From the medici.tv website: “The Dresden Music Festival celebrates the ten year anniversary of the reconstruction of the Frauenkirche with an exceptional concert featuring the Orpheus Chamber Orchestra from New York, alongside the cellist Jan Vogler and the violinist Mira Wang in the Dresden Frauenkirche.”
The performance will air at 2:00 p.m. EST on Saturday, October 24, in the United States. The Orpheus Chamber Orchestra (from NYC) will be performing the following program:
MENDELSSOHN: OVERTURE TO A MIDSUMMER NIGHT’S DREAM
SAINT-SAENS: LA MUSE ET LE POETE
RIHM: DUO CONCERTO FOR VIOLIN AND CELLO (PREMIERE)
SCHUMANN: SYMPHONY NO. 2 IN C MAJOR, OP. 61
It’s so cool that we have the opportunity via technology to tune into great performances like this from anywhere in the world!
Have you ever had students completely blow the performance of a piece that they’ve played numerous times without a glitch? Or have you ever been that performer? I raise my hand. Learning how to memorize cognitively has made all the difference for me, and I’ve used it over and over again to help students (even those who thought they didn’t need it!) prepare for an effective memorized performance. One way we approach this is by determining the form of the piece and creating little cards with labels for each section.
Here, Robert is in the final stages of preparation for a performance of “Lights in the Water” by Robert Vandall (this has become his all-time favorite piece!). We quickly created cards with labels for each section and began by placing them in order on the music rack. I had him play through it once by memory, taking mental note of each section as he got to it in his performance.
After one run-through, we scrambled the cards and placed them on the music rack for a second performance. He got lucky starting again with A-B! After that, though, the order was mixed up, so he had to see if he could recall how each section started and ended in order to play them in the arranged order.
This is a very helpful tool for creating a mental road map that can guide the student during a performance. Plus, even if they do get stuck in one section, they can easily move on to the next section without panicking! Anything that engages the brain to aid in a memorized performance is a step in the right direction toward cognitive memory and not solely muscle memory.
…working hard will never hurt you; when you’re through there’s always a reward.” So go the lyrics of the “Work Song” from the record “Antshillvania” that I remember listening to over and over as a child. These words came to mind the other day as I was working with my kids on our Latin exercises. (So of course I had to pull this clip up on YouTube and make sure it was inescapably stuck in their heads along with mine. :-))
Not unlike the process of learning to read music, understanding and developing a working knowledge of Latin is complex and difficult. Often one read-through of the lesson is not enough to fully absorb the material. Rather it takes a considerable amount of repetition, meditation, and implementation. How very un-American!
“Diligence is investing all my energy to complete the tasks assigned to me.”
I was reminded again of the virtue of diligence when I read the recent article by Rebecca Grooms Johnson highlighting a research project conducted on “Work ethic, motivation, and parental influences in Chinese and North American children learning to play the piano” (published in the October/November 2015 issue of American Music Teacher). Of particular interest to me was the great divide in weekly practice time spent by Chinese students (295.26 minutes) versus their North American/Caucasian student counterparts (159.29 minutes). This is a reflection of “the broadly prevalent Asian cultural philosophy toward learning with a strong emphasis on hard work rather than an inborn talent or ability.”
Rebecca ends her report with a series of questions, among them, “Will our children’s apparently low levels of motivation and work ethic doom our culture to mediocrity?” Yes, indeed! That’s why we must make every effort to inspire, equip, and encourage our students to rise above such an indifferent approach to life and learning. We must push our students to work hard, to excel, to embody diligence in all their endeavors. We must refuse to accept half-hearted, lazy, excuse-riddled work, whether it comes to counting rhythms precisely, memorizing effectively, or even carefully reading and following specific practice instructions. If we truly want to see our students succeed, we must help them realize that it is not innate talent or ability that will propel them forward, but diligent and consistent hard work.
You still have a little over one week to sign up for the NoteRunner Online Piano Competition. The contest is open to participants of all ages (including teachers!) and is designed to help promote the work of independent composers. Winners can receive cash prizes. Check out the list of songs to find a piece that grabs your interest. And you can read all the contest details here. I love that these online competitions are becoming more frequent and look forward to having some students participate one of these days!
If I was going to be completely honest (and I do try to make a habit of it), I would have to say that I really don’t like much Christmas music. I know that’s practically blasphemy to many Christmas die hards, but it takes all of about one day for me to be done with Christmas carols. Less if it happens to be October or earlier. And I have three children in my house that are already breaking out the Christmas music!
Maybe it’s the bland, trite arrangements that make me groan, or maybe it’s just the pervasiveness of it the last couple months of the year. I don’t know for sure. But just as I will continue to teach Fur Elise for the sake of my students, I will continue to endure the familiar yuletide tunes to support these motivated aspiring pianists. That makes me a nice teacher, right? 🙂
All that said, I was intrigued by the latest newsletter from Alfred Publishing on “A Creative Christmas.” Robert Vandall talks through his latest contribution to the Christmas repertoire – Christmas Extravaganza – and the various composition techniques he employed to “have moments of pianism and creativity that would allow students to shine, give teachers valuable musical concepts to teach, and audiences something out of the norm to enjoy.” I’m actually looking forward to playing through some of these selections and hopefully finding some new, fresh, inspiring music that I can enjoy listening to this Christmas season!