symposium guide - the golandsky institute · pdf filesummer symposium and international piano...

T H E P R E E M I N E N T O R G A N I Z AT I O N F O R

T E AC H I N G T H E TAU B M A N A P P R OAC H

I N T H E 21 s t C E N T U RY

JULY 9–16, 2017PRINCETON UNIVERSITY

Fourteenth Annual

SUMMER SYMPOSIUMAND INTERNATIONALPIANO FESTIVAL

Symposium Guide

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The Golandsky Institute was established in 2003 by Edna Golandsky, John Bloomfield, Robert Durso, and Mary Moran to bring high-level training in the Taubman Approach to the music community. The Taubman Approach has proven to be highly effective in developing pianistic virtuosity, resolving technical limitations, and curing playing-related injuries.

The aim of the Golandsky Institute is to provide musicians with a foundation that promotes full artistic expression with technical ease. The Golandsky Institute offers musicians instruction in the skills that enable them to realize their highest potential as performing artists. It also teaches them how to overcome technical limitations and recover from injuries caused by incoordinate playing.

At the Golandsky Institute, teachers receive training in the diagnostic tools necessary to teach healthful skills to musicians of all levels. Many teachers go on to become certified after completing a prescribed course of study in the Golandsky Institute Professional Training Program.

The work of the Golandsky Institute is presented internationally through private instruction, lectures, master classes, performances, and symposia by a team of expertly trained faculty members and teachers who are all highly regarded in their own right.

Through educational programs, professional collaborations, and continued research, the Golandsky Institute seeks to raise the awareness of the musical community and the public at large to the issues musicians face and the solutions available to them.

Edna Golandsky John Bloomfield Robert Durso Mary Moran

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TAUBMAN CENTENNIAL 1917-2017

C E L E B R A T E S

Dorothy Taubman’s CentennialAT T H E 2 017 S U M M E R SY M P O S I U M AT P R I N C E TO N U N IV E R S IT Y

Mrs. Taubman gave the world incredible insight into how the fingers, hand, and forearmmove at the piano. The Taubman Approach, developed exclusively by Mrs. Taubman, has transformed

thousands of pianists around the globe and continues to live on with the Golandsky Institute—the leading organization for teaching the Taubman Approach in the 21st century.


An Overview on the Process of Learning and PracticingBach - Exploring the Three-Part InventionsBach - French Suite No. 6Bach - French Suite No. 6 (2012)Bach - Sinfonia No. 7, BWV 793Bach - Teaching Prelude No. 4 in F Major, BWV 927Bach - Teaching Prelude No. 4 in F Major, BWV 927Bach - Teaching the Two Part Invention No. 12 in A MajorBach the Teacher, Passing on the CraftBeethoven - 32 Variations in C minorBeethoven - Exploring the Sonata AppassionataBeethoven - Exploring the Sonata Appassionata - mvts. 2 and 3Beethoven - Piano Sonata in C# minor “Moonlight,” Op. 27 No. 2 - III.Beethoven - Piano Sonata No. 18 in Eb Major, Op. 31 No. 3 - I. AllegroBeethoven - Piano Sonata No. 21 “Waldstein,” Op. 53 - I.Beethoven - Piano Sonata No. 32 in C minor, Op. 111Beethoven - Sonata Op. 31, No. 1, mvts. 1 and 3Brahms - Rhapsody in G minor, Op. 79 No. 2Brahms – Sonata for Violin and Piano in A Major Op. 100 Brahms at the KeyboardBroken Diminished Seventh ChordsCertification: Professional Training ProgramChopin - Ballade No. 1 in G minor, Op. 23Chopin - Ballade No. 3 in Ab Major, Op. 47Chopin - Ballade No. 3 in Ab Major, Op. 47 (2015)Chopin - Ballade No. 4 in F minor, Op. 52: CodaChopin - Fantasie-Impromptu, Op. 66Chopin - Nocturne in C minor, Op. 48 No. 1Chopin - Scherzo No. 3 in C# minor, Op. 39Chopin - Piano Sonata No. 3 in B minor, Op. 58Chopin - Prélude in Db Major “Raindrop,” Op. 28 No. 15Chopin Preludes Op. 28 Nos. 1-8 Chopin Preludes: Simplifying Technical and Musical Challenges Chopin - Stepping Stones to the BalladesChopin - The Art of Diagnosing and Problem Solving in Étude Op. 10 No. 1Debussy - Danse: Tarentelle Styrienne, L.69Debussy - Étude No. 11 pour les arpèges composés, L.136Debussy - Images, Book I: III. MouvementDebussy – La Soirée dans Grenade from Estampes Franck - Navigating the Sonata in A Major for Violin and Piano, mvts. 1 and 2Franck - Navigating the Sonata in A Major for Violin and Piano, mvts. 3 and 4 Granados - Allegro de ConciertoGranados - Spanish Dance No. 5 “Playera”Granados - The Maid and the NightengaleHaydn - Variations in F minor, Hob.XVII:6How to Play and Teach Arpeggios

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Impressionism: Capturing the Illusive ImageKhachaturian - Toccata in Eb minorListening and Problem-Solving in JazzMendelssohn - Fantasy: I. Con moto agitatoMendelssohn - Rondo Capriccioso, Op. 14Mendelssohn - Variations Sérieuses, Op. 54Mozart - Piano Concerto No. 27, movt. 1 Mozart - Rondo in D Major, K.485Pedagogy Clinic: Lessons on Hummel and BrahmsPedagogy Clinic: The First LessonPedagogy Master Class: Dropping on Each Finger and Beginning to Rotate Pedagogy Master Class: Khachaturian – Toccata Pedagogy Master Class: Schumann-Paganini – Concert Etude No. 2 in G minor Pedagogy Master Class: Single Rotation and Introducing Double Rotation Polyrhythms Made EasyRachmaninoff - Prelude in G# minor, Op. 32 No. 12Rachmaninoff - Prelude in G# minor, Op. 32 No. 12 (2015)Ravel - Gaspard de la Nuit: I. OndineRavel – Sonatine Ravel - Sonatine - II. Mouvement de MinuetRefining Your Pedal TechniqueSchubert - Drei Klavierstücke, D. 946 - Nos. 1 and 2Schubert - Impromptu in Gb Major, Op. 90 No. 3Schubert - Impromptu in Ab Major, Op. 90 No. 4Schubert - Sonata in A Major, D.664 - II. AndanteSchubert - Sonata in A Major, Op. 120 - I.Schubert-Liszt – Erlkönig Schumann - Carnaval, Op. 7Schumann - Musical and Technical Approaches to Kinderszenen, Op.15Schumann - Sonata in G minor, Op. 22 - I.Schumann - Sonata in G minor, Op. 22 - III. And IV.Sounds the Same, Feels DifferentTeaching How to Drop on the Fifth FingerTeaching Octaves and Broken OctavesTeaching RotationTeaching the Double RotationThe Art of Concert PreparationThe Art of Rhythmic ExpressionThe Beauty Within: Using Technical Control to Manage Accompaniment Figures The Forgotten LinesThree Pedals, Two Feet: An Overview of the PedalsUsing Für Elise to Transition from Intermediate to Advanced RepertoireWaldesrauschen (Forest Murmurs): How to See the Trees from the Forest!What do we do when practice does not make perfect?When Hands CollideWhen Rotation Meets In and Out

Golandsky Streaming Catalogue


A Welcome from Edna Golandsky

Dear Participants,

On behalf of the board, the faculty, and the staff, I welcome you! We are very happy that you have chosen to spend this week with us.

We have a wonderfully mixed group of people from across the globe! Many of you are students practicing hard to hone your skills, others are seasoned professionals, many are dedicated teachers, and some are enthusiastic amateurs. Joining us for the string component of our program, some of you are violinists. What you share is a love for music and an eagerness to learn and improve. What we offer is an exciting six-day immersion in the fascinating technique, pedagogy, and artistry of the Taubman Approach.

First-timers, we hope this week is the beginning of a long and fruitful relationship. The faculty and staff are committed to making your time with us as rewarding as possible. Returnees, we are delighted that you are with us again. As always, we thank you for your feedback, which guides us as we work to make each year better than the one before.

Lectures and master classes focus on the application of the Taubman Approach to build technical ease and explore musical interpretation. None of us would be here today if it weren’t for the genius of Dorothy Taubman, who created the foundation from which we understand how to resolve technical limitations and playing-related injuries. That foundation encourages full artistic expression and the development of virtuosic technical ability.

Distinguished guest speakers, along with the Golandsky Institute faculty, will offer fascinating presentations. Throughout the week I will discuss topics such as successfully handling wide stretches and large leaps. I will also explore solving the mystery of double thirds with demonstrations from tricky passages in Chopin, Beethoven, and more. In addition, there will be plenty of hands-on time in private lessons and various clinics.

The Golandsky Institute is grateful for the generosity of Yamaha Artist Services New York, which is providing the concert instruments at McCormick Auditorium and Taplin Auditorium. Beyond this, they have magnanimously supplied seven of our practice pianos.

Thank you for joining us as we celebrate our fourteenth annual Summer Symposium at Princeton University. We are proud to have been associated with the University and the Princeton community for more than a decade now, and we look forward to coming back each July. Our goal, as always, is to make this week a life-changing experience for you!

Edna Golandsky Founder and Artistic Director


THE TAUBMAN APPROACHDecades ago, Dorothy Taubman’s genius led her to analyze what underlies virtuoso piano playing. The result of that investigation has produced a body of knowledge that can lead to an effortless and brilliant technique. It can also prevent and cure fatigue, pain, and other playing-related injuries.

EDNA GOLANDSKYFounder and Artistic Director

Edna Golandsky is the person with whom Mrs. Taubman worked most closely. In 1976 Ms. Golandsky conceived the idea of establishing an Institute where people could come together during the summer and pursue an intensive investigation of Taubman’s work. She encouraged Mrs. Taubman to establish the Taubman Institute,

which they ran together as co-founders. Mrs. Taubman was executive director and Ms. Golandsky served as artistic director. Almost from the beginning, Mrs. Taubman entrusted Ms. Golandsky with the planning and programming of the annual summer session. She gave daily lectures on Taubman’s work and later conducted master classes as well. As the face of the Taubman Approach, Ms. Golandsky discusses each of its elements in a ten-volume video series.

Mrs. Taubman has written, “I consider her the leading authority on the Taubman Approach to instrumentalplaying.”


THE GOLANDSKY INSTITUTE SUMMER SYMPOSIUMAT PRINCETON UNIVERSITYPianists, teachers, and students alike come to the Golandsky Institute Summer Symposium for private lessons, master classes, interactive technique clinics, workshops, panel discussions, lecture demonstrations, performance opportunities, pedagogical strategies, supervised practice time, and more.

The Golandsky Institute Summer Symposium at Princeton University attracts participants from all over the world. This year, participants are here from Europe, Australia, the Middle East, Canada, and Latin America, and from two dozen states. First-time attendees are made to feel at home right away by the extraordinarily warm and friendly atmosphere. Many participants come back to the Golandsky Institute Summer Symposium year after year to learn from Edna Golandsky and the Golandsky Institute faculty how the Taubman Approach can be used to accurately diagnose problems and determine their solutions.

THE GOLANDSKY INSTITUTE INTERNATIONAL PIANO FESTIVALAT PRINCETON UNIVERSITYMost evenings throughout the week of the Symposium, the Golandsky Institute International Piano Festival features performances by a roster of brilliant musicians from around the world. Symposium participants have the opportunity to encounter the works of great composers and to deepen their understanding of the art of piano playing.

THE GOLANDSKY INSTITUTE IS MORE THAN A WEEK IN THE SUMMER!The Golandsky Institute operates throughout the year. The Golandsky Institute faculty is a dynamic network that connects the United States and the rest of the world. There are workshops, master classes, and training sessions that are scheduled throughout the year throughout the country and overseas.

One- and two-day workshops are held regularly in New York, Philadelphia, Berkeley, and Montreal.

THE GOLANDSKY INSTITUTE PROFESSIONAL TRAINING PROGRAMThe Golandsky Institute provides training for teachers in the diagnostic tools necessary to teach healthful skills to musicians of all levels. The Golandsky Institute Professional Training Program is a rigorous course of study individuals must follow in order to achieve certification as a teacher of the Taubman Approach at one of three levels: Instructor, Associate, or Master Teacher.

See list of current members on page 36.


Letter to Participants from Jonathan Eifert, Executive Director

Dear Participants,

The Golandsky Institute eagerly awaits your arrival each year at the Summer Symposium and International Piano Festival! We take great pride in annually presenting the world’s largest gathering of Taubman Approach experts on the beautiful campus of Princeton University.

Our faculty continues their extensive research and development initiatives of the Taubman Approach to help pianists globally. As a result, we have benefited thousands of pianists. Our online streaming service, Golandsky Streaming, is one initiative that continues to grow in monthly subscribers. I encourage you to check it out if you have not subscribed (golandskyinstitute.org). We offer over 80 educational videos to assist in your learning of the Taubman Approach.

This year we are pleased to offer Symposium live-streaming for the third year in a row! Last year we reached an online audience of around 1,200 people from 53 countries. We hope to surpass these numbers this year!

On behalf of the Golandsky Institute, I wish you a week filled with inspired learning that will impact your playing in a transformative way.

Sincerely,

Jonathan Eifert Executive Director


TOURSCampus tours will be given on Sunday, July 9. To join a tour, meet in front of Butler College at 3:30 or 4:30 pm.

ORIENTATION MEETINGOur first event, for all participants, will be a short orientation meeting on Sunday evening, July 9, in McCormick Auditorium, at 7:00 pm.

LOCATION! LOCATION! LOCATION!n Symposium and Festival events will be held in several campus buildings, all within walking distance of one another.

n Presentations, master classes, and lectures will be held in McCormick Auditorium.

n Private lessons will be given in Woolworth Center, home of the Music Department.

n Resident participants will be housed in Butler and Yoseloff College (1967 Hall).

n Practice rooms will be located in Woolworth Center and Fisher Hall.

n The 2017 Golandsky Institute International Piano Festival will be held in Taplin Auditorium, Fine Hall, on the Princeton University Campus, at 8:00 pm.

THE 2017 GOLANDSKY INSTITUTE SUMMER SYMPOSIUMAT PRINCETON UNIVERSITY | JULY 9—16, 2017

SUPPORT GROUPSSupport group sessions will be available for participants.

The group helps challenge the notion that physical limitations, injuries, and pain result from individual defects or failings. The group is able to tap into the vast experience of its members to show how universal these feelings are and to provide strategies for moving ahead and retraining.

Support Groups will meet on Tuesday, Thursday, and Saturday morning at 8:30 AM. All interested participants are encouraged to attend!

TECHNIQUE CLINICSThis year participants will again be able tochoose whether to attend technique clinics devoted to solving passage problems in the traditional literature or technique clinics devoted to solving problems in the jazz idiom. The clinics are interactive and we invite you to bring your own passage problems for discussion.

Technique Clinics will be held at 11:00 am on Monday, Wednesday, and Friday.

Clinics will be held in various teachers’ classrooms.

PERFORMANCE OPPORTUNITYA Performance Opportunity for both traditional literature and jazz improvisation is scheduled for Wednesday at 5:30 pm at McAlpin.

Sign up if you would like to play for other participants.

Plan to be at this event either as a performer or as an audience member.


Jonathan EifertExecutive Director

Jonathan Eifert represents a select group of artists and nonprofits seeking to build their social equity (brand image) through the fusion of traditional and new media. He specializes in concert promotion, social media management, press relations, and brand partnerships. Project highlights have included key press placement and partnerships for the Cleveland International Piano Competition, rebranding the film series Living the

Classical Life, and managing communications for Miller Symphony Hall and Portland Piano International. For the past four years, Mr. Eifert has managed the Golandsky Institute in residence at Princeton University.

Mr. Eifert previously worked at IMG Artists (London) and Astral (Philadelphia). He now serves clients throughout the U.S. as the founder of Jonathan Eifert Public Relations. He is an associate member of the Grammy Recording Academy and regular contributor to ArtsHacker.com.

While living in London, Mr. Eifert completed his master of arts degree in cultural policy and management (arts administration) from City, University of London—specializing in classical artists’ brands and their development. He holds additional degrees in piano (bachelor of music) and biblical studies (bachelor of science) from Cairn University.

Learn more at jonathaneifert.com.

Adrienne SirkenDirector, International Piano Festival

Adrienne Sirken is a pianist, educator, and presenter. As director of the Golandsky Institute International Piano Festival, she works throughout the year to develop creative programming and seek extraordinary artists to present in solo and chamber music programs each summer at Princeton University. An energetic and enthusiastic supporter of the educational mission of the Golandsky Institute since its beginning,

Adrienne Sirken is proud to have established the Institute’s presence on the Princeton University campus 14 summers ago. Since 2009, she has also co-commissioned new music with the grateful support of the Meet the Composer’s grant program, presented several world premieres, and produced mixed-media performances at the Golandsky Institute International Piano Festival.

Certified as a Taubman teacher, Ms. Sirken is a sought-after teacher in the Princeton and New York City area, where her students include conservatory-trained pianists, children, and adults. Many of her students have earned top honors at competitions, and she has prepared students for entrance into college and graduate school programs, including Peabody Conservatory and Catholic University. Ms. Sirken earned her BA degree in music, with distinction, from Barnard College, and her master of music degree in piano performance from New England Conservatory, with additional studies at Peabody and Oberlin conservatories.

In addition to teaching and presenting professional concerts, Adrienne Sirken has an extensive performance background. She has given solo and chamber recitals in the United States and in China, and at venues including the Gardner Museum (Boston), the Hyde Collection (New York), and the Kennedy Center (Washington, D.C.).


SUNDAY, JULY 9, 2017

WHEN WHAT WHERE

2:00 - 7:00 pm Check-in and registration Butler College

3:30 pm Campus tours Butler College4:30 pm

6:00 pm Faculty and PA meeting McCormick Auditorium

7:00 pm Orientation meeting McCormick Auditorium

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She has been a concerto soloist with the National and the Baltimore symphonies. A versatile music educator, she taught IB music, music fundamentals, at George School and music theory at the American Boychoir School, and served as an examiner for the International Baccalaureate Music Exam, based in Cardiff, Wales.

Also an arts consultant, Ms. Sirken has established artist residencies at secondary schools and conducts training workshops in the United States and in Europe, working with conservatory students on the development of outreach and communication skills. She has been a guest lecturer for the piano seminar at The Juilliard School since 2011.

Her piano teachers have included Leonard Shure, Leon Fleisher, and Ylda Novik. She continues her studies with Edna Golandsky, Robert Durso, and Ilya Itin. Adrienne Sirken has two grown sons and resides in New York City.


MONDAY, JULY 10, 2017

WHEN WHAT WHERE

10:00 am Introduction (for level-one participants) McCormick Robert Durso Auditorium

Integrated Basic Material (for returning participants) McAlpin Example: In & Out #11, John Bloomfield

Understanding the Details (for certification participants) Woolworth 106 Mary Moran

Fundamentals for Violinists , Sophie Till McCormick 106

11:00 am Technique Clinic – Traditional Teachers’ Studios Technique Clinic – Jazz (Ron Stabinsky)

Lecture Series 2 for Violinists McCormick 106 Sophie Till

noon Lunch Wilcox Dining Hall

1:15 pm MASTER CLASSES McCormick Auditorium

3:30 pm FACULTY PRESENTATION McCormick Showing the Path to Successfully Handling Wide Stretches and Auditorium Large Leaps in Chopin’s Scherzo No. 1 and Liszt’s La Campanella Edna Golandsky

4:00 pm REPERTOIRE/MASTER CLASS for VIOLINISTS McAlpin

6:00 pm Dinner

8:00 pm The 2017 Golandsky Institute International Piano Festival Taplin Auditorium Jesús Reina, violin, and Josu de Solaun, piano


TUESDAY, JULY 11, 2017

WHEN WHAT WHERE

8:30 am Support Group McAlpin

10:00 am Rotation I (for level-one participants) McCormick John Bloomfield Auditorium

Integrated Basic Material (for returning participants) McAlpin Example: In & Out #8, Mary Moran

Understanding the Details (for certification participants) Woolworth 101 Robert Durso

Fundamentals for Violinists McCormick 106 Sophie Till

11:00 am FACULTY PRESENTATION McCormick Fingering in Focus: Avoiding Stretching with a Creative Strategy Auditorium John Bloomfield




3:30 pm FACULTY PRESENTATION McCormick Showing the Path to Successfully Handling Wide Stretches and Auditorium Large Leaps in Chopin’s Scherzo No. 1 and Liszt’s La Campanella Edna Golandsky

4:30 pm PANEL DISCUSSION McCormick Auditorium

6:00 pm Dinner

8:00 pm The 2017 Golandsky Institute International Piano Festival Taplin Auditorium Josu de Solaun, piano


WEDNESDAY, JULY 12, 2017

WHEN WHAT WHERE

10:00 am Rotation 2 (for level-one participants) McCormick John Bloomfield Auditorium

Integrated Basic Material (for returning participants) McAlpin Example: Shaping #30, Deborah Cleaver

Understanding the Details (for certification participants) Woolworth 101 Robert Durso






3:00 pm PEDAGOGY MASTER CLASS McCormick Mary Moran Auditorium

4:30 pm FACULTY PRESENTATION McCormick Healthy Typing Auditorium Edna Golandsky

5:30 pm Performance Opportunity McAlpin

6:00 pm Dinner

No concert this evening


THURSDAY, JULY 13, 2017

WHEN WHAT WHERE


10:00 am In and Out (for level-one participants) McCormick Robert Durso Auditorium

Integrated Basic Material (for returning participants) McAlpin Example: Interdependence #1, Elizabeth Swarthout

Understanding the Details (for certification participants) Woolworth 102 John Bloomfield


11:00 am FACULTY PRESENTATION McCormick Beethoven Piano Sonata in C Minor, Op. 13 Auditorium “Pathetique” Mary Moran




3:30 pm FACULTY PRESENTATION McCormick Solving the Mystery of Double Thirds with Demonstrations Auditorium from Tricky Passages in Chopin, Beethoven, and More Edna Golandsky

VIOLIN AND PIANO PERFORMANCE – COMPLETE McAlpin BRAHMS SONATAS, Sophie Till and Ron Stabinsky

4:30 pm DISTINGUISHED GUEST PRESENTATION McCormick Dorothy Taubman: The Story of the Movie Auditorium Dr. Ernest Urvater

6:00 pm Dinner

8:00 pm The 2017 Golandsky Institute International Piano Festival Taplin Auditorium Father Seán Duggan, piano


FRIDAY, JULY 14, 2017

WHEN WHAT WHERE

10:00 am Walking Arm and Hand (for level-one participants) McCormick John Bloomfield Auditorium

Integrated Basic Material (for returning participants) McAlpin Example: Burg Op. 100/6

Understanding the Details (for certification participants) Woolworth 106 Mary Moran






3:30 pm FACULTY PRESENTATION McCormick Problem Solving in Action Auditorium Edna Golandsky

4:00 pm REPERTOIRE/MASTER CLASS for VIOLINISTS McAlpin

4:30 pm DISTINGUISHED GUEST PRESENTATION McCormick Taking the Road Less Traveled By: Schubert, Rachmaninoff, Auditorium and Ilya Itin Scott Burnham

6:00 pm Dinner

8:00 pm The 2017 Golandsky Institute International Piano Festival Taplin Auditorium Bill Charlap Trio


SUNDAY, JULY 16, 2017

WHEN WHAT

by noon Depart for a safe journey to your next destination.

SATURDAY, JULY 15, 2017

WHEN WHAT WHERE


10:00 am Shaping (for level-one participants) McCormick Robert Durso Auditorium

Integrated Basic Material (for returning participants) McAlpin Example: Enslavement to Notation #7, Yoriko Fieleke

Understanding the Details (for certification participants) Woolworth 102 John Bloomfield


11:00 am FACULTY PRESENTATION McCormick Two Hands Play Together! A Game of Chance or Skill? Auditorium Robert Durso




3:30 pm FACULTY PRESENTATION McCormick Bach Auditorium Seán Duggan

6:00 pm Dinner

8:00 pm The 2017 Golandsky Institute International Piano Festival Taplin Auditorium Ilya Itin, piano

FINAL NIGHT CELEBRATION Whig Hall


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Dorothy Taubman: The Story of the Movie THURSDAY, JULY 13 | 4:30 pm Dr. Ernest Urvater McCormick Auditorium

Dr. Ernest Urvater, editor and producer of Choreography of the Hands: The Work of Dorothy Taubman, presents his fascinating 32-year-long relationship with Mrs. Taubman—a circuitous journey culminating in the film’s production in 1986, as well as the production of the ten Taubman Technique DVDs in the following year. During his talk, excerpts from Choreography of the Hands will be shown.

Dr. Ernest UrvaterProducer, Writer, Editor

Ernie Urvater has specialized for years in transforming complex information into understandable and accessible television.

This may have something to do with his background: a BA degree in English litera-ture landed him a copy writing and media buying job at a New York ad agency. But ten years later, having become curious about science, he earned a PhD in physics

and did postdoctoral research in elementary particles at Brookhaven National Laboratory. As an associate professor of physics at Colorado State University, Dr. Urvater specialized in bridging the two-cultures gap between science and the humanities. As principal investigator for several large multi-year projects funded by the National Science Foundation and the Department of Health and Human Services, Dr. Urvater designed and directed a number of programs to bring science education to underserved student populations.

When an Exxon Education Foundation grant allowed him to try his hand at making videotapes on energy literacy, he saw an opportunity to make use of both sides of his brain, and got hooked on television produc-tion.

Since then he produced programs in science, medicine, art, music, education, economics, social science, and environmental pollution. His Troubled Waters: Plastic in the Marine Environment won a Gold Medal for Best Environmental Program at the Canadian Waterwalker Film and Video Festival, and aired on PBS stations around the country. Dr. Urvater has produced a number of programs for educational institutions. His versatile Age of Polymers was used by the University of Massachusetts not only to recruit students into its graduate level Polymer Science Program, but also to stimulate cooperative research programs between the university and industry, and to raise funds for its $57 million National Polymer Research Center. A version of Polymers was also produced for a Japanese audience.

Most recently Dr. Urvater has produced Angles of a Landscape, a three-volume DVD series about Emily Dickinson, created in cooperation with the Emily Dickinson Museum in Amherst.


Taking the Road Less Traveled By: FRIDAY, JULY 14 | 4:30 pm Schubert, Rachmaninoff, and Ilya Itin McCormick AuditoriumScott Burnham

Princeton University musicologist Scott Burnham addresses the challenges offered by pianist Ilya Itin’s program of lesser-known gems by well-known piano composers, taking into account the performer’s view of the pieces as well as his own impressions. The presentation includes an onstage discussion between Mr. Itin and Professor Burnham.

Scott BurnhamScheide Professor of Music History, Princeton University

Scott Burnham, the Scheide Professor of Music History, has been a Princeton fac-ulty member since 1989. He is known as a musicologist with a gift for writing. His most influential books include Mozart’s Grace (Princeton University Press, 2012), Beethoven and His World, Beethoven Hero, and Sounding Values, which features es-says on mainstream Western music, music theory, aesthetics, and criticism. Profes-sor Burnham is also the author of dozens of articles about the importance of music,

and he regularly gives public lectures, often before music concerts.

His honors include a John Simon Guggenheim Memorial Foundation fellowship, a National Humanities Center fellowship, the Wallace Berry award for outstanding book in music theory for Beethoven Hero, and a National Endowment for the Humanities fellowship for university teachers.

Upon being named a 2013 recipient of Princeton University’s Howard T. Behrman Award for Distin-guished Achievement in the Humanities, Professor Burnham was praised by one of his colleagues, who wrote, “He has, over the past 25 years, changed the fields of musicology and music theory, has illumi-nated great works of art with his own artful prose, and has become the embodiment of musical insight for the broader community.” Professor Burnham will be assuming the position of Distinguished Professor at the CUNY Graduate Center in New York City, beginning of the Fall of 2017.


The Golandsky Institute is proud and honored to be supported by

On the cutting edge of piano craftsmanship, Yamaha is producing exceptionalinstruments that command the attention of artists around the world.

The Yamaha grand piano used in McCormick Hall for our lectures andmaster classes, Distinguished Guest Presenter Series, and Faculty

Lecture Series is provided by Yamaha Artist Services.

Yamaha Artist Services has furnished additional pianos to enableparticipants to practice as often as possible while at our Symposium.

Bonnie Barrett is the director of Yamaha Artist Services. She is capablyassisted by Hilary Jansen, Makia Matsumura, Aaron Ross, Noriyuki Soga, and

Vicky Voketaitis. Their enthusiastic support is an invaluable asset to us.

Please help us thank our sponsor by visitingthe Yamaha website and showrooms.

When you do, be sure to let them know that we sent you!


M A S T E R C L A S S E S

Edna Golandsky and other faculty members will demonstrate the practicality of the Taubman Approach and show how effective solutions can produce immediate results.

Monday, July 10 1:15 pm McCormick AuditoriumTuesday, July 11 1:15 pm McCormick AuditoriumWednesday, July 12 1:15 pm McCormick AuditoriumThursday, July 13 1:15 pm McCormick AuditoriumFriday, July 14 1:15 pm McCormick AuditoriumSaturday, July 15 1:15 pm McCormick Auditorium

Showing the Path to Handling Wide Stretches andLarge Leaps Successfully in Chopin’s Scherzo No. 1and Liszt’s La Campanella Edna Golandsky

Monday, July 10 3:30 pm McCormick AuditoriumTuesday, July 11 3:30 pm McCormick Auditorium

Successfully navigating large distances is a challenge every student and performer faces on a daily basis. This challenge shows up in beginning, intermediate, and advanced repertoire, and is one of the main reasons for fatigue, tension, and pain among pianists and other instrumentalists. The difficulty of navigating distances is a direct result of isolated, curled fingers, stretching exercises, and more. This presentation’s particularly difficult pieces show how, with the correct positions and motions, the stress is taken out of the overused fingers and is distributed among other limb parts. The result in overcoming this challenge is the ability to play symptom-free, with great speed and accuracy, and control every sound.

Solving the Mystery of Double Thirds with Demonstrations from Tricky Passages in Chopin, Beethoven, and MoreEdna Golandsky

Thursday, July 13 3:30 pm McCormick Auditorium

Playing double thirds has been an enigma for centuries. Some pianists play them with great ease, while others, including accomplished performers, shy away from them. This presentation solves this enigma by showing how double thirds can be successfully played and taught.

F A C U LT Y L E C T U R E S E R I E S


Problem Solving in ActionEdna Golandsky

Friday, July 14 3:30 pm McCormick Auditorium

Healthy TypingEdna Golandsky

Wednesday, July 12 4:30 pm McCormick Auditorium

Fingering in Focus: Avoiding Stretching witha Creative StrategyJohn Bloomfield

Tuesday, July 11 11:00 am McCormick Auditorium

Editorial fingerings often cause uncomfortable stretches purely for the sake of physical legato. This presentation will offer keen insight into a solution that can eliminate such awkwardness altogether, while promoting ease, speed, and security.

One of the Taubman Approach’s great values is its enhanced comfort at the instrument. When we are more comfortable physically, we are freer, we can manage the technical demands of the music more easily, we are not plagued by fatigue, and we can give our attention more fully to expressing the music. Intelligent fingering significantly facilitates the playing of any passage. Though editors sometimes have good suggestions, they just as often have inconvenient ones. Students and artists alike benefit from knowing how to evaluate and choose the most logical, efficient fingering for the music they play.

Many examples from the traditional repertoire will be used to highlight the dilemma pianists face when they wrestle with fingering choices. An often-overlooked possibility is the repetition of the same finger on consecutive notes. Once this useful strategy becomes part of the pianist’s arsenal, solutions for some thorny passages can appear as if by magic!


Two Hands Play Together! A Game of Chance or Skill?Robert Durso

Saturday, July 15 11:00 am McCormick Auditorium

In this lecture, Robert Durso explains and demonstrates the necessary skills of putting hands together. Called “The Interdependence of the Hands” in the Taubman Approach, these skills are innovative, pragmatic, and far reaching.

Beethoven Piano Sonata in C Minor, Op. 13 “Pathetique”Mary Moran

Thursday, July 13 11:00 am McCormick Auditorium

This presentation is an overview of the three movements of this popular sonata, with analysis of the main musical and technical highlights of each movement. The left hand figures (broken octaves, Alberti bass, and arpeggiated accompaniments) of each movement will be discussed in detail.

Beethoven’s eighth piano sonata, Opus 13, was written and published in 1798–99. In addition to a brief historical overview of the composer at this time, and a short analysis of the three movements, illustrating the motivic connections between them, this presentation will center on the musical and technical issues that one encounters when performing this work.

The Grande Sonata Pathetique has always appealed to the young. This appeal continues in the present time as most pianists and teachers will have occasion to perform and/or teach this work. Certain technical requirements in the piece often present difficulties for the pianist and can hinder the freedom to express this rich emotional writing.

With the Taubman Approach, technical demands such as tremolos, leaps, broken octaves, and staccato articulations will be analyzed and discussed. There will be an emphasis on diagnosing different aspects of problems that can occur and why. This knowledge will help students and teachers evaluate their playing and manage these situations. The result will be the ability to focus mainly on Beethoven’s musical intentions and how best to express them.

Pedagogy Master ClassMary Moran

Wednesday, July 12 3:00 pm McCormick Auditorium


Applying the Taubman Approach to ViolinSophie Till

One-week Strings Progam 11:00 am McCormick 106

Designed particularly for violinists and string players who are professionals, students, and amateurs, the daily technique lectures cover Taubman/Golandsky principles. Daily workshops provide hands-on practical help with problem passages and enable participants to experience the Taubman/Golandsky work in action. Master classes offer performance opportunities, both for solo and chamber music repertoire; and four private lessons enable every participant to address specific personal needs.

Violin and Piano Performance – Complete Brahms SonatasSophie Till and Ron Stabinsky

Thursday, July 13 3:30 pm McAlpin

Applying Taubman Principles to JazzRon Stabinsky

Monday, July 10 11:00 am Teachers’ StudioWednesday, July 12 11:00 am Teachers’ StudioFriday, July 14 11:00 am Teachers’ Studio

Ron Stabinsky will lead participants through an exploration of Taubman principles as a means of facilitating the practice and performance of jazz and improvisation.

For the past eight years, Edna Golandsky and violinist Sophie Till have been working together to translate the Taubman Approach to the violin. Their work has resulted in concrete knowledge and diagnostic tools for solving violin-specific technical problems, ranging from difficulties with pain, tension, and injuries, to questions about tone production, color, and musical issues. The principles of coordinate movement and alignment underlying a virtuoso piano technique apply directly to the violin. Ms. Till has developed a peda-gogical week-long program for string players in accordance with the Golandsky Institute.

The String Program at the 2017 Summer Symposium follows the format of the piano program, with a series of daily lectures addressing the application of fundamental Taubman principles to violin and viola, daily workshops showing the practical application of the technique in repertoire and problem passages, four individual lessons, and master classes. A children’s pedagogy day features a master class for children and a presentation of the approach for younger students.

APPLYING THE TAUBMAN APPROACH TO STRING INSTRUMENTS


Edna GolandskyFounder and Artistic Director

Edna Golandsky is the leading exponent of the Taubman Ap-proach. She has earned wide acclaim throughout the United States and abroad for her ex-

traordinary ability to solve technical problems and for her penetrating musical insight. She received both her bachelor of music and master of music degrees from The Juilliard School, following which she continued her studies with Dorothy Taubman.

Performers and students from around the world come to study, coach, and consult with Ms. Golandsky. A pedagogue of international renown, she has a long-established reputation for the expert diagnosis and treatment of problems such as fatigue, pain, and se-rious injuries, including carpal tunnel syndrome, tendonitis, focal dystonia, thoracic outlet syndrome, tennis and golfer’s elbow, and ganglia. She has been a featured speaker at many music medicine conferences. She is also an adjunct professor of piano at the City University of New York (CUNY).

Ms. Golandsky has lectured and conducted master classes at some of the most prestigious music insti-tutions in the United States, including the Eastman School of Music, Yale University, The Juilliard School, Curtis Institute of Music, and Oberlin Conservatory. Internationally, she has given seminars in Canada, Holland, Israel, Korea, Panama, and Turkey. In 2001 she was a guest lecturer at the European Piano Teach-ers’ Association in Oxford, England. In 2003 she con-ducted a symposium in Lecce, Italy. In 2010 she gave a master class and judged in a piano competition at the Chatauqua Festival. She was a guest presenter at the World Piano Pedagogy Conference in 2003 and 2009 and was engaged to return in October 2010. In 2011 she was a guest presenter at the Music Teach-ers National Association in Milwaukee, Wisconsin; the Piano Teachers Congress of New York; and the

Music Teachers Association of California. She gave week-long workshops at the Panama Jazz Festival at 2009, 2010, 2012, and 2014. In 2012 she presented as a part of the New York University Steinhardt Mas-ter Class series and at the Music Teachers Association of California annual convention in San Diego.

Last July she presented a talk at the Performing Arts Medicine Association (PAMA) meeting in New York City on the topic, “Are Musicians’ Injuries Inevitable?” In September, she gave a workshop at Conservatoire Populaire de Musique Danse et Théâtre in Geneva. In 2016 she presented at the Karol Szymanowski Acad-emy of Music in Katowice, Poland.

For the past several years, Edna Golandsky has been working with violinist Sophie Till, who came seeking relief from long-standing problems. This association has led to the development of a comprehensive ap-plication of the Taubman work to string instruments. Together, Ms. Golandsky and Ms. Till went to Eng-land in 2013 to conduct a symposium for both piano and violin at Cambridge University.

Edna Golandsky is the person with whom Dorothy Taubman worked most closely. In 1976, Ms. Go-landsky conceived the idea of establishing an Institute where people could come together during the summer and pursue an intensive investigation of the Taubman Approach. She encouraged Mrs. Taubman to estab-lish the Taubman Institute, which they ran together as co-founders. Mrs. Taubman was executive director and Ms. Golandsky served as artistic director. Almost from the beginning, Mrs. Taubman entrusted Ms. Golandsky with the planning and programming of the annual summer session. She gave daily lectures on the Taubman Approach and later conducted master classes as well. Mrs. Taubman has written, “I consider Edna Golandsky the leading authority on the Taub-man Approach to instrumental playing.”

Edna Golandsky’s lectures have broadened the Taub-man Approach and imparted it to many people who have benefited from it. As her knowledge deepened

T H E G O L A N D S K Y I N S T I T U T E F A C U LT Y


over the years, she continued to develop new material. As the face of the Taubman Approach, she presents it in its entirety in the ten-volume DVD set, The Taub-man Techniques. In conjunction with the Golandsky Institute, she has further developed the Taubman Ap-proach in the three-DVD set, The Art of Rhythmic Ex-pression, which has been praised worldwide; and the two-DVD set, The Forgotten Lines: Lines that Support, Surround, and Intensify the Melody.

Ms. Golandsky has also created Healthy Typing, a DVD that teaches computer users how to type with-out pain.

John BloomfieldFaculty Chair and Founding Member

John Bloomfield is a Ken-tucky native and a Phi Beta Kappa graduate of Furman

University in Greenville, S.C. An award-winning solo and chamber pianist, he has been broadcast by Public Radio in New England and has been heard on the air in New York under the auspices of Ars Viva. Mr. Bloomfield earned a master’s degree from the Manhattan School of Music, after which he was a long-term student of Dorothy Taubman and Edna Golandsky. He has taught at Adelphi Univer-sity and in the pre-college division of the Manhat-tan School of Music. In demand as a clinician and adjudicator around the country, he has lectured at a number of colleges and universities. He was invited several times to teach in Taiwan and has been a fea-tured presenter at the Breckenridge Music Institute, state MTA conventions, and the MTNA Conven-tions in 2005, 2009, and 2014. He was the keynote speaker at the 2007 MTA convention in California. He was guest artist at the University of Alabama in 2013. He traveled to Australia in 2014, 2015, and 2017 to teach and present lectures on the Taubman Approach. He was recently invited to conduct mas-ter classes and lessons at Brigham Young University in Rexburg, Idaho. He brought a German-language

presentation of the Taubman work to Switzerland in the fall of 2016. Mr. Bloomfield maintains a studio in New York City, where he is also a perfor-mance associate at Hunter College and an adjunct instructor at Queens College. He travels regularly to Portland, Atlanta, and the San Francisco Bay Area to consult and give lessons. He is a co-found-er and senior director of the Golandsky Institute, which he also serves as faculty chair.

Robert DursoFounding Member

Robert Durso attended the Peabody Conservatory of Music, obtained his bachelor of music degree from Indiana University, Bloomington, and

received his master of music degree from Temple University. His principal teachers were Enrica Caval-lo-Gulli, Harvey Wedeen, Edna Golandsky, Doro-thy Taubman, and Rosalyn Tureck.

Mr. Durso has performed extensively, including appearances at Weill Recital Hall, the Philadelphia Ethical Society, the Philadelphia Art Alliance, and in a tour of South Carolina sponsored by the National Endowment for the Arts. In September 2000, Mr. Durso was invited to Caracas, Venezuela, by the U.S. Embassy to present the work of Dorothy Taubman for the first time in South America.

Mr. Durso has conducted master classes and given concerts at Mount Holyoke College, Portland State University, the Berkeley chapter of the San Francisco MTNA, Spokane Music Teachers Association, and NEPTA in Boston, Tel Aviv, and Rome. His engage-ments abroad have included concerts at La Chiesa della Palma in Cagliari, Sardinia, where he premiered a work by Sardinian composer Roberto Mirigliano; the Palazzo Cenci in Rome; the Ehrbarsaal in Vi-enna; L’Atelier in Brussels; as well as concerts in Zu-rich, Taiwan and Oxford, England. Mr. Durso has performed with the Yaquina Symphony Orchestra


under the baton of David Ogden Stiers in a four-concert tour of the Oregon coast. He has performed and given master classes at the invitation of Paul Roberts at Castelfranc in France.

A frequent performer, Mr. Durso is a founding member (with Jennifer K. Lee and Glenn Fischbach) of the Belmonte Trio. The Belmonte Trio was award-ed the 2013 Global Music Award of Excellence in Ensemble Playing. “These are passionate, thoughtful and sophisticated performances.” GMA

He has collaborated in chamber music performances with Stephanie Jeong, associate concertmaster of the Chicago Symphony, and several Philadelphia Or-chestra members, including John Koen, cello, and Jason Depue, violin.

Mr. Durso has worked with Edna Golandsky and the late Dorothy Taubman since 1983 and was a fac-ulty member of the former Taubman Institute. Cur-rently, Mr. Durso is a co-founder and senior director of the Golandsky Institute Summer Symposium, held annually at Princeton University.

He has produced several first-place and top win-ners in national and international competitions, including the Bradshaw & Buono International Piano Competition 2014, Josef Suk International Competition 2013, the Princeton Piano Competi-tion winner 2012, Bartok/Kabelevsky International, Artist International NYC, Ambler Symphony Young Artist Competition, the Cal Rudman Competition and the Marymount Concerto Competition, 16th International Gianluca Campochiaro Competition in Pedara, Sicily, and the International Piano Com-petition “Giuseppe Terracciano” Giffoni Valle Piana, Italy, 2007.

Mr. Durso specializes in audition and competition preparation. His students have been accepted and have attended several of the leading conservatories, including the Curtis Institute, Juilliard School, Ober-lin Conservatory, Indiana University, New England Conservatory, and the Peabody Conservatory.

Mr. Durso maintains private studios in New York and Philadelphia and provides Taubman training in the Denver, Tampa, and Boston areas.

www.robertdurso.net

Mary MoranFounding Member

Mary Moran has been on the adjunct faculties of Rus-sell Sage College and Hudson Valley Community College in Troy, New York, teaching ap-

plied piano, music appreciation, and music arranging. A graduate of the Crane School of Music in Potsdam, New York, she has studied the Taubman Approach to Piano Performance since 1977, primarily with Edna Golandsky. She was a faculty member of the Taub-man Institute of Piano from 1981 through 2002, and is a founding director of the Golandsky Institute. Ms. Moran has been recognized for her application of the Taubman Approach to children’s pedagogy. Her book on building beginning piano technique with this ap-proach, Basic Alignment and Rotation, was written in 2008, and is available in editions for both teachers and students. She has lectured on technical training for stu-dents and given master classes for many music teach-ers’ organizations in Vermont, Massachusetts, Con-necticut, California, Wisconsin, and New York, and at Portland State University, Williams College, and the Montreal Conservatory. Ms. Moran taught in Lecce, Italy, at the Symposium on the Taubman Approach in 2003, and in Grenoble, France, in March, 2004.

As a senior faculty member of the Golandsky Institute, Ms. Moran lectures and gives master classes at the Go-landsky Institute Summer Symposium at Princeton University each year, as well as at its Berkeley and Philadelphia seminars and the Montreal Conference on the Taubman Approach. She regularly speaks at teacher training events, and mentors teachers in the Golandsky Institute’s Professional Training Program in Massachusetts, Connecticut, Ontario (Kingston), and Quebec (Montreal).

Ms. Moran performs frequently as a soloist, a duo-pianist, and a collaborative pianist. She maintains a private studio at her home in New York State’s Capital District. Her private students are frequent winners of the area Chopin and Tchaikovsky competitions and other music awards.


Deborah IngramCleaver

Deborah Ingram Cleaver holds a master of music degree in piano performance from Boston University, where she studied with Leonard Shure.

She subsequently became his teaching assistant at the New England Conservatory. Ms. Cleaver’s other studies include Baroque performance practice with Elisabeth Wright and Edward Parmentier, as well as the performance practices of the Classical period with noted scholar Sandra Rosenblum. Ms. Cleaver has also studied with Paul Roberts.

After ten years of teaching and performing in Berlin, Germany, she moved to Portland, Oregon, where she teaches at Reed College and Lewis and Clark College. Lewis and Clark provides an opportunity for students to study the Taubman Approach while completing their requirements for a performance de-gree. Injured students may delay their performance requirements for two years. Other teaching positions have included Willamette University, St. Andrews College, and the South Shore Conservatory of Music.

An active performer, Ms. Cleaver has appeared with the De Rosa Chamber Players and the contemporary music ensembles Fear No Music, Friends of Rain, Cas-cadia Composers, and Seventh Species. She has had performances broadcast on the Oregon Public Broad-casting classical radio program, Played in Oregon.

Her numerous presentations throughout the North-west have included lectures at Portland State Uni-versity and for the Oregon and Washington State Music Teachers Associations; a two-week residency in Alaska, adjudicating and presenting workshops for the Alaska Music Teachers Association; and mas-ter classes and lecture recitals. In addition, she is a frequent adjudicator for regional competitions, and is chairman of the OMTA Contemporary Festival.

Ms. Cleaver has been a member of the Golandsky Institute faculty since 2005, and studies with John Bloomfield and Edna Golandsky.

Father Seán Brett Duggan, OSB

Seán Duggan, OSB, pianist, is a monk of St. Joseph Abbey in Covington, Louisiana. He ob-tained his music degrees from Loyola University in New Or-

leans and Carnegie Mellon University, and received a master’s degree in theology from Notre Dame Semi-nary in New Orleans. From 1988 to 2001 he taught music, Latin, and religion at St. Joseph Seminary College in Louisiana, and was director of music and organist at St. Joseph Abbey.

In September 1983, he won first prize in the Johann Sebastian Bach International Competition for Pia-nists in Washington, D.C. He won that prize again in August 1991. Having an affinity for the music of Bach, in 2000 he performed the complete cycle of Bach’s keyboard works eight times in various Ameri-can and European cities. For seven years he hosted a weekly program, Bach on Sunday, on the New Orleans NPR station. He is currently recording the complete cycle of Bach’s keyboard (piano) music; the endeavor will comprise 24 CDs.

Before he joined the Benedictine order, Father Dug-gan was the pianist and assistant chorus master for the Pittsburgh Opera Company for three years. He has performed with many orchestras, including the Louisiana Philharmonic, the Buffalo Philharmonic, the Leipzig Gewandhaus Orchestra, the Leipzig Ba-roque Soloists, the Prague Chamber Orchestra, the American Chamber Orchestra, and the Pennsylvania Sinfonia. From 2110 to 2004 he was a visiting pro-fessor of piano at the University of Michigan. Cur-rently he is associate professor of piano at Fredonia. During the fall semester of 2008, he was also a guest professor of piano at Eastman School of Music. Fa-ther Duggan has been a guest artist and adjudicator at the Chautauqua Institution for several summers, and is also a faculty member of the Golandsky Insti-tute at Princeton, New Jersey. He continues to study the Taubman Approach with Edna Golandsky in New York City.


Yoriko Mizuno Fieleke

Pianist Yoriko Mizuno Fieleke has performed throughout the United States and has been a prizewinner in numer-ous competitions, including

the International Young Keyboard Artist Compe-tition. Her performances have been broadcast by WQXR in New York City, and in Chicago and Hawaii. She was interviewed by radio and TV sta-tions in Honolulu while a student of the late Ellen Masaki. As a winner of the Music from Oberlin and Arthur Dann competitions at Oberlin Conserva-tory, she performed in two week-long concert tours sponsored by the Conservatory. Ms. Fieleke began her study of the Taubman Approach with Robert Shannon at Oberlin in 1984. Upon graduation she continued her Taubman studies with the late Ken-dall Feeney and was coached by Dorothy Taubman. A long-time student of Robert Durso, she currently studies with Mr. Durso and Edna Golandsky.

Ms. Fieleke maintains a thriving private studio near Boston and provides lessons in Hawaii and Japan during the summer. She works with a wide range of students, including professional performers, piano teachers, conservatory students, jazz/rock pianists, and adult and young beginners. She has taught the Taubman Approach to computer users, as well as a French horn player, flutist, violinist, harpist, organ-ist, and mandolin player. Ms. Fieleke is a faculty member and lecturer at the Golandsky Institute’s Summer Symposium at Princeton University. She has presented the work of Dorothy Taubman through lectures and master classes for the New England Piano Teachers Association and the Longy School of Music of Bard College.

Mariko Sato

A concert artist, professional accompanist, and teacher, Mariko Sato was born in To-kyo, Japan. She taught piano for 11 years at Université La-val before joining the Depart-

ment of Music at the Cégep régional de Lanaudière in Joliette in 1981. She has performed internation-ally on three continents, recorded frequently for radio, and contributed to the recording of six CDs. She possesses a diverse musical background, having studied with Joko Gondo, Seymour Bernstein, Ar-minda Canteros, Lorand Fenyves, Itzhak Perlman, Tsuoyoshi Tsutsumi, and György Sebök, among others. Always seeking to further her own profes-sional development, she has studied eutony, impro-visation, Feldenkreis, and osteophony. Since 1995, she has been perfecting her technical, pedagogical, and physical knowledge of the piano through the Taubman Approach at the Golandsky Institute, as well as through ongoing studies with Mary Moran and Edna Golandsky, the co-directors of the Go-landsky Institute, and with Ilya Itin in New York and Princeton. She is an associate faculty member and certified associate yeacher at the Golandsky Institute in New York. She has taught the Taub-man Technique since 2006 and is currently one of only two Canadian educators to have obtained this certification. Today, through conferences and workshops, she helps professional pianists, univer-sity and college students, piano teachers, accompa-nists, and music lovers of all ages free themselves from physical and technical limitations in order to achieve effortless playing. As a seasoned specialist in injury prevention and Taubman Approach, she also works with injured pianists and other instrumen-talists. She teaches students from here and abroad at her private studio in Montreal, Canada, as well as via Skype. She also organizes, each year in Feb-ruary, Taubman workshops with Mary Moran in Montreal.


Shinozaki. Mr. Itin has made numerous recordings of chamber music, including Beethoven’s “Spring” Sonata, Brahms Viola Sonata, Martinu Double Violin Sonata, and Piazzola Spring/Autumn in Buenos Aires, with Igor Gruppmann, violin, and Vesna Gruppmann, viola/violin. Mr. Itin has also recorded a full recital with legendary violinist Ida Haendel at the Miami International Piano Festival.

During the 2016–17 season he will be releasing his newest recording of the complete Debussy Preludes on vinyl and high definition audio. His Princeton recital in July 2015 will also be released as a state-of-the-art high definition recording of the live performance. It features beloved works of Rachmaninov and Scriabin. Itin’s DVD of the “Russian Marathon” concerts at the Miami International Piano Festival was also recorded live, in one day, and included all 24 Preludes of Rachmaninov, and Prokofiev’s 7th and 8th Sonatas. Other recordings include Beethoven’s 2nd Piano Concerto with the Jerusalem Camerata on the JDR label, and Prokofiev’s 6th Sonata with Mussorgsky’s Pictures at an Exhibition on VAI.

Mr. Itin is also a much sought-after teacher, giving regular master classes throughout Japan, and in Princeton, Miami, and New York. His students include winners of top prizes in international competitions, and highest awards at the most competitive conservatories of the U.S. and Japan.

Born in Yekaterinburg, Russia, Mr. Itin began his piano studies with Natalia Litvinova at the Sverdlovsk School for the Gifted. He went on to graduate, with highest honors, from the Moscow Conservatory in 1990 working with legendary teacher Lev Naumov. Mr. Itin won his first major piano competition while at the Conservatory, taking second place in the 1990 Russian National Rachmaninov Competition. Soon after, he won top honors in the William Kapell Competition, followed by First Prize and the Special Chopin Prize at the Casadesus Competition (Cleveland Competition), and the Best Performance of a Work of Mozart, Best Prokofiev Performance, and Third Prize at the Gina Bachauer Competition.

Ilya Itin is on the teaching faculties of the Musashino

Ilya Itin

“Itin’s is a rare and excit-ing artistry indeed…poised, pure, and ravishing in its range of colour, Itin’s playing is a prime example of a su-perb technique put at the ser-

vice of an inquiring and imaginative mind.” (Daily Telegraph, London)

Audiences throughout the world revere Ilya Itin’s unique artistry. Playing to sold-out houses in Japan and in the U.S., he is known for his extraordinary range, power, quality of sound, and command of the piano. His Princeton recital was singled out by the Philadelphia Inquirer as a “top ten musical moment of the year,” and the New York Times critic described him as “…a brilliantly insightful pianist who offered a superb recital.” Since capturing the Gold Medal, BBC Audience Award, and Contemporary Music Prize at the 1996 Leeds International Piano Compe-tition, Ilya Itin has performed throughout the world, bringing his powerful musical imagination and mas-tery to wide-ranging repertoire. “I’d go to hear him play the phonebook,” remarked BBC TV critic Ian Burnside.

Ilya Itin has performed with many of the world’s great conductors, including Sir Simon Rattle, Neemi Jarvi, Christoph von Dohnanyi, Yakov Kreizberg, Vassily Sinaisky, Valery Polyansky, and Mikhail Pletnev performing as soloist with orchestras, in-cluding the Cleveland Orchestra, the St. Petersburg Philharmonic, the Tokyo Symphony, the National Symphony, the London Philharmonic, the China National Symphony, the Symphony Orchestra of India; the Mexico City Philharmonic, and the Roch-ester Philharmonic.

Much lauded for his chamber music collaborations with colleagues and friends in the U.S., Europe, and Asia, he recently performed Beethoven Archduke Trio in New York with the Jupiter Chamber Players followed by a recital of the complete Brahms Sonatas in Tokyo with violinist Fuminori Maro


Audrey Schneider

Audrey Schneider was a schol-arship student of Jakob Gim-pel and Isabelle Vengerova, but her most significant stud-ies have been with Dorothy

Taubman and Edna Golandsky. She presented the Taubman Approach at the Westchester Musi-cians Guild, the Association of Piano Teachers of Long Island, and the European Congress of Arts Medicine, in Munich, 1994, and Berlin, 1998. She served as a member of the faculty of the Taubman Piano Institute from 1995 to 2002, and has been a faculty member of the Golandsky Institute since its inception. Ms. Schneider received the master of arts degree in solo performance from the Aaron Cop-land School of Music at Queens College, where she also completed the bachelor of arts degree summa cum laude. A guest performance with the CBS-TV Concert Orchestra, under the baton of Alfredo An-tonini, led to an invitation to create and perform four televised programs for children, which ex-plored classical music and dance. She has performed regularly in solo and duo piano recitals, as well as in collaboration with singers and instrumentalists, at Queens College, Brandeis University, Williams College, Princeton University, the Nassau County Celebration of the Arts, and at the Bethpage, Mass-apequa, Long Beach, and Shelter Rock Public Li-braries, as well as at Steinway Hall in New York City.

Audrey Schneider maintains her private teaching studio in West Hempstead, New York.

Elizabeth Swarthout

Elizabeth Swarthout, a grad-uate of the Preparatory De-partment at Eastman School of Music, received an MS de-gree in social work at Colum-

bia University and her second BA degree in music at the University of California, Berkeley.

A versatile pianist, Ms. Swarthout made a CD, which was funded in part by the National Endow-ment for the Arts, called 20th Century Four-Hand Piano Music, with Margret Elson on the Laurel Record label in 1996. The Elson–Swarthout Duo performed together for 25 years, including an East Coast tour in 1997, during which they played at the Kennedy Center, among other venues. With Margret Elson, Ms. Swarthout created the Clem-enti-Mozart Contest, which featured performances on the fortepiano. Ms. Swarthout has given lec-tures, workshops, and performances for various Suzuki Institutes locally and nationally. A Baroque specialist, she has given master classes in Portland and in the San Francisco Bay Area, has adjudicated for decades at various Baroque festivals, and has given lectures locally and nationally on early-music performance practices. She is in demand as an ad-judicator for competitions and for the Certificate of Merit.

Ms. Swarthout began studying the Taubman Ap-proach in 1985 with Nina Scolnik and currently studies with John Bloomfield and Edna Golandsky. She has been a faculty member for the Golandsky Institute since 2005 and teaches the Taubman Ap-proach in the San Francisco Bay Area, Sacramento and Davis, California, as well as in Granada, Spain. She is also the director and a faculty member of the Golandsky Institute Berkeley (California) Seminar on the Taubman Approach presented annually in November. She also teaches fortepiano and per-forms as soloist and chamber musician on piano and fortepiano.

Academy in Tokyo, the Academy of the Miami International Piano Festival, and the Golandsky Institute at Princeton University, and he has worked with Edna Golandsky. He has also taught in the piano departments of The Juilliard School prep and college divisions, Peabody Conservatory, and the Graduate Program at CUNY. Ilya Itin resides in Tokyo, Japan, and New York City, where he maintains a private teaching studio.


Brenna Berman

An avid performer since the age of seven, Brenna Berman has performed throughout the United States and Europe, presented live radio broad-casts, and was recently fea-

tured in Bösendorfer.com articles. Ms. Berman has won many international, national, and state-wide awards and scholarships. As an Artists International New York Debut award-winner, she gave her New York recital debut at Carnegie Hall’s Weill Recital Hall in March 2008. She is a graduate of Oberlin Conservatory and Hunter College.

Ms. Berman has 17 years of training as a performer and teacher of the Taubman Approach. She has studied the Taubman Approach most closely with Robert Durso and Edna Golandsky for over a de-cade. She has private studios in Colorado, Texas, and Pennsylvania, and teaches via Skype. In addi-tion to musicians, Ms. Berman helps computer us-ers, string players and other instrumentalists, knit-ters, painters, and others prone to repetitive stress injuries. She served as professor of piano at Drexel University while living in Philadelphia.

Ms. Berman has presented at the Colorado State Music Teachers Association State Convention, taught the Denver Area Music Teachers Association Fall Course (a seven-session lecture series), was a guest artist at Metro State College of Denver’s Piano Celebration as both a performing artist and a pre-senter, and regularly gives lectures and master classes at the University of Colorado at Boulder and local chapters of MTNA.

Therese Milanovic

Dr. Therese Milanovic is in demand as both performer and pedagogue. She was the first Australian to become a certified Taubman instruc-tor, and is now master faculty

with the Golandsky Institute. She has presented on the Taubman Approach at venues including Queensland Conservatorium Griffith University, University of Queensland, Music Teachers’ Associa-tion of Queensland, Australian Society for Perform-ing Arts Health, Australasian Piano Pedagogy Con-ference, Western Australia Pedagogy Convention, and ANZCA’s national Conference (Canberra).

Dr. Milanovic has performed with Brisbane-based Topology since 2009, including collaborations with the Brodsky String Quartet, drumming superstar Grant Collins, the Australian Voices, and Heidi Duckler Dance Theatre. With Topology, she has performed at the Brisbane Festival, Queensland Music Festival, Singapore Arts Festival, Salihara Arts Festival (Indonesia), Darwin Festival, Lincoln Center, and toured nationally, as well as the Neth-erlands and Belgium with the Kransky Sisters.

In addition to new music, Dr. Milanovic loves bringing both traditional and lesser-known cham-ber repertoire to the stage, including highlighting music by women with the Muses Trio. She contin-ues her Taubman studies regularly with Edna Go-landsky, and also John Bloomfield. For more infor-mation, go to www.theresemilanovic.com / www.musestrio.com / www.topologymusic.com


PA R T I C I PA N T P R E S E N T E R

Sophie Till

Despite her world-class train-ing, British violinist Sophie Till’s search to find musical and technical answers led to her work with Edna Go-landsky and the development

of the Taubman/Golandsky Approach for Strings.

Ms. Till is the first violinist to be appointed associ-ate faculty at the Golandsky Institute. In 2013 she gave the first European symposium on the Taub-man Approach with Edna Golandsky at St. John’s College, Cambridge. In 2014 she gave the first Taubman/Golandsky String Workshops in Aus-tralia and Singapore, where she was also perform-ing. In 2015 she returned to Australia as keynote speaker at the National Australia String Teachers’ Conference, also giving workshops in Sydney. She recently returned from the U.K., where she was invited to teach members of the Royal Scottish National Orchestra, Scottish Chamber Orchestra, BBC Scottish Orchestra, and the Royal Liverpool Philharmonic. It is a testament to the quality of her work that these international invitations have been at the request of the players themselves.

Ms. Till frequently teaches via Skype to enable players from all over the world to access her work. She is currently clinical assistant professor of violin at Marywood University, Penn., and director of the Marywood University String Project, a program de-signed to train student teachers and provide afford-able string education to children ages 4–18. Mary-wood’s String Project won the American String Teachers’ Association National String Project of the Year award in 2010 and was recently featured in a short documentary by WVIA TV.

Ms. Till studied with Zakhar Bron at the Royal Academy of Music and in Luebeck, Germany, with Dona Lee Croft at the Royal College of Music, and with Charles Treger at Umass Amherst. She was the 2004 recipient of the F. Lammot Belin Arts Schol-arship and has won several Pennsylvania Partners in the Arts awards for her performance projects.

Ms. Till has given recitals in the United States, United Kingdom, India, Africa, Cyprus, Europe, and South America. She has recorded the complete Beethoven Violin and Piano Sonatas as a radio se-ries and been featured in television recitals. Ms. Till is now a dual citizen of the United Kingdom and the United States and resides in upstate New York.

Ron Stabinksy

Ron Stabinsky received his first musical lessons at the age of five from Michael Hoysock, his grandfather. Since 2000, Mr. Stabinsky has been studying the Taubman Approach to

piano playing with Edna Golandsky in New York City. He has also benefited greatly from additional study of classical repertoire with concert pianist Ilya Itin. His mentors in the art of free improvisation have included Bill Dixon and Joel Futterman. His study of jazz has been through the correspondence course work of Charlie Banacos.

On June 10, 2016, Mr. Stabinsky released his first solo album after more than a decade of the evolution of his improvised solo language. In addition to continuing to pursue his ongoing interest in solo piano improvisation, he enjoys working on music in a stylistically diverse array of situations throughout the United States and Europe with many other musicians and ensembles, including free-improvising saxophonist Jack Wright, bass trombone virtuoso David Taylor, Meat Puppets bassist Cris Kirkwood, and NEA Jazz Master David Liebman. Recent festival appearances include Newport Jazz Festival, North Sea Jazz Festival (Netherlands), Moers Festival (Germany), Jazz em Agosto (Portugal), Jazzfestival Saalfelden (Austria), and Jazz and More Festival Sibiu (Romania). He is currently a member of the band Mostly Other People Do the Killing, the new music ensemble Relâche, the Charles Evans Quartet, and the Peter Evans Quintet.


Kendall FeeneyIN MEMORIAM

It is with great sadness that we acknowledge the passing of our longtime friend and faculty member, Kendall Feeney. A wonderful pianist and teacher, Ms. Feeney was on the faculty of the Golandsky Institute since its inception, having studied the Taubman Approach with both Dorothy Taubman and Edna Golandsky since 1988. She was beloved by her students as a warm and supportive teacher, a captivating lecturer, and a formidable musician. She was admired as one whose understanding of music was surpassed only by her care for every person she encountered. We have all learned so much from simply knowing her.

Kendall Feeney will be remembered for her boundless energy and graciousness, as well as her profound commitment to teaching and disseminating the Taubman-Golandsky work. Our hearts go out to her family, friends, and students during this time. We will miss her deeply.


P R O F E S S I O N A L T R A I N I N G P R O G R A M M E M B E R S

Members of the Golandsky Institute enrolled in the Professional Training Program undergo an extensive and rigorous course of study. They are required to have ongoing private lessons with one of the Institute’s senior faculty members, to have their students supervised regularly with a faculty mentor, and to demon-strate a high level of competence in their theoretical knowledge and their ability to perform. The Golandsky Institute is pleased to have the following participants at present:

Julia Bady (Greenfield, MA)mentored by Mary Moran

Audrey Marshall (Kingston, Ontario)mentored by Mary Moran

CERTIFIED ASSOCIATES

Barbara Banacos (Reading, MA)mentored by Robert Durso

Margaret Banacos (Magnolia, MA)mentored by Robert Durso

Anthony van den Broek (Sydney, NSW, AUS)mentored by Therese Milanovic & John Bloomfield

Amy Valentine Brookes (Berkeley, CA)mentored by Elizabeth Swarthout & John Bloomfield

Rachel Bussey (Doylestown, PA)mentored by Robert Durso

Brendan Cooney (Philadelphia, PA)mentored by Robert Durso

Deren Eryilmaz (London, UK)mentored by Edna Golandsky

Patricia Franz (Frederick, MD)mentored by Robert Durso

CERTIFIED INSTRUCTORS

Elizabeth M. Grace (Overland, KS)mentored by Edna Golandsky & John Bloomfield

Brenda Hunting (Brisbane, QLD, AUS)mentored by Therese Milanovic, John Bloomfield,& Edna Golandsky

Alex Ramirez (Abington, PA)mentored by Robert Durso

Kathleen Schneider (Norwood, PA)mentored by Robert Durso

Natalie Todd (Indianapolis, IN)mentored by Yoriko Mizuno Fieleke & Robert Durso

Shari Weiss (Stamford, CT)mentored by Robert Durso & Mary Moran

John Wickelgren (Frederick, MD)mentored by Robert Durso

Sadie Brightman (Lincoln, VT)mentored by Yoriko Mizuno Fieleke & Mary Moran

Jarred Dunn (Katowice, Poland; Toronto, Canada)mentored by Edna Golandsky

Robert Dvorkin (Ottawa, Canada)mentored by John Bloomfield

Cheryl Florin (Malta, NY)mentored by Mary Moran

CURRENT PARTICIPANTS

Jeffrey Nations (Philadelphia, PA)mentored by Robert Durso

Frances Rorer (Newtown Square, PA)mentored by Robert Durso

Rachel Smith (Edinburgh, Scotland)mentored by Sophie Till & Edna Golandsky


Taubman Approach in EuropeWorkshop Series Continues...with Technique Clinics, Private Lessons & Other Presentations

Edna Golandsky& Deren Eryilmaz7–10 September 2017

LONDON, UK

For more information andto register, please email:

[email protected]

Robert Durso& Deren Eryilmaz19–21 January 2018


Dear Symposium Participant,

As a not-for-profit arts service organization, the Golandsky Institute relies on the financial support of foundations, corporations, and individuals like you. Your gift will help us conduct workshops and festivals across the country and abroad, provide scholarships for gifted students, add new DVD pro-ductions and teaching materials to our expanding series, participate in professional conferences, and bring our work to new audiences.

[ ] Guarantor $10,000 and more

[ ] Benefactor $5,000 - $9,999

[ ] Patron $2,500 - $4,999

[ ] Donor $1,000 - $2,499

I would like to make a gift to The Golandsky Institute in the amount of $ ____________.

[ ] My check payable to The Golandsky Institute is enclosed.

or

Please charge my: o VISA o MasterCard o American Express o Discover

in the amount of $ ____________.

Account Number: ________________________________________ Exp. Date: _____________

Signature: _______________________________________________

[ ] Sponsor $500 - $999

[ ] Supporter $250 - $499

[ ] Friend $1 - $249

Name: ______________________________________

Address: ____________________________________

____________________________________________

Phone: ______________________________________

Email: ______________________________________

Please complete the above and send it to:

The Golandsky InstitutePark West Finance Station

PO Box 20726New York, NY 10025


W H AT ’ S H A P P E N I N G AT T H E G O L A N D S K Y I N S T I T U T E

Edna Golandsky is the founder of Healthy Typ-ing, established to apply the principles of the Taubman-Golandsky approach to treating and preventing repetitive stress injury experienced by non-musicians, such as computer and Black-Berry users.

Visit www.healthytyping.com to learn more.

BEGINNING PIANO LESSONSIN THE TAUBMAN APPROACHBook One: Basic Alignment and RotationBy Mary Moran | Edited by Edna Golandsky

CHAPTERS INCLUDE:Sitting at the PianoNatural Hand PositionCommon Sources of TensionForearm FreedomForearm Rotation

Single RotationDouble RotationTeaching PiecesSupplemental Repertoire Index

For information check our website: www.golandskyinstitute.orgor email: [email protected]


C O N T R I B U T O R S

The Golandsky Institute gratefully acknowledges the financial contributions made by the following individuals, organizations, corporations, and foundations.

CORPORATEYamaha Artist Services

FOUNDATIONSThe Max and Sunny Howard Memorial FoundationThe Rorer Foundation

GUARANTORSJudith ScheideMyra Williams

BENEFACTORThe Hartzband Family Charitable Trust

PATRONSDavid RawnNaomi Sinnreich

DONORSam Hewitt

SPONSORSAmanda GilmoreMichelle Kim

SUPPORTERSLydie RegazziGeorge GoekeChristianne OrtoPat FranzSusan GoldbergMary MoranDavid Shephard & Ben Burrell

FRIENDSJanice AdelsonLinda BenoitAmy BrookesSandra BrownSarah BuxtonMiriam CharneyTed DeutschEffie DilworthRobert DursoBarbara FosterSylvia FurashSue GronewoldPhilip HochAndrew KingTheresa KlinefelterPhyllis LearRyan LeaverPatricia LisenskyMark MoormanKimball & Ann MountjoyJean PoffNoriko SchneidermanAnna SchwartzDeborah SealoveElaine StraussLeslie TatzChannan WillnerJoy WiltenburgMiranda Wong

THE DAVID FRIEDLANDERMEMORIAL FUNDEdna GolandskyYoram and Hadas RudyAlan WassermanNancy Mostow

THE LAURENCE A. SCHNEIDERMEMORIAL FUND Jerrold CohenSophia PisanoAudrey SchneiderAlan Wasserman


We give heartfelt thanks to all who have helped to make the 2017 Golandsky InstituteSummer Symposium and International Piano Festival possible, including:

Bonnie Barrett, Director, Yamaha Artist Services, for generously providing us with fine instrumentsfor our lectures, master classes, practice rooms, and the concerts in Taplin Auditorium

PRINCETON UNIVERSITYMarianna Bogucki, and staff at the Center for Visitor and Conference Services

and the many support personnel who have made us feel so welcome

TAPLIN AUDITORIUMThe staff and volunteer ushers at Taplin Auditorium

Barbara BanacosDavid Bellos

Scott BurnhamDeborah Cleaver

Megan CoileyMarc DiccianiPatricia Franz

Meryl HartzbandJustin Jacobs

Audrey MarshallTherese MilanovicShawn Moreton

Lisa Olson & Lyman PageAreta Pawlynsky

Patricia A. RooneyMariko SatoEsther Schor

Bonnie SchultzNaomi SinnreichAdrienne Sirken

Elizabeth SwarthoutGail Ullman

Peter WeinbergMyra & Van Zandt Williams, Jr.

We thank the many others who have throughout the year volunteered theirtime, skills, talents, advice, and guidance and have enthusiastically and

lovingly lent their hearts and minds to the success of our fourteenth season.

We thank the following for their special gifts to the Golandsky Institute:


T H E G O L A N D S K Y I N S T I T U T E

Board of Directors & AdministrationEdna Golandsky Founder and Artistic DirectorJohn Bloomfield Faculty Chair and Founding MemberRobert Durso Founding MemberMary Moran Founding MemberBonnie BarrettShawn MoretonNaomi SinnreichPeter WeinbergMyra Williams

Jonathan Eifert Executive DirectorAdrienne Sirken Director, International Piano FestivalPeter Weinberg Legal CounselPatricia A. Rooney Legal CounselLucille Goeres BookkeeperBrandon Richards Web DeveloperPatrick Mavros Graphic DesignSusan A. Schwartz Copy Editor

Symposium FacultyEdna GolandskyBrenna BermanJohn BloomfieldDeborah CleaverFather Seán DugganRobert DursoYoriko Mizuno FielekeIlya ItinTherese MilanovicMary MoranMariko SatoAudrey SchneiderElizabeth SwarthoutSophie Till

The Golandsky InstitutePO Box 20726

Park West Finance StationNew York, NY 10025

1-877-343-3434www.golandskyinstitute.org

END OF SUMMER SYMPOSIUM GUIDEFLIP THIS BOOKLET FOR THE INTERNATIONAL PIANO FESTIVAL GUIDE

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