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Who or what inspired you to take up composing, and pursue a career in music?

I had my first piano lesson at just four years old, my dad would love to have played but came from a family who just couldn’t afford lessons. He played me Beethoven’s Pastoral Symphony when I was about seven years old and I vividly remember being bowled over by the storm section. My first pop single was the Adagio from Spartacus and Phrygia which was in the charts because ‘The Onedin Line’ was a very popular TV series. I began writing songs when I was 15, mainly due to my father’s encouragement.

Who or what were the most significant influences on your musical life and career as a composer?

Coming from Wales and being surrounded by music in school the whole time meant it was a huge part of my life, right from the very beginning. I really enjoyed piano lessons, took my first exam when I was just six and music was always my great love. Sounds daft but significant influences are every single piece of music I’ve ever heard, all the classical greats plus Barry Manilow and Abba. I love good pop music and Abba wrote the best, most beautifully constructed songs. I don’t have a favourite composer, too many to choose from!

What have been the greatest challenges of your career so far? 

Small hands! I have always had to choose my music carefully. Rachmaninov was never going to be possible but I played Mozart, Mendelssohn well. Becoming a mum meant being permanently busy and not having the time (or inspiration) to write. I didn’t compose a note between 1998 and 2011 but when my elder son was working towards his Winchester College entrance exams and spending lots of time at his dad’s to study, I began playing again.  Within a few months, I had composed the whole ‘A Country Suite’ album, eight pieces for piano.

What are the special challenges/pleasures of working on a commissioned piece? 

I wrote to order early in my career. Jingles, incidental music for TV drama but I’m afraid I prefer working independently and putting together music for my own enjoyment (which, thankfully appeals to a wider audience too). I am a huge fan of Debbie Wiseman (she and I studied with James Gibb at the Guildhall School of Music and Drama in the 1980s) and she is expert at composing to pictures and being able to change things quickly. I am still very much a full time mum and would find that aspect very challenging. I still write at the piano with manuscript paper and a pencil!

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

Again, this isn’t something I do much. I composed a piece for SATB choir back in 2014 and it was a huge thrill to sing in a choir actually performing a piece I had composed in the beautiful setting of Douai Abbey in Berkshire.

Which works are you most proud of?  

I was a prolific songwriter in my teens/20s/30s and the first song I wrote ‘Ti a Mi’ (Welsh for ‘You and Me’) was a big hit for me. It has generated a lot of royalties over the years and is still played on the radio now.  I am very proud of ‘A Country Suite’: it has some lovely melodies and the piano pieces are rather more complex than they sound!

Who are your favourite musicians/composers? 

I love good music, melody, harmony and so, as well as classical music, I loved 1970s pop music, ABBA, Barry Manilow, Wizzard, Sweet, Slade, The Osmonds. In terms of classical music, I adore Puccini, Rachmaninov, Mozart, Bach.  I love a big romantic melody!

What is your most memorable concert experience?

Singing ‘One Voice’ in Barry Manilow’s choir at the Royal Albert Hall in January 1982 was very exciting.  My own ‘Concert for Autism’ was very special too. I put on a free concert at St Nicolas’s Church in Newbury in September 2009. I invited along some of Newbury’s most talented musicians and we raised almost £5000 for the West Berkshire branch of the National Autistic Society. I sang, played Mozart duets and a massive ragtime medley. It was great!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians and composers? 

I am not one to sweat over a piece. If it works, it tends to come quite quickly and I rarely (if ever) change things. If it works and sounds good, just do it.  I have broken many of the ‘rules’ of harmony and counterpoint, parallel fifths and octaves, parallel fourths. I’m not a fan of tritones and haven’t used those as yet but never say never! If the piece I’ve written sounds nice to the ear, is well structured, has a good intro, beginning, middle and end, then I’m happy.  If you have to keep changing it all the time, chances are it wasn’t that great to begin with.

Where would you like to be in 10 years’ time? 

Happily married and sharing my life with my new fiancé, John. He is also a trumpet player and we both practise together! Aw!

What is your idea of perfect happiness?

Loving someone special and knowing they love and cherish you too.

What is your most treasured possession?

I am not a big one for ‘things’ but my new engagement ring is very special to me.

What do you enjoy doing most?

Several things: attending concerts with John, playing the piano and realising a new piece is starting to form, going for pizza with my two amazing sons, walking my greyhounds in the woods.

What is your present state of mind?

As happy as I have ever been in my whole life!

Fiona Bennett’s ‘New Lady Radnor Suite’ is available now. With a nod towards Hubert Parry who composed ‘Lady Radnor’s Suite’ in 1894, Fiona has composed and dedicated her new album to her friend, Melissa (The Countess of Radnor). 

fionabennettmusic.co.uk

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Following on from my earlier post about the notion of the “self-taught pianist”, I would like to explore further how teachers can – and should – enable their students to teach themselves.

The word “teach” comes from the Old English tǣcan which means “to show, present, point out”. This for me, (and having studied Old English at university), gives a big clue to how teachers should approach their teaching. We should not be telling our students how to learn, but showing and guiding them.

My personal stated aim as a piano teacher, in addition to encouraging a love of all things piano in my students, is to enable them to become independent learners – to show them how to teach themselves. Based on my own piano studies as a teenager and as an “adult returner”, there is nothing more satisfying than discovering that it is possible to explore, learn and enjoy music without constantly running back to teacher for support.

Sadly, it strikes me that due to the way children are taught in primary and secondary school in the UK, they are being robbed of the ability to think and work independently, instead relying on teachers to spoon-feed them information to enable them to pass tests and exams, and to meet targets set higher up the educational hierarchy. I have observed this unwillingness to think and act independently in a number of my students, and I try to encourage them to instead take a leap of faith and rely on their musical knowledge and experience gained during their lessons with me.

There is a lot of mystique surrounding music teachers, particularly those who teach at a high level in conservatoire and specialist music school. Students may compete to be assigned to a “top” or “famous” teacher, and there can be huge advantages, real or imagined, in studying with these teachers, for they have been taught by the great teacher-pianists of an earlier generation and can pass down “secrets” from these teachers to their own students. This heritage can be very important – I have studied with high-level teachers/concert pianists who in turn have studied with such pianistic luminaries as Peter Feuchtwanger, Maria Curcio, Guido Agosti, Phyllis Sellick, Peter Wallfisch, Nina Svetlanova and Andras Schiff – but I think it is also important for students not to be too much in awe of these teachers, and to learn how to take from their current teacher what they need to enable them to play and progress to their best of their ability.

To quote from Leon Whitesell, a US pianist and teacher, “At best, we as teachers, must become like a wonderful cafeteria, where the pupil chooses and takes, as well as applies, whatever he/ she desires. We really can’t ” teach” anything, but pupils may take from our offerings that which they choose!”

In order for our students to select from our teacherly “cafeteria”, we first need to equip them with the necessary tools to learn independently. This may include:

  • notation
  • rhythm
  • sight-reading
  • technique and an understanding of how it serves the music
  • structure
  • an understanding of keys and key relationships
  • musical terms and signs
  • historical context
  • performance practice and stagecraft

In addition, the teacher’s role is to build self-esteem to enable the student to play with poise, expression and musicality. A good teacher supports the student to find their own musical voice and personality, will guide the student to find an appropriate and tasteful interpretation of their music, and encourages the student to be a musical explorer, to discover music outside of the repertoire under study for regular lessons. A sympathetic teacher tailors lessons to suit each student individually, is adaptable and flexible, and is able to identify what the student needs at that moment. In fact, the best teacher to teach students to teach themselves is one who is also engaged in ongoing study, who remains open and receptive to new ideas, and who is also willing to learn from their own students.

In contrast, an egotistical and/or possessive teacher wants to produce students in their own image whose sound reproduces that of the teacher, and whose students feel enthralled to their teacher. This approach does little more than boost the teacher’s ego, and makes students anxious

Adult students can present different challenges for the teacher as they often self-teach before seeking regular lessons, or enjoy exploring and studying outside of their lessons and may bite off more than they can chew and then become discouraged. I find that some adults, while being voracious learners, can lack confidence when it comes to trusting the musical instinct which enables them to work independently, and much of my work with adults, both as private students and via my piano group, is building self-esteem, encouraging them to let go of negative experiences with previous teachers (as both child and adult), learning to be wary of comparing themselves to others, and understanding how to practise effectively and intelligently in order to prepare music properly.

Adults also often like to seek feedback and advice from others aside from their regular teacher, through workshops, masterclasses and piano courses. I have met adult students who have attended so many courses and masterclasses they they have become confused by the myriad suggestions and signals given by different teachers. From my own experience attending courses and masterclasses, I would stress that it is important to take from these sessions only what you feel you need at the time (that notion of the “cafeteria” again!).

I encourage all my students to be questioning, to challenge me, and to set off on a path of musical self-discovery. I regard my teaching style as flexible, open-minded and sympathetic, and I tend to teach by asking questions of my students, or making suggestions, rather than saying “this is how to do it!” or “do it my way”. My own study currently involves two teachers/mentors who hold me to account for what I am attempting and who set the bar for my technical preparation through detailed study and knowledge of the score (Schubert Sonata D959). They do not impose their interpretation but allow the music-making to be my business, thus encouraging me to develop my own musical voice and to take ownership of the music.

One of the best aspects of my job is when a student arrives having resolved an issue which was proving problematic in an earlier lesson. Or the student who has selected a piece to learn on their own initiative and who simply needs some guidance from me to enable them to progress. Hearing my students perform in their end of term concert, as I did last weekend, was a wonderful indication of how much they are developing as young musicians, each with their own individual sound and style.

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A “self-taught” pianist (Lucas Debargue) who made it through to the final of this year’s prestigious International Tchaikovsky Competition, has been exercising journalists, commentators and bloggers in the immediate aftermath of the competition. Debargue is unusual in the highly competitive and often cut-throat world of international pianism as he came relatively late to his craft: he started to play aged 11, gave up at 17 and worked in a Paris supermarket before he started again and played so brilliantly that he was put in touch with a hot-shot Russian teacher. He was praised by two of the judges on the panel, pianists Dmitri Bashkirov and Boris Berezovsky, was awarded the Moscow music critics’ prize, and was invited by Valery Gergiev, no less, to play in the winners’ gala recital in the presence of Vladimir Putin. In addition to much positing and pondering about the notion of a “self taught” pianist making it to the final of such a major competition (one which has launched the careers of many “greats” of the piano world today, including Peter Donohoe, one of this year’s judges, John Lill, Barry Douglas and Daniil Trifonov, to name but a few), there has also discussion about what constitutes a “proper” musical training. These days, most of us understand “musical training” as study at conservatoire, music college or a specialist music school. In the rarefied hot-house atmosphere of such institutions the talents of tomorrow are carefully nurtured, ready to launch into a professional career when they graduate, and the “three C’s” – Conservatoire, Concerto, Competition – are regarded by many as the holy grail of a musical training leading to assured success and a slew of international bookings. The notion of someone who is “self-taught” reaching these dizzying heights, specifically the final of the Tchaikovsky Competition, seems alien, and yet perhaps the best students are those who realise that studying extends beyond the confines of conservatoire, music college or private lessons with a teacher or mentor.

In fact, it is inaccurate to state that Debargue is “self-taught” (but of course the mainstream media have latched onto this and sensationalised it). In reality, he studied at the Paris Conservatoire (CNSMDP) from the age of 20, and is currently taking instruction at the Ecole Normale de Musique Alfred Cortot in Paris under Prof. Rena Shereshevskaya. In 2014 he won the 9th International Adilia Alieva Piano Competition in Gaillard (France). He is pursuing a “proper” musical training, albeit somewhat later than some of his contemporaries. As Jessica Duchen says in her intelligent article on this subject, it is “dangerous to overplay the “self-taught” card because, sad to say, a large part of the British public thinks music happens by magic. That it’s something for “fun”. That it doesn’t take hard work to be good at it…………They seem to believe, too, that if you by-pass all the traditional channels but follow your dream in any case, you’ll be bound to come out as some kind of genius. That traditional studies are somehow bad and the inspiration of the moment is good, indeed is everything.”

To describe Debargue as “self-taught” devalues the amount of effort and hard work he has put in to get to where he is now. As a teacher myself, my aim is to encourage my students to become “self-teachers” – by which I mean to encourage them, through my guidance and support, to become independent learners, to explore, be curious, questioning, ambitious…… As one of my students said recently “I want to be able to open a book of music and play anything I want to”. My role, as teacher, is to equip him and my other students with the tools to do that. And as a mature student myself, I hope I can demonstrate to my students (and others) that one’s studies do not end when one has completed graded exams, for example, or left university; that learning is an ongoing process and one which can – and should – be undertaken independently.

“Self-taught” is not the panacea you think – Jessica Duchen’s article

The self-taught French pianist who wowed the Tchaikovsky competition – article in The Spectator

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Pianist Angelo Villani is not exactly a household name, though he was identified as a musical prodigy as a child growing up in his native Australia, and was selected to take part in the 1990 edition of the prestigious International Tchaikovsky Competition in Moscow. He never got to play: a trapped nerve in his right arm, the result of a sports injury, forced him to withdraw. The loss of sensation in his hand caused by the injury prevented him from performing, except only sporadically, while he sought a cure for his condition.

A quarter of a century on and Angelo is reigniting his performing career and planning his debut CD. Entitled Dante’s Inferno, the album will celebrate the 750th Anniversary of Italian poet Dante Alighieri with piano works by Liszt, Purcell and Wagner, all inspired by Dante’s ‘Divine Comedy’. The music selected recreates the world of Dante’s Inferno, depicting the burning desires, love and pain suffered by those condemned to inhabit the Underworld.

Tracklist

Dante Sonata by Franz Liszt

Dido’s Lament by Henry Purcell (arr. by Villani)

Tristan & Isolde by Richard Wagner (concert etude paraphrase by Liszt/von Bülow/Villani)

Sunt Lacrimae Rerum by Franz Liszt

Dante’s Sonnet by Hans von Bülow (arr. by Liszt/Villani)

Angelo has launched a Kickstarter campaign to fund his recording and the launch of the CD will be accompanied by a concert tour in Italy, tracing the footsteps of Dante Alighieri and the great composers Liszt and Wagner, playing in venues they once performed or were inspired by.

He has just three days left to achieve his target amount to enable the CD to go ahead. Please consider supporting Angelo Villani’s Kickstarter campaign

The Pianist who came in from the cold

Meet the Artist……Angelo Villani