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Five Things You Might Not Know About Cécile Chaminade

Written By Angela Miller-Niles
Cécile Chaminade

Don’t miss Angela Miller-Niles’s Inspiring Artistry contribution about Chaminade’s Aubade, which includes information on how to effectively teach the piece, all the way from preparation to performance.

1.  She was the first woman to receive the Légion d’honneur in 1913.

The Légion d’honneur is the highest French order of merit. At 56, Chaminade was enjoying worldwide popularity at this time. Fellow composer Ambroise Thomas stated, “This is not a woman who composes, but a composer who is a woman.”1 

2. At 44, she married music publisher Louis-Mathieu Carbonel. They never lived together and it was widely considered a marriage of convenience.

Carbonel was twenty years older than Chaminade and was a long-time acquaintance of Chaminade’s mother. It was well-publicized that the two did not live together and Chaminade required a “platonic union.” They never had any children, but Carbonel accompanied her on concert tours, possibly to help her acquire safer lodging options. He died of a lung disease after six years of marriage; Chaminade never remarried.

3. Georges Bizet was a family friend and he encouraged Chaminade’s parents to let her study music. He called her “My Little Mozart.”

Georges Bizet lived close to the Chaminade family and her parents knew him well. He heard Chaminade play some of her own compositions when she was around eight years old, and he encouraged her parents to let her study music formally. Her parents, especially her father, initially disapproved of her music studies as they assumed she would be an ordinary housewife without need of a musical education. 

Georges Bizet

Piano rolls of Chaminade’s works produced by Aeolian

4. Chaminade made piano rolls and gramophone recordings during her lifetime.

Chaminade made several piano rolls and gramophone recordings during her life, many of which are popular with collectors. Several of her recordings were produced into piano rolls between 1901-1914, and Aeolian produced additional piano rolls of her music after World War I. Her six gramophone recordings for the Gramophone and Typewriter Company, which feature her own works, are especially well-known. Several of her recordings were re-issued on compact disc and can be found online today.

Chaminade’s Gramaphone Recordings

5. Chaminade’s tour of the United States in 1908 included several Eastern and Midwestern cities, including Boston, Philadelphia, Washington, D.C., Chicago, and Minneapolis.

Before this tour began, hundreds of Chaminade Clubs already existed throughout the United States. Her tour helped solidify her popularity in the United States and encouraged women to study and perform music. Today, many of these clubs are still active, hosting musical events that highlight female composers and performers.

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Sources
  1. Jerrould, John. “Piano Music of Cécile Chaminade.” American Music Teacher 37, no. 3 (1988): 22–23.
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This Week in Piano History: The Concert with an Audience of Legends (Including Liszt, Mendelssohn, and Wieck!)

Written By Curtis Pavey
Frederic Chopin

THIS WEEK IN PIANO HISTORY, Chopin had his premiere at the Salons de Pleyel in Paris on February 25, 1832.1 Chopin’s first concert after arriving in Paris, this debut marked one of the few times the Parisian public was able to hear Chopin’s performances. 

Chopin initially left Poland for a concert tour throughout Europe, but the journey was extremely difficult and he ultimately left Poland for good. His tour began in Vienna, but was immediately brought to a halt due to an uprising in Poland, which nearly resulted in the assassination of Grand Duke Constantin.2 Because of this, he struggled to find any concerts and spent several months waiting for a Russian passport.3 When he finally left for Stuttgart, he discovered the news that the Polish uprising was unsuccessful and he became extremely depressed.4 His arrival in Paris on October 5, 1831 was thus clouded by this nearly year-long journey and his slow adaptation to Parisian life.5

At the Salons de Pleyel on February 25, 1832, he performed a number of his own works during this concert including his Concerto in E Minor and his Variations on ‘Là ci darem la mano.’ The concert additionally featured Kalkbrenner’s Grande Polonaise for Six Pianos and performances by a number of other Parisian musicians. Among the many audience members were Mendelssohn, Liszt, Friedrich Wieck, and his daughter Clara Wieck.6 

The program from Chopin’s debut performance at the Salons de Pleyel.
A mini documentary by Stanisław Leszczyński and pianist Alex Szilasi, which demonstrate a few pianos from Chopin’s time.
Performing Chopin in the Style of Chopin?

A review in Fétis remarked, “Here is a young man who gives himself up to his innate impulses and, taking no-one as a model, has discovered, if not an utter renewal of piano music, at least a fragment of that which for so long has been sought in vain, namely an abundance of original ideas, the origins of which can nowhere be indicated. By this, we do not wish to maintain that Mr Chopin is endowed with the powerful organisation of some Beethoven, […] I speak here of the music of pianists. […] Mr Chopin performed […] a concerto which astounded and pleasantly surprised the auditorium both with its freshness of melody and type of passages, and also with its modulations and the overall arrangement of the movements. There is spirit in these melodies, there is fantasy in these passages, and everywhere there is originality. […] This young artist also deserves praise as a virtuoso. His playing is elegant, light, full of grace, and marked with brightness and purity.”7 To learn more about Chopin’s performing style, read this article, Performing Chopin in the Style of Chopin?, by pianist Beth Chen!

Chopin maintained a relationship with Pleyel & Co. and its owner, Camille Pleyel. Remarking about his experience playing Erard and Pleyel pianos, Chopin stated: “When I am feeling indisposed, I play on an Erard piano and I easily find in it a ready-made sound; but when I feel alive and strong enough to find my own sound, I need a Pleyel piano.”8 Interested in learning more about Chopin’s early experiences and his relationship with Pleyel pianos? Check out this article by Jean-Jacques Eigeldinger translated by Deana Shuman!

Chopin and Pleyel
Sources
  1. Different sources list this date as February 25th or February 26th.
  2. Jim Samson, “Chopin, Fryderyk Franciszek,” Grove Music Online, 2001; Accessed 20 Jan. 2023, https://www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051099.
  3. Ibid.
  4. Ibid.
  5. Ibid.
  6. Jean-Jacques Eigeldinger, “Chopin and Pleyel,” trans. Deana Shuman, Piano Magazine 2, no. 3 (May 2010), pianoinspires.com/article/chopin-and-pleyel/.
  7. “The Years of Adaptation (1831–1835) – 1832,” Calendar, The Fryderyk Chopin Institute, Accessed January 20, 2023, chopin.nifc.pl/en/chopin/kalendarium/123_the-years-of-adaptation-18311835/72.
  8. Jean-Jacques Eigeldinger, “Chopin and Pleyel,” trans. Deana Shuman, Piano Magazine 2, no. 3 (May 2010), pianoinspires.com/article/chopin-and-p

Eigeldinger, Jean-Jacques. “Chopin and Pleyel.” Translated by Deana Shuman. Piano Magazine 2, no. 3 (May 2010). pianoinspires.com/article/chopin-and-pleyel/

Samson, Jim. “Chopin, Fryderyk Franciszek.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051099. 

The Fryderyk Chopin Institute. “The Years of Adaptation (1831–1835) – 1832.” Calendar. Accessed January 20, 2023. chopin.nifc.pl/en/chopin/kalendarium/123_the-years-of-adaptation-18311835/72.

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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Effectively Teaching Young Students: Q&A with Sara Ernst

Written By Sara Ernst

We invited our followers to submit questions for Sara Ernst about effectively teaching young students to practice. Today, Sara is answering those questions!

We encourage you to read Sara’s article, “Practicing Alongside Our Intermediate Students,” in the Winter 2022 issue of Piano Magazine.

Additionally, enroll in our self-guided, online course titled The Beginner Course: Establishing Strong Foundations for Young Pianists, to learn more from Sara about teaching beginning students.

Join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks.

What are your thoughts on having parents involved with practice? When do students need to start being independent from parent help or is that not much of a concern?

My initial short answer to this is: if a parent will practice with the child, then the parent must be involved in the lesson. This will support the child and keep practice focused on goals given by the teacher. My other short answer is: parental support is always needed to schedule the household for regular practice to occur.

I know that children can practice on their own, but I also know that structure is often needed from the parent to ensure complete work. Furthermore, some children feel insecure at the piano alone, while others have never practiced with a parent! In other words, the level of parental participation should be determined by the developmental needs of the child. Some parent-child practice partnerships work well, although the child must be allowed and encouraged to have independent time at the piano to develop agency and intrinsic motivation. Occasionally, I need to encourage parents to embrace the child’s autonomy.

How long do you expect your youngest students to practice and for how many days a week?

My guidance to parents is based on several simple rules:

  • Always practice the day before and after a lesson.
  • Never skip two days in a row.
  • Aim for five or six days a week.
  • Complete the whole assignment every practice day.

Following these guidelines yields at least four days of practice. If assignments are fully completed, and there are four to six days of practice, I find that my students make regular and consistent progress.

The only guideline on practice duration that I maintain is “completion of the assignment.” I estimate my early beginner practice assignments to be 20 minutes in length. As students advance, we discuss length of practice more purposefully, as relates to their goals for study.

What kinds of things do you assign your students to practice? Mostly warmups and rep or other activities as well (theory, off bench, etc.)?

My students’ assignments have warmups, new music, review music, and performance repertoire. Warmups include five finger-patterns, chords, progressions, scales, and arpeggios, although often not all at the same time. New/review music will also include quick-learn and for-fun pieces, to result in routine reading and learning of music. Assignments may include etudes and creative skills, like harmonization and lead sheets. Some of my students’ assignments also include supportive activities, such as sight-reading or theory writing pages for review of important concepts. This last category varies widely based upon the needs of the individual.

What kind of lesson notes do you give students to help them during their practice times? I’m constantly trying to figure out that line between too little instruction that the assignment is not clear and TOO MUCH detail that they never bother to read it. 

One of the principles I discuss in my article is developing student ownership. While I give my students typed assignments (printed out or sent electronically), I encourage them to write in their music, and mark all the elements and details that we work on in lessons, in their own handwriting. The assignment sheet will then have weekly goals, written in a concise style. For instance, the student will have formal sections, brackets, and stars written in the music, and the assignment sheet will indicate, “Complete brackets and stars. Play each section 3x slowly.”

How do you help a young student practice in a way to prepare for a performance?

This is such an important question, and it is a style of practice that can be overlooked. I work with my students to develop their artistic vision for each section of the piece. I coach them through each section, having them play the section multiple times in a performance flow, seeking to hear better sound each time. This is balanced with slow, purposeful repetition, to secure accurate playing. As the performance nears, I coach them through complete rehearsals, again with a performance mindset of artistic listening.

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This Week in Piano History: The King of Etudes

Written By Curtis Pavey
Carl Czerny

THIS WEEK IN PIANO HISTORY, we celebrate the birth of pianist and composer Carl Czerny who was born on February 21, 1791. Although primarily known for his numerous etudes, Czerny was a prolific composer publishing over 800 works with opus numbers.

Czerny was born into a middle class family in Vienna, Austria. His father, Wenzel Czerny, was a musician and piano repairman. Although an amateur, he taught lessons and was able to support his family with a modest income. Czerny was a child prodigy and, by the age of ten, was capable of playing challenging works of Mozart and other contemporary composers. He met Beethoven at age ten and was accepted as one of his students. During this time, Czerny studied the works of Beethoven as well as C.P.E. Bach’s Essay on the True Art of Keyboard Playing.1

Portraits of Carl Czerny.

Although Czerny stopped his studies with Beethoven shortly after, he remained a close friend throughout Beethoven’s life. He performed a number of Beethoven’s works including his Emperor Concerto and later in life published a treatise called On the Proper Performance of All Beethoven’s Works for the Piano. According to Lindeman and Barth, the score examples contain rewrites and suggest that Czerny had his own ideas about how Beethoven’s music should be performed.2 Despite this, Czerny’s writing on Beethoven’s works offers an important commentary about Beethoven’s composition and performance style.

Czerny is perhaps best known for the  several hundred etudes published in his lifetime. These vary greatly from works at the beginning level to works suitable for the concert hall. Among his many studies are works such as the School of Virtuosity Op. 365, the School of Legato and Staccato, Op. 335, the 24 Easy Studies for the Left Hand, Op. 718, and the Nouveau Gradus ad Parnassum, Op. 822. The title for this last work appears to be an ode to Clementi, one of Czerny’s friends.3

Although Czerny is known so well for his etudes, he was a composer of a large number of works in diverse genres such as sacred music and serious concert pieces. In the nineteenth century, Robert Schumann, in his journal Neue Zeitschrift für Musik, popularized the idea of Czerny only being a composer of etudes; this idea continues to perpetuate modern discussions of his works.4 Despite this, Czerny wrote a number of serious piano works including eleven published piano sonatas. Liszt is known to have performed and highly reviewed Czerny’s Piano Sonata No. 1 in A-flat Major, Op. 7.5 The work is an expansive sonata of five movements lasting over thirty minutes. Among the many highlights of this work are the lyrical first movement and the exciting closing movement featuring a virtuosic and chromatic fugue. You can hear a recording of this sonata here, performed by pianist Martin Jones.

Czerny’s Piano Sonata No. 1 in A-flat Major, Op. 7 performed by pianist Martin Jones.


Besides his compositions, Czerny is also known as an important teacher. He apparently maintained a rigorous teaching load, teaching twelve hours per day from 8 a.m. to 8 p.m.6 Czerny was a teacher to famous pianists Stephen Heller, Sigismond Thalberg, and Franz Liszt, who later dedicated his own set of etudes, the Études d’exécution transcendante, to him in 1852.

Beethoven was Czerny’s teacher and mentor.
One of Czerny’s star students was Franz Liszt.

Want to learn more about using etudes in your teaching? Check out this article with advice from Nancy Bachus, Seymour Fink, and Marilyn Neeley about using etudes in your studio!

What is the role of “etudes” in a pianist’s development? Which ones do you use and when?
Sources
  1. Stephan D. Lindeman and George Barth, “Czerny, Carl,” Grove Music Online. 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000007030.
  2. Ibid.
  3. Ibid.
  4. Ibid.
  5. Ibid.
  6. Ibid.

Lindeman, Stephan D., and George Barth. “Czerny, Carl.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000007030.

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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Five Ideas for Choosing a Spring Recital Theme

Written By Holly Kessis

We encourage you to watch Holly Kessis’ archived webinar here: “Piano Inspires… Innovation in Practice“ with Igor Lipinski, Brianna Matzke, Joy Morin, Melody Ng, Jason Sifford, and Jennifer Snow. This webinar is a celebration of innovation in organizations, teaching practices, and teacher education. 

1.  Less is more.

It’s easy to get overwhelmed with ideas, so start by picking one era or genre of piano music to focus on and stick to it. What style of music do your students perform especially well? Have you had success in your studio with music by Russian composers, miniatures from the Romantic period, popular tunes, or movie soundtracks? You could even concentrate on repertoire related to one specific word (some examples: “autumn” or “celebration” or “colors”). Make sure that whatever you pick still has enough variety to encompass a whole recital.

2. Survey your students.

What inspires your students in their music-making? Maybe some of them are learning about music from the 1960s at school and ask about playing by The Beatles or Janis Joplin. Perhaps you have a few students struggling to stay motivated but light up when you mention a tune from their favorite video game. I had one child who gravitated towards quirky Kabalevsky pieces and only wanted to play those at recitals! Following your students’ interests will keep performances exciting and can lead to new possibilities for those students for whom the new genre or composer is new.

3. Go outside of your comfort zone.

Is there an artist or music style that you would love to make more time to discover? In the beginning of 2021, I started searching for music outside of the typical western styles I was used to and eventually created a “Music from Around the World” theme including beginner and intermediate songs from Africa, Asia, and South America. More preparation was involved, but this certainly broadened my horizons as a teacher trained in the classical tradition and exposed my students to appealing tunes they wouldn’t be exposed to otherwise.

4. Think “interdisciplinary”.

Solo piano study doesn’t exist in a vacuum.Are there other art forms that could be combined with your students’ musical performances to add depth? Maybe you have some budding artists in your studio who could create artwork to go along with their pieces. Videos displaying landscapes or abstract animations could add to the mood of your students’ performances. Even collaborating with children taking dance classes or playing different instruments besides piano can pique the interest of the audience.

5. Pick a new place!

Who says your recital has to be at a usual performance space? Reach out to small businesses in your community like a local coffee shop to see if they have the time and space for a small concert. Perhaps a neighboring retirement home or arts council center has an hour set aside in their schedule every week for outside performances. It’s important to get your students used to playing in new and different environments, and the commercial exposure for your studio is a plus.

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The 2023 Frances Clark Center Lifetime Achievement Award Recipients

Written By Piano Inspires

PRESS RELEASE: 15 FEBRUARY 2023

The Frances Clark Center recognizes Michelle Conda and George Litterst as recipients of the 2023 Frances Clark Center Lifetime Achievement Award. Their extensive contributions to the field of piano pedagogy are extraordinary. Their influence and impact on the profession are demonstrated across the country and internationally, exemplifying outstanding dedication to the field of music and piano teaching. 

“We are honored to celebrate the outstanding contributions of both Michelle and George. In addition to their leadership in the profession, their dedicated service to The Frances Clark Center is long-standing and invaluable.” – Dr. Jennifer Snow, CEO and Executive Director of the Frances Clark Center

At NCKP 2023, join us for a Gala champagne reception and awards ceremony on Friday, July 28 from 6:00-8:30 PM to celebrate our 2023 Lifetime Achievement Award winners. Click here to reserve Gala tickets.

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. It was previously named National Conference for Keyboard Pedagogy Lifetime Achievement Award.

Dr. Michelle Conda is the Head of the Keyboard Division, Chair of Secondary Piano and Piano Pedagogy, and Professor of Piano at the Cincinnati College-Conservatory of Music (CCM). She received her PhD from the University of Oklahoma, where she studied piano with Dr. Jane Magrath and pedagogy with Dr. Jane Magrath and Dr. E. L. Lancaster.

Dr. Conda is a founding member of GP3; the National Group Piano/Piano Pedagogy Forum. She has written two books for group teaching: Sensible Keyboard Skills for the College-Age Musician and Playing Piano by Chords which is in its second edition.

Dr. Conda still performs with her husband, Bob Conda, and for the Cincinnati Community Orchestra, with her most recent performance being MacDowell’s Second Piano Concerto. She is active in MTNA and has done committee work and presentations for the Frances Clark Center for Keyboard Pedagogy. Lately she has been researching issues of microaggression in the university community. 

“I am honored by being selected for this prestigious award. Thank you for this humbling recognition of my life as a pedagogue. I am so proud of the new pedagogues who are leading us into tomorrow. Because of them our field will survive. To quote myself from many years ago, we have a moral obligation to teach everyone. Music is not a disposable item. Music is always. And when you get discouraged, do what my son says– ‘smile and keep driving.’” –Michelle Conda

George Frederick Litterst is a well known music educator. A frequent clinician at national music educator conferences, he is an author, performer, and music software developer. A classically trained pianist, he presents multimedia performances on technology-equipped acoustic pianos. For many years, he was an associate editor for Clavier Companion and is currently co-author of the “Tech Connect” column for American Music Teacher. As a music software developer, he is co-author of the intelligent music display app SuperScore, the score-following app Home Concert Xtreme, the intelligent music blackboard Classroom Maestro, and the long distance teaching and performing app Internet MIDI—all published by TimeWarp Technologies.

“Early in my teaching career, I became acquainted with the work and philosophy of Frances Clark through the methods and workshops of her protégés. In 2001 and with great enthusiasm, I accepted the opportunity to contribute to her legacy and to the Frances Clark Center by serving as chair of the NCKP Technology Committee. To find myself now honored by this organization twenty-two years later is a humbling experience indeed!” –George Litterst

This Week in Piano History: The Ragtime “Scott” You Might Not Know

Written By Curtis Pavey
James Sylvester Scott

THIS WEEK IN PIANO HISTORY, we celebrate the birth of major ragtime composer James Sylvester Scott who was born on February 12, 1885. Scott produced a number of hits including Ophelia Rag, Frog Legs Rag, and Grace and Beauty.

Originally from Neosho, Missouri, Scott was born to former slaves James Scott Sr. and Molly Thomas Scott. His musical upbringing began on his own as he learned to play piano by ear, but later studied with teacher John Coleman and continued as he watched and gave performances at Lakeside Amusement Park.1 These experiences helped him to improve his musical abilities and, because of this, he was hired by the Dumars Music Company to work as a sales clerk and perform his own music to demonstrate the instruments.2

Publications by James Sylvester Scott

While working for the Dumars Music Company, Scott was able to publish several of his own pieces including works such as On The Pike March. Upon meeting fellow ragtime composer Scott Joplin in St. Louis, he was introduced to Joplin’s publisher John Stark.3 After this introduction, Scott published a number of rags throughout 1906–1922, making him a leading composer in this style next to figures such as Scott Joplin.

Although similar in nature to Scott Joplin, James Sylvester Scott is an important and noteworthy composer in his own right. One of the most interesting features of Scott’s rags is his use of increasingly colorful and chromatic harmony. In Victory Rag, Scott uses half-diminished and fully diminished chords to great effect. Scott was concerned about balance in his music and carefully balanced the sections of the rags to create symmetry in phrase lengths. His music contains many virtuosic elements including arpeggios, thick chordal textures, and octaves. Want to hear one of Scott’s most famous compositions? Check out this recording of Ophelia Rag performed by pianist Fred Sturm.

Ophelia Rag performed by pianist Fred Sturm.

Around 1920, Scott moved to Kansas City where he established his own teaching studio, performed in silent films and pit orchestras, and even performed with a dance band. His activities in Kansas City helped him to become one of the most important Black pianists there.4 After the death of his wife, Nora Johnson, in 1930, Scott continued to teach and perform until his death in 1938.

If you are curious about including ragtime in your studio, read Meg Gray’s article, Pupil Saver: First Steps into Ragtime, to learn about this style via the music of Florence Price.

Winter 2020: Pupil Saver: First Steps into Ragtime
An article by Meg Gray titled Pupil Saver: First Steps into Ragtime.
Sources
  1. Peter Muir, “Scott, James Sylvester,” Oxford African American Studies Center, 31 May. 2013; Accessed 20 Jan. 2023, oxfordaasc-com.uc.idm.oclc.org/view/10.1093/acref/9780195301731.001.0001/acref-9780195301731-e-37819.
  2. John Edward Hasse, “Scott, James,” Grove Music Online, 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000025252.
  3. Ibid.
  4. Peter Muir, “Scott, James Sylvester,” Oxford African American Studies Center, 31 May. 2013; Accessed 20 Jan. 2023, oxfordaasc-com.uc.idm.oclc.org/view/10.1093/acref/9780195301731.001.0001/acref-9780195301731-e-37819.

Hasse, John Edward. “Scott, James.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000025252. 


Muir, Peter. “Scott, James Sylvester.” Oxford African American Studies Center. 31 May. 2013; Accessed 20 Jan. 2023. https://oxfordaasc-com.uc.idm.oclc.org/view/10.1093/acref/9780195301731.001.0001/acref-9780195301731-e-37819.

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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What We Can Learn From Historical Pianos: Q&A with Charlotte Tang

Written By Charlotte Tang

We recently invited our followers to submit questions for Charlotte Tang about historical pianos. Today, Charlotte is answering those questions!

We encourage you to watch Charlotte’s Inspiring Artistry repertoire video on teaching Scarlatti’s Sonata in D Minor, K. 213.

Join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks.

How did you first become interested in historical pianos?

I was learning Haydn’s Fantasia in C when I was 14 or 15, and my teacher showed me Bilson’s performance from his DVD “Knowing the Score.” I was amazed by how crisp the octave glissando was!  During my master’s degree, I finally had the chance to play on a Walter replica and completely fell in love with the touch and sound of the instrument.

How does your technique change when you play on a historical piano?

The instrument itself has so much elegance. The different colors it’s capable of encourage me to explore different kinds of touch than what I might usually utilize on a modern piano.

How do historical instruments inform your understanding of a piece?

Historical instruments have very different voicing and texture, which has encouraged me to listen more attentively to changing harmonies and intricate voice-leadings. For example, a diminished seventh really has a striking effect on a historical piano.

Charlotte Tang playing a historical instrument at Cornell University.

Where are your favorite museums or historical sites with historical pianos? Are visitors able to play on any of them?

I had a chance to visit Cornell University in New York last summer and really enjoyed playing their pianos. A few others:

What do you consider to be the “biggest leap” in piano development? What time period, piano maker, mechanism or construction technique, or other component do you think had the biggest impact in history?

I think it’s a culmination of many small incremental changes, but if I had to pick one, it would be the double escapement developed by Sébastian Érard in the early nineteenth century. That invention is what enables us to play lightning-speed repeated notes on the modern piano!

What is the benefit of knowing about or playing on historical instruments?

It really opened my eyes to different colors and effects that I wouldn’t have imagined on the modern piano. It changed my conception of sound.

What is your favorite era of historical piano making, and why?

Definitely the early nineteenth century! The new foot pedals are a lot of fun. There were often four to six pedals on pianos, and one of them is the Janissary “cymbal” stop.

An example of the Janissary “cymbal” stop.

How can knowledge about historical pianos change the way we play/teach at the modern piano?

As a teacher, I started focusing more on cultivating curiosity around notations and developing different touches to convey more emotions and characters.

What is one thing you wish all pianists knew about historical instruments?

I wish more pianists knew that these pianos are capable of producing a wide range of colors from ethereal to furioso!

What is your favorite repertoire to perform on historical instruments?

Schumann’s Kinderseznen, Beethoven Bagatelles, and Schubert’s Impromptus are all favorites.

An example of the tone quality on a replica Graf.

Can you tell us about your favorite historical piano?

Definitely the Graf. I love the light, brisk Viennese action, and Graf pianos have a lot of transparency and warmth in the sound. They were some of the best pianos in the early nineteenth century!

Don’t forget! Watch Charlotte’s Inspiring Artistry repertoire video on teaching Scarlatti’s Sonata in D Minor, K. 213

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This Week in Piano History: The Pianist Who Could Crack a Joke

Written By Curtis Pavey
Victor Borge

THIS WEEK IN PIANO HISTORY, we remember the debut of The Victor Borge Show on NBC-TV on February 3, 1951. Borge’s brilliant comedic routines brought humor to the classical music concert hall in ways previously not experienced.

Born in Copenhagen, Borge’s musical studies with his parents, who were both musicians. His father supervised his early musical training, but he later was accepted on full scholarship into the Danish Royal Academy of Music at age of nine. Borge additionally studied with Frederic Lamond, a former student of Liszt, and Egon Petri. In the initial part of his career, Borge satirized many different elements of his life, including some beyond music.1 He was a noted critic of Adolf Hitler. Born to an Ashkenazi Jewish family, Borge was forced to flee Europe for the United States in 1940.

Victor Borge through the years.

Upon arriving in the United States, he was able to quickly find work by appearing on Bing Crosby’s radio show in NYC called Kraft Music Hall.2 The success of this program later resulted in Borge’s own radio show. In 1951, The Victor Borge Show officially debuted on NBC-TV. His clever routines, largely making fun of his own abilities and other quirks of the classical music field, were quite popular; however, the show was taken off the air after just a few months.

In describing his work with Borge, director Perry Lafferty stated, “He was probably as talented a person as I worked with in my life… Nobody stopped to think it through at the time, but he’s so special with what he does on the piano with music, that it’s not something you sit down with writers… Nobody might have thought that—including me—that television would burn his act up. Now, you had to think, ‘What do you do with him? He doesn’t do acting, he just plays the piano.’ It was the hardest thing in my career… Victor Borge fought everything we wanted to do.”3 

After The Victor Borge Show was taken off air, Borge continued to perform and conduct around the globe. He performed his Comedy in Music show on Broadway, giving nearly 850 performances.4 In addition to worldwide fame, Borge received a number of honors and awards in recognition for his outstanding contributions to the classical music field. In 1997 he was given an honorary degree from Trinity College Connecticut. In addition. he was one of the honorees at the 1999 Kennedy Center Honors. He also received the Order of the Dannebrog from Denmark. He continued performing up until his death in 2000, a week shy of his 92nd birthday.

A skit based on Liszt’s Hungarian Rhapsody No. 2.
A video featuring a portion of the original The Victor Borge Show broadcasts from 1951.
Sources
  1. Karen Monson, “Borge, Victor,” Grove Music Online. 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046993.
  2. Ibid.
  3. Wesley Hyatt, Short-Lived Television Series, 1948-1978: Thirty Years of More Than 1,000 Flops (First edition. Jefferson, NC: McFarland & Company, 2003), 26.
  4. Karen Monson, “Borge, Victor,” Grove Music Online. 2001; Accessed 20 Jan. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046993.

Hyatt, Wesley. Short-Lived Television Series, 1948-1978: Thirty Years of More Than 1,000 Flops. First edition. Jefferson, NC: McFarland & Company, 2003.

Monson, Karen. “Borge, Victor.” Grove Music Online. 2001; Accessed 20 Jan. 2023. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000046993.

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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Five Things You Might Not Know About Florence Price

Written By Lia Jenson-Abbott
Florence Price

Don’t miss Lia Jenson-Abbott’s Inspiring Artistry contribution about Florence Price’s Down a Southern Lane, which includes information on how to effectively teach the piece, all the way from preparation to performance.

1.  At age 18, Florence Price graduated from the New England Conservatory of Music with two degrees:  Teachers Diploma in Piano and Soloists Diploma in Organ.1

It is extremely difficult to earn a single music degree at a major conservatory. Students who pursue double degrees have an even more ambitious workload to undertake, thus, it is rare for students to pursue two degrees simultaneously. That Florence Price achieved two degrees concurrently in three years is nothing short of astonishing and further underscores her work ethic and her abilities.

The Soloists Diploma was the highest attainable certificate awarded by the Conservatory.

Rae Linda Brown2
Price’s Class at New England Conservatory

2. While we know about her classical compositions, many may be surprised to learn that Florence Price also composed popular music for radio commercials and theater under the pen name, “VeeJay.”3

When Florence Price arrived in Chicago, she devoted more time to composition. As a composer, Price was ultimately trying to support her family as well as to write music which would find a larger performing base for her music. Clearly, Price felt the financial need to work in the popular music industry along with the Classical art music realm. While this music has not been given as much scholarly critical consideration to date, it would certainly be interesting to study these works to help complete the history of her amazing compositional output. 

The Heart of a Woman: The Life and Music of Florence B. Price by Rae Linda Brown

That Price was invited to conduct her Concerto in this star-studded venue for so large an audience is testimony to the high esteem with which she was regarded as a composer by the early 1930s.

Rae Linda Brown4

3. In 1933, Price was invited to conduct the orchestra while her former student, Margaret Bonds, played her Piano Concerto in One Movement at the Century of Progress Exhibition.5

Florence Price was a gifted composer, but also a gifted and dedicated teacher. Her student Margaret Bonds, herself a tremendous musical talent both as a pianist and as a composer, had a close relationship with Price and was instrumental in helping to disseminate Price’s music. 

4. In the spring of 1941, Florence Price moved to the Abraham Lincoln Center, where she taught close to one hundred piano students.6

While Price taught so many students due to economic necessity, the physical and mental energy needed to sustain this kind of teaching underscores a certain aspect of Price’s nature, notably her drive to have a career in music. From this evidence, one can conclude that Price obviously worked tirelessly to serve her students, her family, and her career. Given the obstacles she faced, her achievements become that much more historically exemplary. 

As the most well-trained piano teacher at the center, Price had a huge studio. She taught both beginners and advanced students, numbering at one time close to one hundred.

Rae Linda Brown7

5. In 2021, after learning about Florence Price, the students at Kaufman Music Center in New York City, were inspired to write a children’s book about Florence Price.

Over recent years, Price’s music has finally received the critical reception it has always deserved. For children to be so intrigued and genuinely compassionate about telling the story of an overlooked musical role model might underscore Price’s legacy in the most genuine and most resonant means possible. Price was a lifelong educator, with a great deal of her compositions devoted to teaching music. It is a fitting tribute to this dedicated teacher, composer, and performer, to have a new generation of children become her voice.

The book is called Who is Florence Price? Young Musicians Tell the Story of a Girl and Her Music. It was written and illustrated by the middle school students at Special Music School. It is available for purchase on Amazon.

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Sources
  1. Brown, Rae Linda, Guthrie P. Ramsey, and Carlene J. Brown. The Heart of a Woman: The Life and Music of Florence B. Price, 53. University of Illinois Press, 2020.
  2. Ibid.
  3. Ibid, 90.
  4. Ibid, 157.
  5. Ibid.
  6. Ibid, 201-202.
  7. Ibid.
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This Week in Piano History: The Birth of Philip Glass | January 31, 1937

Written By Curtis Pavey
Philip Glass

THIS WEEK IN PIANO HISTORY, we celebrate the birth of American composer Philip Glass, who was born on January 31, 1937. Known for his unique approach to minimalist style, Glass’ award-winning compositions continue to inspire audiences worldwide.

Born in Baltimore, Maryland, Glass began studying the violin and flute in his childhood, later becoming intrigued by composition as a teenager. He enrolled at the University of Chicago where he received a BA in Liberal Arts in 1956 before taking up composition studies at Juilliard. Among his important early influences were Vincent Persichetti, Darius Milhaud, and even Nadia Boulanger. Throughout the 1960s, Glass’ minimalist style developed and was influenced by his study of Indian traditional music.1 With the establishment of his own ensemble—The Philip Glass Ensemble—he was able to ensure the exclusive performance rights of his music and thus control its dissemination to the public.2 Glass has received a number of awards for his concert and film music including a National Medal of Arts and recognition as a Kennedy Center Honoree.

Philip Glass through the years.

Glass has written music for every type of classical genre including opera, symphonies, concerti, sonatas, and etudes. He has composed more than a dozen operas including the notable Einstein on the Beach and Akhnaten, which tells the story of an Egyptian pharaoh of the same name. He continues to write symphonies, with Symphony No. 13 written in honor of Canadian-American journalist Peter Jennings being premiered in March 2022. Additionally, Glass composed film scores to dozens of movies and TV shows including The Truman Show, for which he won a Golden Globe for Best Original Score in 1998.

Pianist Víkingur Ólafsson performs Étude No. 5 by Philip Glass.
Pianist Paul Barnes and flutist Ron Warren perform Piano Concerto No. 2: After Lewis and Clark by Philip Glass with Tyler White and the UNL Symphony Orchestra.

Among his most popular piano works are his three piano concerti and his two volumes of Etudes. His piano works are notable for their repetitive structures, oscillating accompaniment patterns, and introspective qualities. In his Etude No. 5, performed here by pianist Víkingur Ólafsson, Glass creates a long arc out a somber piano accompaniment pattern which later accompanies a melody played at first in octaves.

Glass’s Piano Concerto No. 2: After Lewis and Clark musically conveys the narrative of Lewis and Clark’s famous journey throughout the American West. The piece, heard here performed by pianist Paul Barnes and the UNL Symphony Orchestra, is in three movements and includes a solo performed on a Native American flute in the second movement titled “Sacagawea.”

In describing his own style, Glass states: “I’ve been called a minimalist composer for more than 30 years, and while I’ve never really agreed with the description, I’ve gotten used to it … but what I really am—and increasingly so—is a universalist composer. I’m interested in all kinds of music, and sooner or later most of those musics find their way into my own compositions.”3

Teaching Contemporary Piano Techniques to Intermediate Piano Students with Alexina Louie’s Star Light, Star Bright

Interested in ways you can teach contemporary music techniques to your students? Check out this article by Lynn Worcester Jones in which she explains her teaching tips using the music of Alexina Louie.

Sources
  1. Edward Strickland and Mark Alburger, “Glass, Philip,” Grove Music Online, 16 Oct. 2013 (Accessed 16 Dec. 2022), oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252917.
  2. Ibid.
  3. Tim Page, “Nothing Less,” The Washington Post, January 16, 2005, washingtonpost.com/archive/lifestyle/style/2005/01/16/nothing-less/2668c73f-bc71-43ac-b237-dd30dc545747/ (accessed December 16, 2022).

Evans, Tristian. “Glass, Philip.” Grove Music Online. 26 Mar. 2018; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-3000000124. 

Page, Tim. “Nothing Less.” The Washington Post. January 16, 2005. washingtonpost.com/archive/lifestyle/style/2005/01/16/nothing-less/2668c73f-bc71-43ac-b237-dd30dc545747/ (accessed December 16, 2022).

Strickland, Edward, and Mark Alburger. “Glass, Philip.” Grove Music Online. 16 Oct. 2013; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252917.

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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Teaching Contemporary Music: Q&A with Brendan Jacklin

Written By Brendan Jacklin

This week we invited our followers to submit questions for Brendan Jacklin about teaching new and contemporary music. Today, Brendan is answering those questions!

We encourage you to watch Brendan’s archived webinar on teaching George Crumb’s Eine Kleine Mitternachtmusik.

Join us on social media for the opportunity to have your questions on a variety of interesting topics answered by additional experts in the coming weeks.

What are some challenges that teachers face when teaching new/contemporary music?

I think the biggest challenge is simply unfamiliarity. This might mean being unfamiliar with the different styles, new techniques, unusual harmonies, graphic notation, or just not knowing where to find the written music. There is so much available that it is difficult to keep up! 

Why is it important for students to learn to play contemporary/new music?

I think it is vital to connect with the music of your own time. With all of the different styles and ideas in music, you never know what will resonate with a student. Contemporary music offers students a chance to hear and perform music by people they personally connect with. Still to this day, I make it a mission of mine to program Canadian composers. And the music is just fun! Students always get a kick out of playing wacky techniques and strange graphic notation.

At what age or level do you typically introduce contemporary music in teaching?

As soon as I can! I like to have students compose or improvise in lessons from an early age, which helps introduce contemporary music. There are also plenty of composers who write beginner-level music, such as Stephen Chatman or György Kurtag. There’s even a method book, The Little Avant-Garde by Stephen Covello, which provides great supplemental pieces.

What are the most important elements to keep in mind when introducing students to contemporary music?

Not everyone will like everything, and that is okay. You don’t want to alienate a student from all the different styles by forcing a piece on them that they do not want to learn. Contemporary music often contains new harmonies or techniques that a student will need to be exposed to, and I have found it helpful to explore why a composer chose to write in these newer styles in a lesson.

Brendan Jacklin at the piano.

Are there any strategies you employ to help develop student interest in new music?

You have to be enthusiastic when you introduce a piece—they’ll know if you secretly don’t like the piece! I will often do listening in the lesson, too. This will expose the student to new pieces in an environment where they can ask you questions. When you are playing music by living composers, I have also found that students love the ability to communicate with the composer. This can be as simple as an email, but the composer answering a student’s questions about their music can be incredibly powerful. Every composer I have contacted has been more than happy to discuss their works in more detail. 

Have you ever had a collaboration between a composer and your students? If so, how did it go?

I have! Working with living composers has always been a great experience. You want to make sure that your students are involved in both the genesis of the idea and the composition—it is less fun for the students if all they get is the finished product. The biggest hurdle was finding a composer who can write effective music for all different levels of students. Not every composer writes for every level.

What resources do you use to find the latest contemporary music for your students?

It does take some research to find new music. While there are collections and syllabi that include living composers, I have found many new composers by looking at concert and festival programs, especially those ensembles that focus on new music (groups like Bang on a Can, ICE, or Kronos Quartet). I also keep up with online resources such as I Care If You Listen or New Music Box, through which I have found many cool composers.

Who are some of your favorite composers of intermediate-level contemporary music?

It’s always so hard to choose! If I have to make a list (though I would likely have a different list tomorrow!), I would check out Seymour Bernstein, Florence Price, György Kurtag, Robert Mucynski, David McIntyre, and Witold Lutoslawski.

I have a student who is quite picky about contemporary music. What advice do you have for a teacher struggling to find music that will interest their student?

For younger students, I tend to let them choose the contemporary styles that they like. Their musical tastes will change as they get older, so I am not in a rush to have them try all of the varied different styles. Many students are already familiar with some of the more ornery sounds (like atonality or extreme dissonance) through film and TV music. I have had success getting students to try new styles by relating it to a show or movie they are familiar with.

How did you first become interested in contemporary music?

I was lucky enough to grow up in a family of musicians, and my parents were friends with several composers in our city. They would write little pieces for me and my brother growing up, which was really a formative experience for me. My piano teacher in high school was also a composer, and I got to work with her on her own music, including a premiere. That was really what got me hooked on contemporary music.

Have you used contemporary music in any creative ways in a recital setting?

My own performance is largely centered around contemporary music, and I always try to offer something new for both myself and the audience. A favorite of mine is pairing music with silent film, both traditional repertoire and commissioned works, where I would essentially create my own film scoring.

What is your advice for teachers who are intimidated by teaching contemporary music?

There is so much music out there that it is impossible to know it all. Start with the musical styles that you like, and expand from there. I would also start with a resource like the RCM syllabus or Jane Magrath’s The Pianist’s Guide to Standard Teaching and Performance Literature. These resources will help you curate a great starting list of living composers, in addition to listing the publishers where you can purchase the music.

Don’t forget! Watch Brendan’s archived webinar on teaching George Crumb’s Eine Kleine Mitternachtmusik.

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This Week in Piano History: The Birth of Muzio Clementi | January 23, 1752

Written By Curtis Pavey
A piano manufactured by Muzio Clementi & Co.

THIS WEEK IN PIANO HISTORY, we celebrate the birth of pianist, composer, and piano manufacturer Muzio Clementi, who was born on January 23, 1752. Although Clementi is most well known today for his sonatinas, he wrote a number of large-scale piano sonatas and achieved great success with his piano manufacturing business.

Clementi, born in Rome, lived the majority of his life in England where he established himself as a musician and businessman. In his teen years, he was introduced to Peter Beckford who “bought” Clementi’s service for seven years.1 Following this, Clementi gradually began to establish himself as an independent musician on the London stage. Although Clementi gave many concerts as a pianist and conductor, he significantly limited his concert appearances after 1790 and was significantly more involved in his piano building and music publishing company. His business successfully sold pianos throughout Europe and even employed his then students Johann Baptist Cramer and John Field to help market the pianos. He additionally gained the rights of several important composers such as Beethoven and was the first to publish them in England. Clementi’s company continued to be successful long after his retirement. Clementi died from an illness on March 10, 1832. He was later buried in Westminster Abbey in London.

Portraits of Clementi along with a photo of his tombstone at Westminster Abbey in London.

In December 1781, Mozart and Clementi met in Vienna at the court of Joseph II where they battled in a notoriously famous piano duel. Clementi thought highly of Mozart’s playing, but Mozart was less than thrilled with Clementi’s performance stating: “Clementi plays well, as far as execution with the right hand goes. His greatest strength lies in his passages in 3rds. Apart from that, he has not a kreuzer’s worth of taste or feeling – in short he is a mere mechanicus.”2 Clementi’s fame did not initially suffer, but Mozart’s comments were shared by others in the musical world of the time and thus caused Clementi to later fade out of concert life.3

Pianist Vladimir Horowitz performs Clementi’s Sonata in F-sharp Minor, Op. 25, No. 5, III. Presto.

Clementi is especially well known for his many sonatinas and sonatas. Clementi’s Op. 36 publication of six sonatinas contains some of the most iconic music for intermediate-level pianists. Each of the sonatinas in the set progressively increase in difficulty, offering a variety of different challenges for developing pianists. His works, however, are not limited to the intermediate-level pianist. Many of his sonatas contain virtuosic elements such as the playing of legato thirds at rapid speeds as heard in the final movement of his Sonata in F-sharp Minor, Op. 25, No. 5.

His Sonata in G minor “Didone abbandonata,” Op. 50, No. 3, performed here on a copy of a Viennese fortepiano, contains amazingly expressive moments and is an effective concert work for advanced-level pianists. Besides keyboard music, Clementi wrote several symphonies, though they failed to compare to the works of that time by Haydn and Beethoven.4 His pedagogical work, Gradus ad Parnassum, contains one hundred different exercises published in three volumes, representing some of his finest work.

Fortepianist Anastasia Chin performs Clementi’s Sonata in G Minor, Op. 50, No. 3, “Didone abbandonata.” This was performed on a copy of a Conrad Graf Viennese fortepiano, circa 1820’s, by Rod Regier.
Clementi: Sonatina in C, Op. 36, No. 1, I. Allegro
Amy Glennon shares teaching tips regarding Clementi’s Sonatina in C, Op. 36, No. 1, I. Allegro.

Are you or any of your students working on Clementi’s Sonatina Op. 36, No. 1? If so, check out this video by Amy Glennon that includes tips and tricks for tackling this standard of the piano repertoire.

Sources
  1. Alan Tyson, Leon Plantinga, and Luca Lévi Sala, “Clementi, Muzio.” Grove Music Online, 2001 (Accessed 16 Dec. 2022) oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040033.
  2. Ibid.
  3. Ibid.
  4. Ibid.

Cranmer, Margaret, and Peter Ward Jones. “Clementi.” Grove Music Online. 2001; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000005937.

Tyson, Alan, Leon Plantinga, and Luca Lévi Sala. “Clementi, Muzio.” Grove Music Online. 2001; Accessed 16 Dec. 2022. oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000040033. 

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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Five Things You Might Not Know About Dianne Goolkasian Rahbee

Written By Leonidas Lagrimas

Don’t miss Leonidas Lagrimas’ Inspiring Artistry contribution about Amy Beach’s Improvisation Op. 148, No. 1, which includes exposition on how to effectively teach the piece, all the way from preparation to performance.

Dianne Goolkasian Rahbee

The piano music of Dianne Goolkasian Rahbee has been steadily gaining popularity over the past several decades, to the point where her work is regularly featured on recital programs, festival lists, at new music conferences, and even on the Royal Conservatory’s Celebration Series. A major reason for her music’s popularity is its seamless combination of sound pedagogical writing, innovative compositional techniques, and her unique yet accessible harmonic language. Plus, much of her music is just plain fun for students and concert artists alike to play!  Read on for more about this fascinating female composer and her music.

1. She is of Armenian descent.

Dianne Goolkasian Rahbee is a first-generation Armenian American, and her father was a survivor of the Armenian genocide of 1915. Much of her work reflects her own multiculturally ethnic background and upbringing, as well as the folk music of her Armenian heritage. Teachers looking to explore a composer who utilizes folk rhythms, melodies, and harmonies in the style of Bartok should investigate Goolkasian Rahbee’s compositions.

Students in Yerevan, Armenia getting autographs from Dianne.

2. She began composing in her 40s.

Goolkasian Rahbee was a Juilliard-trained pianist whose pedagogical lineage traces back through Leschetizky and Paderewski. Proving that it’s never too late (or too soon!) to explore new interests and follow your dreams, Goolkasian Rahbee took up composition in her 40s and was largely self-taught. She started out composing pieces for her own private piano students before finding success in piano pedagogical publications. 

3. Her Preludes feature aleatoric, or chance, music elements for young students.

Teachers seeking opportunities for their youngest performers to explore creativity and chance music on the piano would do well to explore Goolkasian Rahbee’s Preludes. In particular, her Prelude, Op. 138 (“Escape to Innerspace”) is written in a free meter, allowing students to explore a fixed set of pitches and apply whatever rhythms, meters, and phrasings they wish. Students are also free to make decisions involving repeats, fermatas, and pedaling. 

4. Goolkasian Rahbee often “samples” familiar tunes in her original works.

Goolkasian Rahbee’s “Tinkle Winkle” from her Modern Miniatures, Vol. 1 is a bitonal take on the familiar “Twinkle Twinkle Little Star” melody. Her arrangement on “Mary Had a Little Lamb” from the same collection gives the familiar nursery rhyme a canonic treatment. Her sampling isn’t limited to children’s music either!  The hauntingly familiar melody from Chopin’s Prelude in E Minor Op. 28 inspired her Prelude, Op. 5 no. 1.

5. She maintains a prolific YouTube presence.

If you are interested in discovering some of Goolkasian Rahbee’s vast output for piano, check out her YouTube channel at https://www.youtube.com/@GoolkasianRahbee/videos. This channel features hundreds of student, amateur, and professional recital performances of her piano works, from beginner through concert artist level. 

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Tony Caramia and Susanna Garcia appointed to the Frances Clark Center Board of Trustees

Written By Piano Inspires

PRESS RELEASE: 16 August 2022

Prof. Tony Caramia and Dr. Susanna Garcia appointed to the Frances Clark Center Board of Trustees

The Frances Clark Center Board of Trustees is pleased to announce the appointment of two new board members; Tony Caramia and Susanna Garcia.

“It is a great honor to have been selected to the Frances Clark Center Board of Trustees. I eagerly look forward to adding my experience and ideas to the Board’s quest to educate teachers and students to their development of a lifelong involvement in music making. I am especially excited to work alongside such a distinguished and varied panel of dedicated fellow teachers.” – Tony Caramia

“I have always held the Frances Clark Center in high esteem for its significant contributions to the field of piano teaching and learning. As a very young child I learned from the series Look and Listen, one of the first publications to bear Frances Clark’s name. It is an amazing honor to serve the mission of the Center and to work alongside so many other dedicated folks.” – Susanna Garcia

“I am thrilled to welcome Tony Caramia and Susie Garcia to the Board of Trustees of the Frances Clark Center. Their creativity and their dedication and long service to the profession of pedagogy will bring new insights to the Board and enhance the work of the Center. I look forward to working with them.” – Leslie Owsley, Chair, Board of Trustees

Tony Caramia

Professor Tony Caramia: Three extraordinary teachers, Claudette Sorel, James Lyke, and Frances Clark, aided in launching Professor Tony Caramia’s 45-plus-year career as a pedagogue, clinician, adjudicator, composer, author, and solo and collaborative performer.

Caramia has conducted numerous workshops in jazz piano for teachers at MTNA National and several State Conventions, the International Association for Jazz Educators (IAJE) Teacher Training Institutes, the National Piano Teachers Institute, the International Workshops, the European Piano Teachers Association International Conference in London, the Australian Piano Pedagogy Conference in Adelaide, and the Institute of Registered Music Teachers National Conference in New Zealand. He recently performed and lectured at the Dakota Sky International Piano Festival and the Meetings on Piano Pedagogy at the Federal University of Santa Maria, Brazil.

Caramia treasures the relationship he had with publishers The New School for Music Study Press and Belwin Mills Publishing Corp./CPP Belwin, Inc., for whom he composed and/or arranged several solo and duet pieces and collections. A sample of his works with current publishers follows: “Mixed-Up Rag” (Frederick Harris Publications, RCM Celebration Series, Piano Etudes, Level 7, 2015), collections American Treasures (Alfred Music Publishing, Jazz Performer Series, 2011), Sounds of Jazz, Book 1 and 2, and Six Sketches (Alfred), Suite Dreams and Jazz Moods (Hal Leonard Publishing Corporation, Composer Showcase Series), Fascinatin’ Rhythms (Neil A. Kjos Music Co., 1985), Rag Times Four (Kjos, 1983) and Adventures in Jazz Piano, Books 1 and 2 (Bärenreiter, 1983). He has co-authored all editions of Keyboard Musicianship, Books 1 and 2 (Stipes Publishing Co.), from 1979 through 2020. Recordings consist of Hot Ivories, Nimble-Fingered Gentleman, Zebra Stripes, Brass Knuckles, Upstate Standards with trombonist Mark Kellogg, and Tribute.

Awards include the Frances Clark Center Lifetime Achievement Award (2021), Frances Clark Center Inaugural Outstanding Service Recognition Award (2019), SUNY Fredonia Outstanding Achievement Award (2010), and the University of Illinois Campus Award for Excellence in Undergraduate Teaching (1988 and 1984). Caramia continues his devotion to teaching at the Eastman School of Music (1990-present), where he directs the Piano Pedagogy Studies, coordinates the Class Piano Program, and teaches applied piano and beginning jazz piano. 

Susanna Garcia

Dr. Susanna Garcia is Professor Emerita at the University of Louisiana School of Music. She held the Louisiana Board of Regents/Ruth Stodghill Girard Endowed Professorship (2000-2021), and for many years, served as Coordinator of Keyboard Studies and as Scholarship Coordinator for the School of Music. During her 31-year tenure she taught applied piano, group piano, piano pedagogy, lectured in the Interdisciplinary Humanities program, and directed the Pedagogy Lab Program, an internship program for piano pedagogy students. 

She performs regularly with pianist William Chapman Nyaho as the Nyaho/Garcia Piano Duo, specializing in both the standard repertoire and newly composed works for piano duo and duet. They released their first CD of Aaron Copland’s two-piano works on Centaur Records (1998) to critical acclaim. Reviews called this recording “the standard against which any future performances of these dances will be measured.” The Duo’s newest release Five by Four (2022) on MSR Classics includes contemporary music for piano duo including four world premiere recordings.

She is the co-developer of eNovativePiano: Multimedia Resources for Developing Musicianship Skills, a sequenced multimedia curriculum for piano instruction that includes instructional videos, video animations, original compositions, and pedagogical editions of standard piano works. In 2021, eNovativePiano was awarded the MTNA-Frances Clark Award for Keyboard Pedagogy. 

Dr. Garcia has served in leadership roles for Music Teachers National Association (MTNA), National Group Piano/Piano Pedagogy Forum (GP3), Louisiana Music Teachers Association (LMTA), and the Lafayette Area Music Teachers Association (LAMTA). Currently she serves as co-chair of the MTNA’s Diversity, Equity, and Inclusion (DEI) conference track for their national conferences in 2022 and 2023. 

She has been the recipient of many honors including the University of Louisiana Distinguished Professor Award (2001), Music Teachers National Association Foundation Fellow (2012), Louisiana Music Teachers Association Outstanding Teacher (2013), and the University of Louisiana College of the Arts “Research Excellence Award” (2015).

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