COEducation - Chamber Orchestra of Europe

COEducation
Table of Contents
Introduction .......................................................................................................................................... 2
Academy ................................................................................................................................................ 3
Chamber Orchestra of Europe’s Leaders and Principals ............................................................... 4
Academists’ thoughts in 2011/2012................................................................................................. 5
Collaborations with animateurs ...................................................................................................... 9
Collaborations with concert venues............................................................................................... 10
Collaborations with the European Commission and Parliament ................................................ 12
Masterclasses ...................................................................................................................................... 13
Open Rehearsals ............................................................................................................................. 17
Inspiring new audiences .................................................................................................................... 17
Pre- and Post-Concert events......................................................................................................... 18
Feldenkrais Method............................................................................................................................ 19
Introduction
The Chamber Orchestra of Europe’s education programme is dedicated to enabling young people and
new audiences to experience and be stimulated by high-quality live classical music. With the wealth of
knowledge and expertise that the Orchestra possesses, the musicians seek to inspire, support and
encourage young musicians of all ages from all over Europe and all socio-economic backgrounds.
The variety of origin and residence of the Orchestra’s European musicians is a fundamental
characteristic of the COE and is an outstanding example of intercultural dialogue and of how it is
possible to unite the richness of European cultures. The European character of the Orchestra means that
its education programme can reach far and wide. Many COE members are either professors at various
European Conservatoires and/or teach privately in schools in the country where they live. When
working with the Orchestra, students not only have contact with this collective wealth of experience,
but are able to gain a unique insight into a well-established and highly respected pan-European
organisation. When students travel to join the Orchestra on tour, they take this learning and inspiration
back to the country where they normally live and study afterwards. This process of cultural dialogue can
make an enormous impact and widen horizons. Most COE members are multilingual and are able to
present classes in many European languages. The Orchestra crosses and breaks down communication
and national boundaries, providing musical education that is accessible to all with music as the common
language.
The skills and influences that the members of the COE possess are transferred to young musicians and
new audiences through a variety of initiatives including the COE Academy programme, Masterclasses,
workshops led by COE musicians and by eminent guest animateurs, as well as open rehearsals.
When working across Europe in partnership with schools, concert halls and other partners, the COE
strives to provide the highest quality of musical education to add an extra dimension to the local
national musical curriculum.
This booklet provides an insight into the educational life and activities of the Chamber Orchestra of
Europe with highlights and examples of recent projects.
2
Academy
“This [the academy] was a life-changing experience and a moment that I will always treasure.”
Belma Alic, Bosnian cellist, Academy scholar
The Chamber Orchestra of Europe established an Academy for outstanding postgraduate students in
2009. The selected students receive scholarships to study with the Principal players of the COE and to
travel on tour with the Orchestra in order to understand and be inspired by the Orchestra’s unique
ethos and passion for making music.
Each year, a maximum of 12 students are selected to join the Academy: 2 violinists and 10 other
students who play Viola, Cello, Bass, Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, and Timpani. Places
are offered to students on the basis of merit alone and all successful candidates receive full scholarships.
Tuition costs as well as travel, hotel and subsistence expenses are paid for by the Orchestra.
Each student spends between 4 and 10 days on tour with the Orchestra spread over the year. The
students have individual lessons from the COE leaders and principals and, in addition, receive coaching
on orchestral technique, chamber music and performance style from other members of the Orchestra.
The Feldenkrais Method along with professional development sessions are also offered. Students
sometimes have the chance to play with the Orchestra during rehearsals and to play chamber music
with other students and with members of the COE. They are made to feel as if they are a member of the
Orchestra for the time they are “on tour”, to experience the idealism and unique ethos of the COE; to
share the members’ passion for making music at the highest level with like-minded friends from diverse
European backgrounds.
The COE Academy programme also gives highly talented young professionals who have recently
graduated from the Conservatoire the opportunity to gain orchestral experience at the very highest
level. This type of association with the Orchestra can lead to talented young musicians being given the
opportunity to audition formally to become a guest player for the COE.
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Chamber Orchestra of Europe’s Leaders and Principals
Violins
Violas
Cellos
Bass
Winds
Brass
Timpani
Marieke Blankestijn
Lorenza Borrani
Lucy Gould
Mats Zetterqvist
Stewart Eaton
Pascal Siffert
William Conway
Richard Lester
Enno Senft
Clara Andrada (Flute)
François Leleux (Oboe)
Kai Frömbgen (Oboe)
Romain Guyot (Clarinet)
Matthew Wilkie (Bassoon)
Nicholas Thompson (Trumpet)
John Chimes
“The possibility the COE Academy programme opens for young talented players from throughout Europe
to gain experience from within the unique organism of the COE, is in my opinion of great importance. I
have seen the sparkling eyes of all our academists, felt their enthusiasm and heard them saying how
much inspiration they have gained from "living" with the Orchestra for a period. I find the spirit of the
COE, on the musical as well as on the human level, exceptional in the current musical life. Meeting this
spirit as a young person gives you hope that even as you get older, you can remain an orchestral player
who retains a passionate love for the music.
For me as a member of the COE, I find it most stimulating to host these talented young players from all
over Europe. It is natural that we also try to communicate our COE experiences to future artists. It gives
you a sense of satisfaction to give something back after all that you have yourself received from others,
and supports and reinforces our strong European tradition and culture.”
Mats Zetterqvist
Principal Second Violin
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Academists’ thoughts in 2011/2012
“The Academy was an excellent experience and I’m so glad I’ve had the chance
to be with the COE, listening to their concerts, sitting within this amazing
orchestra, performing wind octets with them, listening to the rehearsals and
watching Bernard Haitink work with them, getting to know many of these
interesting and fabulous players and having lessons every day with Matthew
[Wilkie, the COE’s principal bassoon]. I learnt so much—the Orchestra has such
an amazing sound and it is incredible how the winds completely blend their
tones together and create a new sound, and yet if they have a solo phrase, it is
so clear and musical! And of course, the lessons with Matthew were fantastic, I
really got a lot from them.”
Lydia Pantzier, German bassoonist, January 2011, Amsterdam, The Netherlands
Lydia, a 21-year old Berlin-based bassoonist, has been studying at the Universität der Künste Berlin since
October 2009 with Prof. Eckart Hübner. In 2010, she became a member of the European Union Youth
Orchestra.
“To work for the first time under the direction of Nikolaus
Harnoncourt and to experience his unique approach to musicmaking was a “life-changing” experience. I was amazed by the
energy and sound coming from the Orchestra. I am a big fan of
this orchestra but hearing them live was an experience at a
higher level. On the second day of the rehearsals I was fortunate
enough to sit in the Orchestra and play. This was a life-changing
experience and a moment that I will always treasure. I was
inspired by some of these ideas [suggested during masterclasses with the COE cellists] and they are going
to lead me through the music I will be playing back home, in Sarajevo. They [the COE] are a fantastic
group of musicians and made me feel very welcome from the day I arrived in Graz.”
Belma Alic, Bosnian cellist, June 2011, Graz, Austria
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“The experience with the Chamber Orchestra of Europe was thoroughly
inspiring. The atmosphere in this group is incredibly warm and relaxed.
Playing with the COE was a great feeling and so many things made it
special - the sound, the unity, the drive and incredible energy. I admire all
the members of this orchestra for their ability to hear and feel music the
way they do. My private lesson with Mats Zetterqvist was very inspiring –
he made me aware of so many musical aspects that I hadn’t thought about.
I hope to have the chance to work with him again in the future and to learn
from his experience and understanding of music. For me, every moment
spent there was enjoyable.”
Kaija Lucas, Estonian violinist, November 2011, Ferrara, Italy
Kaija from Estonia studied the violin in Tallinn, Salzburg and Philadelphia. Currently completing a
Masters Programme at the Guildhall School of Music and Drama in London, Kaija is an active member of
the Jigsaw Players Chamber Music Series in London and also performs with BBC NOW and the English
Chamber Orchestra.
“I can only say that I was very happy to have the possibility to play with
the COE, it was an important experience, as I am playing in a
string chamber orchestra myself, but the COE is more open to different
repertoire thanks to their wind players. I was thrilled to have lessons with
the COE Leader and Co-Principal second violin, because they meet all the
greatest artists every day so I learnt a lot from them. I was deeply grateful
that they were so open to sharing their experience and knowledge. I really
hope that I will have more opportunities to work with the COE, because
this orchestra is a miracle, it is much more than just a chamber orchestra.”
Jana Ozolina, Latvian violinist, April 2012, Ferrara, Italy
Jana is a Latvian violinist, a student at the Academy in Graz and a pupil of Prof. Boris Kuschnir. In 2010
Jana founded ‘Duo Extatique’ with pianist Agnese Eglina. The Orchestra’s Leader Lorenza Borrani was so
impressed with Jana’s playing that she invited her to audition as a guest player.
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“From the day of my arrival, I was warmly received and kindly treated by
the members of the Orchestra. During the rehearsal period I was lucky to
observe an ensemble playing at one of the finest levels I have ever heard.
The musicians' enthusiasm and freshness was combined with Maestro
Harnoncourt's work and uncompromising concept of how the music should
sound through the entire piece, bringing out a unique transparency and
clarity of the different voices. I also received intensive daily lessons with
Nicholas Thompson and Julian Poore from the trumpet section of the
Orchestra, which were extremely insightful and I found myself blown away.
I'm determined to continue this work in the future, beyond the COE
Academy. For me, it has been a fantastic experience and I hope that many
others can benefit from this wonderful programme in the future.”
Boris Kertsman, Romanian trumpeter, June 2012, Graz, Austria
Boris, a Romanian trumpeter, studied in Israel, Germany, Denmark and Sweden. He has been a member
of the West Eastern Divan orchestra, Orchestre pour la Paix and Young Israel Philharmonic since 2002.
He has also worked with Staatskapelle-Berlin, The Israel Philharmonic Orchestra, Teatro alla Scala di
Milano, Deutsche Oper, Konzerthausorchester Berlin, Israel Chamber Orchestra and The Israeli Radio
Orchestra.
“Few words are possible to describe what I felt in the Schumann's
cycle in Paris. Music at the highest level from any single part of
this magnificent orchestra. I really have to thank Romain Guyot
for this opportunity to be with the Orchestra, playing in the
rehearsals and sharing these moments with really special and
nice musicians. I'll always bring with me this memory, trying to
have the same energy that I felt in the week with the COE.”
Angelo Montanaro, Italian Clarinettist, October-November, Paris,
France
Angelo, an Italian Clarinettist, continues his studies at the “Haute Ecole de Musique” of Geneva under
Thomas Fridlie and COE Principal Clarinettist, Romain Guyot. He has worked with eminent conductors
including Claudio Abbado, Zubin Metha, Charles Dutoit, Antonio Pappano and Valery Gergiev with
orchestras such as Orchestra Mozart, Gustav Mahler Jugendorchester, Verbier Festival Orchestra,
Orchestre de la Suisse Romande and Orchestra dell’ Accademia Nazionale di Santa Cecilia. As soloist, he
has performed Copland, Mozart and Spohr Clarinet Concerts among others.
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”These days with the COE have been like a dream: it's so hard now to go back
to the routine! I learnt a lot and I had a really good time there. The people in
the COE are so great, musically and personally! I hope the spirit of the
Orchestra never changes. I can assure this experience has been the greatest
thing I've ever done. I also hope a lot of students can have the same
opportunity I had.”
Mariona Mateu, Spanish Double bass player, Lucerne, Switzerland
Mariona studies at the Escola Superior de Música de Catalunya with Jonathan Camps. She is a member
of the Jove Orquestra Nacional de Catalunya and Filharmonia and the Escola Superior de Música de
Catalunya orchestra. Mariona has worked with Manel Valdivieso, Lutz Köhler, Antoni Ros-Marbà, Karl
Anton Ricken backer, Valery Ovsyanikov, Josep Ponsand and Pablo González.
From the moment I heard the Harnoncourt/COE recording of the Beethoven
Symphonies, I have always dreamed about having a chance to play with the
Orchestra. The great level of music-making and the amazing energy and joy
of the musicians in the Orchestra was something that I had never come
across before in orchestra playing.When I was given the opportunity to take
part in COE Academy with Blomstedt/Ax, I naturally did not hesitate for a
second. The days with the Orchestra proved to be as fantastic and inspiring as
I had anticipated. I have rarely enjoyed making music this much ever before!
To be in this warm and creative enviroment with wonderful people who all
love making music made this week something I will treasure and keep with
me for a very long time to come.
Daniel Migdal, Swedish Violinist, December 2012, Ferrara, Italy
Daniel has a varied career as a violinist. He performs as a soloist, a chamber musician and has a keen
interest in contemporary composers.Daniel studied at the Royal College in Stockholm with Prof. Henryk
Kowalski, Universität Mozarteum, Salzburg for Prof. Igor Ozim and is in the soloist class of Prof. Rainer
Schmidt at Hochschule für Musik, Basel. Daniel is a member of ‘Duo KeMi’ together with guitarist Jacob
Kellermann. Duo KeMi won first prize in the "Aschaffenburg International en Wettbewerb für
Kammermusik mit Gitarre 2010".
If you wish to apply for the Academy, please send your Curriculum Vitae and 2 or 3 audio files of your
playing to Charlotte Hosford at [email protected].
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Workshops
COE musicians have led and collaborated with partners from many European countries in order to
present workshops that are inspiring, informative and make a lasting impression on the people who
attend them. As well as leading workshops themselves, COE musicians very much enjoy collaborating
with eminent animateurs such as Richard McNicol, Hannah Conway and Anna Forgo.
Workshops can include introductions to instruments both ancient and modern, discovering their sounds
and “families”, together with the exploration of the different periods and musical styles in the history of
music. The workshops can also include group composition inspired by stories, rhythms or fragments of
music taken from compositions performed by the Orchestra at a related public concert and will often
incorporate dance and movement.
COE Workshops are aimed at a variety of ages and musical abilities and are tailored to the specific
requirements of the local partner.
Collaborations with animateurs
Dijon, France: the COE has presented several family workshops in collaboration with the Opera de Dijon
in recent years. These projects have been led by guest animateurs Richard McNicol and Hannah Conway
and attended by between 45 and 50 people including children, parents and grandparents of all ages and
from all backgrounds.
During December 2010, Hannah Conway, together
with ten COE musicians, led a family workshop
designed to make classical music more accessible.
The workshop included activities involving
movement, dance and guided composition based on
characters from fairy tales. The active participants
(all with instruments) were taken along a musical
journey that started with short musical fragments
developing into chamber works by Shostakovich,
Schubert and Tchaikovsky which in turn connected to
the full orchestral works presented at the COE orchestral concert the following day.
“The afternoon was a great success, full of play and fun”
Le Bien Public 23 December 2010
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Richard McNicol, together with six COE musicians, led an
intergenerational workshop in April 2012. The workshop
was attended by 50 people, with children (as young as 4),
parents and grandparents. All had brought their
instruments, which included trumpets, double-basses,
cellos, violins, an oboe, a French horn and even an
accordion. The standard of musical understanding and
ability was very wide-ranging. The ambition of the
workshop was to develop listening skills, sound
production and ensemble through improvisation, dance and musical games. By the end of the workshop
the participants had created their own compositions in small groups which they performed to each
other at the close of the session.
Köln, Germany: In advance of a COE performance, students from ten local schools had studied the life
and works of Bartok and Ravel. The instrumentation of their works and the historical context was
highlighted and compared in a workshop presented just before the Orchestra’s concert at the
Philharmonie by violinist and animateur Anna Forgo. 180 students attended the workshop and
performance.
Collaborations with concert venues
The Orchestra works with concert promoters throughout Europe in order to create inspiring, engaging
and successful education projects. Schoolchildren and students are always welcome to attend the
Orchestra’s rehearsals and in addition to planned events, the COE musicians will often hold informal
workshops before and afterwards to inspire, excite, explain and break down the barriers of the concert
hall.
“In my opinion, listening to your rehearsal was the best. To me it was real poetry”.
Dilijeet from Münzenbergerschule, Frankfurt, 2007
Pupils from Münzenbergerschule met the players backstage for a short workshop: ‘An introduction to the
wind instruments of the Orchestra’ (Alte Oper, Frankfurt, September 2007).
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Since 2008 COE musicians have collaborated
with the education department of the
Gulbenkian Foundation in Lisbon in order to
create a number of innovative and creative
projects designed to develop new audiences.
Participants ages have ranged from 3 to 17
years.
The following are examples of workshops presented:
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‘Meet the Orchestra’ : an introduction to the Orchestra
‘Journey into the World of Sound’: an exploration of the sounds around us and the change in
sound from ancient to modern day instruments.
Two ‘Thematic Journeys’: children ‘journeyed’ into the world of medieval and renaissance
music for the first project; the second project presented the sound world of the Romantic
period.
‘How to become an orchestral musician’: a workshop where a musician spoke about his musical
journey from his first lesson to being a professional.
The workshops above were interspersed with visits to rehearsals, backstage and other important areas
of a concert house relating to a concert performance. Children and students were able to meet the
musicians and conductor and listen to a demonstration of a particular instrument and understand how it
worked.
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Children’s Concerts:
The Orchestra worked in association with two Portuguese actors on a
production of “Papa Haydn” by Ulf Guido Schaefer during a residency at
the Gulbenkian Foundation. The production took children through the
life and works of Haydn and two performances were given during the
Orchestra’s time in Lisbon.
Collaborations with the European Commission and Parliament
In 2008, in partnership with the Dublin Offices of the European Commission and European Parliament,
the Orchestra took part in a school’s project for socially disadvantaged children. Approximately 30
children took part. COE chamber soloists led the project, playing a short concert and then hosting a
workshop to develop the children’s understanding of classical music and to show them how woodwind
instruments of the orchestra work and sound. The children performed on their recorders throughout.
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Masterclasses
Members of the COE regularly give public masterclasses throughout Europe in association with leading
conservatoires, music schools and colleges. Public masterclasses are an excellent way of connecting to a
large number of promising young musicians of all ages, backgrounds and levels of musicianship. The
students that participate receive the highest level of teaching and benefit from the wealth of musical
knowledge offered by the COE musicians, including insights into the intricacies of musical style as well as
advice on technique. Compositional work and chamber group masterclasses also feature in the COE’s
masterclass repertoire.
SWEDEN, Edsberg 2009 and 2012
2009: Masterclasses at Edsberg Manor/Royal college of music Stockholm, Sweden.
Mats Zetterqvist (violin), Marieke Blankestijn, (violin), Pascal Siffert (viola) and Howard Penny (cello).
2012: Masterclasses at Edsberg Manor/Royal college of music Stockholm, Sweden.
Richard Lester (cello)
“I can easily say that Mr Lester (the COE’s Principal Cellist) in the last 3 days has given me ideas and
inspiration that will help and guide me in my future as a violinist and musician.”
Joel Nyman, Masterclass participant from Edsberg 2012
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POLAND, Warsaw 2007-2013
COE violinist Sylwia Konopka has been presenting education projects in Warsaw since 2007. Sylwia first
held a series of violin workshops in Warsaw for the Foundation for Aid for Artistic Education “Fundacja
Wspierania Edukacji Artystycznej” as part of their “Janko Muzykant” programme. The principal aim of
this programme was to encourage and inspire children from deprived families through the medium of
classical music in order to create a more inclusive society.
Michal Lisiecki, President of the Foundation, wrote “Thank you (COE) for making this masterclass
possible and for sending us such a perfect European Ambassador to inspire our children”.
In 2009, Sylwia held masterclasses along with COE colleagues Dorle Sommer (viola) and Mats Zetterqvist
(violin) at the ZPSM im.K. Szymanowski Music School which is one of the leading music schools in
Poland, educating children and young people between the ages of 6 and 18 from all social backgrounds.
On 12 March 2012, Sylwia held a workshop in a masterclass format at the Warszawaska Szkola
Muzyczna (Warsaw Music School). Eight pupils between 8 and 13 years old participated in the
masterclass.
Members of the Chamber Orchestra of Europe Sylwia Konopka (Violin), Dorle Sommer (Viola) and Mats
Zetterqvist (Violin) running masterclasses in Warsaw.
SLOVAKIA, Bratislava 2010 and 2011
Simone Jandl (Viola) gave masterclasses in partnership
with the Humilitas Association Bratislava. 31 pupils from
Slovakia, the Czech Republic and Italy participated in
these masterclasses. Tuition focused on solo
performance training and chamber music interpretation.
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BULGARIA, Sofia 2007-2011
HUNGARY, Sarsopatak 2009-2010
Martin Walch (Violin) has presented a series
of violin masterclasses at the State Academy
of Music in Sofia, Bulgaria, in co-operation
with the Austrian Embassy
Julian Poore (trumpet) led brass
masterclasses at the Crescendo Summer
Institute in Sarsopatak.
PORTUGAL, Lisbon 2008-2010
Public masterclasses have been presented as part of the COE’s residency projects at the Gulbenkian
Foundation in Lisbon during 2008, 2009 and 2010. Participants have included schoolchildren, students as
well as professional musicians.
Masterclasses were led by:
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•
François Leleux (oboe)
Jaime Martin (flute)
Joseph Rappaport (Feldenkrais Method)
Jonathan Williams (horn)
•
•
•
Lutz Schumacher (double-bass)
Mats Zetterqvist (violin)
William Conway (cello)
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BOSNIA, Sarajevo 2012
Masterclasses and orchestral coaching were held with members of the
Sarajevo Music Academy Chamber Orchestra in Bosnia, led by COE
Principal Cello William Conway.
“During the days before our concert, while practicing with him [Will
Conway], we managed to overcome every last trouble we had with our
programme, and he helped us perform it in the right spirit. He showed so
much understanding and really gave his best to make us understand his
ideas and thoughts about the pieces we played, while interacting with us all and asking for our ideas as
well. We really enjoyed ourselves during every rehearsal we had.
In the end, the concert was a success, and students as well as our professors were very pleased with the
outcome. We hope that this was just a start and that, next season, we will have more concerts like this
one.“
Members of Sarajevo Music Academy Chamber Orchestra
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Inspiring new audiences
Open Rehearsals
Wherever possible the Chamber Orchestra of Europe
opens its rehearsals and invites students from local
conservatoires and schools to attend.
On occasion it is possible for the children and
students to interact more closely with the musicians
on stage and they are invited to sit within the
Orchestra during rehearsals. To be really in the
middle of an orchestra and fully experience the
music-making in such an intimate way can be an aweinspiring experience for young children and has
enormous impact.
Informative talks with COE musicians are often held before and at the end of rehearsals where members
of the audience are invited to discuss and ask questions about the music performed, the conductors and
interpretations they have just heard. Examples include:
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
In partnership with the Conservatorio in Ferrara and several local schools, the COE invited 300
students to attend the general rehearsal at the Teatro Comunale on 24 November 2011. Lutz
Schumacher, one of the Orchestra’s double-bass players, founder member of the COE and
professor in Milan, introduced the Orchestra and music to the students and moderated the
event.
In September 2012, a group of students and teenagers from the Musikhochschule Frankfurt
attended the general rehearsal at the Alte Oper Frankfurt. A question and answer session was
led by Dane Roberts (double-bass) and other members of the COE after the rehearsal.
Open rehearsals are not just for students: 40 adult guests were invited to attend the Orchestra’s
rehearsal at the Festspielhaus in Baden-Baden. The guests came from a variety of business backgrounds
and would not normally show a keen interest in classical music. The guests met with musicians and
management from the COE and were able to take part in a question and answer session after the
rehearsal.
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Pre- and Post-Concert events
Approximately 2,500 young people – nearly one third of all the students in Cologne – were offered free
tickets to the COE concert given on 10 October 2010 by the Philharmonie. Several hundred students
attended the concert and were invited to a question and answer interview session after the concert
followed by party in the concert hall foyer. Beer, Balkan beats and electro polka added to the after
concert party atmosphere. The initiative was designed to attract students, who would not normally go
to a classical music event, into the Philharmonie to hear one of the world’s greatest orchestras live.
On 26 March 2011, COE Soloists presented an informal and family-orientated chamber music concert in
the foyer of the Grand Théâtre in Dijon. Following the concert, the children, parents and musicians
shared an informal ‘apéro’ (drinks and snacks) in the foyer of the Grand Théâtre. This was a wonderful
opportunity for the audience to get to know the players and ask questions about the Chamber Orchestra
of Europe. The audience was not made up of regular concert goers and the initiative was designed to
inspire those present to attend a coming full orchestra concert given by the COE.
On May 9 2012, the Chamber Orchestra of Europe celebrated "Europe Day" with the Opéra de Dijon..
After the Orchestra’s performance that evening, students from various European countries (including
France, Austria, Bulgaria, Romania, Slovakia, Czech Republic, Poland, Serbia), studying at the Institut de
Sciences Politiques in Dijon, were invited to take part in a Q&A session in the Foyer with COE members
in order to better understand the ethos and organisation of the Orchestra’s truly pan-European cultural
organisation.
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Feldenkrais Method
COE Violinist Joseph Rappaport is a practitioner ofThe Feldenkrais Method in Music Education and leads
Feldenkrais sessions during COE tours for members of the Orchestra and general public.
“The exercises are so simple and ingenious” Yehudi Menuhin.
“The Feldenkrais Method helps to relieve aches and strains, prevent injury, reduce stress and improve
general well-being”. The Strad Magazine, April 1999.
The Feldenkrais Method uses movement to explore and inform the way we learn to carry out our
intentions. Through carefully structured movement sequences, with emphasis on comfort and
playfulness, students are guided, by asking questions about the “how” of what is being done, to discover
easier, better co-ordinated and enhanced quality of movement.
Moshé Feldenkrais (1904-1984) used his expertise as an engineer, his knowledge as a physicist and his
experience as a Black-Belt Judo Master (as well as his study of medicine, neurology, psychology,
cybernetics and child development) to form his ideas and create lessons that illustrate and illuminate
the interconnectedness of thought, feeling and action.
Group lessons (usually 1-1 ½ hours in length, known as “Awareness Through Movement”) consist of
verbal movement instructions. They can be taught effectively to students, whether or not they have
previous knowledge of the Method, in formats from a single introductory lesson, to two or three day
workshops with lectures and discussions. Individual lessons (about 1 hour in length, known as
“Functional Integration”) are primarily hands-on (non verbal). These lessons can address specific
questions and go more deeply into the needs and interests of the student (with or without instrument).
Feldenkrais lessons can help to:
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Recognise and reorganise habits of movement that cause excessive fatigue and possibly injury.
Recognise and suggest alternative strategies for habits of behaviour in challenging and stressful
situations (stage-fright, nervousness).
Recover full functioning after injury or surgery.
Inspire ideas for more creative and effective practice.
Clarify the somatic experience of concepts often used in instrumental pedagogy; e.g. tension,
relaxation, weight, lightness, flow, balance.
Broaden awareness, deepen self-awareness and develop ability to direct attention (chamber
music and orchestral-playing).
Open up a wider range of choices; artistic and personal.
Unblock the paths toward unfolding musical and human potential.
Nurture the presence that is at the heart of true artistry.
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