In the classical music world, the development of young music talent is important, yet most of the time, it occurs behind closed doors. A constant stream of masterclasses given generously by top international musicians in beautiful and even remote locations are the very lifeblood of the industry. Skills and knowledge passing down through the generations.
But what teaching methods are employed?
How effective are the teaching skills?
Dutch broadcaster NPO answered these questions and more by broadcasting a series of masterclasses on prime-time television earlier this year. Hosted by the inimitable Floris Kortie, four episodes on the popular Sunday evening programme, Podium Klassiek featured masterclasses given by leading classical musicians working at the heart of the Dutch classical music scene.
To many, such programming may appear to be just some niche viewing for classical music lovers. On closer inspection however, can the wider public, and more specifically the teaching profession, glean fragments and techniques from these encounters?
For me, there are two series highlights:
British soprano, Rosemary Joshua coaches Elisa Maayeshi
The first with British soprano, Rosemary Joshua, artistic director of the Dutch National Opera Studio. Joshua immediately defined her approach by explaining how she ‘teaches to the individual instead of following any specific teaching technique or theory’. By doing so, she creates ‘a bespoke experience for the young musician’.
First up, 22 year-old Dutch soprano, Elisa Maayeshi who delighted the live audience with a lively and technically accomplished performance of Mein Herr Marquis from Johann Strauss’ Die Fledermaus. After offering initial praise for her vocal abilities, Joshua invites Maayeshi to ‘dig deep’ into the character, to think of the song’s context. But also to consider how her costume (in this case a corset) might affect how she presents herself to the audience. And whether this would lead to deeper revelations about her character.
Joshua does not interject as Maayeshi tries to put her suggestions into practise, but instead coaches from the sidelines with constantly changing facial expressions.
A highly skilled teacher in action
It is interesting to see which students are able to absorb given instruction and readily adjust their interpretation. Equally interesting to watch is how a highly skilled teacher adjusts their methods to achieve the best results. Sometimes using words is not enough – a young student will often need to hear the sound. Or, as in Maayeshi’s case, the laying of hands to subtly change the sound, simply by relaxing one set of muscles on her forehead or supporting another in her diaphragm. Always after permission has been granted.
In a world where quite understandably many teachers are scared to touch their students, never mind be in a room alone with them, Joshua eloquently demonstrates how effective and reassuring such methods can be. Indeed sometimes it is the only way for a young musician to completely grasp difficult concepts. The spontaneous audience applause, the first of the evening, confirms success!
Dutch-British violinist, Daniel Rowland and the Viride Quartet
My second highlight is with, Daniel Rowland, ex-Brodsky Quartet and violinist extraordinaire, working with a promising young Dutch string, the Viride Quartet.
Careful editing of the introductory interview sees Roland explain the importance of such occasions on his own development, and how his mentors, David Oistrakh and Hermann Krebbers, left their own lasting impressions. Rowland views the masterclass environment as a two-way process. To this end, he encourages violinist, Salome Bonnema and her colleagues to find their own voice; to explore boundaries. ‘How far can you go? How far should you go?’
Rowland starts by repeatedly asking the quartet to play the opening of Mendelssohn’s Quartet No. 2 in A minor Op.13 with their eyes closed. Each time, he subtly changes the instructions. By doing do, Rowland immediately identifies one of the fundamentals of string quartet playing: playing together and breathing as one?
As the movement progresses, Rowland focuses his attention on the inner voices, asking them to produce a magical and colourful sound, which the audience can ‘feel and not just hear’. The tune, he says, is not always the most important thing.
To conclude
So to return my opening point, can the teaching profession and even the business world take anything from these coaching sessions given by musicians at the very top of their profession? Is it perhaps time to listen to those colourful ‘inner voices’, and as Rowland says, allow them to really make a difference?
Since recording, Elisa Maayeshi has continued to shine. She is the recent recipient of three prizes at the International Vocal Competition, Hertogenbosch and is currently a Young Artist of the Dutch National Opera Academy, headed up by Rosemary Joshua.
And the Viride Quartet amongst other things will perform a concert in the Stiftkerk, Weerselo, home to the Stift Festival whose artistic director just happens to be Daniel Rowlands. He must have been impressed!
The Podium Klassiek series of masterclasses were recorded in Bethlehem Church, Amsterdam-Noord and are available to watch using the link here
Further listening:
A further episode with Dominic Seldis and some very promising young Double Bass players: Lucía García Alberola, Eva Serrano Alarcon and Judith Capelle with accompanist Natasja Douma
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