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EDUCATION AT ITS FINEST
from er hs3sg shrst45
by coolkdei2
Education at its nest
&hethamps ,nternational 3iano 6ummer 6chool and )estival offers Zorldclass tuition and recitals in a truly inclusive atmosphere, catering for youngsters, adult amateurs, teachers, concert pianists and observers alike. Colin Clarke spent a ZeeNend at the course
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Murray McLachlan and Kathryn Page
Now in its 19th year, Chetham’s International Piano Summer School and Festival is the largest event of its type in Europe devoted exclusively to the piano. e twin powerhouses behind the Summer School are Murray McLachlan, artistic director and head of keyboard at Chetham’s, and Kathryn Page, the ever-helpful administrator who also presides over the young persons' workshops.
Founded in 2001, the Summer School and Festival extends over 100 practice rooms and performance spaces in the heart of Manchester. Pianos are everywhere, thanks to a grant from the National Lottery which helped McLachlan’s predecessor acquire a eet of Yamahas. An on-call piano tuner, Pete Lyons, ensures the standard of the instruments. Additional pianos are provided by Forsyth Music Shop, which also has a permanent stand in the communal area.
In the rst year of the course, 92 people came – ‘basically people we know,’ says McLachlan. Now it has expanded to some 250 students per week, and 65 sta in 2019. e principal concerts take place at the Stoller Hall, located opposite Manchester’s Victoria Station and accessible directly from Chetham’s.
After the main evening concerts, there are opportunities to hear short, late-night recitals by participants. It is a pity these were sparsely attended on the evening I stayed, as some fascinating repertoire was performed ( for example, a rare Léon Roque arrangement of Saint-Saëns’ ‘Mon cœur s'ouvre à ta voix’ from Samson et Dalila, sensitively played by the young James Quinn). On-site catering o ers an immersive experience: you do not need to exit the complex except to sleep.
e event is split into two weeks, with a changeover of teaching sta and composers-in-residence (Adam Gorb and Philip Martin in 2019) halfway through. Anyone can observe the lessons, which take place in three two-hour segments throughout the day. Over one weekend, I sat in on lessons by eight teachers: Benjamin Frith, Leslie Howard, Leon McCawley, Murray McLachlan, Mark Tanner, Martino Tirimo, Joseph Tong and Ashley Wass (out of an available 41, including Peter Frankl, Peter Donohoe and Carlo Grante). To cap it all, there was the sixth Manchester International Concerto Competition, comprising 18 young pianists aged 22 and under. Eric Lu, winner of the 2018 Leeds Competition, gave a guest performance of Mozart's Piano Concerto No 23 with the Manchester Camerata on the evening of the Finals. Elsewhere, adult workshops o er opportunities for group work, while ‘Moving with Period Music’ (led by Bethan Rhys William) provided the opportunity to try out the Mazurka and Polonaise dances in week one of the course, and Baroque dance in week two. Tai Chi is o ered every morning (outdoors if the weather permits) by Philip Smith.
e atmosphere at the Summer School is vibrant and unremittingly positive. Everyone is encouraged to participate. One might feel there is a risk of overload, but instead I heard pianists say they were heading o to practise after Angela Hewitt’s inspirational Goldberg Variations (reviewed in IP November 2019, page 74). Enthusiasm is everywhere.
Just as there is variety in repertoire, there is variety in the ability levels of the participants. Whether beginner or advanced, everyone is nourished. Leslie Howard was gentle and coaxing with a student challenged by Beethoven’s Op 14/2 nale. Martino Tirimo worked with advanced students, stressing the importance of the arm, not only the ngers, and of vocal line in Mendelssohn’s Rondo capriccioso, while also extolling research
into various editions of a piece and discussing the rami cations for interpretation. Ashley Wass taught Schumann’s Carnaval with another advanced student. Commandingly eloquent, his lesson was a real treat to observe (not least because Wass’ room boasted a comfortable leather couch). A nugget of wisdom to his pupil: ‘Don't be immune to the surprises in the music we play.’ He talked, too, about the importance of physical gesture since people ‘listen with their eyes’.
Gesture was a strand taken up by Philip Smith in one of his adult amateur workshops, where everyone was invited to walk to the piano, take a bow, improvise, then take a bow. It's an important part of the performer's art all too often neglected. Smith's other strength was pinpointing what would maximally help his pupils in a short space of time.
ose workshops, held in the Whiteley Hall (again, part of the Chetham's complex) had a fabulous atmosphere. Here, it was a Schimmel grand that did the honours. It helped that both hosts exuded di erent strains of bonhomie; the sheer wit of Philip Fowke cannot pass unacknowledged. Fowke clothed gems of wisdom in language that had the audience gu awing. He explored the challenges of relearning a piece and rewiring yourself, then relapsing when it goes wrong: ‘You can't unbake a cake.’ Fingering: ‘ e Associated Board twist’; the ‘myth of legato’. Amazing, and stimulating.
What of future plans? ‘ ings often happen by themselves,’ says McLachlan. ‘Philip Smith suggested Tai Chi, for example. We're about as big as we can possibly get in terms of numbers, but it would be wonderful to stream concerts, to have associations with broadcasting organisations. ere's still a lot to be done in terms of publicity.’ Yoga and Dalcroze (a multi-dimensional approach to rhythm) are to be added to the programme. ere are people that come every single year: ‘ at kind of loyalty is very touching.’
I hardly needed to ask participants' views – it shone in their eyes, in their energy. Surely this is education at its nest. Alexia Daphne Eleftheriadou, who played Bach charmingly in the late-night event, talked of the ‘incredible teachers and faculty, all so di erent; so many points of view,’ while Madeleine Brown, who had provided a fabulous rst movement to Beethoven’s Op 2/3 Sonata in a lesson with McCawley, nds it stimulating to be in contact with ‘so many renowned teachers; a huge variety of ideas’.
And for future reference, as McLachlan says, ‘You don't need to be a fully enrolled participant to come along and observe and to go to the concerts.’ So next summer, why not make a trip to Manchester? IP
e Chetham’s International Piano Summer School 2020 begins on 8 August with the new Junior Academy. e main Summer School and Festival runs from 14 to 26 August. pianosummerschool.com
HELEN TABOR HELEN TABOR
THE THOMAS SCHULTZ SUMMER PIANO SEMINAR AT STANFORD AUGUST 17 – 22, 2020 FOR THE ADVANCED PIANIST/ YOUNG ARTIST
Study and perform both traditional and new repertoire Application deadline: May 1
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THE SUMMER SCHOOL FOR PIANISTS PRESENTED BY THE STANFORD DEPARTMENT OF MUSIC WITH SUPPORT FROM THE FOHR FOUNDATION
Stowe School, Buckingham, UK 15 th –21 st August 2020
TUTORS: Graham Fitch; Daniel Hill; Karl Lutchmayer; Ann Martin-Davis; Christine Stevenson
The Summer School for Pianists has moved to a glorious new home at Stowe!
An exciting week of masterclasses, tutor recitals, presentations and student concerts. One of Britain’s friendliest courses! Ample practice facilities at this All-Steinway school. Accommodation in single en-suite bedrooms on site.
For further details contact: Dr Brian White Telephone: +44 (0)1622 756660 Email: info@pianosummerschool.co.uk Website: https://www.pianosummerschool.co.uk/
The Summer School for Pianists is a charitable incorporated organisation, registered charity number 1174674.
CHETHAM’S INTERNATIONAL PIANO SUMMER SCHOOL 2020
Artistic Director: Murray McLachlan
The friendliest piano summer school in the world!
NEW FOR 2020 – Junior Piano Academy 8–13 August 2020 A new exciting addition to CIPSS, the Junior Piano Academy is in four sections and is only open to under 18s.
14–20 August 2020 | CIPSS Part 1 20–26 August 2020 | CIPSS Part 2 Choose from over 12 different courses – open to all (under 18s must be accompanied by a parent/guardian at all times)
Faculty to include: Dmitri Alexeev, Peter Donohoe, Christopher Elton, Margaret Fingerhut, Norma Fisher, Philip Fowke, Peter Frankl, Grigory Gruzman, John Lenehan, Joanna MacGregor, Wolfgang Manz, Noriko Ogawa, Ronan O’Hora, Steven Osborne, Pascal Nemirovski, Jason Rebello, Martin Roscoe, Graham Scott, Craig Sheppard, Martino Tirimo
