Aria International Summer Academy
Advanced Music Studies
2016 Season - Mihai Tetel, Director
About the Program
Program Information for the Boot Camp Sessions

These sessions are designed to provide an intensive and in-depth experience for serious students aged 16-28. Workshops, master classes, lectures, and private lessons provide the participants with a wealth of information on technique, musicianship, intelligent practicing, career topics.

Please note: All participants receive instruction through private lessons and/or master classes from all teachers for their instrument in any given session.

All participants will be sent in May a list of suggested repertoire to prepare in order to fully take advantage of what the program has to offer.

Here is a tentative list of master class topics for 2016:

Violin

  • Romantic concerti: Sibelius, Mendelssohn, Beethoven, Tchaikovsky, Bruch, Lalo, etc. (Krysa, Keyes, Yim)
  • Vibrato mechanics (Grossman)
  • Applying Baroque techniques and interpretation to the Bach Solo Partitas (Jolles)
  • The art of the etude: Kreutzer, Rode (Zazofsky)
  • How to practice shifting (Fulkerson)
  • Large scale communication: playing solo concerti with orchestra (Lansdale)
  • Scales & arpeggios (Krysa, Chang)
  • Bach Chaconne (Keyes)
  • Creating sound and color with the bow (Jolles)
  • Works for unaccompanied violin (Lansdale)
  • Breathe your way to better playing (Grossman)
  • Dounis: left hand and bow arm techniques (Phillips)
  • The use of vibrato in solo Bach (Zazofsky)
  • Mozart concerti (Krysa, Yim, Chang)
  • The happy and healthy violinist (Jolles)
  • Ysaye’s solo sonatas (Zazofsky)
  • Perfect bow changes (Keyes)
  • The art of the glissando (Chang)
  • Encore-type pieces (Krysa, Grossman, Lansdale)
  • 20th century works for violin: Shostakovich, Prokofiev, Barber, Bartok, Stravinsky, etc. (Krysa, Yim)
  • Articulation (Fulkerson)
  • Orchestral excerpts (Jolles, Grossman)
  • Beethoven sonatas (Krysa)
  • Detache, Martele, and Spiccato (Keyes)
  • Great violinists from the past (Phillips)
  • Making the most of your practicing (Lansdale)
  • French sonatas: Debussy, Faure, Ravel, Franck, etc. (Krysa)
  • The art of the cadenza (Zazofsky)
  • Phrasing with vibrato (Keyes)
  • Haydn violin concerti (Grossman)
  • Left hand comfort in double and multiple stops (Keyes)
  • Fast vs slow balance for the left hand (Keyes)
  • Etudes and caprices (Grossman, Krysa)
  • How to create emotion in your playing (Keyes)
  • Prokofiev violin sonata (Grossman)
  • Phrasing a melody (Fulkerson)
  • Fear not the octaves! (Zazofsky)

Cello

  • Brahms sonatas (Fischer)
  • Shifting (Harris)
  • Understanding the language of Bach (Mark)
  • Conquering the Dvorak Concerto: practice strategies (Tetel)
  • Bow technique: connecting the fingers to the elbow (Carrai)
  • How to practice Haydn Concerto in C, 3rd movement: conquering the key transitions (Curry)
  • Keeping scale practice fun and useful (Mark)
  • Saint-Saens Concerto #1: a study of the unusual form and rhythmic intricacies (Uchimura)
  • Developing the artistic vibrato (Mark)
  • Beethoven – Variations: salient points, challenges, and strategies (Baldwin)
  • Multitasking through scales (Tetel)
  • Saint-Saens’ The Swan: technique and song (Balderston)
  • The importance of ornamentation and phrasing in a Baroque sonata (Carrai)
  • The scale: our most valuable tool (Balderston)
  • Popper etudes (Rosen, Tetel)
  • Sound explorations in Faure’s Elegy (Curry)
  • Orchestral excerpts: Don Juan by R. Strauss (Balderston)
  • Slow down! The benefits of slow practice (Uchimura)
  • Tchaikovsky’s Rococo Variations: breaking down technical hurdles (Mark)
  • Haydn concerti: a test of technique, style, imagination, and expression (Tetel)
  • Agility (Harris)
  • A new look at the solo suites of Bach: let’s dance! (Carrai)
  • Bowings and fingerings: achieving self-sufficiency and not relying exclusively on editions (Uchimura)
  • Prokofiev’s Cello Sonata: scenes from a childhood (Tetel)
  • How to practice: exploring strategies (Balderston)
  • Mendelssohn’s Song without words: a universe of techniques in under five minutes (Baldwin)
  • Sevcik and shifting (Rosen)
  • Are you practicing the bow? (Uchimura)
  • Bach suites: highly romantic or historically informed? (Tetel)
  • Catch and release: the keys to sound quality and diction (Baldwin)
  • Exploring dynamics and articulations: the human element (Balderston)
  • Elgar’s Cello Concerto: A Farewell to the World (Tetel)

Flute

  • Developing legato through practicing Moyse’s De la Sonorite (Thorne)
  • Martin: Ballade (Mendenhall)
  • Are you getting the best return out of your investment in practice? (Still)
  • Mastering Baroque affect through the Bach E minor sonata (Keeble)
  • Effective ways to practice Taffanel and Gaubert’s Daily Exercises (Thorne)
  • Debussy: Syrinx (Mendenhall)
  • What is great tone and how to find it (Still)
  • Mock orchestral audition (Boyd)
  • Ibert Concerto (Toote)
  • Developing your technique and voice leading in Andersen’s op.15 etudes (Thorne)
  • Mozart at the Opera: G and D major flute concerti (Keeble)
  • Vibrato: to wobble or not to wobble? How to get the right spin (Still)
  • Piccolo: The Ten Commandments (Toote)
  • Bach’s solo works for flute (Boyd)
  • Why etudes? (Gedigian)
  • How to practice Stravinsky’s Firebird Variation (Thorne)
  • Cueing (O’Connor)
  • Reinecke Concerto (Mendenhall)
  • Embouchure and air: the flutist’s bow (Thorne)
  • Playing the music BETWEEN the notes (Shin)
  • Stage deportment (O’Connor)
  • Gypsies: Monti’s Csardas and Doppler’s Hungarian Fantasy Pastorale (Mendenhall)
  • Color as expressive device in the Griffes Poem (Keeble)
  • Flute gym: building a strong warm-up and practice routine (Mendenhall)
  • Vibrato and sound (Gedigian)
  • Flute music by French composers (Shin)
  • Orchestral excerpts (Boyd, Mendenhall)
  • Manipulate your metronome (Still)
  • Creative, intelligent practicing (Mendenhall)
  • C.P.E. Bach e minor solo sonata (Toote)

Clarinet

  • Stravinsky: Three Pieces (Chodacki)
  • The Bel Canto clarinetist: Weber (Burrow)
  • Mozart Concerto: how to approach phrasing (Gunn)
  • Style and execution for the Firebird by Stravinsky (Grant)
  • Brahms sonatas: developing variations as the art of phrasing (Yehuda)
  • Orchestra issues: pitch, ensemble, and good colleagues (Mondie)
  • Rose 32 Etudes (Chodacki, Gunn)
  • Orchestral excerpts (Gunn)
  • Articulation: speaking through the reed (Chodacki)
  • The Bel Canto clarinetist: (Debussy)
  • Basic reed making/reed adjusting (Mondie)
  • Style of articulation for the Mendelssohn Scherzo and the Sibelius 1st Symphony Scherzo (Grant)
  • Practicing daily fundamentals/warm-up routine (Gunn)
  • The Bel Canto clarinetist: Brahms (Burrow)
  • Mastering legato in the 1st movement of the Brahms Symphony No.3 (Grant)
  • 20th Century clarinet concerti: Nielsen, Copland, Francaix, and Corigliano
  • Articulation differences in the first two movements of Beethoven Symphony No.6 (Grant)
  • Mock audition (Mondie)