Marga Richter’s Character Sketches for piano
November 2011; Vol. 3, No. 6
Easy-to-intermediate level twentieth-century teaching works Marga Richter has said she might be characterized as the ultimate “accidental” composer (no pun intended), although, in her own words, some of her music is exceedingly, even obsessively chromatic. Richter was born in Reedsburg, Wisconsin, into a musical family. Her...
A finger in every pie
November 2011; Vol. 3, No. 6
For teachers brave enough to ask students to perform their first improvisations, the excuses are all too familiar: “I don’t know what notes to play”, “I don’t feel the rhythm”, “It’s too hard”, and–eventually–just plain “I can’t do it”. There are many factors preventing students...
March 2011: Winds of Change
March 2011; Vol. 3, No. 2
In the ongoing effort to stimulate my students, I have occasionally tried an all-studio repertoire project. For example, in the winter of 2009 my students performed two recitals devoted to the complete solo piano music of Maurice Ravel. This turned out to be a splendid...
Thoughts on the Tiger Mom debate
July 2011; Vol. 3, No. 4
To say that Amy Chua has touched a nerve with parents is an understatement akin to saying that Franz Liszt had an influence on piano performance and teaching. Since the publication of her book Battle Hymn of the Tiger Mother in January, and the subsequent Wall Street Journal article...
Musical education is about more than music – An interview with Livia Rèv
July 2011; Vol. 3, No. 4
“Very interesting. But not beautiful.” Livia Rév is examining some modern art on the main floor of the Institut Hongrois in Paris, an exhibition that was set up between the start of her master class that morning and the lunch break. The Hungarian pianist, who stands barely...
Frank Glazer
July 2011; Vol. 3, No. 4
Many people have played all thirty-two Beethoven Sonatas in one concert season before, but I would be willing to bet that no one has done it for the first time at age ninety-five. Frank Glazer holds a unique place among concert pianists and teachers. He...
A left-handed complement to Frédéric Chopin: An interview with Ivan Ilić
July 2011; Vol. 3, No. 4
American expatriate pianist Ivan Ili´c has just finished a semi-private recital of Godowsky’s Chopin transcriptions for the left hand at his Bordeaux apartment, and the thirty guests are sipping Bordeaux rouge in his dining room. Most of us had been unfamiliar with the repertoire before...
Introductions and endings
July 2011; Vol. 3, No. 4
A really great meal is made even better with a tasty appetizer and dessert. A Christmas tree is just not complete without a shining star on top and a decorative skirt around the base. In the same way, a pop or jazz arrangement can go from...
A survey of current methods: Succeeding at the Piano
July 2011; Vol. 3, No. 4
This issue continues Clavier Companion’s survey of piano methods. Each article in this series has three sections—an introductory synopsis by the Associate Editor, two articles written by teachers who have used the method extensively in their studios, and a response from the authors of the...
Music for one hand
July 2011; Vol. 3, No. 4
When I was in eighth grade, I fell while roller-skating and broke my right arm just above the wrist. I assumed that piano lessons would be on hold for at least six weeks as it healed, but instead, my teacher assigned me a piece for...
Why should I consider having my piano tuned in anything but equal temperament?
July 2011; Vol. 3, No. 4
Three years ago my piano technician, Robert Guenther, asked me if I wanted to try out a well-tempered tuning on my 1913 Steinway Model O. We have known each other for decades so he was aware of my interest in the science of music, including...
RMM really is for everyone!
July 2011; Vol. 3, No. 4
Seniors enjoying Clavinova Connection at Colerain Township Center, OH. The Recreational Music Making movement is all about inclusiveness and creative self-expression. Embedded in the RMM philosophy is this statement: No matter what music background you may or may not have, no matter what physical or...
Life after graduate school: The importance of a mentor
March 2011; Vol. 3, No. 2
Editor’s note: Clavier Companion is committed to bringing you the best writing from teachers and artists who are established leaders in our field. The perspective of our future leaders remains important as well, and we want to provide emerging professionals with an opportunity to express their...
An Interview with Anton Nel
March 2011; Vol. 3, No. 2
Solo recitals in Mexico and South Carolina, featuring works by Granados, Debussy, Beethoven, and Chopin. Performances of the Grieg and Schumann concerti with orchestras in Indiana and Illinois. A violin and piano duo recital in Austin performing sonatas by Mozart, Beethoven, and Franck. Another duo...
Basic crescendo: What is wrong with it?
March 2011; Vol. 3, No. 2
The crescendo. It is a basic and universal musical concept, one of those words that has drifted out of the realm of music and into the everyday lexicon to describe anything that is building, increasing, gathering momentum. The concept (getting louder) is easy enough for...