This remarkable piece of film footage inspired a stream of others.
Nadia Boulanger (b.1887-d.1979) the esteemed teacher, composer, theoretician, organist, pianist, taught and influenced so many great musical creators such as Leonard Bernstein, Aaron Copeland, Virgil Thomson, Walter Piston and Philip Glass.
“Boulanger’s teaching methods included traditional harmony, score reading at the piano, species counterpoint, analysis, and sight singing (using fixed-Do solfège). She disapproved of innovation for innovation’s sake: “When you are writing music of your own, never strain to avoid the obvious.” “You need an established language and then, within that established language, the liberty to be yourself. It’s always necessary to be yourself – that is a mark of genius in itself.”
In this brief teaching encounter with a 10 year old student, Boulanger identifies a change of key or “modulation” in a Mozart Fantasy as a moment of poignancy. She illuminates a harmonic transition from the somber B minor tonality to the brighter D Major as the student draws closer to the composer and his intention.
Madame Boulanger’s teaching, albeit just a snatch, puts into perspective why a total musician cannot just read notes, learn proper fingering, and perhaps identify a few rudimentary chord progressions.
Layers of learning over years foster an in depth exploration of the musical art form.
I turn to another influential teacher with a video sample from her studio. The wife of esteemed concert pianist, Joseph Lhevinne, Rosina came into her own after her husband’s death and subsequently joined the esteemed Juilliard faculty. Van Cliburn, John Browning, Misha Dichter, John Williams, and Edward Auer were among her well known students.
By way of anecdote, I heard Madame Lhevinne play at the old Juilliard School at W. 125th Street in Manhattan on the occasion of her 80th birthday. She divinely performed the Mozart Piano Concerto no. 21 in C Major under the able baton of Jean Morel. It was a historic performance, surpassed only by her appearance at age 82, with Leonard Bernstein and the New York Philharmonic, playing the Chopin E minor Piano Concerto.
In the course of this film, Lhevinne helps the young Misha Dichter by singing phrases herself while artfully shaping them. She also demonstrates weight transfer between fingers in fostering a legato, or smooth and connected touch. In the introduction preceding the masterclass, Artur Rubinstein, John Williams, John Browning, Robert Mann, and Misha Dichter make compelling comments about Lhevinne’s approach to teaching.
Here are a few other snatches from classes of inspiring teachers:
Richard Goode shares his ideas about Chopin and Beethoven.
Murray Perahia: Words of wisdom about the music of Bach and mood setting.
Alfred Brendel presents a Masterclass at the New England Conservatory:
I was fortunate to have observed one of Brendel’s classes at the Oberlin Conservatory and he, like Rosina Lhevinne sang phrases to communicate shape, and stroked the keys rather than attacked them. He played with an immaculate singing tone, and encouraged the participating students to do the same. It was very inspiring, to say the least. The masterclass given by Georgy Sebok was as illuminating for the same reasons.
Finally, Lang, Lang, mentors young Derek Wang, who plays a Liszt Rhapsody. (The teacher fleshes out the color dimension of the composer’s work and demonstrates hands on, expressive possibilities)
If you have your own favorite teaching moments, please feel free to share them.
Footnote: I participated in two masterclasses that took place in Fresno, Calfornia with Murray Perahia and Oxana Yablonskaya. The first was more lengthy, and very memorable. Murray worked with me on the first movement of Beethoven’s d minor, “Tempest Sonata” and fleshed out the structural dimension. Yablonskaya did a lot of demonstrating herself, but was more focused on the singing tone as it applied to a Chopin Nocturne.