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Dear Nathalie, My daughter is hoping to study next year as an exchange student in Lyon. We have been trying to find a way to contact Germaine Lorenzini for lessons next year. Would you be able to give us any contact information? Thank you so much! Carolyn, USA
Go Laura! I’d love to hear you play one day!
What I have found, is that it can be really hard when you are working all the time to keep the passion going and not fall into a “this is a job” mentality. Keeping that balance is..tough. I’m not sure I’ve always achieved it. That is why I almost hero worship players with major orchestras that can keep playing up a storm, keep that passion going, throw themselves into chamber music and solo concerts too, and teach with such commitment. Ann Hobson Pilot and Judy Loman are amazing that way.
As to those that don’t understand passion and strength….well, some people are threatened by what they do not understand. It always surprises me (in the arts in general), that you sometimes get this ‘cult of the insipid’….flocks of people with no creative “oomph”,
Hi Alexandra,
The Little Fountain is listed on the fourth grade AMEB list (Australian equivalent to RCM).
You may want to check the syllabus to see if our lists are consistent with the RCM level.
http://www.ameb.edu.au/about/about.htm
Hope this helps.
Hi Laura,
I wish I could have had lessons with Ms Hobson Pilot. She sounds like such an inspiration. And she is such a gracious person, a true professional in every sense of the word.
The year that I was at the summer school, Elizabeth Remy was there and she was playing fantastically. I thought then what an amazing teacher Ms Hobson Pilot must be, as Elizabeth really was playing up a storm. She played a little concert for us at the Salzedo house, and it was Lara’s Granada (Salzedo) and I think also the Scintillation. Wonderful playing,
Hi Fairy,
Yes, you and Laura have well illustrated that it is – of course – often the player and how well they make the harp speak and express the music to the audience that inspires….not just what they play.
I have included a couple of Irish sets of music to my resteraunt repertoire! Partly thanks to your various posts.
My second-year adult student with a piano background is playing it and doing quite well with it. I don’t think it is too advanced, but I am not familiar with those level numbers. You learn downward arpeggio technique with it, but it doesn’t demand melody at the same time like La Source and other etudes, so I think it is ideal for a first arpeggio piece.
There are a number of books on Amazon.com, and I would imagine that some would probably be available through a good public library system, or in a university library where the method is taught as part of the music education program. All of the first dozen or so titles at Amazon.com are from people who are very familiar with the method, so it isn’t necessary to purchase the most expensive ones, although they are very fine books to have.
The best part of the Kodaly Method is that once you have a grasp of it you can adapt it to so many different needs in music education. I hope you enjoy learning about it.
There are a number of books on Amazon.com, and I would imagine that some would probably be available through a good public library system, or in a university library where the method is taught as part of the music education program. All of the first dozen or so titles at Amazon.com are from people who are very familiar with the method, so it isn’t necessary to purchase the most expensive ones, although they are very fine books to have.
The best part of the Kodaly Method is that once you have a grasp of it you can adapt it to so many different needs in music education. I hope you enjoy learning about it.
There are a number of books on Amazon.com, and I would imagine that some would probably be available through a good public library system, or in a university library where the method is taught as part of the music education program. All of the first dozen or so titles at Amazon.com are from people who are very familiar with the method, so it isn’t necessary to purchase the most expensive ones, although they are very fine books to have.
The best part of the Kodaly Method is that once you have a grasp of it you can adapt it to so many different needs in music education. I hope you enjoy learning about it.
Hi Fairy,
It is a lovely tune. I’ve been thinking for a while of adding it to my resteraunt gig repertoire. I think there is an arrangement of it by Lynne Palmer, who is just about my favourite arranger for popular tunes and jazz standards. And after your recommend, it is definitely added to my list of what to buy next!
Cheers.
