The conceptualization of a faculty-student performing ensemble.

The idea of pairing musicians of varying performance abilities and intellectual maturity in an ensemble might seem to be a strange idea. In normal circumstances, musicians tend to team up with others who have similar musical training, educational backgrounds, performance abilities and aesthetic viewpoints, in an effort to have the most rewarding musical experience.

It is not difficult, however, to find examples where composers had performers of varying levels of technical ability in mind when writing their works. In J. S. Bach's multiple keyboard concertos, those for three and four keyboards in particular, one of the solo parts clearly predominates in technical display and musical weightiness, while another solo part might have a perfunctory or supportive role, with less technical challenges. When writing the predominant parts, it is easy to suspect that Bach might have had his virtuoso keyboard player sons in mind (Wilhelm Friedmann or Carl Philipp Emmanuel), and the easier parts might have been designated to a lesser-skilled or -gifted performer.

In the genre of piano duets, there are numerous examples of composers writing specifically with a teacher/pupil team in mind. Oftentimes, works are clearly written with either a lighter primo or secondo part. The benefits of these educational duets are abundant and apparent. Even in pieces written for elementary levels, students have the opportunity of performing music with greater harmonic color, musical depth, variety of sound, rhythmic complexities and contrapuntal interests, than what their abilities would allow if they would be performing a solo. Performing with one's teacher can also increase musical expression, rhythmic stability and confidence in performance.

The concept of combining students and faculty in a performing ensemble is not often encountered in universities and colleges. When designed pragmatically and administered appropriately, the educational philosophy of pairing faculty and students in rehearsals and performances can be viable, successful and yield extraordinary musical results.

By putting students in faculty chamber music groups, such as woodwind and brass quintets, string quartets or piano trios, the student has the opportunity to work with faculty mentors as fellow chamber musicians. The degree of musicianship, refinement and technical proficiency raises a student's normal performing expectations to a higher level. It can also stimulate and challenge the student's imagination, ensemble techniques, performance skills and musical understanding. Instead of the normal relationship of teaching/learning, coaching/assimilating and instructing/acquiring, the role between teacher and student changes to true musical partnership and camaraderie. This type of performing experience inspires a student's musical sensitivity and enhances his artistic growth.

Speaking from my own experience, I can attest to the benefits of such

educational opportunities. Many years ago, while a graduate student at the University of Cincinnati, College-Conservatory of Music, there was an opportunity for me and another student to perform Schumann's Piano Quintet with some of the faculty members of the conservatory (Masao Kawasaki, Yehuda Hanani and Kurt Sachssmanshaus). That wonderful experience left an indelible mark on my musical development. The high level of musical refinement, musical conception and ensemble challenge was a great motivation and stimulation for me to attain a level of musicianship that I had not thought possible. The result of the performance was so successful that the conservatory arranged another opportunity for me to perform with Hanani. The work was Beethoven's Piano Trio in C Minor, Op. 1, and the violinist was a very gifted pre-college student from the preparatory department. This very unusual combination of performers turned out to be equally rewarding.