Except the pupil doesn't prepare the lesson the same way. If you want to benefit from a masterclass, one should have studied the work as far, deep as possible.
The pressure is the same as for a concert IMO.Carey wrote: ↑Wed Aug 09, 2017 1:57 amI have only observed 'master' classes, and have learned a lot from them I think, but I wouldn't want to play in one. What a pressure cooker!
After all, it is supposed to be about... music, right? I guess if you're an aspiring pro it makes sense to have these kind of intense situations.
Of the ones I've attended, the teachers who've stood out to me were, as mentioned above, David Tanenbaum (low-key and encouraging, but misses nothing), Hubert Käppel (better be prepared, that guy's serious, and expects you to be), and Jonathan Leathwood (insights I'd probably never
Also, for many less than top level guys they are a bit of 'bunce'. A chance to earn a little more out of their appearance in a particular location due to the fees paid by both the participants and spectators.
I wouldn't say I've seen unprepared players often, but too frequently yes. In those cases, I could learn as a teacher with limited experience how an experienced master would start to solve the too many problems. Also useful even for my own approach to a new work.
Perspective. The reason behind performing in a master class is to get the perspective of the piece from THAT teacher/performer. IE - I want to know what "this player" thinks of how I'm playing the piece and what insight they can give me. At times the information is a repeat from your private lesson instructor. So one could ask the question afterwards, "Hum...maybe I'm missing something?" or "I thought I was doing this but now 2 different people have told me otherwise." It provides the performer with a bit of self reflection which then (hopefully) allows them to grow as a musician.
It's not supposed to.
This reinforces my view that some players who my be great, might need some basic teacher training. ie. the first law of teaching young adults should be - give them respect and be sensitive.astro64 wrote: ↑Sun Aug 13, 2017 4:51 pmLet's say that the Oscar Ghighlia masterclass at the GFA this year probably was not experienced by all players in an equally positive light. He was rude, even swore once at a student, and started telling a story about his own prowess playing competitions within the first few minutes of the student's performance. Needless to say, no one got to play more than a handful of notes before they were stopped. And some of these were GFA competitors.... I am sure there were some useful comments in there somewhere but the style of the class was an immediate turnoff and I felt sorry for the students. Fortunately all students took the experience with grace.
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