Aria International Summer Academy
Advanced Music Studies
2020 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 2020:

Violin

  • Classical Style – Bring your Mozart, Haydn, Beethoven and more! (Lansdale)
  • Essential etudes (Muresanu)
  • Vibrato: from 0 to 60 (Zazofsky)
  • The violin sonatas of Johannes Brahms (Bowlin)
  • The Vamos Left hand System: Schradiek and Korgueff (Fulkerson)
  • The (lost) art of the glissando (Chang)
  • Bach’s dance movements (Fulkerson)
  • Stunning Strauss – a practice guide for the first page of Don Juan (Yon)
  • How to use scales to your greatest advantage (Lansdale)
  • Bach Chaconne (Fulkerson)
  • Shifting 101 – Yost, Sevcik, and beyond (Yon)
  • Virtuosity pieces and slow encores (Muresanu)
  • Where to start: how to learn a new work (Grossman)
  • Romantic concerti (Krysa)
  • The U-shaped bow (Jolles)
  • Intelligent approach to bow distribution and bow speed (Ivakhiv)
  • Playing with a variety of colors (Ivakhiv)
  • Warm-ups for the Right Arm (Lansdale)
  • WWBW – what would Bach value? (Jolles)
  • DeBeriot and beyond – French violin works (Grossman)
  • Practice now, Netflix later (Jolles)
  • Extended violin techniques (Bowlin)
  • Somatics of violin playing (Grossman)
  • Preparation for a competition or audition (Chang)
  • The three levels of bow distribution (Grossman)
  • “Occasional Bach” – Loure, Andante, and Largo movements (Zazofsky)
  • Breathe your way to better playing (Grossman)

Cello

  • The Sarabandes of Bach: tempo, execution of chords, and phrasing (Mark)
  • How to warm up effectively, efficiently, and holistically (York)
  • Haydn C Major Concerto: how to practice, how to phrase (Curry)
  • Practicing 101: what is practice? Specific tips (Kraut)
  • Beethoven sonatas: the importance of thinking more like a pianist (Mark)
  • In search of colors: the Debussy Sonata (Kouzov)
  • Scale practice (Mark)
  • Elgar Concerto: musical and technical challenges (Uchimura)
  • Bow speed and vibrato intensity: key ingredients for expressing character (Tetel)
  • The building blocks of efficient practice (Balderston)
  • Brahms sonatas (York)
  • Tone and all things bow related (Kraut)
  • Importance of breathing and preparatory gestures (Kouzov)
  • The works of Robert Schumann (Tetel)
  • Piatti Caprice No. 1 – transforming bowing technique using the first two lines! (Kluksdahl)
  • Orchestral excerpts (Rafferty)
  • The Preludes of the Bach suites (Carrai)
  • Understanding shifting: when, how, and why (Tetel)
  • Romantic concerti (Fischer)
  • Auditions – how to prepare physically and mentally (Kraut)
  • Overlooked jewels: Duport etudes (Baldwin)
  • The magic of sound…or is it? (Balderston)
  • Timing, the essential ingredient in our personal interpretations (Tetel)
  • How to practice the Saint-Saens Concerto (Curry)
  • Why simple is difficult in cello playing (Uchimura)
  • Allemandes, Courants, and Sarabandes of the Bach suites (Carrai)
  • How much vibrato do we need to use? (Tetel)
  • The mysterious upper arm (Uchimura)
  • Haydn concerti (Fischer)
  • Triple and quadruple stopping in chords (Kluksdahl)
  • Lyrical encore pieces (Baldwin)
  • Popper etudes class (York, Tetel)

Flute

  • The Do’s and Don’t’s of the Mozart concerti (Keeble)
  • Unaccompanied solo flute works of the 20/21st Century (Barth)
  • The colors and technique of Daphnis and Chloe (Keeble)
  • Mock audition (Boyd)
  • Hue – Fantasie (Mendenhall)
  • The relationship between posture, hand position, and tone production (Thorne)
  • What makes a great teacher? (Barth)
  • Developing a great sound (Boyd)
  • Finding style in the excerpts of Beethoven (Goldman)
  • Auditioning for colleges and conservatories (Keeble)
  • Telemann Fantasies (Barth)
  • Developing effective practice strategies (Thorne)
  • Chaminade - Concertino (Mendenhall)
  • Stage presence and stage fright: conquering your fears and owning your audience (Keeble)
  • Building a brilliant tone and a spinning vibrato (Keeble)
  • Breathe bigger and easier: the pedagogy of Arnold Jacobs (Still)
  • Relax! Lose the body tension, gain better technique and sound (Shin)
  • The trouble with Bach and why we should play it every day (Goldman)
  • Deceptively difficult: Moyse Tone Development Through Interpretation (Toote)
  • Color as expressive device in Martin “Ballade” (Keeble)
  • Warm ups, posture, hand position: why these things matter (Toote)
  • Mozart concerti exposition: grab attention from the very first note! (Still)
  • Using Reichert’s 7 Daily Studies to increase color and expression (Goldman)
  • Burton – Sonatina (Mendenhall)

Clarinet

  • Mozart Concerto: a plan for every note, every phrase (Samuels)
  • How to practice technical passages efficiently and effectively (Gunn)
  • The use of air in sustaining a good legato in Rose etudes (Grant)
  • Schubert’s Shepperd on the Rock: overcoming interpretative and technical challenges (Fiterstein)
  • The orchestral excerpts of Beethoven, Schubert, Mendelssohn, and Brahms (Samuels)
  • I learned everything I know from the Weber Concertino! (Silver)
  • Cadenzas from concerto repertoire: Weber, Nielsen, Copland (Samuels)
  • How to approach French repertoire (Gunn)
  • Articulation in 20th Century works: Poulenc Sonata, Stravinsky Three Pieces (Fiterstein)
  • Warm-ups/drills/daily rituals: ask why! (Silver)
  • Legato and articulation in Beethoven’s 6th symphony (Grant)
  • Debussy’s Premiere Rhapsody: character, expression, and technique (Samuels)