Hello
Masterclasses should always be about technique or performance.
Unfortunately some artists dont understand that. I remember one
masterclass with a well known japanese lutenist back in university in
1980, who spent more time criticizing the instrument I owned at the
time, rather than actually teaching... Needless to say i was rather
upset, having very little money at the time and having had the
instrument built for me the year before.
Bruno
Montreal, Canada
EnvoyA(c) de ma tablette BlackBerryA(R) PlayBooka-c-
www.blackberry.com
__________________________________________________________________
De: "sterling price" <[email protected]>
A: "[email protected]" <[email protected]>
EnvoyA(c): 19 dA(c)cembre 2013 22:51
Objet: [LUTE] Masterclasses
Some of this talk of masterclasses has reminded me of my checkered past
with the format.
In 1994, when I was 20, I performed in a masterclass of a certain
well-known female guitarist. I made the mistake of not using her
edition of the Bach I was playing. She was not amused. She was so
ruthless that many letters from people in the audience were sent to her
later, including one from my teacher who she insulted. The whole thing
caused a rift in the local guitar society that lasted for years. I
remember when I was on stage with her I almost wanted to laugh,
thinking "are you being serious?". After another masterclass a few
months later with Christopher Parkening, I gave up the guitar for many
years and put all my efforts into the baroque lute.
I had my first masterclass with Robert Barto 10 years ago, and my
experience with him has been quite different. My eyes were opened and
lo, I did receive the truth. I have 10 years of DVDs of those
masterclasses,(which some have called 'The Bob and Sterling Show'). I
often refer to those recordings. If I could get permission, I would
post some highlights.
--Sterling
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