Friday, September 30, 2011

Collaborative Piano Studies at Shenandoah Conservatory of Shenandoah University

This guest post is from Elizabeth Temple, Professor of Piano and Collaborative Piano Coordinator at Shenandoah Conservatory of Shenandoah University, located in Winchester, Virginia. Shenandoah's piano faculty also includes Elizabeth Caluda, Karen Walker, and Distinguished Artist-in-Residence John O'Conor. You can read more about Shenandoah's collaborative piano programs here.

The Collaborative Piano Performance degree programs (BM, MM, DMA) at Shenandoah Conservatory provide students the opportunity to work closely with a thoroughly professional faculty who are active performers and who bring a wealth of experience in every genre of collaborative repertoire. The undergraduate and graduate degrees include a thorough background in music theory, music literature, and analytical and artistic performance techniques. Weekly private applied study emphasizes specific pianistic musical and technical development as well as comprehensive collaborative repertoire development from duo sonatas and art songs, to any combination of voice and/or instruments with piano. In addition, participation in Accompanying Ensemble provides weekly coaching of collaborative ensembles by artist teachers. Performance opportunities exist at local, regional, national and international levels.


Bachelor of Music in Collaborative Piano

(Advisor, Elizabeth Temple, Professor of Music)

The Bachelor of Music in Collaborative Piano curriculum is designed for the talented pianist seeking a career in the fields of chamber music performance and vocal accompanying. The student aspiring to college teaching or concertizing as a collaborative pianist should realize the exacting standards required for such careers. The student who hopes to achieve professional status should plan to continue study at the graduate level.

Program Objectives

Students completing the Bachelor of Music in Collaborative Piano will be expected to:
• demonstrate musicianship in solo and ensemble performance;
• perform a variety of repertoire and styles;
• perform in a variety of instrumental and vocal chamber music settings;
• demonstrate the ability to lead a rehearsal;
• demonstrate knowledge of opera literature, vocal literature and piano chamber literature;
• demonstrate basic knowledge of classical music languages and diction as encountered in standard vocal repertoire;
• demonstrate knowledge of music theory, music history, world music and music technology;
• demonstrate the ability to express ideas orally and in writing;
• attend a variety of public performances and events.

Audition Information

A live audition on campus is encouraged. Applicants who live more than 250 miles from the Shenandoah University campus may request approval in advance from the Conservatory Admissions Office to submit a recorded audition via Citizen Groove through the Shenandoah Conservatory Audition Dropbox. Audition repertoire should include at least 10 to 15 minutes of a major instrumental work or works (e.g., duo, trio, quartet) with piano (no orchestral transcriptions); 8 to 10 minutes minimum of piano/vocal art song
repertoire, which may include an example of operatic recitative & aria; a solo piano work or works (8 to 10 minutes) by memory. The applicant is responsible for obtaining support performers for the audition and is responsible for the overall quality of the performance. A demonstration of sight reading is required as is a thorough performance knowledge of major and minor scales and arpeggios.

Entrance Examinations

International students must take the TOEFL examination and earn a minimum score as published by the Office of Admissions. Complete information regarding the requirements for non-native speakers of English is available from the Office of Admissions. Placement examinations in music theory are given to all applicants.


Master of Music in Collaborative Piano

(Advisor, Elizabeth Caluda, Professor of Piano)
(Program Coordinator, Elizabeth Temple, Professor of Piano)

The Master of Music in Collaborative Piano curriculum is designed for pianists who wish to further refine their ensemble performance skills. The curriculum provides a foundation of studies in performance and interpretation supported by a knowledge base in historical and analytical areas.

Program Objectives

Students completing the Master of Music in Collaborative Piano degree will be able to:
• demonstrate musicianship and leadership in rehearsal and performance settings;
• perform in a variety of instrumental and vocal chamber music settings;
• demonstrate a knowledge of music theory and music history;
• demonstrate knowledge of solo, vocal and chamber music literature;
• demonstrate practical knowledge of languages and diction of standard vocal repertoire;
• demonstrate the ability to research and write.

Entrance Requirements

Applicants to the Master of Music in Collaborative Piano curriculum must possess a baccalaureate degree in music, or the equivalent, with a minimum grade point average of 2.5 (on a 4.0 scale) prior to admission into the program. The credits presented from baccalaureate level study must parallel those required in the Bachelor of Music in Collaborative Piano curriculum at Shenandoah Conservatory. Applicants must present an audition recital, with a printed program, of at least 30 minutes in length including a solo performance of 5 to10 minutes with memorization preferred. The remainder of the recital includes both chamber and art song
repertoire. Complete chamber works (all movements) are required. The applicant is responsible for obtaining support performers for the audition and is responsible for the overall quality of the performance. A demonstration of sight reading is required at the on-campus audition. Applicants who live more than 250 miles from the Shenandoah University campus may submit a recorded audition via Citizen Groove through the Shenandoah Conservatory Audition Dropbox.

Transfer of Credits

Up to nine credits may be transferred into this curriculum when earned at an accredited institution and when the credits fulfill required courses or appropriate electives. Students who enroll in a second master’s degree at Shenandoah Conservatory may transfer up to nine credits from the first degree completed into the second degree when those credits fulfill curricular requirements.

Degree Requirements

The degree requirement is 30 credit hours with a grade point average of 3.0 and includes:
• 4 semesters of applied collaborative piano study
• 2 successful completions of a Graduate Performance Recital
• Bibliography and Research
• Graduate Theory Seminar I & 2
• Music Electives with the following recommended:
• Vocal Literature,
• Choral and Opera Literature,
• Piano in Chamber Literature,
• Piano Duet/Duo Repertoire,
• Language and/or Lyric Diction,
• Physiology and Mechanics of Piano Technique,
• Accompanying Ensemble


Doctor of Musical Arts in Performance (Collaborative Piano)

(Advisor, Charlotte Aiosa, Professor of Music)
(Program Coordinator, Elizabeth Temple, Professor of Piano)

The Doctor of Musical Arts in Performance curriculum emphasizes artistic development in a specific performing medium at the highest professional level. Historical and theoretical knowledge support the artistic development of each student. Competencies also include broad knowledge of repertoire, music literature and pedagogical studies. Career objectives for students in this curriculum include performance and teaching at the collegiate level or in studio and other professional settings.

Program Objectives

Students completing the Doctor of Musical Arts in Performance (Collaborative Piano) degree will be able to:
• demonstrate advanced musicianship and leadership in instrumental and vocal ensemble rehearsal settings;
• perform a variety of advanced level repertoire;
• perform in a variety of settings at a professional level;
• demonstrate advanced knowledge of music theory, music history, and music literature;
• demonstrate advanced skills in language and diction as appropriate to vocal repertoire and performance.

Entrance Requirements

Applicants to the Doctor of Musical Arts in Performance program must possess a baccalaureate degree in music, or the equivalent, with a minimum grade point average of 2.5 (on a 4.0 scale). In addition, completion of a master’s degree in music, or the equivalent, with a grade point average of 3.25 from a regionally accredited institution, or the equivalent, is required. A resumé documenting professional experiences in performance, research and teaching is required. Two letters of recommendation from individuals familiar with the applicant’s performance capabilities must be submitted.

Audition Requirements

Collaborative Piano applicants must present an audition recital, with a printed program, consisting of approximately 50 minutes of music and including a solo performance of 10 to 15 minutes with memorization preferred. The remainder of the recital must include both instrumental chamber music and art song repertoire. Complete chamber works (all movements) are required. The applicant is responsible for obtaining support performers for the audition and is responsible for the overall quality of the performance. Sightreading is included at the audition. Doctoral students must audition in person with the exception of international applicants residing outside the United States. Non-resident 
applicants must submit a video prepared following the Shenandoah Conservatory Audition Guidelines and submitted via Citizen Groove through the Shenandoah Conservatory Audition Dropbox.

Degree Requirements

The degree requirement is 90 credit hours beyond the baccalaureate degree, 30 of which may be presented in the form of a completed master’s degree from an accredited college or university when the work relates to the degree. Reconfiguration of this curriculum is in progress to reflect increasing emphasis on applied study, collaborative recitals, repertoire development, collaborative career preparation, etc. Diagnostic exams in music theory, literature and history at the beginning of study assist in determining course work.

Sunday, September 25, 2011

Marc-André Hamelin Plays Doucet's Chopinata and Isoldina

Here are two lovely novelty treatments of classical music warhorses: Chopinata and Isoldina by Clément Doucet. Marc-André Hamelin plays them superbly, and if you're interested in playing any works of Doucet, you can find the sheet music on IMSLP. [Update: it looks like the scores are blocked on IMSLP because of pending copyright issues] The Isoldina in particular is sure to get more than a chortle out of most audiences.




(Thanks Dimitra!)

Michael Kelly and Jonathan Ware To Premiere Ben Moore's New Song Cycle October 24 at Merkin Hall

Joy in Singing will be presenting both its first Debut Artist Competition winner and a new American song cycle on October 24 at Merkin Hall in NYC. Baritone Michael Kelly and pianist Jonathan Ware will be premiering Ben Moore's Love Remained as part of their recital. Some information about Love Remained from the event's press release:
Ben Moore's Love Remained, explores the personal, social and political struggles of homosexuals through the texts of notable gay rights speeches by Fort Worth City Councilman Joel Burns, evangelist Oral Roberts' grandson Randy Robert Potts, both contributors to the It Gets Better Project, and renowned activist/politician Harvey Milk. The third song, from which the cycle takes its name, is a setting of a poem by Michael Kelly.

Mr. Kelly describes the cycle as, "...a love letter to the gay rights movement, a plea to young gay men and women to hold on and a thank you to all the people who work hard to spread that message."

Moore's cycle begins with the text, "It gets better" a powerful message and evident connection to the project started by relationship columnist Dan Savage, inspiring hope for young people facing harassment.

You can find a small clip of the cycle's second song Hold On at this Dropbox link.

The rest of the program features songs by Franz Schubert, Francis Poulenc, and other American composers. Tickets are $25, $15 for seniors, with students admitted free.

(Thanks Nate!)

Opera Briefs, the 2011 Edition

One of the busiest times of the year has just wrapped up for me, with the final show of Tapestry New Opera's Opera Briefs 2011 ending last night at Theatre Passe Muraille. This was one of the most engaging Opera Briefs that I can remember, and here is a quick rundown (with spoilers) of the brand new mini-operas that we staged this year with a few words on what they were about:
  • The Theory of Everything by Sheldon Rosen and Elisabeth Mehl Greene. A man hits on a woman in a restaurant, whom he mistakenly takes to be the author of a book on string theory.
  • Guitar by Norman Yeung and Elisabeth Mehl Greene. A young guitarist leaves her Portland lover en route to a new career as indie artist in NYC.
  • Noor over Afghan by Anusree Roy and Christiaan Venter. A dying Afghan bride convinces her sister to take her place on her wedding day.
  • Lost and Found by Sharon Bajer and Elisabeth Mehl Greene. A seduction scene plays out in fragmented English.
  • The Drawing Class by Sheldon Rosen and Christiaan Venter. A drawing teacher in Terezin does her best to inspire her students in the face of terrible odds.
  • Leaving by Sharon Bajer and Darren Russo. A woman with post-partum depression leaves her husband and child.
  • Merk's Dream by Nick Carpenter and Elisabeth Mehl Greene. The last conversation between the loving but aging father and his mentally challenged woman on the eve of her departure for an institution.
  • The Golden Boy by Anusree Roy and Darren Russo. A single mother attempts to convince her son that his absent father still loves him.
  • The Last Life by Sharon Bajer and Katya Pine. A farmer tends his cow, who happens to harbor past-lives memories of the two of them.
  • Tea at Three by Sheldon Rosen and Katya Pine. A woman walking to the fridge at 3am meets the spectre of her departed sister.
  • All of the Sky by Sharon Bajer and Christiaan Venter. Two boys in a Pakistani carpet factory endure their harsh lives and dream of a better place.
  • Perfect Night by Nick Carpenter and Jana Skarecky. A middle-aged couple's romantic getaway is spoiled by a mosquito.
The scenes were performed by soprano Xin Wang, mezzo soprano Krisztina Szabo, tenor Keith Klassen, and baritone Ben Covey. Sue Miner directed and Kimberly Purtell designed the lighting. Jennifer Tung and I shared the pianistic and musical director duties. 

Of course the most interesting thing to watch for after an Opera Briefs run is the future life of both the mini-operas and their composer/librettist partnerships, some of which will now grow into a much larger creative process as their creators move forward with new project ideas.

Saturday, September 17, 2011

Piano Cake

Grand piano cake

I'm not one to read subtext into custom baked goods, but that pianist is looking mighty exasperated. More cake awesomeness can be viewed at Eldriva's photostream on Flickr.


Brahms 2nd Piano Quartet at Ravinia

These recent videos of the inner movements of the Brahms 2nd Piano Quartet Op. 26 feature Kobi Malkin on violin, violist Adeliya Chamrina, cellist Michael Katz, and Mei Rui on piano. Interestingly enough, Mei Rui, in addition to her career as a pianist, teaches organic chemistry at the City University of New York.







Thursday, September 15, 2011

Gifted or Gritty?

What if our current obsession with talent, achievement, and parental engagement has little bearing on whether or not students go on to actually succeed in life? Paul Tough's NY Times article on the relationship between failure and success in children looks at how our emphasis on coddling kids might be hampering them later in life:
The most critical missing piece, Randolph explained as we sat in his office last fall, is character — those essential traits of mind and habit that were drilled into him at boarding school in England and that also have deep roots in American history. “Whether it’s the pioneer in the Conestoga wagon or someone coming here in the 1920s from southern Italy, there was this idea in America that if you worked hard and you showed real grit, that you could be successful,” he said. “Strangely, we’ve now forgotten that. People who have an easy time of things, who get 800s on their SAT’s, I worry that those people get feedback that everything they’re doing is great. And I think as a result, we are actually setting them up for long-term failure. When that person suddenly has to face up to a difficult moment, then I think they’re screwed, to be honest. I don’t think they’ve grown the capacities to be able to handle that.”
Now that it's 17 years and counting since finishing graduate school, I've had a chance to see which students succeeded and which didn't, I would have to say that those who went the farthest were by no means the most gifted. They were the ones who worked the hardest and learned the lessons that allowed them to advance in a difficult and changing world. They were also the ones who never gave up.

Sunday, September 11, 2011

Remember

Tuesday, September 06, 2011

Getting Your Daily Working Process in Order

Behind every successful artist, there is an effective daily creative process. If you're still working out yours, spend some time reading through Daily Routines, a discontinued but essential blog about the daily habits of famous people. I haven't got through the entire blog yet, but certain of the entries already have resonated with me, including the the Bodhisattva-like routine of Fred Rogers (always weighing in at a precise 143 pounds), the the flaneur-like process of Erik Satie (complete with 10k daily walk into Paris), and the mandatory sameness of Stephen King's writing routine, whose thoughts are a good reason for anyone to establish their own personal working process:
The cumulative purpose of doing these things the same way every day seems to be a way of saying to the mind, you’re going to be dreaming soon.
In case you're still working out out the best times to practice, take a look at Days 1 and 2 of my 31 Days to Better Practicing.

A Quick Way to Catch Up With Technology

Teachers: if you're looking into upgrading your technology skillset but aren't sure where to start, Missouri Western State faculty member Dr. Matthew Edwards has put together a succinct but excellent site called Pedagogy Central. His section on the 21st Century Studio lists many of the top services that teachers are using and introduces several ones I've never heard of but intend to check out.

(Via Music Matters)

Monday, September 05, 2011

A Visual Boulez Notations

It would be worth your while to see the entire video series of the Boulez Notations as played by Illya Filshtinskiy, not just for his fine playing, but for the completely different style of videography in each of the pieces in the series (#6 is missing from the set). Here are three of the videos that are especially interesting visually.







The Benaud Trio Plays Stairway to Heaven

There have been a number of recent reports of pianists who have been moved to stand while playing. Here's an actual sighting in the wild, with the Benaud Trio's Amir Farid temporarily leaving the bench at the 3:42 mark.
And as we wind on down the road
Our shadows taller than our soul.
There walks a lady we all know
Who shines white light and wants to show
How everything still turns to gold.
And if you listen very hard
The tune will come to you at last.
When all are one and one is all
To be a rock and not to roll.


 Note: in case you're too young or too old to have heard Led Zeppelin's original recording of Stairway to Heaven, you can find it here.

Friday, September 02, 2011

Call for Piano Trios and Voice/Piano Duos: The Franz Schubert and Modern Music Competition

From February 8-16, 2012, the University of Music and Performing Arts Graz will be hosting the Franz Schubert and Modern Music Competition for piano trios, voice/piano duos, and string quartets. The prizes for the competition are € 13,500, € 9,000, and € 18,000 respectively, which amount to € 4,500 per winner. The rep lists for voice/piano and piano trios are quite specialized, so you might want to take a look at the requirements before making the decision to enter. The application deadline is October 7, 2011 and you can find the application rulesprintable forms, and online application on the competition website.