Category: Power of a Piano Teacher - Page 3

An Inspirational Force of Nature | Honoring Michelle Conda

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.

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.

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.

OTHER RESOURCES YOU MIGHT ENJOY

PIANO MAGAZINE: Teaching students not to rush by Michelle Conda
WEBINAR: Women in Higher Education with Michelle Conda, Diana Dumlavwalla, Hannah Creviston, and Midori Koga
VIDEOS: Dotted Quarter Eighth Note Rhythm, Questions and Answers by Andrea McAlister, Scott Donald, and Craig Sale
PIANO MAGAZINE: What keeps me coming back to piano study? The views of two adult students by Michelle Conda
Use our search feature to discover more!

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An Inspiring Legacy of Excellence and Advocacy | Honoring Claudette Sorel

Written By 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?

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.

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.

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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Every Student Has a Voice the World Needs to Hear | Honoring Carole Ann Kriewaldt

Written By Leah Claiborne

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.

Leah Claiborne on the far right, directly next to her teacher, Carole Ann Kriewaldt (red shirt)

In the summer of 1995, I had no idea the path my life would take once Carole Ann Kriewaldt entered my life.

It’s amazing the small details you remember in pivotal moments of your life. My mom informed me that we would be meeting with a woman to see if she might accept me as a piano student. My mom made it very clear that this was not a lesson—it was a trial, an interview, nothing had been decided yet. Five-year-old me heard this and thought, “challenge accepted!” I wanted to do whatever it would take to be able to start piano lessons.

Before going to Broken Reed Court, my soon-to-be second home, I asked my mom if I could wear my favorite summer dress. It was a white linen dress that had big strawberries all over it. I thought it was the prettiest dress ever made, and I only wore it for special occasions. My mom obliged, so I quickly changed and got in the car.

When my parents knocked on the door to this brown townhouse, the door opened and this towering woman stood there. She invited us in; the house smelled like French-vanilla candles. My parents sat down and I remember knowing I should have sat down right next to them—but I didn’t. I went straight for the piano bench. It’s amazing to think how small I must have been because I struggled to get on top of the bench—but I was determined. When my parents saw this struggle, my dad called my name. Before I could get off the bench to go sit next to him, I was lifted up by this woman. She took me into her arms, looked straight at me and said, “Well, aren’t you the prettiest strawberry shortcake I have ever seen!” (She was on my side.)

She positioned me on the bench and sat down right next to me. She said that she was going to show me where middle C was on the piano. Before she could stretch out her hand to do so, I put my thumb on middle C. And then with some makeshift fingering I said, “CDEFGABC, and then it keeps repeating.” She said, “OH!!!! We have a smart one here, don’t we, Strawberry Shortcake?”

I laughed so hard and questioned momentarily if she knew my name wasn’t Strawberry Shortcake. It was a laugh that I would continue to experience only with her. I looked at my parents and they approved with laughter. At that moment, I didn’t realize that those three people were always, always going to be on my side. They were there making sure I worked to my best ability, moving mountains on my behalf until I realized that I could move them on my own.

It’s hard to capture a twenty-five-year relationship. The moments I think about most have nothing to do with music, but it all started there.

She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear.

Mrs. Carole was home. She had an open-door policy (literally), and she was a person I knew would always be awake in the middle of the night for a phone call (she never slept)! Our relationship became one that held every dream, secret, desire, problem, fear, or ambition of mine. She knew it all. Before any recital, performance, or competition she would say, “Go knock em’ dead, kid” in her big southern, Texas accent. She nurtured what it meant to be “Leah” and made me believe that the world needed to hear from me.

I vividly remember one holiday when we went shopping for red boots for her granddaughter. We went all over town looking for these boots and I was just so happy to be spending the day with her. In one store a sales associate asked her, “Now, who is this little one in relation to you?” Mrs. Carole said, “That’s my grand baby!” The sales associate was shocked by her response, and it never occurred to me why. But now, I imagine that in our little town, a German woman born in Texas, saying a little Black girl was her granddaughter might have been shocking to some. I reflect on this a lot because it is a constant reminder to me how music has a profound way of building deep relationships, and how music cuts through social barriers with shared culture and life experiences.

The greatest lesson I learned from Mrs. Carole is the lesson I try to give to each of my students every week. She taught me that every student’s voice is unique and there is something incredibly special about them that the world needs to hear. We have the privilege as educators to tap into that voice, through music, and prepare them to step out on any “stage” with the confidence of knowing that the world needs to hear from them.

Leah Claiborne, D.M.A. promotes diversity in the arts by championing piano music by Black composers in her performances, research, and teaching. She serves as Director of Diversity, Equity, and Inclusion for the Frances Clark Center/National Conference of Keyboard Pedagogy.

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From Massachusetts to Hawaii | Honoring Our Teachers

Written By Piano Inspires

A map of the United States with push pins indicating the locations of the teachers honored in this post.

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. From Massachusetts to Hawaii, students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign.

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.

Paz Rivas honors Penny Lazarus from Newburyport, Massachusetts

Penny has been a blessing in my daughter’s life. Penny has helped her gain confidence and has created a sense of discipline, consistency, and fun in learning that was and continues to be so important to her right now. Last but not least, Penny is patient and kind, and my daughter loves learning how to play piano. Penny is so special, she approaches each lesson with such enthusiasm and passion after so many years of teaching (especially with the youngest students). We are grateful to have found her, and Newburyport is lucky to have her.

Merrie Skaggs honors Betty Todd Smith from Olathe, Kansas

Betty Todd Smith personifies the “Power of a Piano Teacher,” and I am delighted to recognize her. Betty has made a difference in my granddaughter Rylee’s life with Betty’s encouragement, finesse, knowledge base, and passion for piano. Rylee observed recently, “I may go into my piano lesson in a bad mood but I come out in a good mood.” The care and feeding of her soul that Rylee receives from Betty and piano have been immeasurable. Rylee is an active athlete and as she started high school this fall, I asked her if she planned to continue with piano throughout high school. She looked at me like I had two heads and said, “Of course, Granny!” I appreciate the positive impact that Betty and piano have made on Rylee’s life.

William Hughes honors Margaret Roby from Terre Haute, Indiana

Margy’s teaching career has been exemplary in every way. All of her students know she is interested in more than their piano progress. She is a nurturer by nature, and her students have always been devoted (as have their parents!). I have had the pleasure and privilege of working with students that she has sent to study with me. In every case, they had been expertly prepared and were a joy to work with—no “transfer repairs” necessary. She has been a leader in our local and state music teachers associations and is an inspiration to all of us.

All of her students know she is interested in more than their piano progress.

Daniel Tsukamoto honors Donald Zent from Wilmore, Kentucky

When I first met Dr. Zent at Asbury University, I noticed his sweetness and meekness, but I never realized how much he was going to change my way of performing piano. He demonstrated that I don’t need to play loudly all the time, and he gave me the liberty to select pieces that interested me. He was very compassionate when helping me find another way to memorize piano pieces besides listening. He was calm in demeanor and spent equal time with each of his students. I am thankful for his guidance during my student years at Asbury University.

Lloyd Lim honors Carolyn Stanton from Honolulu, Hawaii

Carolyn Stanton is my sixth piano teacher, and I made surprising progress over a five-year period. They say you can’t teach an old dog new tricks. Well, I’m an old dog, and I still learned a lot!

Madelyn’s inspiration helped to make my dream come true!

Sarah Roy honors Madelyn Trible from Lafayette, Louisiana

Madelyn was my first piano teacher as I began a bachelor’s degree program in vocal music education. After three years of lessons, she encouraged me to take a pedagogy class. I loved working with the two fifth-grade girls assigned to me that semester. Eleven years after that degree, I returned for three more years of lessons with Madelyn. Then I studied organ for three semesters, since I had a dream of playing in a church someday. I have been an organist in a small rural church since October 2013. Madelyn’s inspiration helped to make my dream come true!

Honor your teacher today by joining our “Power of a Piano Teacher” campaign.

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Have at It, Kid! | Honoring Ed Turley

Written By Rebecca Mergen Pennington

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 this form. Together, we will further amplify the meaningful work of our noble profession.

“Have at it, kid!” These words, accompanied by a grin from ear to ear, prefaced every performance in my weekly piano lessons with Dr. Ed Turley at The College of St. Benedict in St. Joseph, Minnesota.

I studied with the wonderful Dr. Turley from ages 10-18. He was outgoing, friendly, and gregarious. He always had a friendly smile and a warm handshake for me, and he made me feel that my lesson was the best place to be. I felt that I had his full attention for our hour together.

As a piano teacher myself, I now look back on those lessons and realize what an important foundation was presented to me week after week:

As a student whose ear was better than her reading ability, I sometimes had a tendency to learn notes incorrectly. Ed was always kind, but certainly insistent that I respect the printed music and correct any notes that were learned in error. He also taught me excellent fingering principles and prioritized technical study in my weekly practice and weekly lessons. In college and graduate school, I often encountered classmates who needed to completely rework their technique, but I didn’t need to—I give credit to Ed for this. Even now, when I look at my childhood music books and see his notes, I think to myself, “that is good, solid teaching.” And I was fortunate to receive it in every single lesson with Ed.

I also admire his choice of repertoire for me. As I entered college, I found I had played a significant amount of early-advanced standard repertoire, as I knew the Bach Inventions, Preludes and Fugues, Classical sonatas, Chopin Waltzes, Nocturnes, and Preludes, Debussy, Ravel, and so much more. This broad exposure to repertoire has served me well in teaching my own students. I thank Ed for this thorough planning of my curriculum of study.

…he made me feel that my lesson was the best place to be.

*Rebecca Pennington* *and her sister, Laura, perform*

I have some very distinct memories of when Ed connected my repertoire to music history and other elements of music. When I worked on the Bach Fugue in D Major I recall him showing me pictures of Louis XIV and the Palace of Versailles, excitedly telling me about the French Overture Style in Baroque music. Similarly, when I learned Debussy’s Clair de Lune, I remember him showing me many pictures of Monet’s paintings. Every time I teach the Sibelius Romance, I ask my students to think of it as an orchestral piece, imagining the cello in the opening—just as Ed told me.

Sadly, Ed Turley passed away this past October. I was shocked and saddened to hear of his passing. His memorial service was a powerful testimony to the generations of pianists Ed had impacted, as well as the changes he made in the community. It was clear that many had benefited from his deep love for music and his commitment to developing musicians. Each person who played or spoke had been touched by Ed’s enthusiasm and passion.

Ed, thank you for your commitment to excellence and all of the musical wisdom I have received from you. I miss you and will always remember our lessons.

Rebecca Mergen Pennington has been a member of the faculty of the New School for Music Study since 2007 and currently serves as the Administrative Director. She holds a DMA and MM in Piano Performance from the University of Kansas, and a BM in Music Education from Concordia College.

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Reflections on My Piano Teacher | Honoring Fern Davidson

Written By Marvin Blickenstaff

We at the Frances Clark Center 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 this form. Together, we will further amplify the meaningful work of our noble profession.

Were it not for lessons with Fern, I would be a dentist.

Let me explain.

Following in the footsteps of my two older brothers, I started piano lessons at age six. Also following in those footsteps, I thought it was time to discontinue lessons once I reached the seventh grade. So as a seventh grader, I announced to my mother that it was time for me to stop lessons. Somewhat surprised, she asked “Why would you want to stop lessons? You have such a good start and are already playing quite advanced literature.” I responded with the fact that I felt bored. She thought a bit and said “I think I know how to solve that. I’ll call Fern.” Fern Davidson was the most respected piano teacher in our area, perhaps even in the entire state of Idaho. Studying with Fern meant commitment—regular practice, serious intent, and dedication to fulfilling assignments to the best of one’s ability. My mother contacted Fern, and she agreed to find a place for me in her schedule.

Lessons began. They were exciting and filled with new insights on how to practice, how to read a score accurately, and technical wisdom. After about three lessons I was hooked—for life! I would be a pianist.

I continued lessons with Fern throughout my junior and senior high school years. We did the auditions of the National Guild of Piano Teachers and other regional competitions. (The Idaho Music Teachers Association did not exist in those early years.) These were stimulating goals for me and were successful. Fern knew the piano literature well and we covered an amazing amount of repertoire, both solo and concerti. She had another student my age with whom I played duo piano repertoire—a lot of it. In fact, during our high school years we would each prepare a solo recital and also a duo piano recital.

Let me share one anecdote that has had a lasting impact on me. In junior high, students of Fern would frequently chat about our lessons and compare repertoire assignments, upcoming auditions, etc. One day Marilyn shocked me when she confessed that she always tried to arrive a bit late for her lessons. I could not imagine anyone purposely arriving late for a lesson with Fern. When I questioned Marilyn why she would do such a thing, she replied “Because I know that if I arrive a bit late, Fern will be practicing, and I love to hear Fern play the piano.” To this day, I always try to be at the piano practicing when a student arrives for a lesson.

After about three lessons I was hooked—for life! I would be a pianist.

Some of my favorite time with Fern was traveling to competitions. One time it was a train ride to a distant Idaho town. Other times I would drive her large Cadillac to an audition or competition. She was great company, and we had a wonderful relationship which continued through the years that I was in college, studying abroad, and teaching on the collegiate level.

Fern organized the local piano teachers into what she called the Idaho Eight Piano Symphony. She selected the music, mostly duo piano literature, and the teachers rehearsed in a local piano store. For the concert, the piano dealer brought in eight grand pianos and arranged them in a horse-shoe shape on the floor of the local junior high school gymnasium. Fern stood on a podium and directed the ensemble. Occasionally some of us more advanced students were allowed to join the ensemble. Fern had found an arrangement of the overture to the Rossini opera Semiramide by Percy Grainger for eight pianos. If ever there was a “show-stopper,” this certainly fit the bill. It was the traditional finale of the program and truly brought down the house.

Everyone gives testimony to the lasting impact that lessons with Fern had on their lives.

Fern lived to be 100 years old. On that momentous occasion, her former students arranged for a weekend of celebration which involved a festive luncheon and a public concert. Her birthday fell on Labor Day weekend, and we feared that many people would be out of town for the last holiday weekend of the summer. The concert was scheduled for the auditorium of a local college, and there was considerable newspaper publicity featuring Fern and advertising the concert. Much to our surprise, the auditorium was filled to capacity. That event featured solo performances and ensembles performed by her former students, and ended with that eight-piano-sixteen-players arrangement by Percy Grainger. When the cheers died down Fern was called to the microphone to speak a few words. She thanked everyone for coming and invited the audience to her house for a reception the next day! (Nine hundred people!) The reception did take place and many of the performers were there to continue the 100^th birthday celebration. Safe to say, the nine hundred did not show up!

Many of Fern’s former students have become prominent piano teachers and church musicians, most of whom live in the state of Idaho. Everyone gives testimony to the lasting impact that lessons with Fern had on their lives. I have recently completed a book for piano teachers, and that book is dedicated to her memory.

Marvin Blickenstaff joined The New School in 1999, and serves as co-director of the PEPS Program. Blickenstaff holds degrees from the Oberlin Conservatory of Music and Indiana University, where he received both academic and performance honors. He is well-known across the country and in Canada for his frequent presentations at state and national conferences.

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From Financial Officer to Piano Teacher | Honoring Sandra Preysz and Lenora Brown

Written By Heather Smith

If it weren’t for two piano teachers, I would still be working as a corporate financial officer.

One teacher introduced me to music and planted seeds that eventually yielded the fruit of a deep love for music. The second teacher accepted me as a mature student who hadn’t studied music in nearly two decades. She encouraged and guided me to the completion of my postgraduate musical studies.

As a painfully shy, eight-year-old girl, I avoided drawing attention to myself at all costs. This started to change when I had the opportunity to study piano with Sandra Preysz in Salt Lake City, Utah. In school and family situations I was often too timid to speak. Sandra opened the doors for me to positively express myself through music. As my abilities to understand and perform music grew, so did my confidence. Sandra was the person who introduced a world of possibilities to me.

At times, my formative years were challenging. But weekly lessons with Sandra were a respite from the pressures of the world. She was a trusted adult who cared not only about my musical development, but also about what was going on in my personal life. Sandra genuinely cared about me as a person, yet still held me to a high standard as a pianist. She saw the potential in me that I couldn’t even see in myself.

Studying piano with Sandra filled my life with meaning and joy. Some of my greatest memories include: having a healthy competition with Sandra’s daughter over who could earn the most stickers on the studio practice chart; playing in Christmas recitals at the public library; participating in music festivals; being honored to attend the Utah Symphony with Sandra and a few of her students.

Sandra’s influence extended well beyond my formative years. As an adult, I earned a degree in accounting and worked as a financial officer for several years. During this time, I found myself at a crossroads, questioning my career choice. I met with a guidance counselor who asked me what brought me the most joy as a young girl. My thoughts immediately turned to fond memories of taking piano lessons with Sandra. With more reflection, I came to know that the thing I most wanted to do was to follow in Sandra’s footsteps and make a meaningful impact in young children’s lives, just like she did in mine. Because of her influence, I went back to college to pursue a career as a piano teacher.

Sandra genuinely cared about me as a person, yet still held me to a high standard as a pianist.

*Announcement of the MTNA Sandra Preysz Endowment Fund at the Utah Music Teachers Association board meeting in 2018. Pictured left to right: Heather Smith, Sandra Preysz, Laszlo Preysz, Monika Preysz*

*Lenora Brown and Heather Smith celebrating the completion of Heather’s final graduate piano recital at the University of Utah.*

Moving from the corporate world back to the classroom was a challenge, but because of. . . Lenora, I would do it again in a heartbeat.

That season is when I first auditioned with Professor Lenora Brown at the University of Utah. Lenora was a highly sought-after instructor who had a studio full of promising piano performance majors, and she really took a chance on me. Studying with her changed my life for the better in profound ways. It was also one of the hardest things I have ever done in my life.

In my first lesson with Lenora, she taught me an important life principle. She said that it is important to put on blinders when studying music. She said there will always be others that will memorize music faster, and seem to have it all together as they perform on stage. Lenora taught me that this can be a dangerous distraction. She told me that she never compared her students with one another and she didn’t want me to make the mistake of comparing myself to others either. Lenora worked diligently to help guide and transform me into the best musician I could become.

As a concert pianist, recording artist, arranger, composer, and Professor of Music, Lenora’s life-long dedication to her students and her profession is noteworthy. She freely imparted her knowledge and interpretation of music to each of her students. As I teach my own students, I often hear her voice and metaphors come to my mind as I guide my students to deeper understanding and better expression through music.

Moving from the corporate world back to the classroom was a challenge, but because of the opportunity to study with Lenora, I would do it again in a heartbeat. Her encouragement, kind instruction, and example inspired me to keep going. When I struggled to fit it all in and questioned my abilities, she was there to lift me up. When I had successes, she was my greatest cheerleader. She opened her heart and her home not only to me, but to every one of her students.

Studying under two inspiring piano teachers was a gift that enriched and shaped my life for good. I will be forever grateful for their examples and what they taught me through their love of music.

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 Jennifer Snow

Teaching is probably the noblest profession in the world — the most unselfish, difficult, and honorable profession.
Leonard Bernstein

We at the Frances Clark Center believe passionately that piano teachers change the world through their dedication to their students and communities. With the launch of our Power of a Piano Teacher campaign, we will be sharing personal tributes that celebrate the extraordinary contributions of piano teachers from communities large and small, villages to sprawling urban centers, and from countries across the world. We want to raise the appreciation, understanding, and recognition of these dedicated community leaders who change lives through music. These inspirational, personal stories will amplify the impact that piano teachers have on their communities in countless ways for generations.

Almost sixty years ago in 1963, Leonard Bernstein broadcasted, as part of the Young People’s Concert series, his tribute to teachers with a powerful opening statement:

My dear young friends: You may think it strange that I have chosen to open this new season with the subject of teachers. After all, aren’t these programs always about music? And what have teachers got to do with music? The answer is: everything. We can all think of a self-taught painter or writer, but it is almost impossible to imagine a professional musician who doesn’t owe something to one teacher or another. The trouble is that we don’t always realize how important teachers are, in music or in anything else. Teaching is probably the noblest profession in the world — the most unselfish, difficult, and honorable profession. It is also the most unappreciated, underrated, underpaid, and underpraised profession in the world.

Tribute to Teachers, *Written by Leonard Bernstein*
*Original CBS Television Network Broadcast Date: 29 November 1963*

One of the most inspiring teacher tributes I have ever experienced was at the 2019 National Conference for Keyboard Pedagogy (NCKP 2019). Bryann Burgess shared passionately the profound impact her teacher Dr. Scott Price has had on her life, not only as a musician, but as a person. We are launching this inspiring tribute series with Bryann’s video and transcription, included below. We look forward to sharing these inspirational stories and celebrating our piano heroes who are working every day to make the world more kind, inclusive, and connected through the transformational power of music. We welcome you to celebrate your teacher and share your tribute with us by donating via this form. Together, we will further amplify the meaningful work of our noble profession.

Bryann Burgess, NCKP 2019

Video Transcript

Thank you, and good afternoon. My name is Bryann Burgess, and I am very excited to be here at this National Conference on Keyboard Pedagogy. It’s especially meaningful to me as a person with Down syndrome to be giving a presentation here in the Land of Lincoln and his Gettysburg address. He spoke of our country, being conceived in liberty and dedicated to the proposition that all are created equal. I continue to advocate for those principles today. IQ scores, disability diagnosis, and labels should never determine a person’s potential and right to pursue and enjoy the things that they love.

As my professor at the University of South Carolina, Dr. Scott Price says, music does not discriminate, and neither should we. He had told me he was willing to teach me if I was willing to work hard, and work hard I did, because I knew how much he believed in me. And I didn’t want to let him down. His expectations were high. And he always challenged me to do my best. He taught me to perform for recitals, play for a piano juries in front of other piano professors, and asked me to speak to his doctoral student classes about teaching students with unique abilities. And I was thrilled and honored to play a duet by Martha Meir, with Scott for my senior recital, part of which you’ll see shortly in the video.

As Helen Keller once said, “The best and most beautiful things in the world cannot be seen or even touched. It must be felt from the heart.” I want to thank all of the teachers who are here today for making such a difference in your students’ lives. I especially want to thank the teachers in my life, who look past Down syndrome, and labels of intellectual and developmental disabilities. They looked with their hearts at my possibilities. They focus on expectations and not limitations. They challenged me and gave me a sense of pride, accomplishment, and self confidence, because I worked hard to meet those challenges. I am forever grateful that they believed in me, helped me to set goals and allowed me to live my dream.

You can view the entirety of Bryann’s speech here.

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.

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