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Matthay Piano Festival Programs
Tobias
Matthay
(1858-1945)
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History
of the Association
Tobias Matthay
(1858-1945), born in London of German parents, taught piano at the Royal
Academy of Music in London, England for over fifty years. Matthay's revolutionary
concepts about the displacement of tension and his attention to natural
musical laws attracted considerable attention. In 1905 he opened the Tobias
Matthay Piano School while continuing at the Royal Academy. The playing
of Myra Hess, Irene Scharrer, Clifford Curzon, Moura Lympany and others
trained by him soon established his position as one of the greatest pedagogues
of all time. Students from throughout the world sought his advice on artistic
as well as technical matters. In the 'twenties and 'thirties, Matthay ran
an American summer school, leading to the establishment of the American
Matthay Association in 1925. It was founded to promote Matthay's principles
in the United States. During his lifetime, the members of the Association
were chosen by Matthay himself. Since his death, members have included
not only those who studied piano with him but also outstanding pianists
and teachers who have worked in the Matthay tradition. The efforts of these
musicians, their students and the memory of Mr. Matthay are celebrated
in the annual piano festivals.
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About
the Matthay Festival
The Matthay
Festival is designed to offer participants direct and concentrated access
to the teaching principles of Tobias Matthay. Sessions are devoted to the
principles as they apply to teaching at all levels, including that of the
performing artist. Daytime sessions include lectures, demonstrations, performances
and master classes. Recitals are held in the evening. The year 2012 marks
the fifty-fifth annual gathering. Previous Matthay Festivals have
taken place at the
University of Maryland, the University of Central Florida,
Orlando, the Royal Conservatory of Music, Toronto; Chatham College,
San Jose State University, Williams College, Wheaton
College, Norton, MA; the Hageman Piano Studio and Dayton Art Museum; Kennesaw
State University, Pennsylvania State University, the
University of South Carolina, Wittenberg University,
the University of Kansas, and Columbus State University.
THE
MATTHAY NEWS
Matthay News is the title
of the Journal of the American Matthay Association. There follows a brief
excerpt from the Fall 1996 journal article entitled: Synopses of Lectures
and Lecture Recitals from the 1996 Matthay Festival
DR. GARY WOLF
- "On Memorization"
According to one author,
"All learning is memory in one form or another." The pianist depends on
a combination of visual, tactile and aural senses. There are some who have
a mental picture of the score as they perform. Gary uses two techniques
to help the pianist's memory. First, he gives his students a one page piece
(not too hard), has them look at it for fifteen minutes, then he has the
student play it from memory. Gary learned the second technique from Cecil
Genhart. Using a two-part invention by J.S. Bach, Gary played the music
until a student said "Stop". During the stop time Gary continued to think
the composition and when the student said "Start" he re-entered the music.
This pattern of stop-think-start continued to the end of the invention.
As you can see the focus must always be on the music and the student must
know what comes next.
Gary suggested to all
who play from memory to build on the progression of music by making chains
of sound which then progress to new chains of sound. Keep your mind on
the thing you are doing at the time - don't anticipate too far in advance
- expect to use your automatic response - and work from the sound first
then to the key and then the finger.
From Mr. Matthay's
work entitled "On Memorizing and Playing from Memory" comes the following
quote, "The new must be connected-up with something already present in
the mind. Isolated facts mean nothing - they must be connected-up. To use
the memory-way successfully, allow each item of the text to suggest the
next. Do not disturb the memory-progressions in performance."
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List
of Educational Works for Pianoforte by Tobias Matthay
in Chronological Order
prepared by Jessie Henderson Matthay
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THE
ACT OF TOUCH IN ALL ITS DIVERSITY |
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THE
FIRST PRINCIPLES OF PIANOFORTE PLAYING
Being an abstract from
the author's "The Act of Touch". Designed for school use and with two additional
chapters - "Directions for Learners" and "Advise to Teachers". |
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COMMENTARIES
ON THE TEACHING OF PIANOFORTE TECHNIQUE
A supplement to "The
Act of Touch" and "First Principles". |
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RELAXATION
STUDIES - in the muscular discriminations required for touch, agility and
expression in pianoforte playing. |
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THE
PRINCIPLES OF FINGERING AND THE LAWS OF PEDALLING
An abstract from above. |
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THE
FOREARM ROTATION PRINCIPLE: IT APPLICATION AND MASTERY |
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THE
CHILD'S FIRST STEPS IN PIANO PLAYING
Written for children,
but also for adults as an introduction to their teaching |
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THE
PIANIST'S FIRST MUSIC MAKING
The music material to
accompany above, by Felix Swinstead and Tobias Matthay |
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THE
NINE STEPS TOWARDS FINGER INDIVIDUALIZATION
A supplement to "The
Pianist's first Music Making" and "The Child's First Steps" and summary
of technique. These three together are in place of the now out-of-date
"Tutor". |
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DOUBLE-THIRD
SCALES: THEIR FINGERING AND PRACTICE
Practice Card No 1. |
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THE
T.M.P.S. PRACTICE TRIANGLE AND CARD
Exercises for Rotational
Freedom, Finger Extension and Freeing. |
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MUSICAL
INTERPRETATION
Its laws and principles,
and their application to teaching and performing |
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ON
MEMORIZING
and playing from memory,
and on practice generally. A Psychology Lecture. |
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ON
METHOD IN TEACHING: A LECTURE |
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THREE
PSYCHOLOGICAL LECTURE |
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THE
ACT OF MUSICAL CONCENTRATION
A lecture on the function
of analysis in playing. |
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THE
VISIBLE AND INVISIBLE
in pianoforte technique:
A summary of the laws of technique. |
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AN
EPITOME
from same (for School
use). |
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SOME
PIANO FALLACIES OF TODAY |
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THE
SLUR OR COUPLET
of notes in all its
variety. Its interpretation and execution. A lecture: A continuation of
"Musical "Interpretation" |
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ON
COLORING AS DISTINCT FROM TONE-INFLECTION
A lecture. |
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FOUR
DAILY EXERCISES
for advanced players |
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THE
APPROACH TO MUSIC
by Tobias Matthay, Harold
Craxton and Felix Swinstead.
Book I. "How Do You
Do Mr. Piano?"
Book II. First Solos
Book III. First Duets
Book IV. Second Solos
Book V. Second Duets
Book VI. Third Solos
Book VII. Third Duets |
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FIRST
LIGHTS ON PIANO PLAYING |
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THE
GENTLE ART OF CHORD SPREADING: A lecture ready for press. |
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