Masterclasses
Moderators: Classitar, pied_piper, Phineas
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sakuramimato
- Posts: 95
- Joined: Sun Jan 18, 2004 3:39 am
Masterclasses
How are they and when can people attend them? I don't really know much about them.
These are great! I think the NFA and Larry Krantz web pages have lists of upcoming masterclasses. Many are sponsored by collges or conservatories. Some are open, some are only open to students at a particular school, some accept a few performers and many auditors (observers/listeners). Some are open to players outside the host school or university, by taped audition.
Last edited by MeLizzard on Tue Oct 10, 2006 8:38 pm, edited 1 time in total.
"There is no 'Try'; there is only 'Do'."--Yoda
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flutepicc06
- Posts: 1353
- Joined: Mon May 29, 2006 11:34 pm
They are excellent learning opportunities, even if you're not performing. Generally there are some fees to be paid. Either you're a performer or an auditor. As a performer, you actually get to play in front of everyone, and have the person giving the masterclass give you direct help. As an auditor, you don't perform, but often the masterclass teacher will have the group play together on scales or something so you'll want a flute handy. As an auditor, you are part of the audience and get to take in all the suggestions the teacher makes to the performers (a notebook is great to have on hand to take notes on what is said so you don't forget). Generally, masterclasses are open to the flute players in general. Some, given by colleges are only open to the students of that flute studio, and others have a skill level prerequisite, but any restrictions on attendance are usually pretty clearly spelled out. If you have the opportunity to participate in one (or several), I would highly suggest it, even if you only go as an auditor.
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sidekicker
- Posts: 311
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- Location: Scottish-American in Oklahoma
I totally agree with the thoughts expressed here. Quite simply a masterclass is someone having a lesson in front of a bunch of people. Usually, the person performs a piece from beginning to end w/o stopping, then the "master" goes through the piece in detail, focusing mostly on interpretation. I've been in both positions (performer and auditor) and must say that auditing was the most helpful, IMO, because there's no stress about playing in front of a group and you can concentrate, take notes, etc. on what the "master" is saying about that particular piece. But it is truly an honor to be picked to be one of the performers if it's one of the flute "biggies" doing the class.
A funny story from my past concerning masterclasses. Many years ago I went to study at the Nice Conservatoire during one of their summer sessions when Alain Marion was the primary masterclass instructor. On the first day, about 100 flutists crowded into a concert hall, flute cases in hand. Thinking this was the "introductory session" where they were just going to lay out how the next 3 weeks were going to go, I had my flute and one piece of music with me -- the Sancan Sonatine. Turned out that the "introductory session" was actually the live audition portion where each flutist was to go to the stage w/ accompanist and perform for Messr. Marion in front of everyone else, then he would decide which students he would take (if memory serves me, he was going to pick 10 or 12; everyone else would be an auditor for the remainder of the session based on this audition). I don't know if they still do it that way or not, but that's the way it was way back then.
To say the least, I freaked because I was under the (obviously wrong) impression that all of us were going to be participants (actually play for Messr. Marion in the masterclass) because our session was 3 weeks long. Obviously, my French comprehension was not up to snuff. Anyway, when my name was called I went to the stage and performed the Sancan Sonatine. After I finished, Messr. Marion said something in French to the audience (he spoke with a heavy southern dialect that was often difficult to understand), there was rousing applause and a gentleman stood up near the back of the hall. The man being recognized was Pierre Sancan. I just remember being so grateful that I didn't know that before I played his music.
I did get into the performers class, though (and played the Dutilleux Sonatine instead, hoping he wasn't there, too
)
SK
A funny story from my past concerning masterclasses. Many years ago I went to study at the Nice Conservatoire during one of their summer sessions when Alain Marion was the primary masterclass instructor. On the first day, about 100 flutists crowded into a concert hall, flute cases in hand. Thinking this was the "introductory session" where they were just going to lay out how the next 3 weeks were going to go, I had my flute and one piece of music with me -- the Sancan Sonatine. Turned out that the "introductory session" was actually the live audition portion where each flutist was to go to the stage w/ accompanist and perform for Messr. Marion in front of everyone else, then he would decide which students he would take (if memory serves me, he was going to pick 10 or 12; everyone else would be an auditor for the remainder of the session based on this audition). I don't know if they still do it that way or not, but that's the way it was way back then.
To say the least, I freaked because I was under the (obviously wrong) impression that all of us were going to be participants (actually play for Messr. Marion in the masterclass) because our session was 3 weeks long. Obviously, my French comprehension was not up to snuff. Anyway, when my name was called I went to the stage and performed the Sancan Sonatine. After I finished, Messr. Marion said something in French to the audience (he spoke with a heavy southern dialect that was often difficult to understand), there was rousing applause and a gentleman stood up near the back of the hall. The man being recognized was Pierre Sancan. I just remember being so grateful that I didn't know that before I played his music.
I did get into the performers class, though (and played the Dutilleux Sonatine instead, hoping he wasn't there, too
)SK
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
SideKicker--- Very interesting story!
I know my tutor that I studied with in high school did that on purpose a few times. She likes to get the composer's opinion of the piece and how she plays it. So, she had a couple of stories about that [ that for some reason slip my mind right now].
However.....Very interesting! and a great oppuritunity!
I know my tutor that I studied with in high school did that on purpose a few times. She likes to get the composer's opinion of the piece and how she plays it. So, she had a couple of stories about that [ that for some reason slip my mind right now].
However.....Very interesting! and a great oppuritunity!
