{"id":4729,"date":"2013-11-19T18:13:18","date_gmt":"2013-11-19T16:13:18","guid":{"rendered":"http:\/\/www.germansuzuki.com\/?p=4729"},"modified":"2015-11-22T20:01:58","modified_gmt":"2015-11-22T18:01:58","slug":"heidi-curatolo-bericht-ueber-die-5-suzuki-lehrerkonferenz-teil-1","status":"publish","type":"post","link":"https:\/\/www.germansuzuki.de\/?p=4729","title":{"rendered":"Heidi Curatolo: Bericht \u00fcber die 5. Suzuki-Lehrerkonferenz (TEIL 1)"},"content":{"rendered":"

\"Heidi_2\"<\/a>
\nConference Motto:<\/span><\/strong><\/span><\/span><\/p>\n

„Let Us Work Together!“<\/em><\/span><\/strong><\/span><\/span><\/p>\n

In early November I attended the 5th Suzuki Teachers Xchange Conference<\/i><\/strong><\/span> in Germany for Suzuki Teachers throughout Europe. The event was organized by the German Suzuki Institute<\/span>, <\/b>the teacher-training department of the <\/span>German Suzuki Association,<\/span> and led by vio\u00adlinist and Suzuki pedagogue, Kerstin Wartberg<\/i><\/b><\/span>. In addition to the weekend confer\u00adence, teachers had the option of attending the Suzuki Book 6 Intensive Course<\/b><\/span> prior to the conference and the Pre-Twinkle & Book 1A Intensive Course<\/b><\/span> following the conference. I chose to attend all of the course offerings because I was very interested to learn more teaching strategies for my advanced students, and I also wanted to gain new ideas for working with my young beginners. <\/span><\/p>\n

I am so pleased that I attended all of the course offerings because these classes ex\u00adceeded my expectations!<\/span><\/p>\n

On Friday, the teachers participating in the conference gathered at the Remscheid Academy and checked-in to our very comfort\u00adable dorm rooms. At the registration desk participants were given huge folder packets which included our sched\u00adules, conference documents, and amazing new test materials from Kerstin. Among the newest publications already in the testing stage include, Enjoying Violin Technique<\/i> (in three volumes), and a second volume of note reading. All of these materials included beautifully recorded accompaniment CDs.<\/span><\/p>\n

I was one of three Americans attending the Xchange. Charles Krigbaum<\/i><\/b><\/span> from Texas and Diana Volodka<\/i><\/b><\/span> from Illinois also traveled to Germany to participate in the conference. Once we were situated in our dorms and had time to peruse our new materials, we proceeded to meet at the cafeteria for coffee and cake and become acquainted with some of our new European colleagues. Charles, Daina, and I had met before at Suzuki Institutes and conferences back home in the US, but we had never before met our colleagues from over\u00adseas. We were extremely excited to meet Kerstin Wartberg in person. Until this time, we only knew Kerstin through her teaching materials, via e-mails, phone calls, and Facebook.<\/span><\/p>\n

Day 1<\/strong><\/strong><\/strong>: <\/span>Suzuki Book 6 Intensive Course <\/span> <\/strong><\/strong><\/span><\/p>\n

\"The<\/a>

The American Trio: Daina Volodka, Charles Krigbaum, Heidi Curatolo<\/span><\/p><\/div>\n

Our Book 6 class started with Charles Krigbaum<\/strong><\/span><\/em> leading a session on teaching Fiocco, Allegro and Handel, Sonata in F Major, 2nd movement<\/strong><\/span>. Charles included in the course documents a very good outline of teaching points that he has collected from his studies and uses in his teaching. He discussed how Fiocco is a much more difficult piece technically than it first appears to be. We looked at how to teach complicated string crossings, fast finger action in the left hand, and dynamics by breaking them down into small steps. We played several of Charles\u2019 previews and also performed the entire piece as a group. After playing together, Charles joked that while adults playing Fiocco together will tend to slow down, students will always want to rush the piece. He talked about considerations for leading the piece in group performance, and stressed that it is unnecessary to make exaggerated body motions to indicate dynamics. He suggested that rather than dropping down to one\u2019s knees to indicate a sudden p<\/i>, that teachers could communicate the same intention by standing very still. After showing videos of his home students performing these pieces in recitals, he also emphasized slow practice in small sections, and gradually increasing tempo.<\/span><\/p>\n

\n

Conference material<\/span> by Charles Krigbaum (USA)<\/span><\/span><\/strong><\/span>
\nJoseph-Hector Fiocco, Allegro<\/span><\/a><\/strong><\/span>
\nGeorg Friedrich Handel, Sonata in F Major, 2nd movement<\/span><\/a><\/strong><\/span><\/p>\n<\/blockquote>\n

\"Veronika<\/a>

Veronika Kimiti & Andrea Agotha-Vajer<\/span><\/p><\/div>\n

The next seminar was led by<\/span> Veronika Kimiti. <\/i><\/b><\/span>Together with her colleagues<\/span> Andrea Agotha-Vajer <\/i><\/b><\/span>and<\/span> Sergej Simki,<\/span><\/i><\/b>she shared a Polish edition of<\/span> Sevcik\u2019s 40 <\/i>Variations, Op. 3 <\/b><\/span>with special attention to Variations 1 and 2 regarding the teaching <\/i><\/b>of Hungarian Professor, Foldesi Lajos. <\/span>
\nVeronika discussed using the small muscles of the bow hand in combination with the movement of the arm while playing at the frog. We performed several exercises (and many repetitions) to develop finger motion and the coll\u00e9<\/em> bow stroke. We watched a video presentation of the Professor giving a master class to Veronika\u2019s students and were told that the students made significant progress after working with him for a short time.<\/span><\/span><\/p>\n

Diana Volodka<\/span> <\/i><\/b>outlined the teaching points of the Handel Sonata in D major<\/b> 1st and 4th movements <\/b><\/span>and highlighted the changes in the Revised Edition. Most of the participants already had the new edition and were becoming familiar with the changes that Daina helped distinguish. Daina addressed many important points in this piece, including how to count and subdivide the first movement, how to use the natural weight of the arm to produce a strong tone, and other special considerations for managing bow speed when performing slow movements. During the last movement, Daina led the class in discovering the new bowings for the dotted figures. These could be practiced on open strings or made into a Twinkle variation. She also explored alternate possibilities for shaping the musical line in various phrases of the 4th movement. <\/span><\/p>\n

\"Daina<\/a>

Daina Volodka & Kerstin Wartberg<\/span><\/p><\/div>\n

1<\/span><\/em><\/strong><\/span><\/p>\n

1<\/span><\/p>\n

1<\/span><\/p>\n

Conference material
\nby Daina Volodka (USA)
\n<\/span><\/span><\/em><\/strong><\/span><\/p>\n

1<\/span>
\n<\/span><\/span><\/em><\/strong>Georg Friedrich Handel,
\nSonata in D Major, 1st movement<\/span><\/a>
\n
\nGeorg Friedrich Handel,
\nSonata in D Major, 4th movement<\/span><\/a><\/strong><\/span><\/span><\/p>\n

1<\/span><\/strong><\/strong><\/strong><\/strong><\/span><\/p>\n

2<\/strong><\/strong><\/strong><\/strong><\/span><\/p>\n

1<\/span><\/p>\n

Day 2<\/strong><\/strong><\/strong>: <\/span>Suzuki Book 6 Intensive Course <\/span> <\/strong><\/strong><\/span><\/p>\n

On Saturday, we continued Book 6 with Sergej Simkin <\/i><\/b><\/span>outlining a brief history of the origins of the theme of La Folia<\/i>. <\/b><\/span>He explained that the La Folia<\/em> theme can perhaps be traced back to Portugal, Italy and Spain, however its origin is still somewhat shrouded in mystery.<\/span><\/p>\n

\"Sergej<\/a>

Sergej Simkin & Liana Mogilewskaja<\/span><\/p><\/div>\n

In the 15th and 16th centuries it was used for festivities and courtly theater. Some sources say it was a Portuguese noisy carnival dance. The La Folia<\/em> melodic formula and harmonic progression was often used during this time in instrumental dance music. Some sources say the Spanish, not Portuguese, used it for theater. The melody consists of 16 bars divided into 2 phrases. The melody is in 3\/4 time and the first part exists as a 4 line poem.<\/span>
\nIt was also used in the 17th and 18th centuries as an aristocratic dance in Spain and France. It further developed in the mid-17th century, beginning its triumphant procession across the Iberian Peninsula. Here, La Folia<\/em> emphasized insane movement and farce text.
\n<\/span><\/p>\n

Corelli used the theme in the 1700s. The 18th Century La Folia<\/em> was also performed in Sweden, America and Mexico. About 150 composers have created works using the La Folia<\/em> theme. After Sergej talked about the long history of this beloved theme, he played many musical examples for us.<\/span><\/p>\n

1. (Guitar) Arcangelo Corelli (1700) – Folias<\/span>
\n2. Alessandro Scarlatti (1723) Variazioni su La Follia
\n3. Antonio de Cabezon (1557) – Folias (Pavana con su Glosa)
\n4. Cherubini (1813) – Gli Abencerragi – Ballet
\n5. Corelli-Veracini (c.1729) – Sonata No. 12 ‚Folia‘ in G minor
\n6. CPE Bach (1778) – 12 variations H263
\n7. d’Anglebert (1689) Suite No. 3 In D Minor- Variations Sur Les Folies d’Espagne
\n8. Diego Ortiz – Recercada Quarta sobre la Folia (1553)
\n9. Fernando Sor (c.1815) – Folies d’Espagne et un menuet, Op. 15a
\n10. Geminiani (1726) Concerto XII in d moll ‚Follia‘ – Theme + Variations 1-8
\n11. Girolamo Frescobaldi (1615) Partite 6 sopra l’Aria di Follia
\n12. J.B.Lully-A.Philidor (1672) – Les Folies d’Espagne
\n13. J.S.Bach (1742) Cantata BWV 212 \u21168 Aria Soprano „Unser trefflicher lieber Kammerherr“
\n14. Liszt (1867) – Spanish Rhapsody
\n15. Lully (1672) – Les Folies D‘ Espagne
\n16. Marais (1701) LES FOLIES D’ESPAGNE – 32 Variations
\n17. Marc Roger Normand Couperin (c.1695) – Folies D’Espagnes
\n18. Mattheson (1720) Der brauchbare Virtuose, Sonata XII – Sarabande
\n19. Paganini (c. 1815) Violin Concerto 6 ‚Grand Concerto‘ – III. Rondo
\n20. Rachmaninov (1932) – Variations on a theme by Corelli in D minor Op 42
\n21. Salieri (1815) – Twenty Six Variations On La Folia De Spagna
\n22. Vivaldi (1705) Trio Sonata in D Minor RV63 Variations on La Folia
\n<\/span><\/span><\/p>\n

\""La<\/a>

„La Folia“ with Kerstin Wartberg<\/span><\/p><\/div>\n

Following the historical account of La Folia<\/i>, Kerstin Wartberg<\/span> <\/i><\/b>had us take out our instruments and we began a long and detailed session on the teaching points for La Folia<\/i> from Book 6. We started off with singing! We used the \u201cmagic violin\u201d (bowing in the air without our instruments) and learned to sing the bow speeds for the opening theme\u2014such as \u201cfast slow\u2026. slow\u2026. fast\u201d. We discussed the specific variables for tone production such as speed, weight, and contact points (the lanes on the highway). Then we looked at the various ways of changing bow lanes to achieve tone color differences. We also studied several important preparatory exercises for the exchange shifts. Kerstin taught us specific language for cueing the students\u2019 motions and ensuring technical accuracy. For example, when we shift on the same note from 2nd position to 3rd position, we learned to cue the student by saying (while playing) \u201clight\u201d (indicating a release of finger pressure) just before the shift.
\nThe class found this more challenging than we might have expected!<\/span><\/p>\n

\"Lauffer-K\u00f6niger+Gruppe_045_Klein\"<\/a><\/span><\/p>\n

These exercises were very neatly organized in our seminar packets.<\/span>
\nExercises for the variations<\/b><\/span>
\nJust a few examples:<\/span><\/p>\n

Variation 1, <\/b>bow speed exercises and intonation.<\/span>
\nVariation 2, <\/b>emphasis on arm weight for tone projection followed by a second section to be played in the upper half more d\u00e9tach\u00e9.<\/span>
\nVariation 3, <\/b>Bariolage-practice open string bow pattern without fingers, then add fingers.<\/span><\/p>\n

Thirds, <\/b>place hand, play thirds, drop hand and try to remember feeling of where fingers should be placed each time to be in tune.<\/span>
\nAt the top of the 3rd page, we learned an important technique for securing the fast runs by using <\/span>fast finger placement in finger patterns.<\/span><\/b><\/span><\/p>\n

\"Raul,<\/a><\/p>\n

I learned about combination double stop tuning <\/b>and how the intonation is different from playing thirds on a piano. The F appears to be slightly higher on the E String when played with the open A string.
\n<\/span><\/span><\/p>\n

\"Kerstin,<\/span><\/a><\/p>\n

We concluded our session with a group performance of La Folia<\/i>. We played the theme and the first several variations as a group, and then soloists played some variations. We ended the last page together as a whole group. I got to play a solo and lead the group\u2014this was very exciting! This approach could be used in a group class and for group performances.<\/span><\/p>\n

I really appreciated how Kerstin outlined each point in a manual for us to take home and use with our students. I find this very helpful after going through the exercises together in the class. There was so much information presented, I like being able to further review it when at home.<\/span><\/p>\n

\n

Conference material
\nby Kerstin Wartberg (German Suzuki Institute)<\/strong><\/span>
\nTeaching points: Arcangelo Corelli, La Folia<\/a> <\/strong><\/strong><\/span>
\n<\/span><\/span><\/strong><\/p>\n<\/blockquote>\n

\"Kathrin<\/a>

Kathrin Averdung<\/span><\/p><\/div>\n


\nKathrin Averdung <\/b><\/span><\/em>gave a class on Gavotte I and II by Rameau. <\/b><\/span><\/span><\/p>\n

Kathrin gave excellent examples of the fundamental exercises needed by the students to perform this charming and sentimental piece. We began by working in detail on performing the opening theme with special attention to the double stop and bow speed. <\/span><\/p>\n

Led by Kathrin, we later worked in particular on how to carefully prepare the bow strokes necessary for the Gavotte II. My favorite part of this session was when we played a beautiful trio arrangement of Gavotte I together as a class.<\/span><\/p>\n

\"Kathrin,<\/a><\/p>\n

Conference material
\nby Kathrin Averdung (German Suzuki Institute)<\/strong><\/span>
\nRameau: Gavottes I and II<\/a>, Teaching points<\/strong><\/span>
\nRameau: Gavotte I<\/a>, <\/strong>Arr. for Three Violins by Kerstin Wartberg
\n<\/span><\/strong><\/span><\/p>\n

 <\/p><\/blockquote>\n

The Violin Intensive Course Book 6 has been a great experience. After lunch the 5th Suzuki<\/b> Teachers Xchange CONFERENCE <\/b><\/span>will begin and we\u2019ll meet even more of the European teachers. In many parts of the building we see people arriving and groups of teachers with happy faces. We have been studying now for nearly two days, and now it is time for the conference to begin.<\/span><\/p>\n

\"Jerie,<\/a><\/p>\n

I\u2019ll report more about the 5th Suzuki Teachers Xchange CONFERENCE<\/b> <\/strong>in PART II \u2013 coming in the near future.<\/b><\/span><\/p>\n

\"Certificate_Heidi\"<\/a><\/p>\n

*****************************************************************************
\n\"Heidi_2\"<\/a><\/p>\n

Heidi L. Curatolo<\/span><\/strong><\/span><\/p>\n

Director of the Suzuki Violin and Piano Institute of Aspen<\/span><\/strong><\/span>, USA<\/span><\/strong><\/span>
\n1
\n<\/strong><\/span><\/p>\n

1<\/span><\/p>\n

1<\/span>
\nEducation<\/strong>
\nMusic Performance from Brooklyn College<\/span>
\n City Universtiy of New York 1998<\/span>
\n Masters in Education and Mathematics Brooklyn College, 2001<\/span>
\n Aspen Music Festival and School alumni<\/span><\/p>\n

Read what the newspaper ASPEN TIMES reports about Heid’s Suzuki Institute<\/a>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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