressful time of year not only for my students, but for me as their teacher! The Festival is held over two weekends in late February, and it is only afterwards that we can all breathe a little easier.
I like to celebrate my students’ successes following Festival season, even if just in a few simple (and sometimes silly) ways. More than anything, I want them to know how proud I am of their hard work and performances.
Have you ever done a field trip with your studio? I’m attempting one — sort of.
Each year, our local symphony holds a children’s symphony — a free, interactive performance that plays lots of kid-friendly songs…and lasts under an hour.
While I’m not exactly organizing and transporting the 30 students in my studio to the event (I can barely keep track of my own two kids), I am encouraging everyone to attend and providing supplementary material at music classes and for parents. Here’s what I’m doing for students enrolled in piano lessons at my 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.