An active chamber musician, [NAME] has performed with the groups [LIST UP TO 30 CHAMBER ENSEMBLES YOU HAVE PERFORMED WITH, STARTING WITH THE ONE PEOPLE ARE MOST LIKELY TO HAVE HEARD OF AND ENDING WITH YOUR COLLEGE'S BAND/ORCHESTRA/CONTEMPORARY MUSIC ENSEMBLE]. [HE/SHE] has also performed with [LIST UP TO 15 MUSICIANS PEOPLE MAY HAVE HEARD OF. IF YOU'VE NEVER PLAYED WITH A FAMOUS MUSICIAN, LIST ANY FAMOUS MUSICIANS WHO MAY HAVE PERFORMED WITH YOUR SCHOOL ORCHESTRA TO INCLUDE MARGINALLY FAMOUS TEACHERS AT YOUR SCHOOL] and under the baton of [LIST CONDUCTORS]. In addition, [NAME] has recorded for the [NAME OF RECORD LABEL] record label.
 | Trio for Violin, Cello and Piano by Maurice Ravel (Durand) |
 | La Boheme by Giacomo Puccini (Ricordi) |
Wendy Stevens at ComposeCreate has stumbled on a brilliant incentive program for her students: issue citations for instances of both good and bad musicianship in an effort to cultivate musicality in her studio. These are the cards she uses:
Head on over to the blog at Music Teachers Helper, where my latest post looks at the results of my recent lesson notes poll. In addition to the results, I've reposted some fascinating comments from teachers with inventive and original ideas on how to deliver lesson notes to both students and parents.On the discrepancies between the use of pianists in opera and musical theatre auditions:First and foremost, whether you call the pianist an accompanist or a collaborative pianist, they can make or break you in an audition. I have heard in recent days of EPA calls where they have done it 'American Idol' style and singers have shown up and there are no pianists and suddenly you have to try to come up with your audition cut a cappella. A ca PALLING! Shame on you casting directors for not having enough RESPECT and RESPONSIBILITY to create again, an atmosphere to expect the best and hear the best from singers!!My biggest pet peeve right now, is the large discrepancy in the ability of the audition pianists. I am talking now primarily in the music theatre world. And I will simply say this: money. If a producer/casting director whoever is paying the pianist to be there for day will not pay a decent wage, they will not get decent pianists. Perhaps if 'they' would recognize a fine pianist needs to be paid for their time, and PAY THEM, they would get far better auditions!! What a concept!!
In opera auditions, often a company will have the option of having a company pianist there to play, who is available and paid for by the company, or individual singers bring their own pianists, and pay them accordingly.Perhaps if music theatre auditions started to have that option and encourage it, casting and producers would recognize the difference in the level of audition when a really good pianist is sitting at the piano and would begin to invest in that continually. Another option I think would be that singers paid the pianist directly for their time. This might eliminate the "wannabes" from the audition line if suddenly they had to invest in paying a fee to have the pianist play for them!
When you finish, thank your panel for their time. Walk to the piano to collect your binder and again, MAKE EYE CONTACT and thank that pianist. If you don't know who it is, ask them for their name or for their card. Leave YOUR card on the piano. This is BUSINESS. It will also force you to SLOW DOWN and BE IN THE ROOM. You will not forget or go into automatic pilot and will remain under yourself.This isn't rocket science. This is what we used to call "common sense" - which I realize isn't so common anymore. Treat people the way you want to be treated. Recognize the job the pianist has. If you want the skills of that pianist to support you, support them.
Here's the second in the series from a demo recording that I recently made with soprano Susan Tsagkaris in early June. Track info:
Over the last few months, I've received numerous emails from CPB readers worried about their job prospects and on the lookout for ways to gain entry into various freelance markets as they finish grad programs. What took me years to realize in my own career and what I now recommend to anyone working as a freelance pianist, is that teaching piano, whether privately or at an institution, can be a lucrative line of work and can help you move forward as an artist and teacher.
On Sunday, August 9, Fima makes his Food Network debut as the first classical music celebrity to judge the popular cooking competition Iron Chef America on the Food Network. A connoisseur of food and wine, Fima enjoyed the opportunity to witness two great chefs battle for the winning spot using the show’s top-secret ingredient. “I have always been an enormous fan of Iron Chef America as well as many other Food Network shows, so it was a great thrill for me to sit at the judge’s table for an Iron Chef battle,” said Bronfman during another great meal at this summer’s Aspen Music Festival. “Great food and wine has become a hobby of mine as I travel around the world playing concerts. It was a great honor to be invited to experience meals created by an Iron Chef and challenger in Kitchen Stadium.”
For some, academia means more than an easy transition: it is an idealized sanctuary of civilization. Spending many years in that environment has deluded some to believe that life outside of academe means failure. An article [by Thomas H. Benton in The Chronicle], Is Grad School a Cult?, talks about the ivory tower seduction of such students, who become convinced a university is the only 'real' option for meaningful employment. When the realistic likelihood of landing a full-time position in a good location with job security (tenure track) is the equivalent of winning the lottery - it is time to change faiths. Believe that meaningful jobs exist outside academia.I found Billie's article to be fascinating and will hopefully be a wake-up call for many pianists to consider much wider career options. For example, if you're lucky enough to land a part-time adjunct or sessional position in a major city, it can often be an ideal springboard for a performing career without the administrative responsibility that comes with full-time academic employment. The same goes for positions at opera compaies, orchestras, new music ensembles, and chamber groups - they may not provide full-time employment, but being connected to a network often makes these positions highly worthwhile in terms of spin-off engagements. Arts administration, both in academia and in arts organizations, is currently a big growth industry many places. Why not consider it?
Grace Nikae is a pianist whose artistic integrity and promotional acumen are equaly impressive in today's changing and unstable classical music scene. In addition to being a first-rate pianist, she actively promotes herself via her website, Twitter page, her blog Stretching Intervals (as previously mentioned), a YouTube channel, and Flickr photostream.
with a mini-recital and reception at Atelier Rosemarie Umetsu in Toronto on Thursday, August 6th from 5:30-7:30.I wanted to let you know about our postgraduate piano fellowship here at Bard. It is a 1-2 year program and offers free room and board, as well as a $15,000 stipend. The program is headed by Frank Corliss, who for many years was staff pianist at the Boston Symphony Orchestra.Here's a bit more about the fellowship program from the Bard site:
http://www.bard.edu/conservatory/fellowship/
Thanks and regards,
--
Nathan Madsen
The fellowship is open to both students who have already completed a degree in collaborative piano and those students who have completed a bachelors degree in piano performance and have a strong interest in further study in collaborative piano. The program allows students to expand their knowledge of the core collaborative piano repertoire, to get experience in playing for high level undergraduate and graduate students under the mentorship of master musicians, and to deepen their musical understanding through the guidance of the distinguished faculty of the Bard College Conservatory of Music.The admission deadline for the following academic year is March 13. For more information, you can contact Nathan at conservatory [at] bard dot edu.
