Polyphony: learning from others.(training of professional musicians)

In this issue I discuss some of the ways we, as individuals in early, mid-, or even late career, can learn from others when we are looking for stimulus and growth. The hunger for new incentives sometimes leads us to look at new technology, to re-initiate piano study with a teacher, purchase or download several new CDs for no reason except personal enrichment, or pick up a book we have been wanting to read. Below are additional suggestions of possible sources from others for motivation to spur our teaching.

On practicing, preparing for a performance and learning from an artist-teacher ...

Many readers are aware that a rising number of performance DVDs with artist-performer interviews and commentary are appearing on the market. Marc Andre-Hamelin and Angela Hewitt are two such featured artists, both highlighted in well-produced DVDs that include striking solo performances by each. No Limits (Legato: The World of the Piano) features a full-length performance of Hamelin performing Haydn, Debussy and Chopin in a 2007 recital from Essen, Germany. What illuminates the listening experience are the accompanying commentaries and interviews surrounding how Hamelin practiced the Haydn sonata and Debussy preludes, and about how he plans his practice for a recital. Clips alternate between his practice sessions and live performance, and Hamelin speaks openly and articulately about the preparation process. A DVD of Hewitt titled Bach Performance on the Piano too provides a full-length solo recital performance of Hewitt at the Fazioli factory auditorium playing the Bach D Major Partita, the Italian Concerto, and the Chromatic Fantasie and Fugue. The entire first DVD of the two-DVD set is devoted to Hewitt's ideas on performance practice, interpretation, learning a fugue and ornamentation. What these DVDs do is provide not only an artist concert that can be experienced in one's home, but also performance, practicing and teaching insights from the artist. And, these artists are only two of an increasing number of artists who have been featured in DVDs for purchase with the purpose of bringing the artistic performance and pedagogical information to individuals in their own settings.

On career development ...

Angela Myles Beeching has served as the director of the Career Services Center at the New England Conservatory of Music and in that role has advised hundreds of talented students, alumni and faculty, as well as given lectures to professional musicians at conferences and workshops. Beeching holds a doctorate in cello performance and has held a Fulbright Scholarship. Her current impact is possible through creative approaches espoused in her book Beyond Talent: Creating A Successful Career in Music. While outwardly oriented to the performer who wants to move toward his goals, the book also provides countless common sense and creative ideas and suggestions that can impact the careers of teachers and performers in early and mid-career. Beeching provides insights for individuals in a variety of career situations and offers suggestions such as how to gain new students, how to network for teachers who may move to a new community where they do not know anyone, how to network in one's own established community and manage one's own "image," and how to become better connected. Creative ways to change one's situation, for those who in fact want to take action, are provided. Beeching has much to share with us about finding ourselves in the professional world and helping our goals become realities.

On passion for music study and performance ...

Often historical readings or reading letters from an individual allow one to digress from his own current problems and situations and become lost in the interpretations, also providing the reader with insights from the past. One becomes immersed in the story and in the culture and climate of the time and is enriched, illuminated and stimulated. In Music Study in Germany by Amy Fay, the author puts her thoughts into words, originally written as letters from Germany back home to the United States, of her years studying music in Germany in the 19th century. The writing is exceptionally vivid, and the prose takes the reader into the teaching salons and studios of Liszt, Deppe, Kullak and others. She also gives her impressions of performances by Clara Schumann, Tausig, Liszt and Joachim. One learns what it was like to devote several years solely to piano lessons, practice and immersion into the musical culture and climate of 19th-century Germany. In the reading one gathers technical and pedagogical points, for better or worse, from masters of the day. The reader has the opportunity to reflect on his own training and study, and on his technical and pedagogy lineage. This is writing that reveals Fay's obvious enthusiasm as well as seriousness of purpose towards her study. The reading always is enlightening, and is especially applicable to pianists at all stages of musical development and career.