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Opportunities for African American Pianists: Awadagin Pratt on the Nina Simone Piano Competition

Written By Artina McCain

We’re pleased to bring you this extended interview between Awadagin Pratt and Artina McCain. Read more about Awadagin Pratt’s accomplishments as a pianist, conductor, and music education advocate in the Winter 2022-2023 issue of Piano Magazine. Not yet a subscriber? Subscribe now for only $7.99/mo or $36/year.

Awadagin Pratt

Nina Simone was an American songwriter, pianist, and one of the most influential recording artists in the twentieth century. In 2023, her name will also become synonymous with piano competitions at the inaugural Nina Simone Piano Competition, founded by Awadagin Pratt.

Outside of her many successes in songwriting, jazz, gospel, and classical music, she also had an unrealized dream of becoming a concert pianist. In 2021, Pratt won a Sphinx venture grant that allowed for the planning of the competition. When asked what the inspiration was for the event, he stated, “There are many African American pianists who have unrealized dreams of becoming concert artists, just like Nina Simone.”

His inspiration came from another young pianist. “I came across an exceptional pianist who should have had opportunities to begin a career, but it didn’t happen. They were at a good school but did not receive sufficient mentoring from their teacher on how to pursue a career. Knowing that this couldn’t be the only person impacted by a lack of support, we wanted to provide a forum to highlight young African American pianists and to provide a competition platform similar to what Sphinx does for string players… creating more opportunity and high visibility for budding talent.”

There are many African American pianists who have unrealized dreams of becoming concert artists, just like Nina Simone.

Awadagin Pratt

The competition will have three categories: ages 10-13, ages 14-17 and age 18 and older, with no upper age limit. While the competition is centered on classical music, the repertoire is not strictly limited to the standard classical canon. Pianists with abilities in other genres are encouraged to apply and to include some of those works in their competition programs. Pratt believes that one of the strengths of African American pianists is being able to bring culturally specific parts of their background into performance spaces. It’s a gift that should be recognized. 

The competition comes with hefty prize money (up to $50,000) and an opportunity to perform with the Cincinnati Symphony Orchestra. Unlike other competitions that have preset concerto lists, applicants can choose concerti from the entire repertoire.

Long term, the goal of the institution is to directly support and help jumpstart the career of 100 pianists and have their talents on the radar of top-tier orchestras in the next ten years. Eventually, they will expand further and start commissioning works for the competition.  

Awadagin Pratt

The 2023 winners will be a part of the Art of the Piano festival and the Salon 21 series during the regular season, both presented by Pratt. Applications are due March 1 and the competition will be held June 19-25, 2023. For more information, go to Nina Simone Piano Competition.

You can read more about Awadagin Pratt’s accomplishments as a pianist, conductor, and music education advocate in my interview with him for the Winter 2022-2023 issue of Piano Magazine. 

Artina McCain is an acclaimed pianist, educator and speaker. Known for promulgating the work of Black Composers, she has 5 award winning albums and arranged 24 African American Folk Songs for the Hal Leonard series. Currently, she is the coordinator of Keyboard Area at the University of Memphis.
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This Week in Piano History: Death of Ignatius Sancho | December 14, 1780

Written By Curtis Pavey
Ignatius Sancho, 1768, by Thomas Gainsborough

THIS WEEK IN PIANO HISTORY, we remember composer (Charles) Ignatius Sancho who died on December 14, 1780. Sancho, also an abolitionist and writer, impacted eighteenth-century British literature and culture. Sancho’s life began tragically as he was born on a slave ship headed for South America. Both of his parents died in his infancy—his mother died from disease and his father committed suicide in order to avoid slavery.

His name is similarly complicated. Sancho went by Ignatius (given at his baptism) in his later life after he stopped using his first name, Charles.1 Compared to the squire of Don Quixote named Sancho Panza, he received the last name Sancho due to his lifelong struggle with his weight.2 He worked as a slave in Greenwich, England before being discovered by John, Second Duke of Montagu. John was impressed with Sancho and frequently invited him to the Montagu house where he was later hired by the Duchess of Montagu. When she passed away, the salary and inheritance he received helped him to purchase property, vote in British parliamentary elections, and continue his self education. After a challenging time in which he lost most of that money, Sancho went back to work for the Montagu family and became acquainted with a number of important members of British society. From there he later opened a grocery shop in Westminster with his wife, before dying in 1780 from complications related to gout.

Rehearsal video of Reginald L Mobley and Henry Lebedinsky of Agave singing Sancho’s song Sweetest Bard for their recording project, “American Originals”.

After his death, his letters were published in a subscription series and were extremely popular. His writings are important documents from the time, giving firsthand accounts of slavery, which were uncommon at the time due to illiteracy of slaves. His intellect and impressive writing style made a large impact on British people of the time, showing that African slaves were capable of great talents and abilities. His writings were even used to help justify the end of the Slave Trade. In addition to being the presumed first Black man to vote in Britain, Sancho was also the first to receive an obituary in the British press, demonstrating his recognized place in eighteenth-century British society.3

Sancho wrote a number of pieces that involve the keyboard including A New Collection of Songs, Twelve Country Dances for the Year 1779 for harpsichord, and a set of minuets and other dances. Many are dedicated to members of the upper class and even British royalty. Although Sancho was an amateur musician and his compositions are often on a smaller scale, his works are of significant pedagogical value, demonstrating English genres in the popular galant style of the time. Sancho’s Twelve Country Dances for the Year 1779, for instance, contains a number of early-intermediate level dances in Baroque and early-Classical styles.

Some of Sancho’s music can be heard in the video recording below by pianist Duane Hulbert and in this recording of Sweetest Bard performed by countertenor Reginald Mobley and keyboardist Henry Lebedinsky.

Want to learn more about Ignatius Sancho? He’s one of the composers featured in our self-paced, online course: Unsung Heroes in Piano Pedagogy: 20 Pieces by Black Composers to Use in Your Studio Now. Learn more and enroll here!

Pianist Duane Hulbert performs keyboard music of Ignatius Sancho.
Sources
  1. Vincent Carretta, “Sancho, (Charles) Ignatius (1729?–1780), author,” Oxford Dictionary of National Biography (23 Sep. 2004; Accessed 27 Nov. 2022), www-oxforddnb-com.uc.idm.oclc.org/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-24609.
  2. Ibid.
  3. Ibid.
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.)

Leah Claiborne and Carole Ann Kriewaldt

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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Five Things You Might Not Know About Lita Spena

Written By Florencia Zuloaga

We would like to thank Florencia Zuloaga for collaboration on this post. We encourage you to watch Florencia Zuloaga’s archived webinar here: “Compositores Mujeres de latinoamerica y la península ibérica“ in Spanish with Ester Vela and Gabriela Calderon Cornjego.

Lita Spena

1. Lita Spena (1904-1989) was a student of acclaimed Italian piano pedagogue Vicenzo Scaramuzza.

Vincenzo Scaramuzza was a pianist and pedagogue who left his native Naples, Italy and relocated to Buenos Aires, Argentina in the early 1900s. After a successful career as a performer, he established himself as one of the leading pedagogues in Argentina. His pedagogical legacy includes pianists Martha Argerich, Enrique Barenboim, Bruno Gelber, and Sylvia Kersenbaum, among many others. Scaramuzza’s pianistic genealogy is quite prolific as well, branching into younger generations: Daniel Barenboin (son of Enrique), Ingrid Fliter (student of Elizabeth Westercamp), Nelson Goerner (student of Carmen Scalccioni), and Horacio Lavandera (student of Antonio De Raco), among many others.

Vicenzo Scaramuzza
An excerpt from Stravinsky’s Les Noces

2. Spena played at the Argentine premiere of Stravinsky’s Ballet Les Noces (“The Wedding”).

The Argentine premiere was in 1926 at the Teatro Colón, the country’s most renowned opera house. The Neoclassicist influence of Stravinsky’s compositional style is evident in Spena’s own piano works, which showcase the use of unprepared dissonances, contrapuntal practices often regarded as a “return to Bach,” and formal structures and textures reinstating a Classical approach.

3. The closing movement in Spena’s Piano Sonata is titled “Toccata.”

Lita Spena’s Sonata is the first documented piano composition based on the toccata genre written by an Argentine composer. Spena’s toccata features the prototypical use of engine-like motion characteristic of this genre. By using a toccata as the closing movement of a larger work, Spena follows the precedent set by French composers Debussy (Pour le Piano) and Ravel (Le Tombeau de Couperin).

“Toccata” from Lita Spena’s Piano Sonata

4. Spena was a member of the chamber group Trio Argentino, with Celia Torrá on violin and Blanca Cattoi on violoncello.

Furthermore, Spena and Torrá were among the first female composition students at the National Conservatory of Music and Theater, which was founded in 1924. Spena and Torrá both wrote piano sonatas during the 1930s; in both cases, they dedicated their piano sonatas to Athos Palma, who was appointed professor of Harmony at the National Conservatory during that period.

5. Titled “Little water trail,” the closing movement in Spena’s Piano Preludes features fast, undulating figures written in parallel fourths.

This figuration is similar to Czerny’s Op. 140 No. 4 and Clementi’s Gradus ad Parnassum No. 17. Beethoven’s Diabelli Variation No. 23 is another example of composers paying homage to this unmistakable technical figuration. Such undulating figures are a representation of the resplendent, dazzling effects of running water, and the continuous rhythmic pattern continues almost uninterrupted for the duration of the prelude, making it a miniature “tour de force.”  The compositional approach of pairing instrumental virtuosity with programmatic titles that refer to water has great precedent in the piano literature; some examples include Ravel (Jeux d’Eau), Debussy (Jardins sous la pluie), and Liszt (Au bord d’une source, Fountains of the Villa d’Este).

Lita Spena’s Piano Preludes: IV. Caminito de Agua
Sources

Dezillio [et al.], Romina. Lita Spena. Sonata Para Piano. Ciudad Autónoma de Buenos Aires: EDAMus. Editorial del Departamento de Artes Musicales, 2020. http://assets.una.edu.ar/files/file/artes-musicales/2020/2020-una-ms-edamusromina-dezillio-litaspena-sonatapiano.pdf.

García Muñoz, Carmen. “Spena.” In Diccionario de La Música Española e Hispanoamericana, edited by Emilio (dir) Casares Rodicio, 10:56. Madrid: SGAE, 2002.

Lian, Marcelo G., “The Pedagogical Legacy of Vicente Scaramuzza: The Relationship Between Anatomy of the Hand, Tone Production, and Musical Goals” (2013). Student Research, Creative Activity, and Performance – School of Music. 66. https://digitalcommons.unl.edu/musicstudent/66

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This Week in Piano History: Premiere of Gershwin’s Piano Concerto in F | December 3, 1925

Written By Curtis Pavey
Songwriter George Gershwin (1898 – 1937) at a piano. (Photo by Evening Standard/Getty Images)

THIS WEEK IN PIANO HISTORY we celebrate the premiere of Gershwin’s Piano Concerto in F on December 3, 1925 in New York’s Carnegie Hall with Gershwin at the piano. After the success of his Rhapsody in Blue, Gershwin set out to prove to the classical musical world that he could handle a traditional classical form and the challenge of orchestration.

Gershwin through the years

Commissioned by Walter Damrosch and the New York Symphony Society, Gershwin composed the concerto over several months in the summer of 1925. Gershwin completed much of the composition in a practice shack at the Chautauqua Institution, an educational center in Chautauqua, New York. Unlike the Rhapsody in Blue, which was orchestrated by Ferde Grofé, Gershwin wanted to orchestrate his concerto and spent several months studying orchestration and getting feedback from other talented arrangers and orchestrators. He finished the orchestration in November 1925, just in time for the premiere in December of the same year. Gershwin remarked about the concerto: “many persons had thought that the Rhapsody was only a happy accident… I went out to show them that there was plenty more where that came from.”1 The premiere of the piece did not see the same success as the Rhapsody in Blue, though it was positively critiqued by the likes of Rachmaninoff.

Score of Gershwin’s Piano Concerto in F

The concerto is a three-movement work in a traditional fast-slow-fast scheme. Gershwin uses elements of jazz such as the blues scale, call-and-response figures, syncopation, and more to evoke sounds similar to the musical style of the Rhapsody in Blue. The first movement, marked “Allegro,” is in sonata form and begins with a short orchestral introduction before the piano enters with a bluesy solo spotlighting the pianist. Two themes from the orchestral and piano introductions stand out: a dotted figure introduced first in the bassoon part, and this jazzy, nostalgic theme presented in the piano.2 The first movement is characterized by several changes in mood and tempo, a heavy reliance on the two main themes, and thick chordal writing for the piano soloist. The second movement, marked “Andante con moto,” is intimate with a significant number of solos performed by the flute, trumpet, oboe, and horn. Jazz influence is abundant here, recalling melodic gestures directly from his Rhapsody. After a robust cadenza and a lyrical middle section, the piece seems to gain in intensity, only to fade away. The hustling and driving third movement marked “Allegro agitato” contains seemingly endless repeated notes and great rhythmic vitality. Ending with a transformed and romanticized return of the original piano theme from the first movement, this concerto effectively combines elements of American popular styles with classical approaches to form and the piano concerto genre.

Gershwin’s original approach to musical composition in the early twentieth century was noted by many composers. Gershwin had a lifelong fascination with the music of Debussy and Ravel. He tried to study with Nadia Boulanger and Maurice Ravel, both of whom denied his request with Ravel famously saying “why become a second-rate Ravel when you’re already a first-rate Gershwin?”

Even Arnold Schoenberg, whose musical sound world seemed to be at total odds with Gershwin’s jazz-infused writing, noted the unique contributions of Gershwin’s style. Schoenberg eulogized Gershwin stating that he “was one of these rare kind of musicians to whom music is not a matter of more or less ability. Music, to him, was the air he breathed, the food which nourished him, the drink that refreshed him. Music was what made him feel and music was the feeling he expressed. Directness of this kind is given only to great men. And there is no doubt that he was a great composer. What he has achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world. In this meaning I want to express the deepest grief for the deplorable loss to music. But may I mention that I lose also a friend whose amiable personality was very dear to me.”3

Want to listen to Gershwin’s Piano Concerto in F? Check out this recording from the Van Cliburn International Piano Competition 2022 with finalist Clayton Stephenson at the piano and Marin Alsop conducting the Fort Worth Symphony Orchestra.

What he has achieved was not only to the benefit of a national American music but also a contribution to the music of the whole world.

Arnold Schoenberg on George Gershwin3
Clayton Stephenson performs Gershwin’s Piano Concerto in F with Marin Alsop conducting the Fort Worth Symphony Orchestra.
Sources
  1. Herbert Glass, “Concerto in F,” Program Notes, Los Angeles Philharmonic, laphil.com/musicdb/pieces/1441/concerto-in-f.
  2. Michael Thomas Roeder, A History of the Concerto (Portland, OR: Amadeus Press, 1994), 421.
  3. Martin Buzacott, “The Unexpected Friendship Between Gershwin and Schoenberg,” Classically Curious (blog), Australian Broadcasting Corporation, March 18, 2019, abc.net.au/classic/read-and-watch/music-reads/classically-curious-gershwin-schoenberg/10915460.
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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Utilizing Improvisation and Percussion Activities in the Piano Lesson: Special Guest Q&A with Jason Sifford

Written By Jason Sifford

This week we invited our followers to submit questions for Jason Sifford about utilizing improvisation and percussion activities in the piano lesson. Today, Jason is answering those questions in advance of our creative music making webinar, “Incorporating Improvisation, Composition, and Non-Traditional Instruments in Piano Lessons” with Jason and his co-presenters Grace Huang and Kevin Woosley.

We encourage you to join us for this live webinar on Wednesday, December 7, 2022 at 11am Eastern. Register by clicking here.

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.

Jason Sifford

Improvisation

What first inspired you to start incorporating improvisation into your teaching?

I often notice students doing things that make good musical sense but aren’t in the score. Improvisation is like a musical playground, a safe place where you won’t be criticized for playing forte when it’s “supposed” to be piano, or when you want to end a piece on a major chord instead of a minor chord.

What do you do to build confidence in students who are hesitant to improvise?

For hesitant improvisers, we’ll just dip our toes in the pool. Rather than face a blank slate, we’ll take a piece they’re working on and change one element of it—rhythms, notes, or change the style (turn a lyric piece into a scherzo, or swing the eighths in a Classical sonatina.)

What would you say to a teacher who is intimidated to improvise themselves, much less teach improvisation?

I’d suggest finding some other musicians to play with, and try something besides piano! Several years ago, I had some friends in an Irish folk ensemble, so I got a cheap tin whistle and joined some of their sessions. I was awful! But it took me out of my comfort zone, and I found myself taking chances that I wouldn’t have done seated at a piano. So…look for an Irish session, a drum circle, play tambourine in a rock band, anything to put yourself in an unfamiliar situation.

Do you have an order or “curriculum” for improvisation that you give your students? If so, what are your first few foundational activities?

I don’t have a set curriculum. Since every student is different, I tend to build activities out of the repertoire they’re playing. This way, the activities are always level-appropriate and in a style the student is already exploring.

Do you have students give their improvisations titles? If so, what are the one or two most creative titles you’ve seen students give?

Most recently, a student of mine was playing a piece called “Somber Procession.” He came up with a really upbeat version of the tune which he called “Not-So-Somber Procession.” We even treated it like two different pieces. I told him that for our MTA festival, he had to play “Somber Procession,” but he could also play “Not-So-Somber Procession” at the recital!

How would you go about incorporating improvisation in the group setting? I want it to be truly group participation, but find that some students are much more shy than others when it comes to creative music making.

I’ve only done small groups of three or four students, so I’ll have the most fearless improviser handle the melody, put another courageous soul on percussion, and have the reluctant improviser handle a bass line (either written-out or taught by rote.)

Do you use improvisation activities in every lesson?

I don’t. It’s one of those things that’s in the toolbox—I bring it out if I think it’ll be useful or provide a change of scenery, but I always try to remind myself that I can’t do it all. We have to feel good about what we do in a lesson and avoid feeling bad about what we didn’t do. (Because the list of things we did do is always going to be bigger than the list of things we didn’t!)

For intermediate students who are learning modal scales, how would you suggest incorporating the modes into improvisation?

Since I tend to build improvisation exercises out of repertoire, I look for pieces in different modes or invent simple left-hand parts that suggest a particular mode or style.

Percussion Activities

What percussion instrument(s) have been student favorites?

I have a drum machine that I keep on top of the piano. They love it!

Where can you buy percussion instruments to use in lessons?

I’m lucky enough to live a mile from the West Music headquarters. They specialize in educational/classroom music and always have a lot of great items at the store. (And they have a great online shop that I’ve used in the past, too!)

Do you have any favorite collections of beginner percussion/piano duets?

I don’t! Almost all of our percussion work is improvised. I made some simple flash cards with rhythms on them that we’ll use, or I’ll teach them some basic drum set patterns (which I usually learn from YouTube tutorials!) The trick is to keep it simple. Have a Latin piece? Grab a plastic egg shaker and play eighth notes. That’s really all you need!

Do you use percussive instruments with students of all levels? If so, could you provide some examples? Sometimes I have a hard time thinking beyond quarter-note activities.

As students get older and more advanced, I tend to encourage them to explore their school jazz and marching bands. Piano students are a perfect fit, and I find that school ensembles are often better equipped to provide the social interactions and aural experiences that help take kids to that next level.

Don’t forget! Register for Jason’s upcoming webinar on creative music making by clicking here.

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Book Review: Every Good Boy Does Fine by Jeremy Denk

Written By Ann DuHamel

Book reviews in each issue of the Piano Magazine provide readers with a sneak peek inside the latest publications on piano teaching, performing, and learning. The Autumn 2022 Piano Magazine review of Every Good Boy Does Fine by Jeremy Denk will have you running to your local bookstore to buy a copy. Fans of Denk will find this review by Ann DuHamel to be as inspiring, witty, and insightful as Denk’s own writing. We welcome you to read the complete review here and subscribe to enjoy more excellent reviews in Piano Magazine.

…that is the point of this book: a love for the steps, the joys of growing and outgrowing and being outgrown.

Jeremy Denk

I am secretly, or not so secretly, if you ask my husband or any student who has lived through my Piano from Bach to Jazz class, a huge fan of Jeremy Denk. Yes, he plays marvelously; but beyond his artistry at the keyboard, I’m completely, utterly enamored of his gift with words. Reading his (now archived) blog Think Denk was a frequent pleasure during my doctoral program. I found it poetic, poignant, humorous, and occasionally heartbreaking. When I learned of the publication of Every Good Boy Does Fine, I counted down the days until it arrived. The short review of this book is: if you haven’t already read it, purchase it immediately, and read it now. Do not pass “Go,” etc. Keep in mind, I’m an awkward and nerdy bibliophile who, like Denk, much prefers Brahms to Rachmaninoff, so I identify strongly with most every sentence in the book.

You, gentle reader, probably seek a more nuanced take beyond my exhortation. This memoir reflects on Denk’s life, pianistic and otherwise, through his doctoral work at Juilliard. He structures the narrative in three overarching sections, “Harmony” (pre-college), “Melody” (undergraduate years at Oberlin), and “Rhythm” (time in Bloomington, Indiana, studying with György Sebok, and after). Each section is subdivided into six or seven parts; musical lessons and commentary alternate with biographical chapters.

Denk describes every pianist’s foibles and tribulations in true and hilarious ways: “having two hands makes the piano impossible”1 and, “Will I ever be done with the thumb? The answer was No, never.”2 His aphorisms brilliantly sum up the importance of listening, frequently recalling his beloved mentor Sebok: “Remember…the music is not the notes. It is between the notes.”3

He illuminates the importance of the score and textual detail: “when the composer’s marking seems most insane is when you need to pay the closest attention”4 and, most marvelously, “the written page of music was a treasure map.”5

The musical observations merge with philosophy, undergirding Proustian reflections about how time, music, and memory intertwine. This is what I so enjoy about reading Denk: he is a philosopher and a poet, searching for deep meaning, giving voice to what we quest for in our lives. Music simply happens to be the metaphor he uses in his writing, from the Bach B-minor fugue of WTC I, “a journey from known to known, via unfathomable mystery”6 to the Chopin F-minor Ballade, which “…carries a truth: You do not decide where to go, and then begin going there. In real life, while you are deciding where to go, you are already traveling.”7

Lest you think it’s all heavy lifting, Denk’s wry humor is also on full display. In describing various musical elements, he utilizes wonderful and bizarre analogies—Wile E. Coyote, taxidermied squirrels, cars sliding into snow drifts, the wardrobe leading to Narnia. He pokes a fair bit of fun at himself too: what other kid proclaims the PBS opera album as their “new life soundtrack”8 or writes a “manifesto for a utopian society”?9 Even so, or because of this, when he reveals his epiphanies and shares his successes, you the reader rejoice along with him.

Jeremy Denk

At the top of each chapter, Denk offers a curated playlist, featuring the works he discusses within. These works range from Bach to Messiaen, Monteverdi to Elliot Carter, and include Barbra Streisand singing Gounod’s “Ave Maria” and Nina Simone. The annotated appendix provides greater detail, including his recommendations for recordings and the word “Bachitude,” which I have now added to my lexicon.

This is a coming-of-age story. It is also a love story, primarily to the teacher who serves as mentor and guru. Denk shares pages of uplifting anecdotes from Sebok: lessons about beauty, about ennobling oneself, about teaching and discovery, demonstrating the utmost importance of one’s teacher in molding the musician and the human being.

The book is, in Denk’s words from the opening Prelude,

“…the story of piano lessons: obsessive repetition, climbing toward an unknown goal that rewrites itself, once achieved. The truest realizations aren’t at the peak, but are discovered almost by surprise, and through release, by passing back down the old, same steps. …that is the point of this book: a love for the steps, the joys of growing and outgrowing and being outgrown.”10

And what a beautiful testimony to the steps this book is indeed. I find myself, in the days and weeks after reading the book, approaching my practice differently, through a Denk-ian lens. In the appendix, regarding Mozart K. 545, Denk poses the question, “How can you teach, and still be transcendental?”11 I daresay this book is a masterclass in exactly how to teach and still be transcendental. (Random House, 2022, 384 pages, $28.99 hardcover and other formats available).

NOTES

1 Jeremy Denk, Every Good Boy Does Fine (New York: Random House, 2022), 27.
2 Ibid, 47.
3 Ibid, 258.
4 Ibid, 178.
5 Ibid, 278.
6 Ibid, 104.
7 ibid, 107; Denk is specifically referencing the returning melody in mm. 134–135 with this quote.
8 Ibid, 23.
9 Ibid, 49.
10 Ibid, xi.
11 Ibid, 342.

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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.

Penny Lazarus
Betty Todd Smith

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.

Donald Zent

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!

Carolyn Stanton

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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This Week in Piano History: Ignacy Jan Paderewski Resigns from Polish Prime Minister Position | November 27, 1919

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we reflect upon the resignation of Ignacy Jan Paderewski as Prime Minister of Poland on November 27,1919.1 An important pianist, composer, and statesman, Paderewski’s influence and legacy in Polish culture and early twentieth-century politics is undeniable.

Paderewski through the years

Paderewski was born in Kursk, Podolia, which is now part of Ukraine. He had a complicated childhood as his mother passed away after his birth and his father was arrested due to his suspected involvement in a political uprising. Despite the challenges his family faced, Paderewski studied piano as a child and showed great potential. His talent helped him find opportunities to study in the Warsaw Conservatory and to establish himself as a pianist and composer. His challenges did not stop there—after marrying his first wife, Antonina, they produced a son named Alfred. Both Antonina and Alfred died young, causing great distress to Paderewski. He also struggled professionally, barely making ends meet through his musical career.

Paderewski’s Piano Concerto in A minor, Op. 17

After traveling to Berlin, Paderewski met a number of important composers who encouraged his career.2 This experience led him to the opportunity to study with Theodor Leschetizky, a highly respected piano teacher of the nineteenth and twentieth centuries. From here, Paderewski was able to establish himself as a performer, touring the United States and Europe. One of Paderewski’s most popular pieces was his Piano Concerto in A minor, Op. 17, written in 1888. The piece, dedicated to Leschetizky, is infrequently performed today, but contains a variety of technically challenging passages in a typical Romantic style.

As a performer, Paderewski was well respected as a masterful and spontaneous performer. He frequently personalized his interpretations of other composers’ works noting: “It is not a question of what is written, it is a question of musical effect.”3 Despite the public’s admiration, Paderewski greatly struggled with nervousness throughout his concert career, frequently taking extended breaks in order to recover from the strenuous concert schedule he maintained.

Paderewski’s role in Polish politics is complicated. Throughout his life, Paderewski often championed causes for Polish independence. Poland was frequently partitioned by neighboring empires in Austria, Germany, and Russia prior to gaining independence in the twentieth century. During the First World War, Paderewski made Polish causes a focal point of his public activities. Woodrow Wilson, then President of the United States, requested his help in securing votes for his presidency in return for supporting Polish independence.4

A rare recording of Paderewski performing Chopin’s “Heroic” Polonaise in A-flat Major, Op. 53

After the war ended, Paderewski was tapped by Józef Piłsudski, then the Polish Chief of State, to become the Prime Minister of Poland. He was ousted after less than a year in the position due partially to his underdeveloped leadership skills. Although Paderewski represented Poland again in 1920 in political office, he again resigned and returned to pursue a career in music before dying on June 29, 1941 in New York City.

Looking back on Paderewski’s life and career, it is clear that Paderewski frequently overcame obstacles that challenged him personally and professionally. His legacy as a pianist and statesman shows the results of his tireless efforts to find purpose and success in his difficult life.

Sources
  1.  Some sources give conflicting dates (December) for Paderewski’s resignation as Prime Minister of Poland.
  2.  Jim Samson, “Paderewski, Ignacy Jan,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000020672. 
  3. Ibid.
  4. Ibid.
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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This Week in Piano History: Death of Dame Myra Hess | November 25, 1965

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we remember Dame Myra Hess, a British pianist who died on November 25, 1965. Hess rose to fame due to her lunchtime concerts in London during World War II and later became Dame of the British Empire (DBE) in 1941 in recognition of her outstanding musical achievements.

Hess was the youngest of four children and began studying piano at the age of five. She was a remarkable young talent and was admitted to both the Guildhall School of Music and the Royal Academy of Music where she studied with pianist Tobias Matthay. Matthay, a noted British pianist and composer, helped prepare Hess to launch her career as a soloist.  

After studies with Matthay, Hess gave many successful performances as a young pianist, performing with conductors such as Willem Mengelberg and Thomas Beecham. After firmly establishing herself as a noted soloist in Europe, she toured constantly throughout Europe performing almost one hundred concerts a year.1 She became similarly popular in the United States after her debut, which occurred in 1922, and in numerous concerts including more than a dozen at Carnegie Hall.

Known primarily for her performances of Classical period repertoire, Hess was a strong proponent of the works of Mozart, Beethoven, and Brahms. Hess did not like to make recordings and struggled to listen to herself play stating, “when I listen to myself play, I feel I am going to my own funeral.”2 That said, there are a number of excellent performances and a few videos that survive of Hess’s live performances. Check out this recording of Myra Hess performing the first movement of Beethoven’s “Appassionata” Sonata. 

One of Hess’s greatest achievements was her series of concerts that occurred during World War II. Performing in London’s National Gallery, Hess gave well over a hundred concerts while concert activity in London was halted due to the war. Her concerts were well attended and were inexpensive, allowing a large amount of people to afford to see her perform. The concerts were not just solo performances—Hess frequently performed chamber music in this setting, inviting other important British musicians to share the stage with her.

Myra Hess through the years

Myra Hess’s career further blossomed after the end of World War II. She gave notable performances of works of Mozart, Brahms, Beethoven, and more before her death in 1965. As we look back on Myra Hess’s life and career, it is her invaluable engagement in civic life as an artist during the twentieth century’s most chaotic and unsettled period and her spectacular recordings that make her a defining musical figure of the twentieth century. Learn more about Myra Hess and her London concerts during World War II in this Piano Magazine article by Elizabeth Lemme. 

Sources
  1. Bryce Morrison, “Hess, Dame Myra,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012935.
  2. Bryce Morrison, “Hess, Dame Myra,” Grove Music Online, 2001, accessed 15 Nov. 2022, www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012935.

britannica.com/biography/Myra-Hess 

nationalgallery.org.uk/about-us/history/the-myra-hess-concerts/myra-remembered 

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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.

Rebecca Pennington

“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. 

Ed Turley
Ed Turley and Amy Grinsteiner

…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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This Week in Piano History: Birth of Jorge Bolet | November 15, 1914

Written By Curtis Pavey

This week, we celebrate the birth of Jorge Bolet, born on November 15, 1914 in Havana, Cuba. Bolet was a Cuban-American pianist whose impressive technical and expressive powers made him a champion of the music of Franz Liszt.

Bolet began his studies with his sister Maria. From a very early age, Bolet was captivated by music and recounted stories from his mother that he used to listen to his sister practice as a baby. By the age of ten, Bolet was comfortably performing advanced piano works, including selections from the Chopin Etudes. He later enrolled at the Curtis Institute of Music at the age of thirteen after a recommendation was sent on his behalf. 

His studies at the Curtis Institute of Music were characterized by significant strides in his playing. While at Curtis, Bolet studied with American pianist David Saperton and frequently performed for Josef Hoffman. Bolet briefly paused his studies at Curtis to travel and perform in Europe. Upon returning to the United States, he took up conducting studies at the Curtis Institute of Music, studying with Fritz Reiner.

His career began after he won the first prize of the Naumburg International Piano Competition, and gave an important recital in New York’s Carnegie Hall. Despite this success, Bolet’s career took some time to develop; only in his later years was Bolet fully recognized for his pianistic prowess. Besides his active performing career, Bolet also taught students at both the Curtis Institute of Music and Indiana University where he served as a Professor of Music (Piano). 

Bolet’s affinity for music of the Romantic composers, and especially Liszt, was the focus in his concert programs. New York Times critic Harold C. Schonberg described Bolet as “one of the great Liszt pianists of the century, with the fingers of Horowitz and the tone of a Lhévinne.”1 On Decca’s record label, Bolet produced a number of recordings of Liszt’s piano music, which were reviewed with critical acclaim. Check out this recording of Bolet performing Liszt’s Hungarian Rhapsody No. 12 in C-sharp Minor at a recital performance at Indiana University.

Although Bolet bloomed late in his performance career, his impact on the musical world remains undeniable. His legacy as a performer and teacher continues to inspire the work of countless pianists around the world.

Sources
  1.  Gruen, John. ‘Where Have You Been, Bolet?’ New York Times. January 28, 1973. www.nytimes.com/1973/01/28/archives/where-have-you-been-bolet-where-were-you-bolet.html

Morrison, Bryce. “Bolet, Jorge.” Grove Music Online. 2001; Accessed 31 Oct. 2022. www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000003445.

www.nytimes.com/1973/01/28/archives/where-have-you-been-bolet-where-were-you-bolet.html

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Thoughts on Healthy Musicianship: Special Guest Q&A with Carla Salas-Ruiz

Written By Carla Salas-Ruiz

This week we invited our followers to submit questions for Carla Salas-Ruiz about healthy musicianship. Today, Carla is answering those questions in advance of our facilitated discussion event next week (Thursday, November 17 at 11am ET) that will focus on Carla’s article in the Autumn 2022 issue of Piano Magazine, My Journey to Healthy Musicianship: Practical Ideas for Exploration and Self-Reflection in the Piano Studio.

We encourage you to join us for this lively, interactive discussion event. You can RSVP by clicking here.

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.

Carla Salas-Ruiz

I feel silly to ask, but what is “healthy musicianship” exactly?

It is not a silly question at all! It is not common to find the concept of “healthy musicianship” in research literature. Some authors use it as an umbrella term referring to injury prevention and general physical and/or emotional wellness from a holistic standpoint. Usually, research literature focuses on how teachers can instill habits of healthy physical technique in their students. Additionally, some scholars concentrate on how music teachers might improve their students’ mental health, which could encompass stress, burnout, and performance anxiety.

How did you first become interested in healthy musicianship?

I first became aware of healthy musicianship in one of my classes in college. Here was a topic that finally put my thoughts into words. It helped me understand my journey! I began a research study on preservice music teachers’ perspectives on healthy musicianship with my colleagues, and then, for my doctoral examination, I wrote an essay on healthy musicianship practices in the piano studio. Preparing that paper helped me to further understand my journey and provided me with more tools to effectively support my students’ journeys.

What would you say to a teacher who has never thought about intentionally incorporating healthy musicianship before? Where do I start?

Start by revisiting your teaching philosophy and studio policies, and question all the why’s behind them. Then, I would suggest exploring these books: The Mindful Musician by Vanessa Cornett, The Perfect Wrong Note by William Westney, Teaching the Whole Musician by Paola Savvidou, and Teaching Healthy Musicianship: The Music Educator’s Guide to Injury Prevention and Wellness. Finally, spend some time thinking about what healthy musicianship means to you and how it looks in your piano studio: studio policy, physical space, technique, and performance.

What aspects of your teaching do you feel shifted the most after your harrowing recital experience?

The biggest thing for me was related to my awareness of students’ technical, physical, and emotional needs. After understanding those needs, I am better equipped to react with effective instructional methods. I needed training on piano pedagogy and piano performance to address my students’ needs with professionalism. I want to support my students to the best of my capabilities, so I committed myself to improve my playing as well to offer a diverse set of strategies for them to feel comfortable when playing, both physically and emotionally.

What would you say to a college student in the same position? How would you encourage them to push forward and not give up a career in music?

I would encourage this student to remember why they chose to pursue a career in music and to keep those reasons close to their heart and mind. Experiencing failure is a key part of the learning process. Encourage this student to use failure as an opportunity to explore their passion for music and examine some strategies that would advance that passion. Connect with friends and music teachers who will listen and offer advice without judgment or criticism. Then, consider therapy to elevate a sense of wellness. Practically, making a list of your musical and personal needs can help in making an actionable plan. 

How do you advise teachers to approach their students after a poor performance?

Our students need us to be supportive. They will likely be very vulnerable, and our reactions will impact them for life. We can meet the student to carefully listen to their thoughts, analyze the situation together, and create a plan to move forward. Finally, I think it is important to discuss the experience of “failure” and how important its role is in the learning process.

Are there specific activities you recommend, or is healthy musicianship more of a philosophy or perspective?

This is a great question! It is a combination of both. To intentionally include healthy musicianship in our piano studio, we need to make it a priority in order to put it into action. Therefore, it is key to first reflect on what healthy musicianship means for us, engage in the literature, and then create activities that truly represent those beliefs.

How do you consider teaching healthy musicianship to be different than applying it to personal practice and performance?

I think that they are closely related to and will influence each other. I would encourage anyone to think about what healthy musicianship means to you and how it looks in your personal practice and performance. Then, consider how those practices influence your teaching.

What are your favorite ways to incorporate healthy musicianship from the first lesson?

I remain very attentive to what the students bring to the first lesson; the physical, cognitive, and emotional aspects. During the first lesson, I listen carefully to what their expectations are regarding piano and create a plan that helps us both to meet those expectations. I also openly use the concept of healthy musicianship as soon as I can. I engage in modeling and discussing the why’s behind each technical and musical adjustment, practice strategy, or physical gesture.

How do I know I’m teaching my students to practice healthy musicianship? At some point is it too late? 

It is NEVER too late! I am a great example of this! My undergraduate years were not the healthiest years of my life, but now I have had fantastic mentors who have helped me explore healthy musicianship practices that work for me and for my technical needs. If your students seem physically and emotionally comfortable when playing and retain their love of music and playing, you’ll know that you are teaching them healthy musicianship practices. Your students will understand why addressing and exploring gestures is key to conveying a beautiful musical message. They will be happy and willing to take risks with you, and their curiosity for learning will gradually increase. 

Don’t forget! RSVP for next week’s discussion event on healthy musicianship by clicking here.

Carla Salas-Ruiz is originally from Costa Rica. She is a PhD candidate in Music Education with emphasis in Piano Pedagogy at Louisiana State University. In 2021, Carla was awarded LSU Alumni Graduate Teaching Assistant of the Year. Her research interests focus on healthy musicianship and interest development among intermediate pianists.
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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.

Fern Davidson and Marvin Blickenstaff

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 100th 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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This Week in Piano History: Happy World Piano Day!

Written By Curtis Pavey

THIS WEEK IN PIANO HISTORY, we are celebrating World Piano Day and the accomplishments of all pianists!

The piano was invented over three hundred years ago by Bartolomeo Cristofori, an Italian builder. His ingenious design from 1700 used hammers inside the action of a harpsichord to create a wider dynamic range. Cristofori’s instrument ignited the interest of keyboard makers throughout Europe including Gottfried Silbermann who created a similar model that eventually got the approval of Johann Sebastian Bach. Although today’s piano is quite different from its prototype, the legacy of Cristofori’s invention is undeniable.

In celebration of the many pianists who have brought inspiration and joy to the world since the inception of the instrument, today we are highlighting several pianists who have been featured in Piano Magazine over the years. We hope you enjoy reading about these excellent musicians and hearing their thoughtful music making.

Martha Agerich on Respect and Love for the Music

According to many pianists of today, Martha Argerich is frequently cited as the greatest living pianist. Originally from Argentina, Argerich began studying piano at an early age with Vincenzo Scaramuzza and later Friedrich Gulda, Stefan Askenase, and Maria Curcio. She rose to prominence in her adolescent years after capturing the top prizes at both the Chopin and the Busoni International Piano Competitions at the age of 16. Known especially for her performances of Chopin, Ravel, Liszt, and Prokofiev, Argerich has toured around the world and has performed with every major orchestra.

In 2015, Argerich sat down with Leonne Lewis for an interview with Piano Magazine in which she recounted her experiences with her teacher Friedrich Gulda, her thoughts on piano teaching, the importance of exploring different styles, and more. You can read it here.

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Gabriela Montero on Improvisation and Advocacy

Hailing from Venezuela, Gabriela Montero, described by Argerich as “a wonderful pianist and improviser,” is known for her creative performances mixing both classical repertoire and her improvised reactions. After winning the third prize in the Chopin International Piano Competition in 1995, her performing career took off. Besides her work as an artist, Montero is committed to ensuring human rights around the world and was named an Honorary Consul by Amnesty International in 2015. In an interview with Piano Magazine, Montero described her experience with improvisation as a personal practice until she was encouraged to share it with the world by Martha Argerich.

In the interview, she states that improvisation “has become more and more a tool of storytelling, and reporting what’s going on in the world, and issues that I want to speak about. It has always been there. It’s the first thing I do when I sit down at the piano to say hello.” You can read more about Montero’s thoughts about her musical upbringing and her exciting concert schedule in the interview, accessible here.

Spencer Myer on Unique Practice Methods

Spencer Myer, is an active recitalist and performer around the world. Myer, who studied at the Oberlin Conservatory of Music, The Juilliard School, and Stony Brook University, launched his career after winning the 2006 Christel DeHaan Classical Fellowship from the American Pianist Association and the 2008 New Orleans International Piano Competition. He was recently appointed Associate Professor of Music (Piano) at Indiana University’s Jacobs School of Music In 2019, Myer presented a workshop on practicing at the National Conference on Keyboard Pedagogy (now NCKP: The Piano Conference).

In an interview with Barbara Fast, Myer told Piano Magazine (formerly Clavier Companion) that his interest in unique practice methods began while preparing for international piano competitions. One of his unique practice methods to secure memory involves occasionally lifting one’s hands from the piano keyboard while playing and “mentally continuing to play.” Myer’s practice methods and tips for developing pianists are discussed fully in this article.

Sean Chen on The Role of Piano Teachers

Another winner of the Christel DeHaan Classical Fellowship from the American Pianists Association, Sean Chen, was catapulted onto the world’s stage after his third prize win at the 2013 Van Cliburn International Piano Competition. A graduate of The Juilliard School and Yale University, Chen is a Steinway Artist. In addition to his performance career, Chen is also passionate about computers, math, and science.

Chen describes his musical upbringing along with his decision to enroll in Juilliard over Harvard and more in this interview with Piano Magazine (formerly Clavier Companion).

Sources

O’Brien, Michael. “Cristofori, Bartolomeo.” Grove Music Online. 2001; Accessed 31 Oct. 2022. https://www-oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000006835.

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