Performance and Teaching
Exploration of new piano repertoire and new playing challenges, both in solo, chamber music, and vocal accompanying now absorb much of her time. The most recent performances have included the solo piano part in Beethoven’s Choral Fantasy for Piano, Choir and Orchestra, as well as professional song recitals. She is a highly experienced accompanist, with a broad repertoire, who has worked with many young performers as well as experienced professionals.
Professional recitals, as well as accompanying aspiring youngsters at concerts and auditions or accompanying for graded and other exams are all areas which she pursues. For the less experienced performers, she is able to offer interpretation advice especially regarding aspects of ensemble.
Teaching has formed a substantial part of her life. As Director of the Leicestershire Special Music Course, she was responsible for the development of some of the county’s highest achieving young musicians. This brought her into direct contact with the main music colleges and universities. Through private teaching, she now creates individual learning plans for young pianists at all levels including diplomas.
Key Teaching Values:
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Music is a personal art form. Each student has unique learning needs in their pursuit of performance success. There can be no ‘set rules’; flexibility and understanding are essential qualities for the teacher who should identify these needs, and set goals accordingly.
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Learning and playing must be enjoyable –- playing will always make demands of time, devotion and discipline, yet without the joy of performance, there can be no real meaning or reward.
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The development of trust between teacher and student is paramount.
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Support from parents is very important, but as the advanced student emerges, it is essential that pupils develop independence and self-responsibility for learning.
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Encouraging the emergence of the ‘artist’ is a prime goal as a teacher, but learning must be satisfying, and lessons must always set out to be enjoyable and rewarding.
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Teaching only a small number of students ensures a personal approach – this is not a music factory.
Technique
One of the first steps for any good pianist is to learn technique – that is to learn how to physically deal with the notes. Technical mastery must play a vital part in the learning scheme and is constantly monitored, developed and planned.
Absence of accomplished technique will always detract from a performance, and so ‘Method practise’ is taught from very early stages. This includes a clear ongoing brief on the division of practice time into technique as well as the playing of pieces.
Musicianship
Shape and colour are aspects of any fine performance. Learning to build up a well -structured performance takes time and understanding. It is important to combine ‘playing’ with some intellectual grasp if a convincing performance is to be realised. The study of composers and their background should form part of the performance preparation as well as an understanding of structure.
Artistry
The role of the teacher has to be to support the development of musicianship and technique; both of these can and should be taught, but after that, artistry can only emerge from the natural gift of the student.
Progress reviews
Progress is regularly monitored, and reports issued to students and parents, where appropriate.
Results
As Director of the Specialist Music Course Leicester, from 1987, and subsequently Head of Music at Wyggeston and Queen Elizabeth I College until 2009, music results were classed as ‘Outstanding’ according to the ‘Greenhead Model’.
Her piano students have been awarded top prizes at music competitions, ABRSM piano diplomas, as well as music scholarships to public schools, music colleges, and Oxbridge.
