Classical music education in Germany is suffering from a severe prejudice. The notion that somebody with an instrumental or vocal major, focusing exclusively on his / her subject, is more appreciated than students and graduates of the pedagogical programmes (prospective teachers and music school staff) is widespread at universities and conservatories. Faculties, students, audiences and critiques are generally supportive of high-level performance while professional education is drastically underrated and underpaid. This is a fatal misdevelopment that discourages applicants to choose the profession of teaching music. We should promote Schulmusik and Instrumentalpädagogik because these fields are far more relevant for society and cultural welfare than the formation of an one-track artistic elite. Read more of my thoughts on the institutionalized misbalance between performing and teaching music at the Hello Stage Blog, and please share, comment, and object, if you feel like it.
Klavierabend Ekaterina Derzhavina
Tonight I was deeply moved and enthusiastically inspired by a piano recital at Piano Salon Christophori. Russian pianist Ekaterina Derzhavina was performing Haydn and Metner in a way that made me burst for joy and cry in ever-repeating change. What a passionate, graceful, and simultaneously modest playing. And I didn’t have to leave my hometown, not even my borough, to be lucky enough to make this outstanding experience. At times, very rarely in fact, one may feel blessed just by being present in a moment of divine musical inspiration. This has just been such a moment, and I am grateful to have encountered it.
Begebenheit und Seiltanz
Recently completed: An article on the sociotopical traits of contemporary music (for the fascinating Seiltanz magazine) and an idiosyncratic, anything but contemporary piece named Begebenheit for cello or french horn with piano. May the latter serve as a remedy for the provocation of the former.
Sonaten und Erzählungen im Konzert
Last week has seen another fascinating Medtner event in my university’s chamber hall, confronting the Russian composer’s 1st violin sonata, Op. 21, and Sonata-Ballade, Op. 27, with Beethoven’s Sonata quasi una fantasia, Op. 27 No. 1. Many thanks, Sasha Karpeyev and Viktoria Kaunzner, for your excellent playing!
Metner-Festival in London
F-sharp major is one of music’s most beautiful tonalities. I’ll be talking about Nikolai Metner’s Sonata-Ballade, Op. 27, written in exactly that key, tomorrow morning in a symposium at The British Library, London. This will be part of an exceptional program of talks, concerts, a master class and film screening from today through Saturday, all about Metner, and with the participation of the finest scholars and performers. Really looking forward to the Metner Study Day, one of the rare occasions of a research event fully dedicated to this composer’s music. Principal organizer of the Metnerfest is my dear colleague Sasha Karpeyev.