Maestro Clinic DAY 3

12:30 – 1:00 PM

Establishing Good Violin Intonation

Jeffrey Solares (Violinist & Conductor)

Topic Description:

Developing good intonation from the start of a violinist’s training needs a regular dose of scales and arpeggios. Through a new book he recently developed, Mr Solares will present a simplified yet fresh and unconventional approach to the use of scales and arpeggios that can be used to teach beginners and give them a solid foundation for good intonation.

2:30 – 3:00 PM

French Quartet: Debussy

Stephen Johnson-Tseu (Cellist)

Topic Description:

French quartet literature is often intimidating to the inexperienced due to its complexity in structure; the French, however, have proven that there is more to quartet playing than following a "melody". In this session we will dissect Debussy's String Quartet's to allow a deeper understanding of how musical materials may provide creative ideas in presenting communication and interaction in the piece, or in any chamber music in general.

Note: Due to time constraints, only selected passages will be discussed.

3:15 – 3:45 PM

Sevcik Variations, Expressive Bowing for Mozart

Fintan Murphy (Violinist)

Topic Description:

An examination of violin bow strokes in the Mozart sonatas and concertos.

Fintan Murphy will demonstrate how the study of works such as the Sevcik Variations, op.3 can help greatly in developing the technical ease needed in classical playing.

4:00 – 4:30 PM

Schubert and Viennese Fortepianos

Dr.Tham Horng Kent (Pianist)

Topic Description:

There are several methods or approaches that performers can take into consideration in order to achieve a stylistic performance of Schubert’s piano sonatas: to have a deeper knowledge of the composer’s instruments is one of the issues that can be drawn on when trying to understand the tone colours that are available for the composer. In order to further widen one’s insights into the instruments which might have been available during Schubert’s time, a visit to Finchcocks Musical Museum in Kent, UK, provides some indication of their technical capabilities when played as well as their distinguished sounds. Finchcocks Musical Museum has a good collection of Viennese fortepianos and the investigation into the mechanism of the Viennese fortepianos such as the damper system, strike proportion of the hammers, touch resistance, key depth, pedals as well as the keyboard range is discussed and analyzed in this presentation.

4:45 – 5:15 PM

Practice Technique and Material for the Aspiring Musician

Foo Say Ming (Violinist & Conductor)

Topic Description:

A Brief Introduction to Practicing the Violin for the Young Aspiring Musicians, and for Aspiring Music Students.

6:45 – 7:15 PM

Conducting Music Lessons to the Community at Large

Dr. Garry Kuan (Violinist, Sports & Music Therapist)

Topic Description:

Assoc. Prof. Dr. Garry is Head of Sound Movement Art Rehabilitation (SMART) therapy at the Cerebral Palsy Research Cluster (CPRC), Universiti Sains Malaysia and he has often volunteered with the Yayasan Orang Kurang Upaya Kelantan (YOKUK) in the Music, Art and Drama (MAD) therapy programme. In addition, he conducts a bimonthly free music therapy programme at Hospital Universiti Sains Malaysia with the medical and health science students.

Previously, Dr Garry used music as a therapy to help autistic children, stroke-patients, and depressive adults, and had completed over-600 hours of applied work with Autistic children with the Integration Education and Communication (IEC) integrating musical education and Applied Behavior Analysis (ABA). He had conducted over 20 community music programmes in Kelantan state. In this presentation, Dr Garry will be sharing the joy of teaching music to the community at large.

7:30 – 8:00 PM

Interpreting J.S.Bach: A Cultural Matter

Marcello Defant (Violinist, Violist & Composer)

Topic Description:

Interpreting the music of Johann Sebastian Bach is not much about instrumental praxis. It should be mostly centered on his own personality, his aims and aspirations, his constant openness to whatever new and progressive, his deep sense of tonal dynamics and counterpoint.

In other words, the more we know about him as a person, the better we can try to bring back to life his unique musical language.