Teaching Philosophy
Practice is not about fingers and techniques but the brain and concentration. As with sports, musical growth is a combination of concentrated, exacting muscle training in a context of fun and shared enjoyment, noticing, pondering, experimenting and gaining the confidence of true learning.
The ultimate goal is not to gain the perfection of recordings but to learn about one's individual process of growth and deepen the meaning gained from sharing music-making with others. The best practice rotates among factors from the serious to the hilarious to keep playing the instrument fresh and inviting. And though much good work must be done alone, it is crucial to interact with others of similar interest - of any age, ability, instrument and style - to expand one’s vision of music’s possibilities for emotional expression and refining techniques to communicate the heart. The Lineage: Ms. Fuchs, First Lady of the Viola
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I returned to music after College when I came across a teacher who was dependably positive, consistently nurturing and inspiring for the emotional expression one could find in the music and in one’s own heart. I stayed with Lillian Fuchs as long as I could manage, four years in New York at the Manhattan School of Music and ten summers at the Aspen Music Festival - twice a week, because she always coached my string quartets, as well. I wanted as far as possible to internalize her searching always for the “good note” that turns a phrase or fragment, retard or crescendo to an emotional gesture to touch your heart. Her eyes would sparkle with humor or poignancy as she sang and gestured and took up her viola to encourage a more human touch of real life in every musical phrase.