[This travel article was published in the November 2007 issue of the Qatar-based feature magazine ‘New Era’.]
It is late afternoon, and I’m writing this article on a muggy, fall day in New York City’s Central Park. I’m seated on patchy grass after finding myself a hotspot (thanks to free wi-fi in the park), catching up on e-mail and news. I arrived here on the comfortable Acela train from Boston, three and a half hours of super-smooth travel that skirted the Eastern seaboard with barely a whisper. Since my arrival, I’ve been drawn into a gritty, urban state of mind, while savouring the ability to keep walking for hours, being simultaneously assaulted and lulled by the sights and sounds of Manhattan. In contrast, the park is an anticlimax – a green cocoon of quiet; free of exhaust and the taut energy that wraps the avenues outside. The purpose of my visit? None really. I have no appointments to keep, no deadlines to meet. I’m staying at the New Yorker Hotel, in midtown Manhattan. Built in the art deco style of the jazz swing era, it was one of NYC’s premier hotels and hosted famous big bands such as those led by Benny Goodman and Woody Herman during its heyday. Unfortunately it stands in various states of disrepair today, but its location is hard to beat, offering an almost instant access to several key tourist spots and vistas in the city core. Situated a few blocks north is Times Square and Central Park, and to the South, Lower Manhattan and the Village with its interesting, funky neighbourhoods such as SoHo, Chelsea, Little Italy and Chinatown. Continue reading
[This article was published in the August 2007 issue of the Qatar-based feature magazine ‘New Era’.]
Attending the Montréal Jazz Festival in Canada has been a musical pilgrimage of sorts for me since emigrating to the West in 1994. A musical marathon, this festival spans eleven days and nights in the summer, turning the Western hemisphere’s largest French-speaking capital into an entertainment mecca for everyone from aficionados of pure jazz to its musical offshoots. By providing entertainment and plenty of other distractions to approximately two and a half million people, this festival overshadows both Canada Day and the Fourth of July, two big holidays in North America, with the European ambience strong enough to make one forget about anxieties south of the border such as war and terrorism.
[This article was published in the June 2007 issue of the Qatar-based feature magazine ‘New Era’]
When asked to name someone who has had a major influence in their lives, most people choose to mention a mentor figure – a teacher, sports coach or counselor. Having had a succession of piano teachers in my learning years, I can attest to their influence not only on my musical growth, but also in areas personal and psychological.
I began learning the piano at age six. In the years to follow, my teachers were chosen for me. If at all there was an interview, it was the teacher who had the final say in choosing the student. Understandable. For the most part, they were wonderful human beings, but their undemanding teaching methods (at least where I was concerned) and indulgent style left me unchallenged and I carried a certain void with me.
Recognizing the need to be challenged, I set out to find a teacher in my early teens. I was already in love with the piano, working zealously and enjoying practice as much as I did performance. Impatient to move ahead in my musical growth, I welcomed criticism, objective observation and discipline. My ideal teacher would be someone who would recognize my musical aptitudes and deficiencies, while shaping a curriculum that would bring out the best in me while setting a high standard of goals.
If you want to study music privately, recognize that you are a free agent, and can and should interview prospective teachers. As a teacher, I encourage students to query about my teaching methods & lessons before they sign up. Just as you might seek the opinion of two or three doctors on a medical issue before accepting one diagnosis and treatment over the others, I see no reason why a student shouldn’t take trial lessons with a few teachers before deciding on whom to study with eventually. Continue reading
[This article was published in the May 2007 issue of the Qatar-based feature magazine ‘New Era’. View as PDF.]
“My memory is shot” you mutter to yourself despondently, as you try to retrieve a speck of information from the dark recesses of your mind. And it’s not the first time you’ve experienced this mental blackout.
You’re trying to play from memory a solo piano work comprising sixty-four A3-sized pages – covering thirty minutes of performance time. But why bother to go through the arduous task of putting to memory something you’re better off simply reading? Here are a few reasons: It is protocol at some music competitions & festivals to perform without a score. If you ever arrive at a social event, and someone invites you to perform, you can do so, even you don’t have the score on hand. Besides you’ll be guaranteed to impress your audience, as there seems to be a false assumption by listeners and critics that if a piece is not memorized, it is not being played to it’s fullest potential.
Oh well, I’m happy to break the rules since I’m hardly the convention-bound teacher. I’m not in any way demeaning the practice of memorization; in fact a fair amount of my classical repertoire had been put to memory in my younger days. Some pieces require total virtuosic treatment – where the body is physically almost one with the instrument. I recall playing some etudes by Karol Szymanowski, (involving bi-tonality and plenty of crashing dissonant chords) in which the notes traveled at lightening speed, the performance wrapped up before I even knew I hit the last chord. I certainly couldn’t read and execute these pieces simultaneously. In this case, memorization totally facilitated my performance. Continue reading