Grand Passion Pianos & The London Piano Meetup Group present a competition exclusively for adult amateur classical pianists. It is a two-stage event with a preliminary audition via YouTube. Ten pianists will be selected to go forward to the competition final in June.
The adjudicators for the preliminary round of YouTube auditions will be pianists Clara Rodriguez and Walid El-Yafi. Muzzaffar Shah from Grand Passion Pianos will also be joining Clara and Walid on the adjudication panel.
We are delighted to confirm that internationally-acclaimed pianist Leslie Howard will adjudicate the second stage of the competition.
The overall winner of the competition will be offered a solo recital with the South London Concert Series in 2016/2017. The competition organisers will select the runners up to perform as supporting artists.
Please read the information below (including the competition rules) and then email firstname.lastname@example.org for an application form. An entry fee applies to both the first and second rounds.
YouTube video – send a link to your performance that is filmed with clear sound and vision. Please bear in mind that the quality of your recording will affect the jury’s ability to accurately judge your performance.
Length: 10 minutes maximum
Entry Fee: £16.50
At least 2 contrasting pieces – your selection of pieces will be taken into account when adjudicating.
Deadline for sending audition videos: 1st March 2015
Please note that individual feedback will not be given for Round One. Entrants may not enter into any kind of discussion with the adjudicators
The adjudicators’ decision is final
Notes for Competitors:
Your recording and subsequent performances must display contrasting classical styles with a minimum of two pieces (e.g. Classical & Romantic, Baroque & 20th Century; Baroque & Romantic, and so on). You are welcome to offer more than two works provided the total playing time does not exceed 10 minutes for the audition and 15 minutes for stage two if chosen.
The recording must be without announcements and keep strictly to the time limits.
Please include a short covering letter, telling us about yourself including D.O.B. and musical achievements relating to graded exams and performance diplomas.
10 pianists will be chosen to go through to the second round on 27 June 2015, to be held at a central London location.
Open to adult amateur pianists aged 27 and over.
Pianists who have studied a Music Performance Degree (or equivalent) at a conservatoire or similar tertiary education establishment are not eligible for this competition. Pianists deriving the majority of their income from music performance are not eligible.
Teachers who do not perform as part of their teaching role are invited to enter provided they have not been awarded a University/Conservatoire music degree within the last 20 years.
All entries will be subject to a background check to determine whether the entrant is publicly recognised as a professional pianist. In case of ineligibility, your entry fee will be refunded. If at any point during the competition process it comes to light that any fraudulent information has been provided, we reserve the right to remove the entry.
Praised for its ability to combine quality music making, varied programmes and a convivial atmosphere, the South London Concert Series 2014/15 season launches on Sunday 14th September with a special concert at one of London’s most beautiful small venues.
‘Notes&Notes’ combines music and words in a concert of music by J S Bach and Joseph Haydn by acclaimed pianist and teacher Graham Fitch. Join Graham after the concert for a cream tea and the chance to socialise with other music lovers.
Classical guitarist Matthew Sear plays works by Benjamin Britten and John Dowland, together with his own compositions from his new album. Matthew is joined by supporting artists Rebecca Singerman-Knight, Muzz Shah, Jennie Barham and Julie Cooper in music by Prokofiev, Bortkiewicz, and Rachmaninoff. Early Bird Tickets now available. Buy Tickets
12 December 2014 – Ernest So, piano, at the 1901 Arts Club. ‘Russian Romantics’.
A concert with a special accent on lesser-known Russian romantic repertoire, including works by Bortkiewicz and Medtner. Ernest is joined by supporting artists Rob Foster, Clio Chu, Petra Chong and Claire Hansell. Buy tickets
22nd January 2015 –Frances Wilson at LASSCO Brunswick House, Vauxhall, SW8. The South London Concert Series returns to the opulent setting of the Saloon at Brunswick House, a magnificent Georgian mansion which is home to an eclectic collection of antiques and salvaged curiosities. Join SLCS Artistic Director Frances Wilson and supporting artists for a concert of piano music by Debussy, Pärt, Schubert, Satie, and Messiaen, plus the world premiere of Preludes for piano by Matthew Sear.
17 September 2015 – Daniel Roberts, piano, and Hannah Woolmer, violin, at LASSCO Brunswick House.Set in the wonderful opulence of the Saloon at Brunswick House, we present a recital of music for violin and piano and solo piano. Programme and supporting artists to be announced. Buy tickets
On Sunday 29th June a group of pianists and piano fans gathered in the beautiful tiny church of St Mary’s Perivale for a whole day of piano goodness. Hosted by myself and my friend Lorraine Liyanage (with whom I run the London Piano Meetup Group and South London Concert Series), the aim of the event – and this is true of all LPMG events – was to provide a friendly and supportive environment for pianists to meet to share repertoire, perform and receive tuition from two visiting tutors, Dr Mark Polishook and Graham Fitch.
The small size of the church and the fact that most attendees already knew one another and the tutors, made for a very enjoyable and convivial day, with much conversation and laughter interspersed with some very fine music. (Plus homemade cakes!)
The day began with warm up exercises in the sunny church yard. These exercises, devised by my teacher Penelope Roskell, are drawn from yoga exercises and provide a very comprehensive, yet simple warm up away from the piano. It is not obligatory to do them outside, but it is very nice to do so, in the warm summer sunshine! Then we were back in the church for the first masterclass of the day – improvisation for the classical pianist, led by the enthusiastic and ever-inventive Mark Polishook.
Mark’s approach is to take one on a journey of discovery, setting tiny seeds from which more involved improvisation can grow. Sometimes he begins with a piece which the participant is working on, but at Sunday’s class, he simply asked each participant to play a series of notes, very very slowly. His emphasis is on listening and appreciating not only the sound and quality of the notes, but also the spaces in between them. He gives the classical pianist, who may have come from a background of narrow and/or rigorous training, the freedom to let go of many ingrained preconceptions, to be “thankful” for wrong notes (these can be the impetus for further improvisation or musical explorations) and to engage the right hand side of the brain, banishing the more rational voice which might say “you can’t do that!”.
Graham Fitch is a highly skilled and most encouraging teacher who has an innate knack of identifying what the student needs there and then, and can offer straightforward and practical solutions to even the most seemingly intractable pianistic problems – from creating intelligent fingering schemes to suggestions for creating vibrancy in Mozart’s semiquavers. His advice is relevant to all, whatever level and whatever repertoire, and everyone who has participated in and observed his classes can go away feeling they have the necessary equipment and, more importantly, confidence, to practise independently and creatively. (This approach is also reflected in Graham’s excellent blog – Practising the Piano.)
The day concluded with an informal concert by masterclass participants performing a range of repertoire by Chopin, Debussy, Poulenc, Liszt, Scarlatti, Pärt and Prokofiev, and a overriding sense of achievement and pleasure.
The London Piano Meetup Group hosts regular performance events and masterclasses with visiting tutors in and around central London. Please visit the LPMG website for further information about upcoming events.
Graham Fitch will give a concert with talk on Sunday 14th September 2014 at Craxton Studios, Hampstead, north London. The concert will be followed by afternoon tea. Full details and tickets here
The UK Masterchef competition for amateur cooks has reached its series finale, won by Ping Coombes, a 32-year-old full-time mother who wowed the judges and tv viewers with her original, flavoursome and exciting dishes inspired by her homeland, Malaysia.
Throughout the competition, contestants’ dishes were critiqued and judged by “external moderators” in the form of previous Masterchef winners, “celebrity” chefs, including Tom Kerridge and Marcus Wareing, and food critics Jay Rayner and William Sitwell, amongst others, many of whom expressed surprise that a bunch of “amateurs” could produce such classy, technically complicated, restaurant-standard food. When it was Marcus Wareing’s turn to judge the semi-finalists, in a nail-biting round for he is famously acerbic and downright scary, he said of one dish “that is remarkably good – for an amateur” or words to that effect. And after that, every time I heard the word “amateur” on the programme, a little bit of me died.
I have blogged before about the definition of “amateur”. The word suffers, in the English language at least, from its association with the hobbyist, the “Sunday painter” or dilettante, and suggests cack-handedness and lack of finesse or refinement. Things which are described as “amateurish” are usually badly done or poorly put together. Not so these finalists in Masterchef: their dishes showed imagination, creativity, highly-developed technical skills and, above all, love for what they were doing. Ping’s sheer enjoyment and delight in producing delicious food for family and friends was evident from the moment she first entered the competition and remained the abiding theme of everything she did, endearing her to judges and viewers alike.
The debate about amateur versus professional is one that continues to run (and will go on running) in the sphere of music and the arts (and beyond), and particularly within the narrow sphere of classical music. I co-host a piano group for adult “amateur” pianists in which the standard of playing is quite varied, but it must be said that the majority of members plays to an extremely high standard. A number have attended specialist music schools or conservatoire but chose a different career path, not having the requisite temperament to hack it as a professional musician (and perhaps preferring a more reliable salary!). Many of us enjoy performing, and we practise and finesse and perform our pieces with a professional mindset.
In a recent post for his own blog, pianist Stephen Hough gave a perfect definition of “amateur”, citing the Latin origin of the word – the verb amare = to love:
An amateur is not someone who is less good than a professional but rather someone for whom love overcomes obstacles…. (Stephen Hough, 7 May 2014)
This sensible and, to my mind, very accurate description struck an immediate chord with myself and many pianist friends who struggle with the word “amateur”. Those of us who play at a semi-professional level, intermediate players, beginners, returners, “Sunday pianists” all share this profound love for the piano. Eavesdrop on any conversation between members of my piano group and this passion is more than evident as we discuss the myriad aspects of our craft: practising, repertoire, exams, concerts, performance anxiety, favourite professional performers, memorable performances and recordings. The only difference between many of us and the pros is, as a professional pianist friend said to me recently, “the pay cheque”.
I take issue with those rather ungenerous people in the music world, and beyond, who suggest that people like me and the other members of my piano group should not be performing in public, nor posting our performances on YouTube or Soundcloud (in the same way as I take issue with “professional journalists” who seek to undermine the value of blogs such as this and many others). It suggests a certain envy or resentment – for we are not trying to touch the professionals, but we might just conceivably touch the audience with our fidelity and commitment to the piano and its music. Sometimes the most hesitant performance can move because the audience knows the amount of hard work, and anxiety, that has gone into preparing for that performance. Playing for one another at piano circles, piano groups and at people’s homes offers a supportive environment to put repertoire before a friendly audience, and many amateur pianists use opportunities like these to prepare for exams, festivals, diplomas and concerts. Many amateurs practise seriously, sometimes for several hours every day, and cite the therapeutic benefits of playing the piano, the chance to escape and lose oneself in the music, after a busy day at the office. Those who perform more regularly understand the necessity to conquer performance anxiety and hone their stagecraft in addition to pulling off a polished and convincing performance.
Alan Rusbridger’s book Play it Again (2013), in which the editor of the Guardian charts his learning of Chopin’s G minor Ballade, a famously difficult work even for the most seasoned pro, offers some interesting glimpses into the world of the amateur pianist. There are piano circles, performance platforms, concerts in people’s homes, informal get-togethers, courses and more which bring amateur pianists of all levels together to play, share repertoire and socialise. Meanwhile, popular summer schools at home and abroad offer amateur pianists the opportunity to study with, and gain inspiration from international concert artists and renowned teachers from some of the top conservatoires around the world. The most famous summer school at Chethams, known affectionately as “Chets”, boasts a large and impressive faculty, including “greats” such as Peter Donohoe, Leslie Howard, Noriko Ogawa, and Boris Berman, and is held over two weeks in August. Summer schools like this offer not only specialist tuition, both one-to-one and in a masterclass format, but also performance opportunities, faculty concerts, recordings, chamber ensembles and choirs, and plenty of “piano chat” between students. Firm friendships are made on courses and piano weekends such as these as like-minded people come together to share and express their love of the piano and music-making.
And so back to Masterchef, and Ping and her fellow finalists. Just as my friends in my piano group show a deep passion for the piano and everything connected with it, so these three “amateur” cooks display a deep and consuming love for food, for creating and preparing it and sharing it with others. If Ping and the other finalists Jack and Luke go on to pursue a “professional” career in the food business, I hope they won’t ever lose that love. And just as food is created for sharing, so is music.
A stag with an impressive set of antlers surveys the room, while a white-tuxedo’d Tony Curtis keeps watch over the proceedings from his niche in a corner near the piano, a John Hopkinson baby grand with a rosewood case. Glittering chandeliers hang from the ceiling, illuminating the exposed brickwork on two walls of the room and highlighting the colours of the stained glass panels in the elegant sash windows. Exotic oriental rugs are draped over vintage British Rail first class seats, and at the back of the room, a glass cabinet is filled with antique pharmacy jars. Welcome to Brunswick House, part of the London Architectural Salvage and Supply Co, a Georgian mansion just five minutes from London’s Vauxhall Station, flanked by the brand new 5-star hotel and luxury apartments of One Nine Elms. Brunswick House is a treasure trove of antiques and salvaged curiosities, and on Thursday night last week, it provided a wonderful and eclectic venue for a fine evening of music making and conviviality.
“A superb evening – huge fun was had with a mix of musical genres in a delightfully decrepit and stylish Georgian mansion. Best of luck promoting these salon recitals, the way music is meant to be played and heard.”
Rosalind, audience member
The concert was part of the South London Concert Series, and featured a recital by BBC Music Magazine’s “rising star” Emmanuel Vass, together with supporting performances by three talented members of the London Piano Meetup Group, who despite not being “professional” pianists, played with equal poise, musical sensitivity and professionalism. The diverse programme matched the unusual setting, with music by Bach, Chopin, Turina, and Mozart together with Emmanuel’s own transcriptions of pop songs by Queen and The Prodigy. In keeping with the SLCS ethos of recreating the nineteenth-century musical salon, an hour of music was followed by much conversation and socialising in the ante-room next to the Saloon, and continued downstairs in the restaurant adjacent to the house.
“The South London Concert Series is both innovative and traditional. Events blend an appreciation of fine music and music making with conviviality, and blur the artificial distinctions between professional and amateur”
James Lisney, international concert pianist
The final SLCS concert of the 2013/14 season is on Friday 16th May at the 1901 Arts Club. Entitled ‘Eastern Accents’, the concert includes music from Russia and Japan, and features a performance by guest artist Vatche Jambazian. Further details/tickets here
“The South London Concert Series is innovative……..events blend an appreciation of fine music with conviviality”
The third concert in the South London Concert Series featured guest artist Anne Shingler, a vibrant and sensitive pianist whose programme reflected her wide-ranging musical tastes with music by Bach, Suk, Messiaen, Stevenson and Rodgers & Hammerstein. Anne was supported by performances by Jose Luis Gutierrez Sacristan, Edi Bilimoria and Lorraine Womack Banning, all members of the London Piano Meetup Group who play to an extremely high standard and who offered works by Ginastera, Brahms and Debussy. The programme was a musical travelogue, taking the audience from Argentina (Ginastera) to the Far East (Debussy’s evocative ‘Pagodes’) via Europe and America.
With a loyal band of “regulars”, who have been to every concert in the series so far, members of the London Piano Meetup Group, friends, family, supporters and music lovers, the atmosphere in the salon at the 1901 Arts Club was warm and convivial, while the after party was cheerful and noisy. All in all, this was very much an evening of music for friends, played by friends and amongst friends, confirming once again that the South London Concert Series offers a formula that works. The enthusiastic feedback from performers and audience more than endorsed this, and we are eagerly looking forward to the next concerts in the series, and to developing the SLCS concept further.
Forthcoming SLCS concerts:
3rd April – Emmanuel Vass at Brunswick House
BBC Music Magazine’s March “rising star” performs music by Bach, Liszt, Granados and Turina, together with his own transcriptions. Emmanuel is supported by Jose Luis Gutierrez Sacristan, Rob Foster and Lorraine Womack Banning, who will perform works by Bach, Chopin and Mozart. Ticket price includes a glass of Prosecco on arrival, and guests are invited to join the performers and hosts for dinner afterwards (not included in ticket price). Tickets here
16th May – ‘Eastern Accents’ at the 1901 Arts Club
Vatche Jambazian is the guest artist for an SLCS concert with a special accent on music from eastern Europe and Russia. Vatche will be supported by SLCS co-founders Lorraine Liyanage and Frances Wilson, LPMG member Jennie Barham and violinist Alex Ewan. Music by Shostakovich, Ustvolskaya (a student of Shostakovich), Khatchaturian, Szymanowski, Biber, and Rachmaninov. This is the final concert of the SLCS 2013/14 season. Tickets here
All the enjoyable and engaging features of ‘Pianist’ magazine are included in this new piano techniques app: informative and easy to understand articles on technique and repertoire, how to play a particular work with guidance from a top teacher, free sheet music (18 pieces in fact, from beginner to advanced level), an interview with Lang Lang, contributions from expert teachers, and more, all presented in an interactive and accessible format.
The organisation of the content will be familiar to anyone who reads Pianist magazine regularly. Clear, well laid out articles are enhanced by video tutorials by renowned teachers and pianists, and soundclips, which enable the reader to listen to the pieces presented in the free sheet music section.
The app is easy to navigate, with clear swipe commands and helpful notes and asides which enhance the articles. In effect, the app offers the very best of ‘Pianist’ magazine in a user-friendly and portable format – read it at the piano or in bed – and is ideal for the beginner, intermediate or more advanced pianist.
In a recital space somewhere in central London a group of people are seated in a rough semi-circle around a Fazioli 212 grand piano. Some lounge in their seats in a pretence of relaxation, others crane forward eagerly for a view of the keyboard, many clutch music scores. The young man seated at the piano composes himself for a moment, takes a deep breath, and then lifts his hands and launches into the iconic opening bars of Rachmaninov’s G minor Prelude. The music soars from the piano, filling the space. The small audience listens attentively, and at the end there is enthusiastic applause. Welcome to the world of amateur pianism.
This is an extract from a longer article I wrote for Bachtrack’s ‘Piano Month’. Read the full article here
“a wonderful range of repertoire in this most intimate of venues”
“proactive and inspiring”
“Enjoyable time travel at the 1901 Arts Club: The venue was perfect. It transported us back a century or so to the salons of the late 19th century. Even the subdued lighting contributed to the effect. Then the performers gave us a fascinating, varied programme of piano music which again whizzed us from the 18th century back to the present day. The playing was of an excellent standard, and the pre- and post-concert atmosphere warm and convivial. Highly recommended.”
On a windy Friday evening at the end of November, a group of pianists, piano fans and music lovers gathered in the gold and scarlet salon of the 1901 Arts Club, an intimate and stylish venue close to London’s Waterloo Station, for the launch of a unique new concert series.
Conceived by pianist, harpsichordist and piano teacher Lorraine Liyanage, and hosted and curated by Lorraine and myself, the South London Concert Series (SLCS) developed out of the London Piano Meetup Group, which we co-host. We are both passionate advocates of amateur pianism, and we wanted to give adult amateur pianists the opportunity to perform in a formal concert setting on a really beautiful piano (a Steinway C). But that is only half the story: we also wanted to give young and emerging professional artists exposure and support as they embark on a performing career. So we wondered what it would be like to place professionals and amateurs in the same concert format. Our first guest recitalist was Helen Burford, a Brighton-based pianist with a keen interest in contemporary British and American repertoire and an unerring ability to create exciting programmes with unusual musical juxtapositions.
Any anxieties about this new concert concept were soon dispelled when the first performer, Mark Zarb-Adami, stepped up to play two stormy and passionate Preludes by Karol Szymanowski. This was followed by the first movement of Mozart’s Piano Sonata K576, played with conviction and some sensitive articulation and shading by Emma Heseltine. Then it was the turn of Helen, our guest artist, whose programme lasting approximately 35 minutes combined the sensuality of Chick Corea’s Three Piano Improvisations with the powerfully haunting Incarnation II by Japanese composer Somei Satoh, an elegantly romantic reading of a Sonata by Scarlatti, the industrial sounds of Martin Butler’s Rumba Machine, and ended with the exuberance of David Rakowski’s Etude: A Gliss is Just a Gliss. In a nice gesture, Emmanuel Vass, guest performer at the second SLCS concert in January 2014, presented Helen with a bouquet, before Susan Pickerill played works by J C F Bach and Stephen Heller. The final performance was by Daniel Roberts, a young professional pianist who will also feature in as a guest recitalist in a later concert in the series. He played a work by his teacher, the maverick pianist and teacher Peter Feuchtwanger. Subtitled “study no. 4 in an Eastern idiom”, Tariqa 1 recalls the harmonies and timbres of Middle Eastern instruments, in particular the santur, an Iranian dulcimer.
Throughout the concert, the audience listened attentively and applause was given enthusiastically for every performer. The immediate reaction from audience members after the concert was praise for the venue, its decor and its unique ambiance – like enjoying music in your own home – and the unusual repertoire choices, which created an interesting and contrasting programme. This is, in fact, the other unique selling point of the SLCS: we actively encourage people to play lesser-known and/or rarely-played repertoire, which one is unlikely to encounter in mainstream concert venues.
The elegant upstairs bar and sitting room at the 1901 Arts Club was available for the exclusive use of performers, audience and hosts, and we enjoyed a very cheerful and noisy post-concert reception, enlivened by Prosecco, the positive feedback from audience and performers, and the feeling that we have created something rather special. A short concert (60 mins) of varied and unusual repertoire in an accessible format combined with the opportunity to meet the performers and socialise with other music lovers seems just about perfect, but perhaps the best part was the poise and conviction with which the “amateur” pianists played, their performances fitting in perfectly with Helen’s recital in the middle of the concert. It was an extremely enjoyable, stimulating and successful launch to what we hope will be a long-running series of concerts.
The first SLCS concert of 2014 with Emmanuel Vass is already sold out. Further concerts take place in March, May, July and September. Full details of upcoming events are on the SLCS website. Visit our dedicated Facebook page for more content, including photographs and soundclips, and follow us on Twitter – @SLConcerts.
Lorraine and I would like to thank everyone who has been involved in the launch of the SLCS, from performers and audience to our media partners, friends, family and many other supporters.
Is your practising getting you down? Do you need inspiration and encouragement? Would you like to meet other pianists and learn from the professionals? Then why not try a piano course or summer school this coming year…..
There are courses and summer schools for pianists of all levels, from single days and “taster” courses to piano weekends and whole weeks of piano goodness in the company of some of the finest pianists and teachers from around the world. Courses are a great way to connect with other pianists and like-minded people and are brilliant for improving skills such as technique and performance. Here is my round up of some of the best courses in the UK and beyond:
Hindhead Summer Piano Course. ***Taster days and one day options still available*** Held at Hindhead Music Centre in the picturesque South Downs, the 2014 course will have a special accent on the last three piano sonatas of Beethoven. Masterclasses, lectures, faculty and student concerts, discussion groups, “recorded treasures”, and more, plus fine food and a relaxed country house atmosphere. Taster and single day options. Ability cGrade 5 to post-diploma. Tutors: Simon Nicholls and James Lisney. Details here
Chethams Summer School for Pianists. Known affectionately as “Chets”, this is probably the most famous summer school and boasts a fantastic faculty of international artists and teachers. Masterclasses, concerts, ensembles and more. 2014 faculty includes Leslie Howard, Carlo Grante, Leon McCawley, Murray McLachlan, Ashley Wass and Noriko Ogawa, amongst many others. Full details here
Walsall Summer School for Pianists. PLACES STILL AVAILABLE Formerly the well-established and popular Hereford Summer School for Pianists, the course successfully moved to a new home at the University of Wolverhampton in 2013. Mixed ability classes. Tutors will aim to cover both technical problems and interpretative points which will be of interest to the entire class. Faculty: Graham Fitch, Karl Lutchmayer, Christine Stevenson, Lauretta Bloomer, James Lisney. Details here
Penelope Roskell’s Advanced London Piano Courses. An inspiring and supportive weekend course (3 full days) focussing on repertoire, technique, and yoga for pianists. Ideal for pianists preparing for concerts, competitions, diplomas or auditions, or for anyone suffering from technical problems, physical tension, injuries or nerves. The course is run as a series of masterclasses with plenty of opportunities for discussion and exchange of ideas, and ends with a concert on the Sunday afternoon. Ability level: post-Grade 8 to post-diploma. Full details here.
Penelope also runs one-day workshops for pianists and piano teachers exploring aspects such as performance anxiety and teaching technique. Further details of all courses here
Music at Ambialet. Summer school for professional, advanced and amateur pianists in the Tarn region of France, established by renowned teacher and Debussy scholar Paul Roberts. The courses are select, with a maximum of 20 resident participants on each of the three eight-day courses throughout August. Full details here
Royal Conservatoire of Scotland Summer SchoolsThis five and a half-day intensive summer schools aims to inspire pianists who are currently studying at conservatoire level or considering studying at a conservatoire. Students on the music summer school will benefit from using the Royal Conservatoire’s leading training and performance facilities, including a fleet of new pianos, wonderful concert venues and a state of the art recording studio. Full details here
London Piano Meetup Group. Not strictly a course, the LMPG, run by myself and Lorraine Liyanage, offers monthly performance platforms and masterclasses with visiting tutors for pianists of all levels in a friendly and supportive environment. Full details of all our events here
Dartington Summer School. The Summer School runs for five weeks, with 20-30 courses week-long courses taking place every day during each week – from individual instrumental and vocal classes to chamber music, large ensemble courses and composition. You can take part in up to four courses per week, and stay for one or all five weeks! Full details here
CoMA (Contemporary Music for All)16 – 22 August. “an exhilarating and supportive environment for exploring new repertoires, developing music-making skills and forging new and enduring friendships.”. Full details here
**NEW**The Alan Fraser Piano Summer School An opportunity to study with pianist, teacher and author of The Craft of Piano, Alan Fraser. The Alan Fraser Institute organises masterclasses and coaching sessions around the US and in Europe. Full details here
Frances Wilson blogs on pianism, classical music and culture