European Suzuki Association Quality SUZUKI™ Teacher Training Teachers’ Newsletter Volume 42 2022 11th European Suzuki Children’s Convention, Italy
2 European Suzuki Association Teachers’ Newsletter Volume 42 2022 Editor Sue Wimpeney email@example.com Next publicaƟon date 1 November 2023 Deadline for copy 1 September 2023 Official PublicaƟon of The European Suzuki AssociaƟon Ltd (ESA) a Company Limited by Guarantee No 1476933 Honorary President MarƟn Rüƫmann Chair Anke van der Bijl Administrator and ESA Office Sue Wimpeney 45 Main Street, Upper Benefield, Peterborough PE8 5AN, England firstname.lastname@example.org www.europeansuzuki.org Company Secretary & Registered Address MarƟn Wood, Gross Klein Wood, 75 Park Road, Peterborough PE1 2TN, England The ESA Board of Directors Officers Chair Anke van der Bijl Deputy Chair Patricia Rüƫmann Treasurer MarƟn Wood Honorary Secretary KrisƤne Rāviņa Officer Juan Carlos Navarro Country Directors AUSTRIA Andrea Mugrauer-Beis BELGIUM Wim Meuris CZECH REPUBLIC Jana Hrabaňová DENMARK Anne Dorte Laub Busk ESTONIA Sirje Subbe-Tamm FAROE ISLANDS Sámal Petersen FINLAND Niina Haapenen FRANCE Marie Velu GERMANY Flora Gáll ICELAND Sarah Buckley IRELAND Trudy Byron-Fahy ITALY Marco Messina LATVIA Sallija Bankevica LITHUANIA Déja Aukštkalnyté NETHERLANDS Monique Dowgwillo NORWAY Mona Anita Nesse POLAND Bartosz Henrych RUSSIA Svetlana Briantceva SOUTH AFRICA Sonnika Maritz Venter SPAIN Lucia Bellido SWEDEN Päivikki Wirkkala-Malmqvist SWITZERLAND Patricia Rüƫmann TURKEY Müge Eraydin Yegin UKRAINE Olha Bykanova UNITED KINGDOM Helen Brunner ZIMBABWE Catherine SƟrling Page 2022 Board MeeƟng & AGM Summary 3 Chair’s Column 4 2022 European Suzuki Children’s ConvenƟon, Italy 5 2022 European Suzuki Parent’s FesƟval 8 2022 European Suzuki Viola Gathering, Belgium 9 2022 Teacher Trainer Appointments 10 In Memoriam 13 50 years of Teaching Music 15 SUZUKI™ Sundays 16 2023 BriƟsh Suzuki Gala Concert, UK 17 2023 InternaƟonal Suzuki Teacher Trainers ConvenƟon, Japan 18 2024 European Suzuki Teachers’ ConvenƟon, Denmark 19 How to Foster Ability 20 50th Anniversary of Suzuki Flute 23 Statement from ESA Board re Ukraine 24 2022 Give a Child a Teacher 25 Suzuki Teaching Trust 26 Teacher Trainers/Examiners & Instructors 28 Table of Contents Future ESA Events The huge success of this year’s European Suzuki Children’s ConvenƟon demonstrated the vitality of the SUZUKI™ Community when they come together and the energy that is generated by that. This is what will propel the ESA into the future and grow the SUZUKI™ Method throughout the region. Regular events will nurture this growth and renew moƟvaƟon. The plan is for ESA to have a schedule of regular events - • ESA Teachers’ ConvenƟon every 2 years • ESA Teacher Trainers’ ConvenƟon every 4 years • European Suzuki Children's ConvenƟon every 4 years This will give - • Teacher Trainers their own regular event • Teachers the opportunity to aƩend something 3 years in every 4 • Children their own regular event The schedule for the next five years is slightly altered due to past restricƟons imposed by the global pandemic - 2023 No ESA event scheduled due to BSMA Suzuki Gala Concert, London 2024 European Suzuki Teachers’ ConvenƟon, Aarhus Denmark 2025 European Suzuki Teacher Trainers’ ConvenƟon venue TBC 2026 European Suzuki Teachers’ ConvenƟon venue TBC 2027 European Suzuki Children’s ConvenƟon venue TBC However, maintaining this programme does enƟrely depend on the willingness of naƟonal Suzuki associaƟons to host these events and provide an Organising CommiƩee to work with ESA Admin. The CommiƩee would be responsible for finding a venue, geƫng a quote, deciding on a theme, drawing up the programme and selecƟng the Faculty. ESA Admin would be responsible for all financial maƩers, publicity and registraƟons. For the European Suzuki Children’s ConvenƟons, the Organising CommiƩee would be responsible for the whole project, including finding sponsors to help with funding. Please contact the ESA Office if you would like to help your country host an ESA ConvenƟon on email@example.com Engage, collaborate and share THE MISSION of the European Suzuki AssociaƟon (ESA) is to further Dr. Shinichi Suzuki's approach to educaƟon. The organisaƟon's area of operaƟon is Europe, the Middle East and Africa, as decided by the InternaƟonal Suzuki AssociaƟon of which the ESA is a member. The cornerstone of maintaining quality in Suzuki teaching is the provision of quality Suzuki Teacher Training.
3 2022 Board Meeting & AGM Summary RESIGNATIONS Country Directors Karen Lavie NETHERLANDS Andrea Kreuiter SOUTH AFRICA Ayça Budak TURKEY APPOINTMENTS Full Country Member UKRAINIAN SUZUKI NATIONAL ASSOCIATION Country Directors Monique Dowgwillo NETHERLANDS Sonnika Maritz Venter SOUTH AFRICA Müge Eraydin Yegin TURKEY Olha Bykanova UKRAINE DIRECTORS’ REPORT & ANNUAL ACCOUNTS 2021 Available on the ESA Website INSTRUMENTS Harp 7 Harp Teachers have now qualified outside of Italy - 1 in Finland, 4 in France and 2 in Switzerland , with 16 in Italy. An applicaƟon from Italy for Instructor is imminent. Mandolin The Mandolin Development CommiƩee are planning to put together a survey to be sent to all ESA Countries in order to establish the potenƟal for Mandolin in the region. Organ An Organ Development CommiƩee was appointed at the Board MeeƟng, members are Gunilla Rönnberg, Founder of SUZUKI™ Method Organ SWEDEN Robert Öhman, Organist SWEDEN Guðný Einarsdóƫr, Organist ICELAND Camille Haedt-Goussu, Organist FRANCE Víctor de San Marơn, Organist SPAIN Accordion SUZUKI™ Accordion Project conƟnues with many new successes. Interest in other countries and among many famous musicians and insƟtuƟons is growing. The ISA has been provided with all informaƟon as requested, including Teacher Training plans for Accordion. CHANGES to ESA MANUALS TEACHER TRAINING MANUAL Teacher Training Courses Application Candidates are required to take some form of interview and an audiƟon of two contrasƟng pieces, at least one from the Level 5 SUZUKI™ repertoire, for their instrument. EXAMINATIONS MANUAL C. Conduct of Examinations 3. Examiners Covid-19 ExcepƟons extended to 31 May 2023 Post Covid rules on Exams In the event of the COVID-19 ExcepƟons coming to an end, an alternaƟve opƟon to in-person exams has been agreed for implementaƟon at a later date – · Live examinaƟons (performance, teaching and viva voce) with Home TT and one external Examiner present in person · 2nd external examiner can be present via online connecƟon · As a backup in case of a bad connecƟon, the live parts of the exam shall be recorded (and consequently the Viva voce may be postponed) This opƟon would help to reduce costs and travel, making exams more cost effecƟve and eco-friendly without losing the important in-person aspect of exams. The Home TT then has the opƟon to choose which format suits the circumstance of their exam best. Different instruments will have different requirements as will the locaƟon of the exam. ConƟnuous Assessment Following a 5 year pilot study, ConƟnuous Assessment is now an opƟon in the ESA Teacher ExaminaƟon procedure as an alternaƟve to exams. Appendix C1 Examiner Fees The Board agreed on the following with effect from 1 May 2022 - The minimum fee for any examinaƟon regardless of length is 240 Euros For each hour commenced above four hours, the hourly fee to be paid is 50 Euros. If the exams are taking place within a SUZUKI™ Workshop or similar and the Examiner has been teaching and been paid for the teaching on the same day, a total cost of 195 Euros is to be paid to the Examiner. Appendix C2 Examination Pieces AddiƟon of Teaching Points and ExaminaƟon Pieces for Level 3 Brass and Level 4 & Level 5 Mandolin. APPOINTMENTS MANUAL Appendix E1 Recognition of Teachers with Approved Accreditation SAA Teaching Strategies 3 x Teaching Strategies are accepted as 1 PracƟcum See pages 20-21 for definiƟon of a Teaching Strategy hƩps://suzukiassociaƟon.org/teachers/ training/teacher-development-programdocument/ The latest ediƟons of the ESA Manuals are available on the ESA website www.europeansuzuki.org/esa/ Ʃexamappointments-manuals/ · Teacher Training Manual · ExaminaƟons Manual · Appointments & AccreditaƟons Manual Board MeeƟng and AGM April 2022 Prague, Czechia 2023 ESA ANNUAL GENERAL MEETING 11.00 hrs Sunday 12 April 2023 London, UK All A & B members welcome Please confirm aƩendance with the ESA Office by 5 March 2023 firstname.lastname@example.org ESA ANNUAL MEETINGS The ESA is taking its Annual MeeƟngs around the region to a different country every year. The Board of the ESA are keen to have the opportunity to invite each NaƟonal Suzuki AssociaƟon and its members to: - aƩend the AGM - organise a student’s concert - meet the ESA Directors The ESA Administrator will work closely with the NaƟonal Suzuki AssociaƟon to select a venue and organise the meeƟngs and concert. If your country would like to be the next to host an ESA meeƟng, please contact the ESA Office on email@example.com or through ‘Contact ’ on the ESA website.
4 Chair’s Column Anke van der Bijl when our Suzuki community could again feel the joy of making live music together during the Children’s ConvenƟon in Cuneo. How wonderful to meet up with your colleagues in real life ! Since February 2022, two countries are at war. The enƟre world is affected by this war but of course the most horrific consequences are felt by inhabitants of the countries involved. In 2022 Europe had to cope with a hot and very dry summer. Countries had to deal with floods or wildfires. The world had to face that growth should now come to a halt. Personnel is scarce in many fields. Prices of energy and housing have quadrupled. Intensely hot and dry summers (and the floods!) made us realise that we should adapt a lifestyle which does not exhaust our climate. Families have less to spend. Many can no longer afford sports and/or music educaƟon. Our slogan :”Every Child Can” is sadly no longer a financially possible reality for all. How do we as ESA adapt to these new situaƟons? For us the main new challenges are - · Finding a balance between affordable, yet quality Suzuki teacher training in economically difficult Ɵmes. · Finding a balance between conducƟng training online, yet ensuring fair play, as in avoiding unfair compeƟƟon with our colleagues from other countries or even from other regions. · Finding a compromise between in-person modules and online training. To consider the various sides of these issues we have frequent discussions with different plaƞorms - Instrument CommiƩee Chairs, Governance CommiƩee, ISA Board, ESA Board, Officers MeeƟngs and Weekly MeeƟngs with Chair, Deputy Chair and Administrator. This results in updates of ISA Policies and our ESA Manuals for Teacher Training, ExaminaƟons and Appointments/AccreditaƟons. Finding balance and compromises is challenging. When going to dinner with 20 people, it can be difficult to decide where and what to eat. With our 26 ESA Countries, each with unique cultural, poliƟcal and economical backgrounds, it is oŌen difficult to find a consensus that suits all. We certainly do our best to respect the cultural idenƟty of each member and take all decisions democraƟcally, but there is not always a size which fits all. ExcepƟons can always be requested, but if every member would request his/her own excepƟons, we will lose our sense of Suzuki community….. In the 2020 Chair’s Column, CollaboraƟon, CooperaƟon and ConnecƟon were the keywords. We sƟll firmly believe in those and strive to offer possibiliƟes through Suzuki Sundays, Monthly E-news, ESA Facebook Group, European Children's ConvenƟon Italy, European Viola Gathering Belgium, and European Online Parent FesƟval. AddiƟonally, we have introduced a consultaƟon hour with the ESA Chair. We are invesƟgaƟng the possibiliƟes of an ESA Youtube Channel. We have added a system of ConƟnual Assessment and developed a draŌ for a (Post Covid) Eco-friendly opƟon for examinaƟons, and finally, years of work on our website will soon result in the launch of a clearer and more colorful ESA website. Indeed, Times are a-changing but the importance of human contact with our beloved family, pupils, parents and colleagues will always remain. Perhaps in 50 years Ɵme (2063 !) we can “ objecƟvely” look back and “judge” the decisions of this period. In the meanƟme, let us stay in touch ! The Times They Are A-Changin' Come gather 'round people Wherever you roam And admit that the waters Around you have grown And accept it that soon You'll be drenched to the bone If your Ɵme to you is worth savin' And you beƩer start swimmin' Or you'll sink like a stone For the Ɵmes they are a-changin’ Bob Dylan I n previous decades, we experienced steady economic growth. Growth which felt almost never ending and for some it indeed was never enough. Many aspects of life were dictated primarily by economic principles. EducaƟon, Healthcare and Art became market objects. PaƟents and Pupils became products. Housing became important, not only for shelter but as object for speculaƟon. In our Suzuki world we experienced tremendous growth in members, Teachers, Trainers, Countries, Instruments, InternaƟonal Workshops and ConvenƟons - all requiring lots of travelling. This type of growth could be monitored nicely in numbers and staƟsƟcs, inline with the preferences of the Homo Economicus who felt the need to measure all achievements. It took several years for some governments to noƟce the disastrous effect for areas where progress is not measurable - the Arts, Healthcare and EducaƟon. But then the damage was done and difficult to repair. In my country, the Netherlands, for instance, music educaƟon was seen as an unnecessary and expensive extra. Subsidised Music Schools disappeared. Today we have only 12 Municipal Music Schools leŌ in our enƟre country with over 18 million inhabitants. In the last two years, we were forced to feel that Ɵmes are - a-changing and those changes are dramaƟc. The pandemic made us rethink our prioriƟes. We now all are very much more aware that we thrive on human contact. We have learned many possibiliƟes of online contact and also experienced that live human connecƟon is something to treasure and cannot be replaced. What a relief
5 I t was difficult to know what the response would be, but in the end we were so many that it was hard to count us. The city of Cuneo observed with amazement and joy, approximately two thousand visitors, students, parents and teachers ‘invading’ its spaces. The heart did not fear and the passion for music, for the educaƟon of young people and the desire to stay and play together won over everything. The certainty and sharing of a choice, the Suzuki Method, united the parƟcipants and visitors alike and the many organised events got everyone involved. The theme, the Italian Opera offered the very young students from all over Europe the awareness of an extraordinary past and the hope of a wonderful future. The 11th European Suzuki Children's ConvenƟon took place in Cuneo, Italy from 13 to 17 July 2022. About 550 students, 80 acƟve teachers and 130 observing teachers parƟcipated along with an orchestra conductor, a soprano, a tenor, a composer and a cello soloist. The more advanced students took part in the orchestral acƟviƟes - all the others took part in the instrument lessons. all finished, I was having breakfast in the hotel and an obviously embarrassed student approached me and with the only words he had learned in Italian he said to me: "Grazie, è stata una esperienza meravigliosa”. In the weeks following the conference, I received many such messages and comments about the days we spent together. I feel the need to say some THANKS because I cannot otherwise express the value of the experiences and emoƟons experienced during our conference. I would like to thank the hard work that "the inseparable" Stefano Viada and our excepƟonal team undertook for months to prepare for the event. Only enthusiasm, passion and a pinch of courage gave us the strength. I would like to thank the Board of the Italian Suzuki InsƟtute and all of the European teachers who accepted an idea, shared it, enriched it and made it concrete. I believe the value and the colours expressed in the concerts will remain in everyone's heart. And finally, I would like to thank the families and students who made a dream come true! European Suzuki Children’s Convention, Italy Marco Messina The theme for everyone was ‘the Italian Opera’. The event provided everyone, students, families, teachers, and ciƟzens with a wonderful atmosphere and a posiƟve energy - strong emoƟons that will hopefully last a long Ɵme in everyone's heart. For me personally it was an intense series of commitments but also a series of a thousand joys and emoƟons all beauƟful, all new, all unique and special in their own way. At each event my eyes shone thanks to the love with which everyone gave their best. The standing ovaƟon in the theatre rewarded the skill and represented a real, very strong emoƟon. I will keep in my heart forever the performance of the Icelandic violin group and the Suzuki Voice group, both of whom came from so far away but thanks to the music were of one heart! I will also keep in my heart the rehearsals and the concerts of the Orchestras. The Italian Opera, Puccini, Verdi, Cimarosa, Mascagni, Rossini all gave the Suzuki students great new musical harmonies and the students gave us an exciƟng interpretaƟon and a beauƟful, clean energy and pure love for music. I will especially keep the final concert in my heart where the songs wriƩen specifically for an orchestra of almost 800 people, including students and teachers represented a wonderful magic. I will keep many other experiences in my heart but I would like to relate one in parƟcular. The day aŌer it had
6 Suzuki Method events are always beauƟful events. The 11th European Suzuki Children’s ConvenƟon was certainly one of the most successful. The children worked but really enjoyed themselves and so did the parents. CongratulaƟons to the organizers and teachers who managed to make even the hardest things seem easy. Thank you! Fausto CasƟglione Cello Teacher, Italy Dear Marco Thank you very much for so wonderful Ɵme in Cuneo with the Suzuki family. CongratulaƟons to your team for the super organisaƟon of this event. It was a great pleasure for me to take part in this event. All the best Ewa Seroka Piano Teacher Trainer, Poland European Suzuki Children’s Convention, Italy Dear Marco, Stefano and all ISI team, It was a very nicely organised event. Cuneo streets were full of young musicians, concerts in the streets and cafes. All the city was full of music, it was an extraordinary feeling. I didn’t expect such a busy program and interesƟng lectures. I really liked A. Mosca’s lecture. I appreciate the fact that we also got sheet music with explanaƟons and Ɵps for performing baroque music. We listened to baroque music performed by Suzuki students, it was very educaƟng and in general a great idea. Now I can share my acquired skills in lessons in my music school. I am very grateful to A. Mosca and his orchestra. The biggest concert experience for me in recent Ɵmes was the Gala concert. It was awesome that our students could play music with world class conductor and soloists, it was unbelievable. Students parƟcipaƟng in orchestra got an experience for a lifeƟme. Thank you! Thank you to Mr. Cerrato for “All’opera” and “Lights in the City”. Was great to play all together and it sounded very good. Thank you for opportunity be in Italy with Suzuki people. GreeƟngs to Bass students and Antonello! All the best! Marek Mere Double Bass Teacher, Estonia Hello Marco, Geƫng together was, as usual, a wonderful experience, enriched this Ɵme by great warmth and hospitality but without forgeƫng the tradiƟon; I think that despite the whirlwind of commitments everyone felt at ease sharing the sense of celebraƟon that disƟnguishes these events. The center of the city was also a bit "ours" and the music performed by the children has, as usual, conquered everyone. Thanks again for your work and see you next Ɵme! Fulvia Corazza Viola teacher, Italy One of the most exciƟng, most evocaƟve, most complete, most intense, truest events that the city of Cuneo has hosted. The music, the children, the families! This gives a sense to what seems to be rare, the 360-degree family that lives strong and unforgeƩable experiences with children, thanks for the smiles for the educaƟon, for the different languages, so many, heard during these days. Thanks to who made it possible! Silvana Panero CiƟzen of Cuneo Dear Marco My comments are all the thanks I received aŌer the final concert, students ready to start the next day, parents moved and happy. The friendships consolidated by music remain within each of us. Gabriella Bosio Harp Teacher Trainer, Italy There are no borders for those who believe that together is the only way to be truly human. Music teaches how much an orchestra is much, much more than the sum of the individuals. Also, for this reason, the children and young people who grow up in music are a hope for everyone. We miss the European ConvenƟon of the Suzuki Method a liƩle bit, and it has just ended. Thanks Italian Suzuki InsƟtute! Thanks Stefano Viada, Marco Messina and all your incredible team. Thanks to the many volunteers, thanks to all those, and they are many, who welcomed you with enthusiasm and warmth. Thanks to people who have once again demonstrated what it means to work with and for passion, with a generosity that is as rare as it is authenƟc. Thanks to their project, we will be able to share the emoƟons experienced, seeds of Humanity that from our city cross Europe. CrisƟna Clerico City Administrator Cuneo, Italy Dear Marco I want to thank you and congratulate you and all the team who prepared such a fantasƟc ConvenƟon. I was really happy and proud to parƟcipate in it. It was a wonderful and really inspiring experience. Thank you! Nuria Cervantes Guitar TT, Spain
7 European Suzuki Children’s Convention, Italy mersed in the harmonic flow and therefore exposed to a beauty that elevates thoughts and souls. Our children met with other children and teachers from all over Europe and where because different languages, we did not understand each other, the music united in a single understandable universal language, choosing to improvise happy duets in music from Ɵme to Ɵme. As parents, as always the Suzuki Method taught us to do, we shared not only the direct experience with our children, but also as in an "extended family" we felt the closeness of all the other parents strongly involved in parƟcipaƟng in the vibraƟons and emoƟons of our liƩle musicians. We felt accomplices and aware of being part of an important and educaƟonal project for the growth of our children. The final concert transported all of us present in a GREAT BEAUTY, which sƟll resonates in our hearts today. A lot of study, a lot of rehearsals, a lot of discipline and in the end a great party! Younger children wait for their moment to play by embracing their instrument. The older ones hold the melody all the Ɵme. The teachers side by side playing with children. Eleven different instruments, all together is possible, the result is magical. All this beauty of the lived experience resounds in my children to this day even aŌer months aŌer the conference, the desire to conƟnue playing these melodies to relive those happy moments has remained in them, even to whistle them and singing them through the notes. Furthermore, at the end of these intense experiences like this, I always noƟce in them a leap in growth, and a strong desire to learn more and more. CrisƟna Franzese Parent, Italy I am the mother of two guitarist children, 9 and 11 years old. They approached music thanks to the Suzuki Method from an early age, through an engaging and exciƟng approach and study, which immediately led them to play in the orchestra even with just a couple of notes of some pieces of the Suzuki repertoire. We took part in many important events and concerts of music together proposed by the Suzuki school. In parƟcular, this year in July we enrolled our children to parƟcipate in the European Suzuki Children’s ConvenƟon in Cuneo. Eleven different instruments for 600 small musicians from all over Europe, who have studied and played pieces taken also from Italian opera. Our “convenƟon” started when, months before, my children received the scores of the pieces to be studied from their teacher. At the beginning the study was not easy and the melody was not understood, but then, day aŌer day the songs took shape. I observed a study and a constant interest in them for both of my children even if they were different ages. These two voices, studied by my children, found melodic meaning within the plucked orchestra, made up of guitars, harps and mandolins, and in the orchestra of all 600 small musicians in the final concert in Cuneo. Many different voices, many different instruments, which together make sense and built a magnificent melody. Here the magic is done! The music of the singles is transformed into a global and unique music that involves everyone, which is more beauƟful because it brings with it the contribuƟon of many. An orchestra is much more than the sum of individuals, this is what music teaches us. Being part of the orchestra and therefore playing music together leads to being ready to listen to others, to be aƩenƟve, to follow the melody with your eyes focused on the conductor, to wait for your moment to enter and play, being imDear Marco and "inseparable" Stefano! Thank you again for all your hard work making this European Suzuki Children's ConvenƟon possible! If I should make a very short comment about the ConvenƟon and why it was very special and successful, I would say: The idea with Italian opera was fantasƟc! For future ConvenƟons/big events I think it would be great if the organising country could have a theme that is special for that country. Kind regards Marianne Rygner Violin Teacher Trainer, Denmark Dear Marco and dear Italian Suzuki team. Four magic days! A dream that came true. Thanks much for your incredible organisaƟon! Perfect! The European Suzuki Children’s ConvenƟon is unforgeƩable in my heart and my spirits and in the heart of all my students and families. Chantal Cello Teacher Trainer, France Dear Marco, The liƩle Italian town of Cuneo is a medieval gem, presenƟng a spectacular backdrop to our ESA Suzuki Children Conference in July. The halls, the colonnades, the churches and even the teaching rooms were hundreds of years old, and all steeped in the ancient tradiƟon of Italian music-making. We were so lucky to be part of that, and to experience our very own Suzuki Italian “opera”. It was an unforgeƩable experience. So much graƟtude to you and Stefano. Love and respect Helen Brunner Violin Teacher Trainer, England
8 T he aim of the first online European Suzuki Parent FesƟval was that it would give all new Suzuki families and new SUZUKI™ teachers the opportunity to discover that they are a part of a larger community, which does not only concern itself with ‘skill development’ but even more so with ‘human development’. It was hoped that this event would rekindle moƟvaƟon for learning, teaching, pracƟcing and most of all nurturing. Five topics were presented in 3 different languages finishing with a Q&A session. The SUZUKI™ Method – the Mother Tongue Approach (English) Koen Rens, Violin Teacher Trainer, Belgium Different Age Groups, Different Needs (English) Griet Wytynck, Violin Instructor, Belgium Jan MaƩhiesen, Violin Teacher Trainer, Denmark The Suzuki Community – from Individual Lesson to NaƟonal Workshop (English) Tessa Oakley, Violoncello Teacher Trainer, UK Almost as many teachers as parents aƩended the fesƟval. Judging by the feedback, it certainly gave everyone a feeling of belonging to a much bigger community than they had realised - a community that not only believed in the same philosophy, but also experienced similar challenges and opportuniƟes along the way. Through sharing these at this Parent FesƟval, a new energy was generated and moƟvaƟon was definitely rekindled! European Suzuki Parents Festival Patricia Rüttimann Wilfried van Gorp, Violin Teacher Trainer, Belgium PracƟcing - SomeƟmes you just have to stop! (German) How to build and maintain moƟvaƟon with your child. Michelle Post, SECE Teacher and Piano Instructor, Switzerland The Changing Role of the Suzuki Parent (Spanish) Guillem Calvo, Viola Teacher and Violin Teacher Trainer, UK Nuria Cervantes, SECE Teacher and Guitar Teacher Trainer, Spain
9 Third Time Lucky ESVG 2022, the third European Suzuki Viola Gathering, was held from October 7-9 at the resort hotel Vayamundo, in Ostende, Belgium. Two previously scheduled dates, in February 2021 and 2022, had to be cancelled on account of the pandemic, so this was n example of “third Ɵme lucky”. The overall goal of ESVG is greater visibility for the viola within the ESA community. Like its predecessors in Waƞord, UK (2017) and El Escorial, Spain (2019), ESVG 2022 approached this goal through noncompeƟƟve community building, exploring ways of developing the viola within individual studios, and of course playing and enjoying a huge range of viola music throughout the weekend. AƩendance The event was a hugely successful, vibrant and exciƟng experience. We were delighted to welcome nearly 200 parƟcipants. This number included close to 80 viola students of all ages and levels, a similar number of parents, and nearly 30 Suzuki teachers and observers. The parƟcipants came from a dozen ESA countries, as well as from Canada, the USA, and Hong Kong. Given the extremely difficult circumstances arising from the pandemic, it was understandable that this was something of a decrease from previous aƩendance figures. At the same Ɵme, it was parƟcularly encouraging to see a larger number of more advanced students – the book 4 and 5 classes were large, and we had a number of students in books 7, 8 and 9. We also had a promising number of beginning students. And we were delighted to see a large number of younger Suzuki teachers, many aƩending for the first Ɵme, and all volunteering to act as faculty and teach classes. These increases augur well for the future of both ESVG and the ESA viola community. OrganizaƟon A five-person organizing commiƩee, comprising Juan Drown and Joanne MarƟn (joint musical directors), Mona Kodama and Peter King classroom space therefore; we could offer very reasonable registraƟon rates, with special provisions for families, parƟcularly those with several Suzuki students. The lower registraƟon fees were very welcome, in the face of financial problems faced by many in the immediate post-COVID era. ESVG will be expressing its thanks to the ESA for invaluable assistance by making a donaƟon to the European Suzuki Teaching Development Trust. Conclusion and What Next for ESVG We can claim with confidence that ESVG 2022 was, in all respects, a great success. We were delighted that we had such a large aƩendance at this difficult Ɵme and that we were able to offer a full spectrum of classes and other events for all to enjoy. We heard many expressions of thanks, delight and enjoyment over the weekend. And when the quesƟon was asked during the final concert of how many would like to aƩend a future ESVG, every hand was raised. So the discussion now is not “whether” but “where and when” the next ESVG will take place. Stay tuned! Final Words To end we would like to share a few comments made by a parent, a teacher, and some pupils aŌer ESVG. “… a wonderful weekend of musicmaking and friendship. It was lovely to have everyone in one place again and … the venue worked well both in terms of geƫng there & faciliƟes. The whole thing was over far too quickly!” “… an amazing weekend! … My daughters and I loved every moment!” “My son loved the gatherings, the concerts and so on (and also the kid games...). “ “Everything was perfectly organised. I did not expect such a good level of music! Thanks also to the teachers who were so kind and enthusiasƟc!” “I would like to thank you and all your colleagues for organizing such a beauƟful event as the ESVG 2022! My daughter and I have enjoyed it very much. It was both interesƟng and learning!” European Suzuki Viola Gathering, Belgium Peter King (administraƟon) and Pusinne Leung (local arrangements) undertook the organizaƟon of the event, coping philosophically with the difficulƟes associated with the need to postpone twice! Geert Van Renterghem acted as webmaster, and Katrien de Munter, Laura Keutzenkamp and Paloma Ortas Gabarre provided invaluable service as assistants during the event itself. As ever, there was an overall willingness of all present to help with things as they arose – in true Suzuki spirit. LocaƟon Vayamundo certainly fostered our community spirit. We had comfortable and reasonably priced, accommodaƟon, all parƟcipants could enjoy the pool and children could choose from a selecƟon of physical acƟviƟes – but only aŌer they had finished pracƟcing of course! What happened at ESVG ESVG 2022 comprised a large variety of acƟviƟes, all related to our basic goals as described earlier. The acƟviƟes included: Opening play-in, Suzuki Repertoire group classes, Viola ensembles at four different level, Parents’ viola classes, A, ever=popular “viola for violinists” class, Teacher led seminars, open to all, Discussion sessions for Suzuki teachers, Final concert, featuring all the classes held during the event In addiƟon, there was a splendid Saturday evening viola and chamber recital given by a group of local musicians, followed by an informal recepƟon, which offered further opportuniƟes for networking and discussion. Costs and Budget ESVG 2022 followed the approach successfully used at ESVG 2017 and 2019. All those who aƩended ESVG 2022, including parents, teachers, observers and pupils, paid their own expenses. Those who taught classes and led discussion sessions did so on a volunteer basis. We were fortunate in being able to negoƟate favorable rates for accommodaƟon and
10 M usic has always been an essenƟal part of my life. Both my parents provided me with a musical environment, although their interests were more orientated toward tradiƟonal Spanish music. I was also fascinated as a child watching the pianist that played at our local church. I wanted to learn the piano so badly that I kept asking my parents unƟl they signed me up for piano lessons when I was eleven. A few years later I made contact with my first local Suzuki teacher, Eunice Cordero who started aƩending my church and we played together. She had also started a Suzuki violin program at a school and she asked me to accompany her students at their first concert. I was shocked to discover that those young performers were only 4 and 5 years old and their violins were the size of a piece of paper but despite their young age, they played fluently by memory and with musical ability. I learnt a great deal from Eunice Cordero and I feel so fortunate that we have built our Suzuki family together for the last 15 years. I then started Suzuki teacher training with Stephen Power in Barcelona. I consider that those first lessons were essenƟal in improving the standard of my playing. With Stephen, I learnt the concept of ‘excellence from the beginning’. My training then conƟnued with Mary McCarthy in Ireland and Scotland. Mary took all her trainees under her wing and taught us the Suzuki philosophy from so many perspecƟves. She created a sense of community and friendship that sƟll endures to this day. I can only describe her as the perfect combinaƟon of a mother, a mentor, a colleague and a friend. With her I felt that I really experienced being ‘nurtured by love’. Along the way, Eunice and I started our own Suzuki project, the ‘Escuela Anna Magdalena Bach’, a Suzuki school in a rural area of Spain. Over the years we have found that many families, despite having no musical background, have believed in our project and have seen their children grow with the joy of music in their lives. No one ever gets removed from our music program because there is always room and Ɵme for change, influence, growth and healing. From all of the students and parents, I have learned and experienced the powerful concept that Suzuki described as ‘The life force’. One of the most fascinaƟng concepts about the Suzuki method is the ‘mother tongue’ approach. It is such a clever idea! I have always been interested in the applicaƟon of this concept to the ability to improvise. When kids learn to talk, they become free to choose the order of the words they use and the ideas they want to express. I had started to try some of these ideas in the context of my individual and group classes but I was encouraged by the team of teachers in our school to start an improv lab in all our group classes for all instruments. I have learnt so much during this process about the moƟvaƟonal power of ‘creaƟvity in acƟon’. I believe that our integrity demands that we should conƟnue to learn and not only just about music: There is so much to learn out there! I have been blessed to find great people who have shared their experƟse with kindness and creaƟvity. I will be forever grateful to Iván Cítera, Felipe Gértrudix, Orlando Enríquez and many others that with their example and their advice have helped me shape the person that I am right now. But this is a brief step in a path that goes on and on. As a new teacher trainer, I find myself at the beginning of a new learning process. As a doctoral researcher, I am focusing on how to help students beƩer use creaƟvity and new technologies and I am also discovering some very interesƟng resources and ideas with which we can enrich our teaching experience. I am a great believer in ‘life long learning’. During my Ɵme as a student, especially in the pedagogy classes, I discovered that in higher educaƟon, the Suzuki approach is barely present as a valid academic methodology and when it is menƟoned, it is not always in a posiƟve way. As a Suzuki teacher trainer I share a vision for the future; to help to bring the Suzuki Method to music educaƟon textbooks and higher insƟtuƟons, as a new way to reach the world. By becoming influencers in the same way that Dr. Suzuki was in his Ɵme, is a way to honour and keep alive his legacy. There will be a lot of work involved and it will require much talking, listening and understanding but ‘where love is deep, everything can be accomplished’. 2022 Teacher Trainer Appointments Danial Fajardo PIANO, SPAIN
11 I graduated in flute in 1990 and since then I have become a concert player giving concerts in many countries of the world as a soloist, in chamber music groups and in collaboraƟon with numerous Italian and European orchestras. It was my passion for music educaƟon that led me in 1996, to discover the Suzuki Method. The Suzuki Method has not only changed my way of teaching but has given a wonderful perspecƟve to my work - that of teaching and helping to educate children through music. The Suzuki Method has involved both my family and my everyday life. I have a daughter who grew up with the Method and a Suzuki School that I am commiƩed to every day. The enthusiasm and the passion it has insƟlled in me has spurred me on to commit myself to contribuƟng to the naƟonal and internaƟonal Suzuki insƟtuƟons (ISI and ESA) and to give it my all so that the Method, the teachers, families and the children all benefit from such an extraordinary idea. The Suzuki School I founded with some other teachers celebrated twenty-four years of acƟvity this year and I have had many opportuniƟes to collaborate with all Suzuki teachers, not only fluƟsts both in Italy and abroad. In my role as arƟsƟc director of the Italian Suzuki InsƟtute, I directed the Suzuki GraduaƟon Concert Italia in 2015 and 2018 and organised both the 2nd Italian Suzuki Children’s ConvenƟon in 2016 and the 11th European Suzuki Children's ConvenƟon in 2022. In 2020, I conceived and organized the SUZUKI™ Lesson Link Up. For several years I have been coordinaƟng the Suzuki flute secƟon at the Falaut Campus in Salerno, an internaƟonal event that involves hundreds of world-renowned fluƟsts every year. I enthusiasƟcally collaborate in the development and disseminaƟon in both Italy and Europe of the CML (Children's Music Laboratory) program, designed to support the global educaƟon of children through music. In 2018 the CML program was recognized by the Italian Ministry of EducaƟon, University and Research (MIUR). Having started my Suzuki training in 2006, the following year I organised the training course in Italy which I have conƟnued to be involved in beyond my fiŌh level. As a country director at ESA I have had the opportunity to deepen my knowledge of training courses and to parƟcipate in the decision making relaƟng to their organisaƟon and content. On both a personal level and through my involvement as a teacher, I have used not only every lesson and every interacƟon with children, parents and teachers but also the wider experience as an opportunity to learn. Nothing is equal to another. As a teacher trainer I want to both share my experience with other teachers and to receive their experience to enrich mine. I would like to be able to contribute to the development of the Suzuki Method by working with the other Teachers in a community that aspires to the quality, effecƟveness and contemporaneity of teaching. 2022 Teacher Trainer Appointments Marco Messina FLUTE, ITALY
12 F or me, my Suzuki adventure started when I was 5 years old. We got new neighbours and my mother brought some coffee during the big move to welcome them. Our new neighbor was Tomiko Shida, a former student of Suzuki himself - she studied and lived in Belgium. Soon we were invited to a house concert and I was enchanted by the beauƟful tone of the violin. Like many of my own students, my family and I had no idea what kind of story we were embarking on. My mother started with the violin to help me and later my youngest brother started too. It soon became a way of life for the whole family. Throughout my childhood I have been able to feel how supporƟve and loving my environment has made me who I am today. AŌer my violin studies, I always wanted to teach. SƟll, I also wanted to stand on stage with both feet and experience what it is like to bring the music to the people. Experiencing that music is a language without words, that it expresses emoƟons and stories, that it moves people and that all this is something you can create yourself on stage, that was an incredible feeling and discovery. The next step was to make sure I got young kids to explore the same thing. At first sight an immense challenge, also one that never stops. But my past experiences with the Suzuki Method taught me that the natural approach, integraƟng music into everyday life and providing an environment that makes everything possible, works miracles. On my way I have been so lucky to meet many teachers who inspired me. I received my Suzuki Training from Jeanne Janssens and I experienced it as one of the best giŌs I could ever receive. The ability to quesƟon everything you’ve learned but now with complete understanding is something I wish for everyone. Also from my many colleagues Suzuki teachers, my students, my family, in short from my enƟre environment I conƟnue to learn and gain inspiraƟon for which my sincere thanks. My moƟvaƟon is to let the music speak, because music tells what words can’t. 2022 Teacher Trainer Appointments Peter Nys VIOLIN, BELGIUM
13 spired and moƟvated her colleagues to develop their pedagogical potenƟal, which resulted in her obtaining the rank of a teacher trainer. She loved to teach all children without excepƟon and she pursued many pedagogical ideas and plans. Unfortunately, she was defeated by a long-term illness and she died on the 31st of January 2022. We shall always remember her opƟmism, her strength in overcoming obstacles and her love for music – especially violin. was at the Ɵme unknown in Poland. Thanks to her organisaƟonal skills, many naƟonal and internaƟonal Suzuki workshops took place. From the very beginning she inIn Memoriam E lżbieta Węgrzyn graduated from the Academy of Music in Krakow in 1999. She was a violinist of incredible ability, but her life choice had always been to teach children. In 2001 she began her studies under the direcƟon of Tove Detrekoy and Anna Podhajska – it was the first Suzuki Method training available in Poland and marked the beginning of her pedagogical work using the Suzuki Method. We will remember her as an energeƟc, funny person who was always prepared and ready for acƟon and who always had a big smile on her face. She opened a school which aƩracted both children and parents willing to learn a method, which Elzbieta , Violin Teacher Trainer, POLAND by Bartosz Henrych Satoko Hoshino Violin Teacher JAPAN & GERMANY by Yoko Nijdam-Hoshino She loved each child as if he or she were her own, she worked earnestly with the parents, was kind but strict and uncompromising and she taught with the absolute convicƟon that every child should be brought up well. Wherever she went, she carried Suzuki's books and the bulleƟn of the Suzuki Method with her and she regularly aƩended Teacher´s MeeƟngs in Japan and Berlin, as well “Let's study together“. With these words, Dr. Suzuki launched my mother's life as a Suzuki Teacher. For the next 50 years, day aŌer day she searched for tone, tone, tone, beauƟful tone. First in Hamamatsu City, Shizuoka Prefecture where she was born and raised. Then moving to Tokyo when her husband, a piano tuner for Yamaha was transferred to Tokyo and in 2005 she moved to Berlin to stay with her daughter. Here she studied German and conƟnued her teaching in Germany. Together with all the children, their parents and the fellow teachers she met, unƟl the last days of her sudden separaƟon aŌer a heart aƩack, she worked with all her might to research and to pass on a teaching method in her mother tongue that would nurture every child. as the German and European Congresses and the World Congress in Japan. On days when there were no lessons, she was parƟcularly restless and disliked holidays without lessons. She loved the summer holiday workshops where all the children and their families worked hard and were lively and she acƟvely parƟcipated in them with her students. She prepared for the compeƟƟons as best she could with each and every one of her young students, aiming for the highest level with all parƟcipaƟng students and their parents. Through the lessons of her children, who always gave her joy and hope in life she was happy and full of purpose unƟl the end. I would like to thank all the teachers who interacted with my mother from the boƩom of my heart.
14 In Memoriam Gabriella Bosio, ESA Harp Teacher Trainer & Founder Suzuki Harp School ITALY Gabriella Bosio, ESA Harp Teacher Trainer and Founder of the Suzuki Harp School in Italy, sadly passed away 9 November 2022. I taly was the first European country to apply the SUZUKI™ Method to Harp in 1987. Antonio Mosca, the Director of the Suzuki Music School in Turin, encouraged Gabriella to get involved in developing the SUZUKI™ Method for Harp. Although Gabriella had been teaching at the Conservatoire for nearly twelve years, she soon realised that teaching young children to play the Harp required a totally different approach. In 1999, Gabriella was appointed as a ESA Teacher Trainer for SUZUKI™ Harp and the first Teacher Training courses were organised in Italy. Tribute from Macro Messina, ESA Country Director Italy On behalf of the enƟre Italian Suzuki movement, I can express the sadness of this painful loss. Gabriella taught with her life and for her, every big concert, lesson or single performance was her life. Gabriella worked for the SUZUKI™ movement in the best possible way by building a community of harpists who now lose a great teacher but inherit a great heritage of professionalism and enthusiasm that I am sure they will pass on to future generaƟons in Italy and Europe. Thank you Gabriella. Tribute from Harp Teachers - Ester GaƩoni, Tiziana Loi, Alessandra Magrini, NicoleƩa Sanzin, Emiliana Sessa Words in these moments always seem inadequate to fully express the empƟness we are already feeling. However, it seems only right to pay homage to a personality so rich in nuances. Generous, volcanic, sunny, inclusive and capable of communicaƟng her joy of making music at all levels. Only a great person and musician, with a deep and never banal culture, endowed with an uncommon intelligence could unite, in the name of love for the harp, people so different from each other. You will always be our guide, Ciao Gabri!
15 50 years of Teaching Music Peter Rüttimann During the hot summer of 1968, I visited the USA through the ‘Experiment in InternaƟonal Living’ programme and through this organisaƟon I was made aware of the same programme in Japan, where I then spent the summer of 1972. In Switzerland, during my pedagogy lessons at the Lucerne Conservatory, I had heard about a ‘Suzuki School’ but I was told that this just consisted of a ‘nice collecƟon of pieces’. However, my experiences in Japan showed me that teaching at a Japanese school could not only just consist of a collecƟon of beauƟful pieces. I also noƟced that my students preferred to play these pieces much more than the pieces from other tradiƟonal violin schools. Having looked at Walter Kolneder's book ‘Das Buch der Violine’ (under Suzuki), I found an address in the city of Katsumoto. I wrote a leƩer to that address and aŌer three months when I hadn’t received an answer, I wrote to the Japanese Embassy who informed me that there was no ‘Katsumoto’ but there was a ‘Matsumoto’. I immediately wrote the same leƩer again to the correct address and received a reply within a few days with an invitaƟon from the Talent EducaƟon InsƟtute (now TERI). I looked for the cheapest flight to Japan and aŌer two stopovers, arrived three days later in July 1977. I was picked up at the staƟon in Matsumoto and taken to meet Dr. Suzuki. I ended up staying there for the whole of the summer, during which Ɵme my teaching changed radically. Moreover, the friendships that I made then have lasted unƟl the present day. From that Ɵme on, accompanied by my ever-growing family, I aƩended pracƟcally all of the European Suzuki conferences. At that Ɵme, Dr. Suzuki came to Europe every year and the conferences were held in different countries. I soon started to bring my own students to accompany me and they sƟll talk about the experience. These courses also made a lasƟng impression on my own children and I suspect that this is the main reason why all three of them are also Suzuki teachers today. The atmosphere where several hundred children from all over the world come together and play is unique. However, the training to become a Suzuki teacher was quite different back then as we mainly spent the Ɵme with Dr. Suzuki and I remember watching videos together with my wife for nights on end in order to learn more. This enabled us to beƩer understand what Suzuki actually wanted. As we became more courageous in teaching our students in this way, we began to receive many phone calls from new students. Together with parents who knew the Suzuki method from America, we organised our first small ‘workshop’ in Davos in 1986. We quickly realised how popular this was among our students and what advantages were brought by everyone having lessons with different teachers - the progress achieved in a few days surprised us all! Some thirty years later, my three children organised the 10th European Suzuki Conference in Davos in 2015 with over 800 children from all over the world aƩending. Looking back now on almost 50 years of music teaching, I can't quite hide my disappointment with the convenƟonal ‘public music school’ system. Originally, I was an ardent supporter of this idea and was convinced that this was the way to reach all pupils. Today however, unfortunately I have to admit that a lot of the things that were originally wellintenƟoned have not always developed in the way that many of the first teachers in Swiss music schools probably hoped for. Even well-intenƟoned bureaucracy ulƟmately brings nothing to either the students or the teachers and money is too oŌen handed out too liberally. For some teachers it seems that the most important thing appears to be to have a ‘just full enough’ workload. Alongside that, if some parents see the music school as an inexpensive childcare opƟon, a child can hardly be expected to develop in such an environment. Or to use Pestalozzi's words – ‘head, heart and hand’. Only when these elements are in balance can one educate children through music and teach them discipline, sensiƟvity and perseverance. These were always the fundamental values for Suzuki. The regular group lessons are very important so that the children can not only consolidate the repertoire but also can learn to be part of the whole from the very beginning. This is more important today than ever before, when parents oŌen forget that a child’s development is a long-term maƩer and that many things will ulƟmately seƩle down naturally over Ɵme. It takes a lot of experience to really be able to respond to each student’s needs. This is learned through pracƟce and not in university lecture halls. The relaƟonship between parents, students and teachers is the key to successful teaching. It makes me very happy when I see how many young teachers are now doing the Suzuki training. But I also see that quite oŌen the courage to implement the Suzuki principles consistently is missing, parƟcularly in public music schools. It is not always easy because either the music school management support is missing or envy can arise among colleagues. This is a great pity. The Suzuki method only works when a teacher is really present for the students and can respond with understanding to the parents' concerns. If the Suzuki method is misused to polish ego and is only about the teacher's own success, then this is counterproducƟve in the long run. The best adverƟsement is always one's own students and their parents but it oŌen takes many years of hard work and dedicaƟon before a Suzuki group works well. The light at the end of the tunnel may not be apparent for a long Ɵme. However, I can only encourage all colleagues to follow this path consistently. The feedback from my former students confirms to me that the effort was worth it. Peter Rüƫmann, Dr Suzuki, Marianna Rüƫmann-Zihler and MarƟn Rüƫmann