Power of a Piano Teacher

Thank You!

Written By Heather Smith, Jennifer Snow

As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to the Frances Clark Center.

We extend our deepest gratitude for your incredible support on #GivingTuesday!

Together, we’ve accomplished something truly remarkable. Thanks to your generosity, we exceeded our $10,000 goal, including a matching gift of $5,000, in support of The Frances Clark Center’s mission to empower teachers, inspire students, and enrich communities through music education.

Your donations will have a substantial impact, and we are immensely grateful for your contribution. Your belief in our cause propels us forward in our efforts to make a difference.

Even though #GivingTuesday has concluded, there is still an opportunity to donate. While this day holds immense significance, it is just one moment within our broader Annual Fund initiative.  

Help us continue this vital work by contributing today:

Give now

We deeply appreciate your ongoing support and dedication to music and piano education. Together, we’re creating meaningful change and shaping brighter futures through the power of music.

With heartfelt thanks,

Dr. Jennifer Snow

CEO and Executive Director

[email protected]

Heather Smith

Director of Development and Advancement

[email protected]

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page. 

We extend a heartfelt invitation to join us in commemorating Marvin Blickenstaff’s remarkable contributions by making a donation in his honor. Your generous contribution will help us continue his inspiring work and uphold the standards of excellence in piano teaching and learning for generations to come. To make a meaningful contribution, please visit our donation page today. Thank you for being a part of this legacy.

Donate Online

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Dr. Jennifer Snow is an internationally recognized executive, artist, educator, and thought leader. She leads all divisions of the Frances Clark Center: Piano Magazine, NCKP: The Piano Conference, New School for Music Study, Piano Education Press, International Teacher Education, Piano Inspires, and Piano Stories on Stage concert series. Passionate about the transformative power of the arts, Jennifer is dedicated to serving and advancing the mission of the Center.

Heather Smith maintains a multi-faceted career as an educator, administrator, music examiner, and community arts advocate. She is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. Heather holds advanced degrees in music and business and enjoys supporting communities through music fundraising initiatives.

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The Joy of Giving

Written By Heather Smith

As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

As the year draws to a close, I find myself reflecting on how giving has profoundly influenced my life. I have experienced the joy, fulfillment, and transformation of being on both the receiving and the giving ends. The act of giving, whether through financial contributions, volunteering, or acts of kindness, has enriched my life in ways that are immeasurable. It has allowed me to connect and learn from inspiring individuals, and this has expanded and clarified my purpose.

In my journey through the world of music education and my experience with the Frances Clark Center, I have had the privilege of witnessing the incredible power of giving. My first encounter with the Frances Clark Center was as a subscriber to Clavier Companion, now Piano Magazine. I read an article by Scott Price that left a lasting impression on me. The article discussed how piano lessons can be more than just an educational experience for a student with disabilities. It was a powerful reminder of the broader impact music education can have on individuals.

One of the most significant moments in my teaching journey came when I had the opportunity to work with a student with cerebral palsy. This student, whom I adored, came to her piano lessons each week with unwavering enthusiasm and a radiant smile. She progressed at her own pace and motivated me to be a better teacher every week. She inspired me through her pure love for music.

This student struggled at school due to bullying and isolation from her peers. The world was a challenging place for her, but during our piano lessons, she found solace and a sense of belonging. She looked forward to her lessons because she loved music, and more importantly, she felt accepted and cared for.

It was through this experience that I truly grasped the significance of the Frances Clark Center. The magazine article helped me realize that the impact of music education goes far beyond the notes and the keys. It is a gateway to a brighter, more inclusive world for those who need it most.

The joy of giving lies in the transformation it brings to both the giver and the recipient. I am reminded of the inspiring words of Kathy Calvin, United Nations Foundation CEO, who said, “Giving is not just about making a donation. It is about making a difference.” The Frances Clark Center’s unwavering dedication to support piano teachers and students resonates with my own experiences and values in a profound way. Its sole purpose is to uplift and empower piano teachers, and I have seen this firsthand. 

As the Director of Development and Advancement for The Frances Clark Center, I have witnessed the tireless efforts put forth to support piano teachers and their invaluable work in shaping the lives of students.

Heather Smith
Director, Development and Advancement

What makes this journey even more enriching is hearing the countless testimonials from teachers whose lives have been touched by The Frances Clark Center. I have listened to their heartfelt stories, their triumphs, and their challenges. I am deeply moved by the impact this organization has had on their lives.

One teacher from the southwestern United States expressed that The Frances Clark Center is her lifeline to the music community. She described how isolated she has felt in her remote area, and that The Frances Clark Center’s programs are her only source of connection and professional development. This testimony, along with many others, underscores The Frances Clark Center’s significance. It has not only provided these educators with invaluable resources but also a sense of belonging to a broader community of like-minded individuals.

Recently, a long-time subscriber of Piano Magazine made the decision to continue making monthly donations even after she retired from active teaching. Her contribution directly impacts the sustainability of the publication for years to come. This type of giving reflects her belief in the core mission of The Frances Clark Center, which supports piano teachers who, in turn, make a transformative impact in the lives of their students and a positive impact in society.

As we approach the end of the year, I invite you to consider making a tax-deductible gift to The Frances Clark Center. Your generosity makes a significant difference in the lives of others, and is vital in helping us continue our mission.

The joy of giving comes from knowing that your contributions are making a profound difference in the lives of teachers and students. We are sincerely grateful for your support.

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Heather Smith maintains a multi-faceted career as an educator, administrator, music examiner, and community arts advocate. She is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. Heather holds advanced degrees in music and business and enjoys supporting communities through music fundraising initiatives.

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A Symphony of Gratitude

Written By Ricardo Pozenatto

We would like to thank Ricardo Pozenatto for this tribute to his teacher, Diana Dumlavwalla. As we continue the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Diana Dumlavwalla with Ricardo Pozenatto after presenting at the Florida Music Education Association (FMEA).

In the world of music education, there are those who teach, and then there are those who inspire. Diana Dumlavwalla, my piano pedagogy mentor, dissertation advisor, and now colleague and friend is undoubtedly the latter—a guiding star in the constellation of my musical journey. With every word of wisdom, she has illuminated my path, making my pedagogy not just a skill but a lifelong commitment.

I first met Diana during a national conference of music teachers, and her grace and professionalism immediately set her apart from other teachers. Diana, who was not my teacher (yet) at that time, made sure I felt welcome to my first conference ever. She connected with the teaching community and introduced me to colleagues and friends. I knew then I was in the presence of a kind soul.

As the conference days passed by, I noticed that Diana was dear to so many in the teaching community. She was also respected and admired. After watching her presentation at the conference, I could feel nothing short but inspired, and at that moment, I realized where I wanted to be.

The decision was made. The following academic year, I started my doctorate, a piano pedagogy program at Florida State University, under the guidance of Diana, or should I say, Dr. Dumlavwalla back then. After three years of dedicated work, I graduated, and while I was sad to leave, I was extremely happy with my musical, professional, and personal growth, mostly thanks to her guidance and supervision.

Dumlavwalla and Pozenatto after a successful recital at Florida State University.
A picture taken before the Florida State University graduation ceremony.
Happy smiles while presenting together at the Florida Music Education Association.

Diana held my hands from the beginning to the end of the program, and especially during the COVID-19 pandemic (yes, I was a student during that world-changing event), she made sure all her students felt safe, protected, and psychologically healthy as we resumed our teaching assistant duties after the brief pause. For her, our mental and physical health were always a priority, and I am so grateful for that.

Diana is a special teacher. But what makes her so special? Diana possesses an uncanny ability to breathe life into her students, and I feel so privileged to be one of them. She imparts the secrets of a holistic approach to piano pedagogy with patience and kindness while also nurturing creativity and individuality in her students. True gifts, one may agree. She encouraged me to find my own voice, allowing my unique teaching personality to flourish. Her unwavering belief in my potential was (and is) a constant source of inspiration, driving me to push my boundaries and reach my highest goals.

Beyond all those admirable qualities, Diana acknowledges the human soul in every student. Her unwavering support and encouragement in times of personal self-doubt were a source of strength that helped me persevere through challenges, both in my music studies and in my personal life. I am indeed so grateful for that.

Diana has been my guiding light. She has been my safety harbor. She has always been my supporter. Now, we are friends and colleagues. We attend conferences together, we present in conferences together, and every time we connect over the phone, the hour-long conversation passes by quickly, filled with laughter and joy. Above all, we celebrate one another acknowledging that teaching is learning, and that learning is teaching.

Diana, I hope you realize how important you are for the lives of many. Be certain that the piano teaching community is more vibrant with you, and we are all grateful for that.

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Ricardo Pozenatto, a native of Brazil, earned a PhD in Music Education with focus in Piano Pedagogy from Florida State University. He has presented at MTNA and NCKP conferences, and at Canadian and Brazilian conferences. Besides being a Coordinator of International Engagement at the Frances Clark Center, Ricardo also serves as the Florida State MTA Teacher Awards Chair.

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Honoring Amy Merkley and Irene Peery-Fox

Written By Hyrum Arnesen

We would like to thank Hyrum Arnesen for this tribute to his teachers, Amy Merkley and Irene Peery-Fox. As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Irene Peery-Fox with her students.

Six months ago I had my last piano lesson. Leaving behind my student life has left me to ponder the monumental impact my piano teachers have had on my personal growth. During my childhood, youth, and young adult years, my piano teachers were constants amid continual change, ever-present mentors and friends. My teachers taught me more than music; they taught me diligence, determination, motivation, humility, and courage to face and overcome my fears. I appreciate them now not only because they are inspiring musicians but because they cared for me as a person. I would like to take this opportunity to tell you about my teachers Amy Merkley and Irene Peery-Fox. 

Amy Merkley taught me in her home from the time I started piano lessons at age 6 until I graduated high school. I can vividly remember learning the names of the piano keys in my first lesson with her over two decades ago – nervous and excited, feeling like I was a “big kid” taking piano lessons. Throughout our twelve years of lessons she instilled in me a deep love for music. Words that immediately come to mind are kindness, consistency, welcoming, and dedication.

In high school my lessons were at 6:00 a.m. every Monday morning. This taught me the value of consistent sacrifice. More importantly, it taught me that she really cared about me and my progress. Amy was always there, awake and ready to focus on me, my music, and my life.  

Amy Merkley with Hyrum Arnesen.
Irene Peery-Fox with Hyrum Arnesen.

Amy consistently inspired confidence in me. She taught without “bells or whistles” – few trinkets, cute awards, or flashy studio marketing. Instead she simply gave us opportunities to perform, prepared us well, and then our success motivated us to become better. Most lessons before competitions were filled with encouraging words recognizing how much I had improved. I still remember her first words right after playing for my fellow students days before my college audition – “Isn’t Hyrum going to do so great?” I hadn’t felt great about my performance, I was extremely nervous for my audition, but her faith in me gave me the confidence I needed. 

Irene Peery-Fox was my undergrad teacher. I not only studied with her for five years but also saw her interact with her pre-college students as I accompanied them for concerto competitions. When I began studying with her, I was completely intimidated; over the following years she became my most trusted mentor and one of my greatest friends. Dr. Peery-Fox had an incredible ability to motivate students. You simply did not let her down; you simply did not let yourself down. I remember many moments when I felt discouraged and she would look me in the eyes, raise a clenched fist, and say “Go for it, Hyrum!” 

Dr. Peery-Fox gave her students unwavering support. She was strict, exacting, detailed, and careful with praise yet she matched her intensity with the conviction that we could accomplish what she was asking. During lessons with pre-college students, I saw many tears of frustration, but I saw equal amounts of hugs, power fists, and “you can do it!.” As I looked forward with trepidation to a career in music, her faith in me imbued me with the confidence I needed to continue. 

Amy and Dr. Peery-Fox believed in me, supported me, engaged my musicality, and fostered my personal growth. I will forever be grateful for their influence and hope to pass on a piece of their legacy to my own students. 

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Hyrum Arnesen is finishing a DMA from the Cincinnati Conservatory of Music while working as a Visiting Assistant Professor of music at Southern Virginia University. He is an active soloist, collaborator, and teacher with particular research interests in Argentine piano repertoire, building strong technique, and fostering motivation in students.

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Thank you, Jane!

Written By Sara Ernst

We would like to thank Sara Ernst for this tribute to her teacher, Jane Magrath. As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Sara Ernst with Jane Magrath in 2019.

In my pedagogy classes, I often find myself encouraging my students to reflect on a teacher who helped them stretch to the next level and progress in ways they thought not possible. For me, this teacher was Dr. Jane Magrath. Before I began my doctoral studies at the University of Oklahoma, I had stepped away from pursuing degrees to develop myself professionally. It was a wonderful time to teach, work, and practice—on my own, without direct mentorship. Through this formative period, my confidence and self-reliance grew, but I also discovered gaps in my playing (and my knowledge) that were confounding puzzles to me. This led me to study at the University of Oklahoma, where Jane Magrath invited me to take lessons with her. 

What I discovered over those three years in Jane’s studio was an approach that I now seek to emulate: she holds all of her students to a high artistic standard, in a completely nurturing and consistently encouraging environment. At first this was foreign to me, to hear so frequently what my studio mates and I had done well! In addition to this, a particular philosophy was at the core of her teaching: observe and learn from the success of others as a model of growth for yourself. This was incredibly powerful to me because I suddenly felt like anything was possible. During my degree I reached a new level of artistry in performance, but as it happens while learning, I also had moments of difficulty. Dr. Magrath helped me celebrate the triumphs and always helped me focus forward, not dwelling upon the moments when I clearly needed more time to reach my potential. 

Jane Magrath with her students.

As important as the learning environment was to me, this overlooks the depth and precision in her teaching process. There was never a mystery to me on how to achieve a high standard or learn a new technique. I left every lesson with clear goals and strategies, and a recording of my lesson on a USB drive. The technical regime she assigned to me never stagnated. There was always a new idea, a next step, a harder version, another exercise—she was thoughtfully a step ahead of me. I devoured this routine! Over my first year, she helped me unlock so many technical mysteries that inform my teaching and playing today. I can say the same of our repertoire studies. Every lesson was filled with practice strategies and artistic principles that yielded consistent results. And that USB drive? She told me that this was a way to measure myself—to hear where I am today with my repertoire, and thus, to remind me of the next steps we explored in the lesson. 

As I entered my final semester in Oklahoma, I discovered a new link in my pianistic lineage—Marvin Blickenstaff was Jane’s teacher when she was a Master’s student at the University of North Carolina, Chapel Hill. During a meeting with her, I presented several dissertation ideas, one of which was studying the teaching of Mr. Blickenstaff. Dr. Magrath encouraged me in this direction. While I never studied piano directly with him, I feel that lineage deeply, and feel a profound gratitude—not only to Jane and Marvin, but also to this amazing life. Just recently, I have now found myself back at the University of Oklahoma and am reminded of the tremendous impact Jane has had on my life and the lives of a long line of former students, not to mention her profound impact on the profession. I treasure how we as pianists are connected through the music we play and the lessons we teach, through the power of music and the inspiration found at the piano. Thank you, Jane.

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Sara Ernst, PhD, is an active pedagogue and pianist, and Associate Professor and Director of Piano Pedagogy at the University of Oklahoma in Norman. For the Frances Clark Center, she is Director of Teacher Engagement and leads programming for NCKP: The Piano Conference.

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She Really Took a Chance on Me

Written By Asia Passmore

We would like to thank Asia Passmore for this tribute to her teacher, Ms. Tamara. As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

Asia Passmore performing at her second DMA recital, April 7, 2023.

Every teacher that I have been blessed to study with has taken a chance on me. But no one took a bigger chance on me than my very first piano teacher, Ms. Tamara.

I was one month away from turning 16 when I had my first piano lesson. I wasn’t new to music; I come from a very musical family, and my first instrument was trumpet, so I could read music). I had also played piano by ear my whole life. In fact, at the time I was learning Chopin’s Berceuse in D-flat Major, Op. 57 by ear, which is one of the main reasons my parents decided it was time for me to take lessons. 

They scheduled a trial lesson at the Sound of Music. I had always imagined playing the piano, and when I thought about what I wanted to do in college, I knew that I wanted to be a piano major.

When I got to my lesson, I told Ms. Tamara about my college plans. She could have told me things like “You started too late to think about majoring in piano.” But what did Ms. Tamara say? “Let’s do it.” So we did.

Audition season came quickly. My very first audition was in February of 2013 at the University of North Carolina at Pembroke (my alma mater). When the time came, I was excited, because I already knew that was my first choice. I spent the morning warming up, and then it was time for auditions in Moore Hall Auditorium. It was a pretty small music department, so the entire music faculty was there. They were all very nice and welcoming. 

And then I started playing. My audition repertoire was Mozart’s Fantasy in D Minor and Haydn’s Sonata in D Major, Hob. XVI:37. Everything went very well. I started with Haydn, and then the Mozart Fantasy. I also did some sight-reading and played my E-flat Major scale. And then it was over. 

Asia performing at NCKP 2023: The Piano Conference.
Asia at her junior recital.
Asia warming up before her senior recital at UNC-Pembroke.

About a month later, I found out that I was accepted! Ms. Tamara was very happy. 

At the Spring Recital in May, awards were being presented to students, including Student of the Year. I thought to myself, “It’s definitely not me because I just played the world’s worst Chopin Waltz.”

“The Student of the Year is Asia Passmore!” What? Really? 

“Asia came to us two years ago and said, ‘I want to major in piano in college.’ And she got into North Carolina. Because of her dedication, Student of the Year goes to Asia.” Whoa.

That little trophy is still sitting in my room to this day, and it’s a daily reminder of the support that Ms. Tamara poured into me. I would not be where I am today if I had a different teacher.

Because she really took a chance on me.

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Asia Passmore is strongly passionate about including the works of African American composers on the concert stage and in the pedagogical canon. She is currently a DMA student at the University of Georgia studying piano performance with Dr. Liza Stepanova, and piano pedagogy with Dr. Peter Jutras and Dr. Grace Huang.

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The Joy of Giving

Written By Heather Smith

As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

As the year draws to a close, I find myself reflecting on how giving has profoundly influenced my life. I have experienced the joy, fulfillment, and transformation of being on both the receiving and the giving ends. The act of giving, whether through financial contributions, volunteering, or acts of kindness, has enriched my life in ways that are immeasurable. It has allowed me to connect and learn from inspiring individuals, and this has expanded and clarified my purpose.

In my journey through the world of music education and my experience with the Frances Clark Center, I have had the privilege of witnessing the incredible power of giving. My first encounter with the Frances Clark Center was as a subscriber to Clavier Companion, now Piano Magazine. I read an article by Scott Price that left a lasting impression on me. The article discussed how piano lessons can be more than just an educational experience for a student with disabilities. It was a powerful reminder of the broader impact music education can have on individuals.

One of the most significant moments in my teaching journey came when I had the opportunity to work with a student with cerebral palsy. This student, whom I adored, came to her piano lessons each week with unwavering enthusiasm and a radiant smile. She progressed at her own pace and motivated me to be a better teacher every week. She inspired me through her pure love for music.

This student struggled at school due to bullying and isolation from her peers. The world was a challenging place for her, but during our piano lessons, she found solace and a sense of belonging. She looked forward to her lessons because she loved music, and more importantly, she felt accepted and cared for.

It was through this experience that I truly grasped the significance of the Frances Clark Center. The magazine article helped me realize that the impact of music education goes far beyond the notes and the keys. It is a gateway to a brighter, more inclusive world for those who need it most.

The joy of giving lies in the transformation it brings to both the giver and the recipient. I am reminded of the inspiring words of Kathy Calvin, United Nations Foundation CEO, who said, “Giving is not just about making a donation. It is about making a difference.” The Frances Clark Center’s unwavering dedication to support piano teachers and students resonates with my own experiences and values in a profound way. Its sole purpose is to uplift and empower piano teachers, and I have seen this firsthand. 

As the Director of Development and Advancement for The Frances Clark Center, I have witnessed the tireless efforts put forth to support piano teachers and their invaluable work in shaping the lives of students.

Heather Smith
Director, Development and Advancement

What makes this journey even more enriching is hearing the countless testimonials from teachers whose lives have been touched by The Frances Clark Center. I have listened to their heartfelt stories, their triumphs, and their challenges. I am deeply moved by the impact this organization has had on their lives.

One teacher from the southwestern United States expressed that The Frances Clark Center is her lifeline to the music community. She described how isolated she has felt in her remote area, and that The Frances Clark Center’s programs are her only source of connection and professional development. This testimony, along with many others, underscores The Frances Clark Center’s significance. It has not only provided these educators with invaluable resources but also a sense of belonging to a broader community of like-minded individuals.

Recently, a long-time subscriber of Piano Magazine made the decision to continue making monthly donations even after she retired from active teaching. Her contribution directly impacts the sustainability of the publication for years to come. This type of giving reflects her belief in the core mission of The Frances Clark Center, which supports piano teachers who, in turn, make a transformative impact in the lives of their students and a positive impact in society.

As we approach the end of the year, I invite you to consider making a tax-deductible gift to The Frances Clark Center. Your generosity makes a significant difference in the lives of others, and is vital in helping us continue our mission.

The joy of giving comes from knowing that your contributions are making a profound difference in the lives of teachers and students. We are sincerely grateful for your support.

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Heather Smith maintains a multi-faceted career as an educator, administrator, music examiner, and community arts advocate. She is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. Heather holds advanced degrees in music and business and enjoys supporting communities through music fundraising initiatives.

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The Power of a Piano Teacher

Written By Heather Smith

As we enter the season of gratitude and giving, we pay tribute to piano teachers from around the country who are transforming the lives of their students. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign. We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center.

The teachers featured here are making profound contributions to students at all stages, from the youngest beginners, to college students, and to those who study later in life. These inspirational, personal stories testify of the timeless impact piano teachers have on their students and their communities. Join us by honoring your teacher today through the “Power of a Piano Teacher” campaign.

Kassandra Weleck honors Rebecca Casey from Lima, OH

When I was in high school, Rebecca Casey took me on as a piano student. Her energy, enthusiasm for piano/music, and 100% dedication to showing what music could be was absolutely captivating. She had unwavering faith in my success, no matter what I did, which gave me the confidence to go forward into music. I’m incredibly thankful that she said “yes” to being my teacher!

Jenel Dennen honors Sylvia Giura from River Forest, IL

As an extremely experienced performer and teacher, Sylvia has much knowledge, technique and musicianship to share. I am grateful for her incredible attention to detail and for teaching me to consider each note and how best to bring out the music in each phrase.

Valarie Beer with Lenora Brown
Teresa Lim
Rebecca Casey

Valarie Beer honors Lenora Brown from North Salt Lake, UT

Lenora has been such an inspiration to me, and I respect and appreciate her strong sense of work ethic and accomplishment. She has shown me what success really is, as it is not the first place prize, but the knowledge that the best performance is the one that you’ve learned from the most. She has inspired me multiple times to keep on going when things were tough, and this philosophy has carried over into my personal life.

Janice Cook honors Nancianne Parrella

Early in her career, Nancianne Parrella was the organist at Trenton’s First Presbyterian Church. She asked me to turn pages for her at the Sunday morning services. I was just in 6th grade, and it was alternately terrifying and thrilling to have that responsibility as an advancing piano student. The music was up so high and it was hard to sight-read the full score quickly. Plus, she was doing amazing things with her hands and feet. This experience had a huge impact on me – she was a fantastic role model.

Haemin Lalumia honors Teresa Lim from Princeton, NJ

Ms. Lim has been a wonderfully patient and kind teacher to our son. Her dedication and enthusiasm has helped him discover a deep love for piano in just a few short months. We are so grateful for her and for NSMS!

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Heather Smith maintains a multi-faceted career as an educator, administrator, music examiner, and community arts advocate. She is the co-creator of The Frances Clark Center’s online course, A Pianist’s Guide to Studio Management. Heather holds advanced degrees in music and business and enjoys supporting communities through music fundraising initiatives.

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Meet People Where They Are | Honoring Marvin Blickenstaff

Written By Karen Zorn

This week, Marvin is touring Colorado, Utah, and Nevada with staff from the Frances Clark Center. Is Marvin coming to a place near you? Check his tour schedule here: https://pianoinspires.com/marvin-blickenstaff-on-tour/.

Karen Zorn and Marvin Blickenstaff

It’s such an honor to write about my teacher and friend, Marvin Blickenstaff. I could tell a million stories about Marvin’s brilliance as a teacher and how much better a musician and teacher I am because of his teaching. But I suspect that many of you already know that side of Marvin and have stories of your own. So, I’d like to share a few stories that reveal what an amazing human being Marvin is and how my life is immeasurably better for knowing him.

It seems to me that this is how Marvin lives his life. Meet people where they are. I felt this acceptance from him right from our beginning days together as teacher and student.

There’s a phrase that is probably overused these days, but I like it—meet people where they are. It says so much and I think it is so needed in Music Education. With this one simple phrase—meet people where they are—we can leave behind our limiting thoughts about students: “not well-prepared enough,” “not talented enough,” “not good enough.”

I talk about this quite often in my current work, and I believe I learned this philosophy from Marvin. It seems to me that this is how Marvin lives his life. Meet people where they are. I felt this acceptance from him right from our beginning days together as teacher and student.

Marvin was never the distant teacher. Rather, he was in touch all the time. He had the most uncanny ability to sense when you needed help. Marvin used to knock on my practice room door, sometimes just to say hello and see how I was doing. Other times he’d say something like “Uh…just curious if you EVER practice slowly.”

The truth is, back in the day, I almost never practiced slowly, and Marvin knew it. I wasn’t alone. We all practiced fast. A lot. Except when we sensed that Marvin was nearby. And we were ALWAYS aware when Marvin was around. We felt it. Marvin’s aura would drift down the practice room hallway, much like when you spot a state trooper up ahead on the highway. One by one we slowed down to “tempo di studio.” Marvin’s presence was like a human radar gun. Metronomes came out of the closet and fingerings suddenly got sorted.

We all thought Marvin was amazing. The cool professor—you know, “with it.” Except in one way—his typewriter. A Royal Manual Deluxe with an industrial metal case and pica type—the kind that you had to hit with a hammer to get the keys to go down. The kind where if you missed a keystroke, your finger would get trapped in a subterranean encampment of thrashing metal. And while we kind of poked fun of Marvin’s typewriter, we secretly loved it. Before and after lessons Marvin could be heard, pecking away, writing letters—thank you notes to presenters who had hosted him, words of welcome to prospective students, congratulations to colleagues for their accomplishments. If any of you knew Marvin back then, you probably received a note written on the old Royal Manual.

Marvin Blickenstaff

Of course, he also used it to write to his students. He actually wrote us letters on a regular basis. They were usually words of encouragement: where he’d noticed big improvements in our playing, words of “well done” after a performance, or things he’d been thinking about as possible next steps for us. It meant so much to all of us to see the envelope in our mailbox with the initials “MB” scrawled in the upper left. It was such a gift.

So, here’s the thing: Marvin is never just someone’s piano teacher. It is never just about piano lessons. With Marvin, you get it all—the entire suite of attention, care, and love. He’s the Deluxe Edition piano teacher. When you study with him you get “the works.” He’s the all-inclusive, elite-level cruise, room with a view. The automatic upgrade. The executive platinum status. The super-size me, combo-platter piano teacher.

Marvin, I hope you know how grateful we all are to have you in our lives. We are immeasurably better for knowing you. 

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page.

We extend a heartfelt invitation to join us in commemorating Marvin Blickenstaff’s remarkable contributions by making a donation in his honor. Your generous contribution will help us continue his inspiring work and uphold the standards of excellence in piano teaching and learning for generations to come. To make a meaningful contribution, please visit our donation page today. Thank you for being a part of this legacy.

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The Consummate Role Model for Piano Teachers | Honoring Marvin Blickenstaff

Written By Jane Magrath

Join us for our first webinar of the season titled “The Life Saving Work of Teachers,” presented by Marvin Blickenstaff on Wednesday, September 27, 2023 at 11:00am EDT. Click here to register!

Jane Magrath (author) and Marvin Blickenstaff

Naegeli van Bergen Metcalf was my first college piano teacher and a beloved mentor. She left Wesleyan College after my freshman year to get married, and we stayed in touch throughout the remainder of her teaching years. So, during my junior year, she was in touch and encouraged me to go to the University of North Carolina at Chapel Hill to study with her good friend from Indiana University for my master’s degree. He was a new young teacher, Marvin Blickenstaff, who had just joined the faculty there. We didn’t have the internet or publicity booklets from the department, but everything I heard sounded wonderful.

My audition date finally arrived in December 1971. The scuttlebutt had alerted me to the fact that noted pianist and author William S. Newman was on the musicology/piano faculty there and that I would need to play by ear for him in my interview and that Marvin Blickenstaff was debonair and handsome, and also a very kind individual. My interest was piqued. In preparation for the audition on that day, I warmed up on the stage of Hill Hall, working simultaneously to bolster my confidence. During some moments of concentrated warm up, the sought-after teacher himself walked briskly down the center aisle toward me and introduced himself. Yes, it was Marvin Blickenstaff, kind, affirming and encouraging, but absolutely nothing like I expected from the person I requested to be my next teacher. He turned out to be a pivotal piano instructor for me!

Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk.

That day Mr. Blickenstaff and the other two male faculty, all three young and engaging, made me feel quite welcome, and Dr. Newman asked me to play “Home on the Range” in A-flat during my graduate school interview. Thus began a long and life-changing relationship with Mr. Blickenstaff and Dr. Newman, in the fall of 1972.

As an applied piano student between fall 1972 and spring of 1974, my lessons were filled with dedicated and inspired teaching, concern for my total well-being as well as my playing, laughter, a lot of detailed teaching, and a focus on listening, technique, and tone. At that juncture in time, Marvin was a young graduate of the Indiana University School of Music. My first semester repertoire was huge, I seem to remember it consisting of two full recital programs. All I knew was that it was a lot, and was I ever motivated. He held us to the highest artistic standards, and we rose to meet the bar he set.

He was motivated too, along with us. He taught long hours, and numerous extra lessons. We reveled in his discussions of Brahms’ piano music and Beethoven sonatas. His students became his family, and he and his wife, Sara Faye, treated us to dinners and parties in their lovely home. Our studio bonded, and many of us have remained close to this day, even after we spread all over the country.The Blickenstaffs lived close to campus, and it worked well for Marvin to ride his bicycle to school and back home each day, even on those dark nights after recitals and his late-night practicing. He was committed to his health, but even more committed to his students. For much of the time I knew him, the hour of his studio class was on “Friday at 4” and the meeting was set in stone, the highlight of our piano weeks. We loved playing for each other and grew to support our colleagues unconditionally.

An important message that I received from Marvin and his two equally engaging piano faculty colleagues was the importance of collegiality among a piano faculty. He, Michael Zenge, and Francis Whang were mutually supportive of each others’ playing and of all students within the piano department. It made for a strong and healthy model of collegial support among faculty members at a college or university, that permeated all three of the studios and the students’ philosophies as they eventually moved on and grew into faculty members and opened independent piano studios.

Marvin’s faculty recitals were “the” event of the season for his students and the piano community in Chapel Hill at large. Marvin walked briskly onto stage in a recital, smiling and greeting everyone warmly. His playing had them in the palm of his hands at the end of the first two lines of whatever was programmed. Listening to him play, one lost track of time in his beautiful and gripping performances! As you probably know by now, he still has the movie-star-like persona and presence.

In Chapel Hill, North Carolina I also had the chance to listen on occasion to his conversations with his inspiring colleagues Lynn Freeman Olson and Louise Bianchi as they wrote their legendary piano method Music Pathways.

Marvin Blickenstaff

I heard about the reading approach they used, their counting system, the off-the-bench activities they created for the children. What a distinguished trio of educators creating educational materials during their formative years! Thank you, Marvin, for sharing so much of yourself with all of us as students.

That was over forty years ago! Marvin moved away from Chapel Hill and continued to teach at Goshen College in Indiana. As that transition occurred, I came to know him as a quintessential workshop presenter. In essence, he was evolving into a national teacher of teachers, inspiring hundreds in his workshops—and there, too, he provided a strong influence on so many of us. It was his habit to stay in close touch with all of us, talking by phone, inspiring us, reminding us to be dedicated and work hard—as he always set the highest bar for all of us, all the while teaching a full load. Each year around Christmas, he would send a multi-page, inter-generational studio newsletter catching everyone up on his students and our colleagues’ “comings and goings.” It became a highlight of the season, catching up on the families, performances, locales, high and low points, and pulling us together still again as dedicated young professionals, now striving to make a difference in our own students’ lives. One could never have asked for a better role model.

As a teacher to this day, Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk. His teaching, mentorship, and love for his students, colleagues, and for teachers throughout the profession is legendary. Dare I say thousands of teachers and students have been touched in the most positive ways by his kindness, thoughtfulness, talent, and selfless giving. Thank you, dear Marvin for being you and for nurturing the largest circle of friends, teachers, students, and colleagues imaginable throughout this country and all over the world! Thank you for always caring. And by the way, I imagine you probably still ride your bike daily, and I know you still practice late at night.

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page. We invite you to make a donation in honor of Marvin’s 88th birthday (May 19).

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Hats Off to You, George! | Honoring George Litterst

Written By Piano Inspires

George Litterst is a recipient of the 2023 Frances Clark Center Lifetime Achievement Award. His extensive contributions to the field of piano pedagogy are extraordinary and exemplify outstanding dedication to the field of music and piano teaching. The Frances Clark Center Lifetime Achievement Award is the highest honor and is presented on behalf of the Frances Clark Center to individuals who have made substantial and enduring contributions to the field of piano pedagogy and to the work of the Center.

Join us at NCKP 2023: The Piano Conference in Lombard, Illinois for a Gala champagne reception and awards ceremony on Friday, July 28 from 6-8:30pm to celebrate our 2023 Lifetime Achievement Award winners.

Thank you to Evan, Bradan, and Meme for your contributions to this post.

Testimonial by Evan, age 13

I began taking lessons with George four years ago after my brother and I received a piano for Christmas. Throughout these past four years, he has taught me the tips and tricks of the piano, how to play with both hands together, and how to perform more advanced music than I ever thought I could play.

George is a fun teacher and not only teaches me music, but the history and facts about the artist we are learning. He also teaches about the function of the piano itself. He is interested in our lives outside the piano too. We talk about Lego building, 3D printing, school events, and even TV shows.

When the COVID virus struck, George was able to continue teaching us remotely on his apps (MIDI and Classroom Maestro), which helped us to continue our learning during that time.

One of the most memorable moments of our lessons was when George had me record a piece of music, and then he sent my recording to the composer, Paul Sheftel. Then George set up a meeting with Paul over Zoom and we talked about playing his music. It was an exciting moment for me.

George has helped me appreciate music and because of his style of teaching, I want to continue learning.

Testimonial by Bradan, age 11

In four years, George has helped me learn to read music so I can play the piano, and this has also helped me learn how to play xylophone, marimba, and trombone.  

He likes talking about other things besides music such as school, band, Legos, and animals.  He has taken my brother and I on “field trips” in his house to show us different instruments and has let us play them too. His field trips are always fun.

George asks us to pick a piece of music we would like to learn, and he finds the music for it, which is something I enjoy a lot. George is nice and silly sometimes too; he doesn’t get mad and is patient when we are learning.

I have learned a lot from George over the years and he makes it fun to learn the piano.

Testimonial by Meme

When I was very young, I took piano lessons and loved the experience, but life got very busy for me and I stopped playing at age eleven. I recently retired and I wanted to return to playing the piano, but it had been at least fifty years since my last lesson, so I felt intimidated about this undertaking. George Litterst came into my life and he brought back my appreciation of music and he gave me the confidence to start playing the piano again. Hats off to you, George!

George knew I had some musical background and experience, and he adjusted the level of instruction so I felt comfortable taking lessons again. After hearing me play the piano and listening to some of my concerns about my ability to play pieces after my hand surgery, George taught me techniques to further my finger dexterity and he made me more aware about relaxing my hands so I could enjoy the piano and further develop my skills in playing. He has been very patient and encouraging, and he seems to know when to challenge me. Besides instructing me on music theory, he shows me how to analyze a new piece and different ways to practice to improve my skills. He also shares historical knowledge about composers, music, and the piano.

On top of George’s wealth of musical knowledge and his talent as a pianist, George has worked with a team to develop software to help students learn to play a variety of pieces. He has taught me how to use this program, which has helped me tremendously in furthering my skills in playing the piano.

George is very dedicated to helping others enjoy music and play pieces to the best of their ability. He is thoughtful and adapts his lessons to his students, their interests, and their abilities. His lessons are fun and I look forward to continuing our work to improve my ability as a pianist.

We believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center. Together, we will further amplify the meaningful work of our noble profession.

QUICK LINKS FOR NCKP 2023: THE PIANO CONFErENCE
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The Consummate Role Model for Piano Teachers | Honoring Marvin Blickenstaff

Written By Jane Magrath
Jane Magrath (author) and Marvin Blickenstaff

Naegeli van Bergen Metcalf was my first college piano teacher and a beloved mentor. She left Wesleyan College after my freshman year to get married, and we stayed in touch throughout the remainder of her teaching years. So, during my junior year, she was in touch and encouraged me to go to the University of North Carolina at Chapel Hill to study with her good friend from Indiana University for my master’s degree. He was a new young teacher, Marvin Blickenstaff, who had just joined the faculty there. We didn’t have the internet or publicity booklets from the department, but everything I heard sounded wonderful.

My audition date finally arrived in December 1971. The scuttlebutt had alerted me to the fact that noted pianist and author William S. Newman was on the musicology/piano faculty there and that I would need to play by ear for him in my interview and that Marvin Blickenstaff was debonair and handsome, and also a very kind individual. My interest was piqued. In preparation for the audition on that day, I warmed up on the stage of Hill Hall, working simultaneously to bolster my confidence. During some moments of concentrated warm up, the sought-after teacher himself walked briskly down the center aisle toward me and introduced himself. Yes, it was Marvin Blickenstaff, kind, affirming and encouraging, but absolutely nothing like I expected from the person I requested to be my next teacher. He turned out to be a pivotal piano instructor for me!

Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk.

That day Mr. Blickenstaff and the other two male faculty, all three young and engaging, made me feel quite welcome, and Dr. Newman asked me to play “Home on the Range” in A-flat during my graduate school interview. Thus began a long and life-changing relationship with Mr. Blickenstaff and Dr. Newman, in the fall of 1972.

As an applied piano student between fall 1972 and spring of 1974, my lessons were filled with dedicated and inspired teaching, concern for my total well-being as well as my playing, laughter, a lot of detailed teaching, and a focus on listening, technique, and tone. At that juncture in time, Marvin was a young graduate of the Indiana University School of Music. My first semester repertoire was huge, I seem to remember it consisting of two full recital programs. All I knew was that it was a lot, and was I ever motivated. He held us to the highest artistic standards, and we rose to meet the bar he set.

He was motivated too, along with us. He taught long hours, and numerous extra lessons. We reveled in his discussions of Brahms’ piano music and Beethoven sonatas. His students became his family, and he and his wife, Sara Faye, treated us to dinners and parties in their lovely home. Our studio bonded, and many of us have remained close to this day, even after we spread all over the country.The Blickenstaffs lived close to campus, and it worked well for Marvin to ride his bicycle to school and back home each day, even on those dark nights after recitals and his late-night practicing. He was committed to his health, but even more committed to his students. For much of the time I knew him, the hour of his studio class was on “Friday at 4” and the meeting was set in stone, the highlight of our piano weeks. We loved playing for each other and grew to support our colleagues unconditionally.

An important message that I received from Marvin and his two equally engaging piano faculty colleagues was the importance of collegiality among a piano faculty. He, Michael Zenge, and Francis Whang were mutually supportive of each others’ playing and of all students within the piano department. It made for a strong and healthy model of collegial support among faculty members at a college or university, that permeated all three of the studios and the students’ philosophies as they eventually moved on and grew into faculty members and opened independent piano studios.

Marvin’s faculty recitals were “the” event of the season for his students and the piano community in Chapel Hill at large. Marvin walked briskly onto stage in a recital, smiling and greeting everyone warmly. His playing had them in the palm of his hands at the end of the first two lines of whatever was programmed. Listening to him play, one lost track of time in his beautiful and gripping performances! As you probably know by now, he still has the movie-star-like persona and presence.

In Chapel Hill, North Carolina I also had the chance to listen on occasion to his conversations with his inspiring colleagues Lynn Freeman Olson and Louise Bianchi as they wrote their legendary piano method Music Pathways.

Marvin Blickenstaff

I heard about the reading approach they used, their counting system, the off-the-bench activities they created for the children. What a distinguished trio of educators creating educational materials during their formative years! Thank you, Marvin, for sharing so much of yourself with all of us as students.

That was over forty years ago! Marvin moved away from Chapel Hill and continued to teach at Goshen College in Indiana. As that transition occurred, I came to know him as a quintessential workshop presenter. In essence, he was evolving into a national teacher of teachers, inspiring hundreds in his workshops—and there, too, he provided a strong influence on so many of us. It was his habit to stay in close touch with all of us, talking by phone, inspiring us, reminding us to be dedicated and work hard—as he always set the highest bar for all of us, all the while teaching a full load. Each year around Christmas, he would send a multi-page, inter-generational studio newsletter catching everyone up on his students and our colleagues’ “comings and goings.” It became a highlight of the season, catching up on the families, performances, locales, high and low points, and pulling us together still again as dedicated young professionals, now striving to make a difference in our own students’ lives. One could never have asked for a better role model.

As a teacher to this day, Marvin is a person with such a large heart, still capable of giving unimaginable inspiration to a piano student of any age, to piano teachers everywhere, to colleagues, or to anyone who needs a pep talk. His teaching, mentorship, and love for his students, colleagues, and for teachers throughout the profession is legendary. Dare I say thousands of teachers and students have been touched in the most positive ways by his kindness, thoughtfulness, talent, and selfless giving. Thank you, dear Marvin for being you and for nurturing the largest circle of friends, teachers, students, and colleagues imaginable throughout this country and all over the world! Thank you for always caring. And by the way, I imagine you probably still ride your bike daily, and I know you still practice late at night.

The Marvin Blickenstaff Institute for Teaching Excellence

In 2023, the Frances Clark Center established the Marvin Blickenstaff Institute for Teaching Excellence in honor of his legacy as a pedagogue. This division of The Frances Clark Center encompasses inclusive teaching programs, teacher education, courses, performance, advocacy, publications, research, and resources that support excellence in piano teaching and learning. To learn more about the Institute, please visit this page. We invite you to make a donation in honor of Marvin’s 88th birthday (May 19).

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An Inspirational Force of Nature | Honoring Michelle Conda

Written By Andrea McAlister

Michelle Conda is a recipient of the 2023 Frances Clark Center Lifetime Achievement Award. Her extensive contributions to the field of piano pedagogy are extraordinary and exemplify outstanding dedication to the field of music and piano teaching. The Frances Clark Center Lifetime Achievement Award is the highest honor and is presented on behalf of the Frances Clark Center to individuals who have made substantial and enduring contributions to the field of piano pedagogy and to the work of the Center.

Join us at NCKP 2023: The Piano Conference in Lombard, Illinois for a Gala champagne reception and awards ceremony on Friday, July 28 from 6-8:30pm to celebrate our 2023 Lifetime Achievement Award winners.

Thank you to Andrea McAlister, former student of Michelle Conda and member of the NCKP 2023 Executive Committee, for this post.

Michelle and former students at NCKP: 2011


There are moments in your life that, unbeknownst to you at the time, radically transform your future.

For me, that moment was during my sophomore year at the College-Conservatory of Music at the University of Cincinnati. A search was underway for Assistant Professor of Piano Pedagogy, and I was asked to play for one candidate’s masterclass. Although I was filled with nerves—I was, after all, performing for the candidate, the entire piano faculty, graduate students, the search committee, and a handful of deans—that day’s candidate, Dr. Michelle Conda, had an energy and passion for teaching that was palpable. She made me feel like there was nothing more important than the music we were creating together; I was the most important person in the room, not all those who were clearly evaluating her every word. I left the masterclass with no doubt that she would be offered the position.

Michelle Conda

I had the privilege of studying with Michelle Conda for many years after her appointment, and I can say with all honesty that I would not be where I am today had it not been for her. I knew from an early age that teaching would be my career, but a whole new world of pedagogy opened up to me under the guidance of Michelle. Watching her teach was an inspiration, and I will forever be grateful that she helped me find my own pedagogical voice. She nurtured my love of teaching, created opportunities for me to grow as a teacher and person, and invited me to join a broader pedagogical community of innovative and creative leaders. In her thirty years at CCM, Michelle has transformed the pedagogy program and created a space where the art of teaching is amplified and elevated, a Herculean feat in any performance-dominated environment. It was her tenacity that led to the creation of the piano pedagogy cognate at CCM, which I and many after me have received.

Michelle is truly an inspirational force of nature, and her influence will be felt for years to come through the many students who have also had the privilege of calling her professor and friend.

One could go on and on about Michelle’s powerful presence in the classroom, but you can’t reference Michelle without speaking of her incredible zest for life. Her energy is infectious, and you can’t help but be drawn to her humor, creativity, and enthusiasm. She is not just your teacher; she is your biggest cheerleader, the first to stand and applaud your successes, and the best advocate one could ask for. She makes every person she meets feel seen and respected, just as she made me feel at that masterclass so many years ago. It has been an honor and joy to continue working together as friends and colleagues. Some of my dearest professional memories involve collaborations with Michelle, and I look forward to our work together in the future. Michelle is truly an inspirational force of nature, and her influence will be felt for years to come through the many students who have also had the privilege of calling her professor and friend.

The GP3 committee at Oberlin: 2018

We believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center. Together, we will further amplify the meaningful work of our noble profession.

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An Inspiring Legacy of Excellence and Advocacy | Honoring Claudette Sorel

Written By Tony Caramia

We believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center. Together, we will further amplify the meaningful work of our noble profession.

Claudette Sorel and Tony Caramia

Lessons with Claudette Sorel (1932–1999) exposed me to remarkable musical insights, communication skills, and a world-class perspective, which continue to nurture and inform my own teaching and performing career.

Little did I know of her background when I walked into her studio in September of 1968. Imagine my feelings of awe when I discovered her history: a child prodigy who made her recital debut at the age of 11 at New York’s historic Town Hall in 1943. The New York Times reviewer remarked, “A child capable of so polished and eloquent an example of pianism has a future worth watching.” Her scholastic honors included completing high school in three years as valedictorian and simultaneously attending The Juilliard School on full fellowship, from which she graduated with highest honors and as its youngest graduate. At the Curtis Institute of Music, she received an Artist Diploma with highest honors. This was accomplished while she was also a student at Columbia University, from which she received a degree in Mathematics, Cum Laude.

During her career Ms. Sorel made more than 2,000 concert, recital, and festival appearances and appeared as soloist with 200 orchestras, including the New York Philharmonic, Boston Symphony, Philadelphia Orchestra, NBC Symphony, and London Philharmonic. Her signature work was Edward MacDowell’s Piano Concerto No. 2, and she gave world premieres of music by Lukas Foss, Harold Morris, Paul Creston, and Peter Mennin, among others.

Her dedication to the Arts, especially to promoting the participation and recognition of Women pianists, was always a primary goal of hers, as strongly announced in an article for Music Journal, March 1968 entitled “Equal Opportunity for Women Pianists.” Her advocacy continues to this day: The Elizabeth & Michel Sorel Charitable Organization Inc. is a 501©(3) private foundation, established in 1996 by Claudette Sorel and named for her parents. The mission of The Sorel Organization (www.SorelMusic.org) is to expand opportunities and stretch the boundaries for women musicians in the fields of conducting, composition, film scoring, performance, arts leadership, education, and scholarship.  

She was my teacher for my four undergraduate years at SUNY Fredonia, where she taught for many years. While chairing the piano department in the 1970s, she became the first woman in the entire New York State University system of over 30,000 faculty to be named Distinguished University Professor.

My memory of my first lesson is as vivid today as it was that fateful day in the Fall of 1968: she asked me to perform a piece, so I chose Chopin’s Polonaise in A Major, Op. 40, No. 1. I was very confident of my abilities to perform this piece well and dove in with all the gusto that youthful ignorance can provide. Upon completion, she looked at me and quietly uttered, “Well, now we’ll learn how to play the piano.” I was devastated, surprised, angry, confused. I was already really good, wasn’t I?

Claudette Sorel, sorelmusic.org

She then demonstrated several things to practice (how I wish I could remember those exact ideas!) and I reluctantly went to a practice room to try them out. To my utter amazement, they worked! Immediately! Her magic continued unabated for four years and actually, to this day. She encouraged my burgeoning interest in jazz piano and gave me exercises that proved invaluable to my jazz playing! How did she know to do that?! She enjoyed (or was certainly amused by) my preliminary endeavors at multimedia concerts, using Kodak slides in a tray, overhead transparencies, and Fender Rhodes Electronic Keyboards. 

She would frequently conduct workshops for piano teachers in the Buffalo area and would bring one student from each year to demonstrate her approach to technique. That first year, I was the freshman representative. I played some scales and arpeggios. Then a sophomore played, followed by a junior and then a senior. We could all hear the progression of clarity, focus, sound, etc. Each of her students would speak to the teachers; we in turn learned how to “work the room,” how to address questions, and how to help teachers (and ourselves) learn.

I hear her voice strongly advocating underrepresented composers, advancing gender and racial equality in classical music, and expanding the classical music canon for future generations.

Presently, in private lessons, I find myself hearing her voice guiding me, prompting me to ask my student a particularly astute question in order to facilitate the learning. Her knowledge of the physical world of producing a relaxed and powerful playing mechanism has stayed with me all these years, both in my own playing, and more importantly, in the ideas I share with my students. 

And now, as I am ever more focused on augmenting the repertoire choices of modern pianists, I hear her voice strongly advocating underrepresented composers, advancing gender and racial equality in classical music, and expanding the classical music canon for future generations. What an astounding legacy and how utterly fortunate we are that it continues.

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The Fundamental Responsibility of Piano Teachers | Honoring Crystal Lee

Written By Curtis Pavey

We believe passionately that piano teachers change the world through their dedication to students and communities. Our Power of a Piano Teacher campaign shares personal tributes to document the extraordinary contributions of piano teachers. We welcome you to celebrate your teacher and share your tribute with us by making a donation to the Frances Clark Center via our secure online form. Together, we will further amplify the meaningful work of our noble profession.

Crystal Lee and Curtis Pavey

Without the efforts of all my teachers, I would not be able to live a life full of music, but I want to recognize one piano teacher who made a difference at a critical juncture in my life.

Crystal Lee is a pianist and piano teacher residing in Boulder, Colorado where she maintains a private studio. Crystal is a well-known teacher in Colorado, as are her students who frequently win prizes at competitions and who have studied at some of the top conservatories in the country. I was almost sixteen years old when I met Crystal and her teaching completely changed the trajectory of my life and gave me the expressive skills I wanted. Even though my interest in the piano was all-consuming at this point in my life, I needed to refine and develop my playing if I wanted to achieve my musical dreams. She knew how urgently I needed to advance in order to become a professional musician and she made sure I understood that from the very first lesson with her.

When Crystal accepted me into her studio, she asked me to learn the first movement of a Beethoven sonata and a Chopin nocturne in one week. Both were to be performed from memory for her. I had never learned so much music in a single week, nor was I sure that I knew how to memorize these pieces within such a short timeframe. I spent hours each day that week studying these two pieces hoping that my efforts would pay off in our lesson. After many challenging and frustrating practice sessions, I proved to myself that I could manage this seemingly impossible task. In my lesson I struggled to get through the final page of the sonata but that did not matter; Crystal smiled and assured me it was “nearly memorized,” and this affirmed all of my practice that week. Discovering that I was capable of this helped me to realize that I needed to aim higher in my musical studies and beyond. She always showed me that I could do more than I imagined—I just needed the right direction and a willing attitude.

Crystal taught me the importance of listening to myself and to others with intention. I remember one lesson in which we had an in-depth conversation about the interpretation of Chopin’s Ballade No. 3, a piece I was studying at the time. We spent most of the hour listening to a variety of different recordings noting the special qualities of each. I had never listened to music with that intensity and it taught me how many choices we must make as performers. This was also the first time I was able to communicate my thoughts about someone’s interpretation with a fellow musician. Having the opportunity to share these musical opinions made me feel that my ideas mattered.

Crystal Lee

Throughout my time in Crystal’s studio, her students and I regularly performed in monthly performance classes. We met in small and large groups throughout the year to share musical progress with each other. After each performance, Crystal would ask us to provide comments and talk about what we noticed in our colleagues’ performances. This challenged me to listen critically, especially when I did not know the piece being performed. By modeling how to give specific compliments and constructive feedback, we learned over time to offer similar comments. During the summer, performance class was always followed by a potluck, which allowed us to get to know one another at a deeper level. These experiences helped  me find a community that existed neither in my hometown nor in my school. It was through this community that passion for classical music was normalized, allowing me to make friends with the same interests. From this, I learned the importance of building a community and the power of connection through the arts. To this day, one of the highlights of visiting my hometown is making a stop at Crystal’s studio class where I get to see my former studio mates and sight read duets together.

Piano teachers have a fundamental responsibility to teach much more than just music. We are called to teach skills and wisdom to help our students in whatever challenges life sets before them.

One of the most important lessons I learned from Crystal was the power of mentorship. A few years after I left Colorado to attend Indiana University, I traveled to Boulder for a studio alumni lunch. Many of Crystal’s students studied music in college, but several others did not. As each former student shared their current studies and projects, I saw how Crystal’s individual approach encouraged all her students to pursue excellence in every part of their lives. Her students have become successful piano teachers, conductors, playwrights, entrepreneurs, and more. It goes without saying that the patterns that were instilled while we were taking lessons created a lifelong pursuit of excellence. Crystal taught all of us to believe in ourselves—not only as musicians, but also as people capable of accomplishing anything we desired.

Piano teachers have a fundamental responsibility to teach much more than just music. We are called to teach skills and wisdom to help our students in whatever challenges life sets before them. Although I learned so much about music from Crystal, I am most grateful to her for these life lessons I learned as a teenager. I hope that I can impact just one student’s life as positively as she has impacted mine.

Dr. Curtis Pavey is a pianist, harpsichordist, and educator. A performer of works from the 16th through the 21st centuries, he feels equally at home performing or teaching at the piano and the harpsichord. He is currently based in the Cincinnati area and maintains a private piano studio.
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