Wednesday, March 8, 2017

Full time Accompanist gig

Piano Accompanist (Lecturer 10 months)
State University of New York (SUNY) College at Purchase

Application Deadline: March 31, 2017

Description:
We seek a faculty member with experience and interest in collaborative piano for instrumentalists and vocalists, as well as chamber music performance. This position manages all collaborative piano services in the Classical Division of the Conservatory, including hiring and supervising employees and independent contractors, working with faculty to schedule and coordinate collaborative services (opera and voice, strings, woodwinds, brass). The position also serves as the primary collaborative pianist in the Conservatory. Other duties, as assigned by the Director of the Conservatory, may include: interacting with presenting venues on campus, including the Performing Arts Center and Neuberger Museum of Art, and participating in academic advising and community service (which encompasses committee work as well as College, School, and Board of Study governance).

Our ideal candidate will be comfortable working and thinking across disciplines, having interests and experience that extend beyond his or her specialty, and encompass broader approaches to art practice and human knowledge. Successful candidates will demonstrate their commitment to student learning, success, and liberal education.

Founded on the principle that artists and scholars are indispensable to each other and to an enlightened society, Purchase College combines professional conservatory programs in the visual and performing arts and distinguished programs in the liberal arts and sciences. Located 25 miles north of Manhattan in Westchester County, the campus celebrates individuality, diversity, and creativity as we encourage students to Think Wide Open . At Purchase College, the arts play a special role liberal education infuses the arts and the arts infuse the campus. Purchase College is part of the State University of New York system.

Qualifications:
QUALIFICATIONS: Applicants must possess a graduate/professional degree (MM, DMA, Ph.D., PD, PL, etc.) in a related discipline or show substantial commensurate professional experience. Teaching experience in music at an undergraduate or graduate level. Experience accompanying students of string, woodwind, and brass instruments. Experience playing chamber music. Familiarity with standard Italian, German and French art song repertoire. experience as an opera rehearsal pianist

In addition, current demonstrable collaborative experience as well as the management of collaborative pianists is required. Experience teaching and mentoring undergraduate students is preferred.

Salary: $44,000

Application Instructions:

Applicants must attach the following to the online employment application:

1) Cover letter (maximum one-page) expressing interest in the position and summarizing qualifications
2) CV, including noted productions, reviews, published articles, panels/papers, service, courses taught, etc. (Do Not Submit Original Materials.)
3) Names, addresses, and e-mail addresses (and phone numbers, if possible) of three references (attach as "Other Document 1").
4) Two statements: the first is a statement about your work in music; the second is a statement of teaching philosophy. BOTH statements must be submitted as one document (can be multi-page) (attach as "Other Documents 2").


Monday, January 9, 2017

Uniquely cool opportunity

Nowadays so much of being a collaborative pianist is being versatile and entrepreneurial.  Here's a great opportunity to work - for free - with a group that has made a name for themselves for being both exactly that (and excellent, to boot).  
Some quotes from their page:
"Eighth Blackbird is excited to be announcing plans for a new summer training program, the Blackbird Creative Lab (“The Lab”), focused on both cutting­ edge musicianship, dynamic performance aesthetic and savvy inventive development.
The Lab’s mission is to inspire the next generation of performers and composers to share in the ensemble’s vision: to champion a distinctive, dynamic and engaging performance aesthetic.  This intensive, human-centered experience will immerse lab fellows in a learn-by-doing, exploratory process of creating new work. By discovering and developing an audacious curatorial vision, lab fellows will be launched on their paths as provocateurs and visionaries in the arts.
Activities:
Annually at the end of June, The Lab brings together a number of artists and resources for an intense two-week immersion set on a secluded campus setting at the Besant Hill school in Ojai, California:
  • 30 Tuition-Free Fellowships, inclusive of room and board – 24 instrumentalists and 6 composers will be invited to participate each year based on their talent, technical proficiency, ability to communicate, personality, curiosity and creativity.  The tuition-free component is essential in order to be competitive with other summer programs and attract the highest quality fellows without regard to need.  
  • 9 Faculty – The 6 members of Eighth Blackbird will be joined by 2 professional composers of contrasting styles and 1 choreographer/director at the top of their field.
  • Guest Artists – Periodic and ongoing visits by creative experts in a diverse array of fields will added based on the selected fellows’ creative project proposals.
  • Key Partners – The Besant Hill School will provide the facilities and community connections that allow The Lab to achieve its lofty artistic, educational and audience engagement goals.  
Over the course of the two-week experience, fellows will participate in:
  • Coaching Sessions – Daily two-hour sessions lead by faculty and guests
  • Salon Hours – Gatherings before dinner for informal performances, cocktails and other non-musical activities
  • Guest Lectures – Structured and unstructured opportunities to talk about a variety of musical and professional development topics with faculty and guests
  • Individual Practice – Time for fellows to practice and study on their own
  • Performances – Two culminating public performances to be captured on video"

Apply now!!  Deadline is January 15th, 2017!!

https://www.eighthblackbird.org/lab/application-information/



Wednesday, July 6, 2016

Anne Epperson in motion

Just wanted to share the news that Collaborative Pianist and force of nature, Anne Epperson, will join the faculty of Indiana University in 2017!!!  


   

Monday, May 23, 2016

Onward!

This summer's starting off with very little relaxation: May musical endeavors include playing in the pit for "A Chorus Line" at the Playhouse, playing with the San Antonio Wind Ensemble (piano) and with the San Antonio Symphony Baroque Series (harpsichord). 

"A Chorus Line" is a fun show to play, and has very little downtime for the Keys I book (which I prefer to long dialogue breaks).  We have a great pit band, 11 strong (!), and we're a little over halfway through.  

The Wind Ensemble gig includes 2 pieces, Grainger's "Children's March: Over the Hills and Far Away" and Marquez's "Danzon No. 2".  I adore playing the Danzon, with its Latin rhythms, the Grainger is less enjoyable to play simply because it isn't written as pianistically (with a couple almost physically implausible moments thrown in, to boot).

As for the Baroque stuff, all I can say is WHEE!!  Love it.

More to come . . .



Thursday, January 14, 2016

Baroque music

Hello, it's been awhile -  Just an update on what I've been up to . . .
I'm finishing up a grad degree at UTSA this semester*.  The degree, although nominally a 'solo performance' degree, has managed to cover several areas of collaborative piano at the same time.  For example: I began studying the harpsichord - which enabled me to learn/perform Brandenburg No. 5 last year with a chamber ensemble - and presently I'm prepping for a Baroque recital at the end of this month.  Rachel Podger is doing a 1-week residency here, so I've been immersing myself in Telemann, Vivaldi, Bach and Purcell. 

We're doing Vivaldi Summer and Winter, Bach Concerto in A minor, BWV 1041, Telemann Concerto for flute and Violin TWV 52:e3, and selections from Purcell's Fairy Queen. 

One of the harder things to adapt to (outside the completely altered touch needed on a different instrument) is the lack of 'written music'.  Yes, there is a part - but it is mostly just a  bass line.  It takes a lot of familiarity with everyone's part to improv stuff with confidence.

Hence the listening - I hope to steal ideas as deftly as possible. 

My solo recital is in February - and then sweet freedom (until the next thing pops up).  Actually, I think I start Handel's Messiah in March, so I guess I don't get much of a break after all . . . sigh.







*and I must say, being a grad student is way better the 2nd time around.  Now we have streaming music, online books, online EVERYTHING . . .


Friday, June 26, 2015

Randomness Archives, #2 - Cartoons















Music-related Randomness Archives, #1

I have a lot of pics that I've collected ... This post is the first in an upcoming series, the results of tons of pointless online hours.  You're welcome.











NPR article about pianists and stage fright

To Master Stage Fright, Practice Makes Imperfect OK

The pianist the article is about, Sara Solovitch, also wrote a book about overcoming stage fright, called Playing Scared: A History and Memoir of Stage Fright!






Wednesday, February 25, 2015

Specialists

It's amazing when pianists have amassed experience in a specific area, such as instrumental collaborative piano - and then specialized even more with a specific instrument*, such as say, the saxophone.  

I found a few pianists who happened to perform saxophone rep as their specialty!  Take a look at the rep lists of these NASA (North American Saxophone Alliance) Collaborative pianists:  Casey Dierlam, Leng-leng Lam and Liz Ames.  

Think about creating your own niche, and check out local and international conferences for opportunities to use your repertoire strengths.



*Often the result of the pianist dating/marrying said instrument player.


Sunday, February 15, 2015

Updated Again - Summer Gigs and Opportunities


Collaborative pianists: here are some places to consider spending your upcoming summers - getting experience and/or paid (ideally both).  


Eastern Music Festival sometimes hires collaborative pianists for instrumental accompaniment, must be 21 to apply 
Encore Chamber Music Collaborative Piano Fellowship
Hot Springs Collaborative Piano Apprenticeships
Kneisel Hall Chamber Music School and Festival
Music Academy of the West - Instrumental Fellowship
Norfolk Chamber Music Session Fellowships
Emerging Artists Fellowship Program is a four-week chamber music program for string players and pianists aged 18-26

Opera:
Ash-lawn Opera Festival has a music internship and/or accompanist opportunities
Banff Centre - Assistant Coach/Repetiteur
CoOPERAtive program at Rider University has a training program for singers and collaborative pianists
Music Academy of the West - Vocal Fellowship
San Francisco Merola Opera Program

Vocal - Art Song:
Franz-Schubert-Institute - summer course for singers and pianists
Songfest - for singers and pianists


Dance:





Sunday, January 25, 2015

Bach research, ongoing

I started collecting ‘classical literature for church services use’* from the Baroque era – first, Bach. As he is an outrageously prolific composer, I kept it simple for now and went with selections from his better-known composition groups. All of these are pieces I found appealing and can work up in a couple of days/weeks. The added bonus is a lot of this is transferable to the organ, also.  Here's what I've picked so far:

Two part inventions – #s 1, 3, 4, 7, 8, 10, 11, 13, 14
Three part inventions (aka Sinfonia) – #s 2, 3, 5, 8, 11, 12, 13, 14, 15
English Suites - No. 3 in g minor, BWV 808
Well-Tempered Clavier, Book 1 - (tbd)
Well-Tempered Clavier, Book 2 - (tbd)

Plus



*What else am I supposed to call it?  ‘Real’ music?