European Suzuki Association Quality SUZUKI Teacher Training Teachers’ Newsletter Volume 44 2024 European Suzuki Teachers’ Convention 2024 Aarhus, Denmark
2 European Suzuki Association Teachers’ Newsletter Volume 44 2024 Editor Sue Wimpeney editor@europeansuzuki.org Next publication date 1 November 2025 Deadline for copy 1 September 2025 Assistant Editor Rachael Crooks-Douglin Official Publication of The European Suzuki Association Ltd (ESA) a Company Limited by Guarantee No 1476933 Honorary President Martin Rüttimann Chair Anke van der Bijl Administrator and ESA Office Sue Wimpeney 45 Main Street, Upper Benefield, Peterborough PE8 5AN, England esa@europeansuzuki.org www.europeansuzuki.org Company Secretary & Registered Address Martin Wood, Gross Klein Wood, 26B, Tesla Court, Innovation Way, Peterborough, PE2 6FL England The ESA Board of Directors Officers Chair Anke van der Bijl Deputy Chair TBC Treasurer Martin Wood Honorary Secretary Kristīne Rāviņa Officer Patricia Rüttimann Officer Juan Carlos Navarro Country Directors AUSTRIA Andrea Mugrauer-Beis BELGIUM Wim Meuris CZECH REPUBLIC Jana Hrabaňová DENMARK Camilla Holm Svanberg ESTONIA Karmen Kääramees FAROE ISLANDS Sámal Petersen FINLAND Eeva Kunnas FRANCE Marie Velu GERMANY Flora Gáll HUNGARY Miklós Király ICELAND Sarah Buckley IRELAND Trudy Byron-Fahy ITALY Ann Stupay LATVIA Sallija Bankevica LITHUANIA Déja Aukštkalnyté NETHERLANDS Monique Dowgwillo NORWAY Mona Anita Nesse POLAND Bartosz Henrych RUSSIA Elena Sterelyukhina SOUTH AFRICA Carol Solomon SPAIN Lucia Bellido SWEDEN Päivikki Wirkkala-Malmqvist SWITZERLAND Patricia Rüttimann TURKEY Müge Eraydin Yegin UNITED KINGDOM Helen Brunner UKRAINE Olha Bykanova ZIMBABWE Catherine Stirling Page 2024 Board Meeting & AGM Summary 3 Chair’s Column 4 European Suzuki Teachers Convention 2024 5 European Suzuki Flute Workshop 2024 9 European Suzuki Viola Gathering 2024 10 National Suzuki Teachers’ Convention ITALY 2024 11 2024 Teacher Trainer Appointments 12 In Memoriam 20 The Road I Walked Alone 22 European Suzuki Teacher Trainers Conference 2025 24 European Suzuki Flute Gathering 2025 25 European Suzuki Piano Days 2025 26 European Suzuki Children’s Convention 2026 27 Dr. Haruko Kataoka in Europe 1980-1994 28 25th Anniversary of Norsk Suzukiforbund 30 National Suzuki Workshop Ukraine 31 Suzuki Teaching Trust 32 Teacher Trainers/Examiners & Instructors 34 Table of Contents Future ESA Events The huge success of the European Suzuki Children’s Convention in 2022 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 motivation. The plan is for ESA to have a schedule of regular events - • ESA Teachers’ Convention every 2 years • ESA Teacher Trainers’ Convention every 4 years • European Suzuki Children's Convention every 4 years This will give - • Teacher Trainers their own regular event • Teachers the opportunity to attend something 3 years in every 4 • Children their own regular event The schedule for the next four years is - 2025 European Suzuki Teacher Trainers Convention Lithuania 2026 European Suzuki Children’s Convention Turkey 2027 European Suzuki Teachers Convention venue TBC 2028 European Suzuki Teacher Trainers Convention venue TBC However, maintaining this programme does entirely depend on the willingness of national Suzuki associations to host these events and provide an Organising Committee to work with the ESA Team. A member of the ESA Team should sit on the Organising Committee. The Committee would be responsible for finding a venue, getting a quote, deciding on a theme, drawing up the programme and selecting the Faculty. ESA Admin would be responsible for all financial matters, publicity and registrations. For the European Suzuki Children’s Conventions, the Organising Committee 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 Convention on esa@europeansuzuki.org Engage, collaborate and share. THE MISSION of the European Suzuki Association (ESA) is to further Dr. Shinichi Suzuki's approach to education. The organisation's area of operation is Europe, the Middle East and Africa, as decided by the International Suzuki Association of which the ESA is a member. The cornerstone of maintaining quality in Suzuki teaching is the provision of quality Suzuki Teacher Training.
3 2024 Board Meeting & AGM Summary ASSOCIATE COUNTRY MEMBER HUNGARY RESIGNATIONS Country Directors Niina Haapanen FINLAND Marco Messina ITALY Sonnika Maritz Venter SOUTH AFRICA APPOINTMENTS Country Directors Karmen Kääramees ESTONIA Eeva Kunnas FINALND Ann Stupay ITALY Carol Solomon SOUTH AFRICA Miklós Király HUNGARY DIRECTORS’ REPORT & ANNUAL ACCOUNTS 2023 Available on the ESA Website here INSTRUMENTS Harp The Harp Development Committee confirmed that the development of Harp was in good hands with Tiziana Loi as Level 5 Instructor now conducting TT Courses and eventually to be appointed Harp Teacher Trainer. The Harp committee therefore agreed to disband. Mandolin Amelia Saracco reached out to other countries with a survey to support the continuation of Teacher Training courses. The result of the survey sent to all Country Directors was not very forthcoming. The Mandolin holds different status in different cultures and musical genres in the wider ESA community. Amelia will be contacting those member countries where there was some indication of interest. Organ The Organ Development Committee has been reaching out to organists to become Suzuki Teachers Trainers. This has resulted in the first Level 1 Organ exams in a number of years. Discussions were held about possible Piano to Organ conversion courses. However the differences are too great to make this feasible Accordion The appointment of Elena Enrico as the first Accordion Teacher Trainer has been warmly welcomed and efforts to expand this family of teachers continues. Discussions are still in progress with publishers about the core material, though Books 1—3 are now available. It was clarified that Accordion was still classified as a Study Group as was Mandolin and Brass. Recently ESA Chair Anke van der Bijl was appointed Suzuki Accordion Project (SAP) Liaison for ISA. This now gives SAP a voice on the ISA Board. CHANGES to ESA MANUALS TEACHER TRAINING MANUAL Teacher Training Courses 6. Viola Teacher Training Conversion Courses for Violin Teachers. a. Teachers who have passed Level 1 on the Violin may take a shorter Viola Conversion Course (minimum 12 hours) and undertake a Viola Level 1 Exam. b. Teachers who have passed Levels 1 & 2 on the Violin may follow a combined Viola Teaching Training Conversion Course for Levels 1 & 2 of approximately 1 week (minimum of 20 hours) followed by an Exam for combined Levels 1 & 2. c. Teachers who have passed any of the levels from 3 - 5 on the Violin will be required to attend a Viola Conversion Course which will take place over a longer period (recommended 6 months) and which will be organised at the discretion of the Teacher Trainer. These courses cover Repertoire and Teaching Points and Techniques for the appropriate levels but does not repeat those aspects of Teacher Training which have already been covered in the Violin course. e. For Levels 1 & 2, the performance should consist of all Viola repertoire played from memory at the level at which the candidate wishes to take the Conversion Course and Examination. For Levels 3 to 5, the performance should consist of all the Viola repertoire at the level at which the candidate wishes to take the Conversion Course and Examination, with certain pieces as specified by the Director of the Viola Conversion Course being performed from memory. f. The examination should include the teaching of children at the appropriate levels, if necessary, by a prerecorded video lesson. Appendix B7 SECE Teacher Training Syllabus Requirements: European Suzuki Association Membership (1) and Audition Interview (2) 2. Course participants must have at least ESA Level 1 in one of the recognised SUZUKI Instruments. EXAMINATIONS MANUAL Appendix C2 Examination Pieces Mandolin Changes made to Level 1, 2 and 3 Teaching Points and Examination Pieces. APPOINTMENTS MANUAL Appendix D1 Instrument Committees 6. Category C Instrument Committees will be appointed by the ESA Board on an application basis. Members must be Teacher Trainers. 7. iii. collaboration with Teacher Trainers and Teachers to assist in the development of the instrument in the region Appendix D2 Application Criteria for Instructor Applications for SECE Instructor require a professional degree in Music, from a conservatory, university or other accredited Institution, or equivalent advanced musical training. Videos for SECE a. An SECE class with sequence ‘A’ and ‘B’ where students of different ages participate and mastery of different skills in the various activities of the students are shown. Candidates to submit one video as above with the Instructor application and one with the Teacher Trainer application. b. A Concert performance with an SECE group Board Meeting and AGM April 2024 Denmark 2025 ESA ANNUAL GENERAL MEETING 14.00 hrs Friday 18 April 2025 Vilnius, LITHUANIA All A & B members welcome Please confirm attendance with the ESA Office by 28 February 2025 esa@europeansuzuki.org ESA ANNUAL MEETINGS The ESA is taking its Annual Meetings around the region to a different country every year. The Board of the ESA are keen to have the opportunity to invite each National Suzuki Association and its members to: - attend the AGM - organise a students’ concert - meet the ESA Directors The ESA Administrator will work closely with the National Suzuki Association to select a venue and organise the meetings and concert. If your country would like to be the next to host an ESA meeting, please contact the ESA Office on esa@europeansuzuki.org or through ‘Contact ’ on the ESA website. Latest editions of ESA Manuals are available on the ESA website www.europeansuzuki.org/esa/ ttexamappointments-manuals/ • Teacher Training Manual • Examinations Man al • Appointments & Accreditations Manual
4 Chair’s Column Anke van der Bijl • Putting procedures before people • Stopping the development of the respective instruments • Acting against the Suzuki Philosophy • Disrespecting Trainees and Trainers. These accusations make us sad. It does not contribute to the harmonious atmosphere we all wish for. The aim is not to scold each other. Teacher Trainers ought to connect with Trainees and provide a good example. To give Trainees the tools to open the heart of many pupils. To share the experience how music touches our souls. We should consider that even though our circumstances may be different, the ESA Board, the ESA Admininstrator and the ESA Teacher Trainers have the same goals - spreading the SUZUKI Philosophy through offering Quality Teacher Training in our ESA region. We follow our procedures to be consistent and fair to all of our 27 member countries and across all 19 of our instruments. These procedures have been discussed at length and voted on democratically by our ESA Board. And yes, I totally agree, our manuals have become vast ! In our attempt to accommodate different instruments, new countries, advances in tecnhology and new challenges as the SUZUKI Method grows in the region, we make more additions and amendments to the manuals, making them rather comprehensive whereas our main dream is to simplify them. Making three manuals more user friendly is a massive job because their content is inter-related. A change in one affects a clause in another. A first step may be to extract all sample forms and certificates and replace with links. Still, first we need to reconsider our procedures and all their variations For examinations - • 100 % in person • partly online • continuous assessment For teacher training : • 100 % in person • hybrid - 50 % in person, 50% & online • continuous assessment For clear charts on reciprocity. So far this has merely been a dream. It is time to move forward from having a dream to having a plan. Let’s start ! Soon all Teacher Trainers will receive a questionnaire about the current procedures. The results will help us ‘compose’ an appropriate review for the upcoming ESA Teacher Training Conference in Vilnius. There we hope to discuss new options with the ESA Teacher Trainers present. You all can contribute and share your experience, which is most appreciated ! Let us work together to keep true to our motto ‘Quality Teacher Training’. We hope to hear from you all. Balancing People and Procedures Suzuki Teacher Training : Theme with Variations & Deviations I n January 2024, I wrote a letter to all ESA Teacher Trainers expressing my concern about the amount of ESA examinations which do not follow our ESA Teacher Training and Examinations manuals. We (Officers and Administration) noticed that the majority(!) of all examinations do not follow the current procedures. It takes up much of our voluntary time finding ways to validate those exams without making the trainees suffer. In our most recent Board Meeting we also discussed the matter. It seemed most Board members were not aware of the vast amount of queries we actually receive. Examples of “deviations” to our procedures are - • Previous levels are missing i.e. Level 4 exams without a previous Level 3 • Exam report forms without names, addresses or levels or “pass” • Incorrect names and/or address of trainees • Issues with Examiner panels • Trainees are not members of their national Suzuki association (NSA). It takes hours of discussion and debate on how to let candidates pass without creating precedents for new issues. Valuable time we would prefer to use for other important issues, such as organising events and start the job of updating and simplifying our manuals to make them more user friendly ! When addressing these queries with the Teacher Trainers and NSA’s involved, it is mostly the Chair and Administrator who are accused of :
5 European Suzuki Teachers Convention 2024 Guillem Calvo The Power of Connection in the Modern Suzuki World T he recent European Suzuki Teachers Convention was a remarkable gathering that not only rekindled our shared passion for music education but also highlighted the profound impact of connection—both in person and online. The blend of insightful sessions and the vibrant in-between interactions created an environment where the essence of the Suzuki Method could truly shine. This convention was not just about reviewing and renewing our teaching techniques but also about strengthening the bonds that make our community unique. During the "Going Online" session I co-led with Kimberley and Kate, we delved into the transformative potential of social media and digital platforms for our Suzuki community. This topic is particularly dear to me because I have personally experienced the power of these tools. Through my own online course, Insight Suzuki, and various interactions on social media, I’ve seen how digital connections can bridge geographical distances and bring our community closer together. We discussed the necessity of embracing these tools to remain relevant in our ever-evolving environment. Teachers were inspired to be more courageous in their online presence, understanding both the why and how of leveraging these platforms effectively. The practical guidance provided during the session left many feeling empowered and motivated to expand their digital footprint, which I believe is crucial for the growth and sustainability of our community. Koen Rens talk on "Suzuki High Frequency" profoundly highlighted the irreplaceable value of human connection. The discussion emphasised the unique qualities of sound transmitted through air, unaltered by digital compression. This experience reaffirmed the essential role of in-person interactions between teachers and students, and among colleagues. It’s a reminder that while technology can enhance our reach, the core of our method thrives on personal, direct connections. The human touch, with its warmth and immediacy, is vital in nurturing our students and fostering a deep, holistic understanding of music. Returning from the convention, I felt invigorated and immediately began incorporating new insights into my teaching. I’m now placing a greater emphasis on sound quality, musicality, and how technique influences these elements. Daniel Fajardo’s session on "Playing By Ear" also inspired me to focus more on developing my students' aural skills. This session underscored that technique is not the ultimate goal but a means to create better music and sound. I have already started implementing this approach, encouraging my students to see technique as a tool for expression, rather than an end in itself. One of the most memorable aspects of the convention was reconnecting with old friends and making new ones. Meeting colleagues in person, some of whom I had only interacted with online, was incredibly enriching. These connections underscore the importance of having more conventions at various levels—national, regional, and international—to foster these invaluable personal interactions. The informal settings, such as dinners and breaks, were perfect for deepening these bonds and sharing ideas. The convention reinforced the importance of connection in our community. We have the tools to lead the way to a better world through the Suzuki Method blending new technologies with the spirit and essence of Dr. Suzuki’s vision. Stories shared about being in Dr. Suzuki’s presence reminded us of the foundational principles that guide us. By embracing both digital and personal connections, we continue to build a vibrant, supportive community that enriches the lives of teachers, students, and families alike. Thank you to the organisers and all participants for a truly inspiring convention. Let’s continue to connect, share, and grow together.
6 European Suzuki Teachers Convention 2024 Sallija Bankevica Happy to be a part of the Suzuki tribe W hen doing something for the first time, you never know what you will get from it. My first European Suzuki Teachers Convention was a wonderful experience for me and a great event. As a ‘new’ teacher in Suzuki world, I watched, listened and absorbed the passion, love and modesty of pioneer Suzuki Teachers such as Helen Brunner and Christophe Bossuat. The lecture and musical illustration presented by Koen Rens brought tears to my eyes. I felt goose bumps listening to all the Violin teachers playing Sevcik’s Variation Theme with such a sensitive and soft sound. I laughed when Daniel Fajardo made the comparison of his English studies with listening by ear. I was proud of my Lithuanian colleague Deja Aukštkalnyté for her great work in making the SUZUKI Method so revered in Kaunas Suzuki School. I admired the young generation of Suzuki Teachers and the way they use social networks to achieve wider publicity and better results. I enjoyed the Clapping Class by Hanna Matthijse and saw how kids and parents happily danced through Book 1. I got an insight into how big an impact every Suzuki teacher makes in developing the SUZUKI Method in Africa. I saw the different approaches of pretwinklers’ repertoire demonstrated by Joanne Martin, Katheleen Spring and Eva Belvelin. Everyone was grateful for Eva’s generosity in sharing her inventions for improving violin playing and offering them as gifts. I just loved to have lunch on the roof and met so many people here – I absolutely agree that sometimes the more interesting things happen between the lectures! I also enjoyed a nice walk in the historic part of the city with some friends - that was really refreshing after a long day. I really admired the work of Jan Matthiesen in organising this convention. Everything seemed so fluent, natural, and easy, where stress disappeared with a small joke. All difficulties were overcome – we just felt friendship and kindness. Finally – what a wonderful gastronomic adventure offered by the restaurants of Aarhus!
7 European Suzuki Teachers Convention 2024 Lina Kašauskienė A Piano Teacher's Perspective E very event, meeting, hug and smile shared with another person leaves an imprint on our lives. We become a little bit different than we were before. So, what has stayed in my memory after almost a month since the European Suzuki Teachers' Convention and what will remain there for a long time? First, the spirit, which was especially palpable then and still remains. The spirit of Dr. Suzuki which united all those present. All those speakers who had been fortunate enough to study with Dr. Suzuki are also great orators who know how to share their memories and experiences in such a way, that watching them seems like you are actually watching Dr Suzuki's movements or hearing him joke or play along with everybody. What he said to them back then, seems to resonate with us even now. I realise how lucky we are to be able to hear about the experiences of Teacher Trainers Christophe Bossuat, Helen Brunner, and Allen Lieb. It is a great gift of fate to see the warm light that shines in their eyes, and the strong energy that their personalities exude. Listening to them, I want to memorise every word, because it is an experience that we can pass on to others. One cannot fail to mention the Belgian Violin Teacher Trainer Koen Rens, who learnt the SUZUKI Method as a child. Koen made us feel how the vibrations of the sound produced on an instrument spread out in space, touches the ears of the listeners, warms their hearts and returns vibrating even more. It is a special sound that vibrates with love and the belief that everything is possible. Every word touched my heart. Presenters Edward Kreitman, Johannes Lievaart, Daniel Fajardo, Deja Aukštkalnytė, Kate Conway, Guillem Calvo, and Kimberley Wong created a unique atmosphere for those two days, which each of us took back home to our students. The large number of teachers and speakers from Belgium, Poland, Lithuania, Latvia, Estonia, the Netherlands, Great Britain, Norway, and other European countries made the convention diverse in itself. The fact that it brought together teachers playing different instruments gave it a unique character. It was simply impossible to see everything. On the first day, after the opening speech by Anke van der Bijl, the Chair of the European Suzuki Association, and the inimitable Jan Matthiesen, organiser of the conference, we dispersed into separate rooms to practise tonalization of the violin, the flute, the cello, the guitar and the piano. The pianists could not bring their own pianos, so we shared a piano with an Icelandic Piano Teacher Trainer Kristinn Örn Kristinsson, but everyone managed to play, and there is an inexhaustible sea of variations on how to play Twinkle. The sound, which changes in response to each touch on the instrument, was the most important. Later we had the Dalcroze class with Kari Knudsen. I am not new to this method, but I believe I felt what the children feel when they all move to the same rhythm or when they go round in a circle and clap their hands. Stop! Listen! Move! Dance! Be attentive. Above all, enjoy what you do. The Piano group lessons with Daniel Fajardo and Caroline Fraser were great examples of playfulness, creativity and extremely high professionalism. When teaching serious subjects, the face does not have to be serious. The more playfulness on the teacher's face, the more laughter; the more laughter, the more inner freedom and joy. And if we add improvisation, such lessons are unforgettable. I smile and improvise in my lessons more than I used to. Early Childhood Education with Patricia Rüttimann, The Clapping Class with Hanna Matthijse, and the lecture on New Repertoire with Eva Belvelin impressed me with the high level of craftsmanship, the inexhaustible ingenuity, and the infinite love for what they do.
8 European Suzuki Teachers Convention 2024 Violeta Ancienė A Violin Teacher's Perspective Every encounter and every person around us influences us. Being among like - minded people who are passionate about their work and have a love and respect for those around them encourages us to search and discover, and then to pass this on to our students and colleagues. During the conference I noted down one or two sentences from each of the speakers. These sentences echoed my own inner thoughts and encouraged me to reflect on one topic or another. So now I will briefly share some of my reflections from my conference notebook. First, I would like to thank the Suzuki children and their teachers for the beautiful concert on Friday evening. Listening to them play gave me concert ideas for my own class. I found the videos from the archives interesting. I found a new appreciation for the importance of repetition and heard the different levels of performance, from beginner to advanced. Koen Rens presented Suzuki's philosophy so accurately in the Violin books. I have a lot to think about and research. Thank you, Lilja Hjaltadottir, for the excellent tonalisation lesson. Tonalisation is the topic that I am currently passionate about. Therefore, the lesson on toning in the Suzuki archives was a great reinforcement for me. Helen Brunner, reminded us how repeating something 10,000 times changes us. Edward Kreitman's observation that Suzuki children play music from the inside out - I totally agree with. Seeing the example of the girl who was singing the Etude and the progress one could make was "startling". It takes so little - just listening to the recordings is enough (not once, of course, but at least 100 times). Thanks to Samal Petersen for presenting the Shevchik variations. It encouraged me to remember Shevchik's exercises for the bow, to practice them in my own playing and to include them in my work with students. I can already enjoy a more beautiful sound, which makes my heart full. Thank you, Eva Belvelin, and Kathleen Spring, for your ideas on working with young children. I think they will definitely find a place in my work. Christophe Bossuat mentioned that, in order to move with the wave, we have to make a movement towards it ourselves. I believe that this conference has been for many a movement towards the wave that carries us all deeper into the understanding of the child and how to teach them.
9 European Suzuki Flute Workshop 2024 Machteld Van Geenhoven A fter an inspiring European Suzuki Teachers Convention organised by the ESA and Jan Matthiesen at the Royal Academy of Music in Aarhus, an historical event took place at the same venue. For the first time in Suzuki history, we had a two day Suzuki Flute Teachers Workshop. 23 Suzuki Flute Teachers from 11 different European countries joined this workshop – Austria - Belgium –Estonia - Finland – Germany – Iceland – Italy - Netherlands – Poland – Sweden – United Kingdom. A variety of sessions were on the programme – Warming-up for advanced students with extended Flute techniques applied to the SUZIKI Method Sound production for beginners Group lesson ideas a discussion about revised Suzuki materials musical skills for the very young teaching the Flute to children 2 – 5 years old We had a Play-together with arrangements by Rieneke Weber (NL) of the Blavet sonata “La Vibray” and the Rondo from the double concerto in G by Cimarosa. We could hear beautiful tone colours in these arrangements. They are very useful for group lessons. We had great fun with the story by Britta Roscher (D) “Blow, Puff, Bubble, Sputter”, a musical story in the jungle to present the whole range of Flutes to young children. Sarah Hanley (UK) showed us her narrator skills and Britta played tunes on different flutes. For the final session, Anne Fontenay, President of the Danish Flute Society, was invited. She gave us a talk about her work to encourage young children and their parents to follow lessons at a music school. All participants were inspired and very happy after this workshop. It was great to meet colleagues from all these different places in Europe. We all returned home with a lot of ideas. Hopefully this fantastic event can return in a few years somewhere else…. “Where love is deep, much van be accomplished”. S. Suzuki This project was made possible in part through the financial support of the Marian Mogul Fund. Many thanks to Anke van der Bijl who made great efforts to accomplish this project.
10 European Suzuki Viola Gathering 2024 Laura Keuzenkamp 15 – 17 November 2024 De Beukenhof, The Netherlands I n the beautiful old monastery ‘De Beukenhof’ in The Netherlands about 50 children with their families and 25 Teachers gathered together for a weekend filled with playing the instrument that binds them all together: the Viola! All weekend long you could hear in every corner of the monastery the warm, touching, lively and vibrant sound of our favourite instrument. The Viola Gathering is a special event where Violists from all over Europe, Canada and the United States come together to share their love for this beautiful instrument. For both the children and Teachers this Viola Gathering is very unique, no other Suzuki workshop has such a big share of Violist participation. This event is known for its contribution to the Viola community; it’s the place where Viola families and Viola Teachers can meet each other in big groups and share their love, knowledge, skill, motivation and ideas. During the weekend one could really feel that the philosophy was present in all corners of the building; parents, students, Teachers and even the staff of the venue were all working together to make an ideal little world and everyone contributed to making others grow in their own way. It’s our goal to make the Suzuki Viola community grow and give students, parents and Teachers the opportunity to share and feel the love that they and others carry out for this beautiful instrument. Every day was filled with group lessons, orchestra rehearsals and other activities where Suzuki Viola Teachers voluntarily shared all they know about the Viola with the children and parents, and with each other. It’s very unique to have big groups of Violists together to teach, to play together with and to listen to; this develops our Viola sound to a higher level (or deeper level if you wish). Even for non-reading students an orchestra lesson was provided, where they could get a taste of playing together in multiple voices instead of playing in unison like they mostly had done before. Next to that, the Viola Gathering is a great event to learn about all the possibilities of the Viola playing different styles of music, from Classical to Popular, from Baroque to Modern, from intensely slow to ecstatically fast… There were also three round-table sessions scheduled, from which the third one was new and quite unique: one for parents, one for Teachers and one for children. The one for parents and teachers was to meet and discuss different kind of topics such as practice, dealing with multi-level groups, developing programs and philosophy. For the children we found a small group of teenagers who were willing to play games with the younger children in order to bond and to get to know each other a bit better. This last version of a round-table was very new for us, but from what I heard, the children insist on having another one at the next Viola Gathering! This 4th Viola Gathering in The Netherlands was a special one, cofounders from the very beginning, Joanne Martin and Peter King, announced their retirement from the organization and were extensively thanked during the final concert with presents and speeches. In the future we will continue to organize other Viola Gatherings in different European countries and we hope the Suzuki Viola community will get bigger and stronger than ever.
11 National Suzuki Teachers’ Convention ITALY 2024 Ann Stupay T he Italian Suzuki Institute organised the first National Suzuki Teacher’s Conference in Rimini, Italy from 31 October - 2 November 2024. The concerts and conferences were part of the 75th edition of the Sagra Musicale Malatestiana - one of the most prestigious music events in Italy. The event, which saw the participation of 75 Teachers, 10 Italian Teacher Trainers and 5 external experts took place in the Teatro degli Atti, in the Rimini Conservatory and in the beautiful Teatro Galli. The conference opened with a musical welcome by the young musicians of the CEMI SUZUKI School of Rimini and greetings by ISI president Alessandro Andriani and the ISI Board.. The conferences, which proceeded in the following days, included presentations by Italian Suzuki Teachers with topics such as teaching children with handicap, the relationship between emotion and learning, the SUZUKI Method and Baroque music and many others. Also included were presentations by well-known experts in the fields of psychology, improvisation and Feldenkrais. There was also time set aside for instrument specific round tables lead by the Teacher Trainers to allow for the exchange ideas and experience. The three evening concerts which took place in the historic Teatro Galli were part of a project that involved the more advanced Suzuki students who had auditioned to participate with in the National Suzuki Orchestras. - the strings and Flutes ( joined for the occasion by additional wind players from the Modena conservatory), the plucked instruments (Harps, Guitars and Mandolins) and Pianists in multi-hand Piano formations as well as the Suzuki Accordion ensemble. The orchestras rehearsed with professional conductors in Rimini and astounded the audience with their joy, musicality and capability. The final day saw a presentation of new instruments, with experimentation in Suzuki Saxophone, bells and percussion instruments as well as emerging Suzuki Voice and Recorder programs. The event was much appreciated by all participants and plans to repeat an event for Suzuki Teachers in the future were given an enthusiastic thumbs up!
12 I first started studying Suzuki pedagogy in my 30s. At this point I was living back in my hometown of Hobart, Tasmania, in the far south of Australia. I had been loving working as a professional cellist in various orchestras around Australia but was discovering that my real passion was with teaching. I felt the need for more resources, ideas and inspiration for my lessons though, and this was at a time when the internet was starting to explode with new information and connections, and naturally some of the Suzuki teachers were some of the first there. I travelled to the USA to some of the bigger institutes in Utah and Chicago and began to see how it all worked in practice and began training there. The more I saw and learned about the philosophy and history of the Suzuki approach, the more I fell in love with our method. When I moved to live in the Netherlands, I continued my training with Marianne Vrijland in Utrecht, also attending workshops and short courses in the UK and Spain. I undertook my level 4 and 5 in France with Ruben Rivera and Chantal Latil, and continued to travel to attend workshops around Europe. I had such fantastic trainers, and the colleagues in my courses were really amazing players, teachers and people. I have loved working on my foreign language skills to communicate with them and learn to teach in other languages (and without verbal language). My mother worked as a speech therapist, and she has old cassette tapes of her helping me to learn the sounds of my mother tongue English as a very young child, and step by step noting what age I mastered each phoneme. I’m sure this has had an influence on my lifelong love of word games, crosswords, language learning, and the Suzuki method. During the Corona times, I took the opportunity to review and retake all the levels through the Suzuki Association of the Americas online. I worked with American trainers Carey Cheney, Laura Shaw, Avi Friedlander, and of particular note, I did many courses with Tanya Carey, one of the American pioneers of Suzuki cello. I found this such an invaluable experience, both working with wonderful trainers, and meeting many American teacher colleagues online. After teaching at many Suzuki workshops online, and then thankfully back in person around Europe, I was approached by several Teacher Trainers and invited to apply to become an instructor. Ruben Rivera was my mentor for my instructorship in France. I also observed two years of the UK course with Tessa Oakley, and assisted Eulàlia Subirà with teacher training in Poland, including the first class of Ukrainian Suzuki Cello teachers. Now I continue to teach and perform in Amsterdam. I have always kept playing chamber music, with concerts in recent years in the Netherlands, France, Germany, Poland and Russia. I have a studio of students of all ages and levels, and I am looking forward to beginning Teacher Training courses in the Netherlands, and I will also be involved in the newest UK cello course. 2024 Teacher Trainer Appointments Brendan Conroy VIOLONCELLO, NETHERLANDS
13 M usic has always been a part of my life. I grew up in a multigenerational household where music was very important. I was often accompanied by my grandmother's singing, as she sang in a church choir. As a little girl, I would listen to my uncle playing the piano while I was playing with my toys. My favourite activity was playing my first melodies by ear. The piano keyboard had something magical about it and took me into a world of imagination and sounds. However, it was the violin that stole my heart! At the age of eight, I began studying at the music school in Tarnowskie Góry, a Silver Town with UNESCO-listed landmarks, which I invite you to visit. Throughout my musical education – high school in Katowice and the Academy of Music in Krakow – I was trained using traditional methods. I started teaching violin to children during my studies and discovered a deep passion for it. I sought out various courses and lectures to find more interesting and inspiring ways to teach children. However, a personal experience changed my perspective. In 2000 my son Wojtek was born with 1/10 point on the Apgar scale. The therapist who worked with him pointed out that listening to classical music has a significant impact on human development, especially for children who need special support. At the same time, I read about an upcoming course for violin teachers using the Suzuki method. The phrase "child development" included in that information inspired me to start the course led by Tove Detrekoy with the assistance of Anna Podhajska in 2001. I was in the first group of teachers learning the Suzuki method in Poland. Tove's patience, empathy, and kindness gradually revealed to us a different musical and pedagogical world, changing my perception of it. My son was my first student, and at that time, I didn’t think there would be others. The system of music schools in Poland has a long tradition, so I didn't think there would be people willing to educate their children using a different method. How wrong I was! The method fascinated not only me but also others. Students began signing up very quickly. Observing the method and its community of passionate people, I became deeply involved in learning the method and gradually completed further levels. Then, I became an instructor under Anna Podhajska’s guidance, and later a trainer. Being a trainer is a significant responsibility for me, but also a mission to pass on the philosophy of Suzuki and the methodology to other teachers. Today, amidst many technological stimuli, this teaching method is a fantastic way to strengthen family bonds, as it is based on the parent-child relationship. It develops emotional intelligence and builds social ties (through group playing, workshops, and concerts). I am happy that I can teach children to play an instrument, but the most important part is accompanying and observing their growth. In addition to teaching, I also organize small cultural events as a member of the "Dziedzictwo" (“Heritage”) association, which promotes local history and culture. I believe that cultural activities combined with quality music education support local communities and build strong relationships among people. “Man is a child of his environment”- S. Suzuki 2024 Teacher Trainer Appointments Barbara Plaza VIOLIN, POLAND
14 I was five years old when I started my Suzuki journey. My mother saw an ad at the local newspaper that a new Suzuki violin group was just about to start. My mother signed me and my sister up via a lottery, due to the limited space in the music school. We were both lucky to get a spot in a group. My family knew nothing about playing the violin - my dad suggested that we warm up the rosin because otherwise we couldn’t get anything out of it! Luckily, we had our first violin lesson before he tried this out. I liked the violin from day one. I loved my teacher and loved playing with my friends. I don’t remember practising so much but I remember concerts at the park and little trips to neighbouring towns to play small concerts there. I remember summer workshops and Christmas parties at my teacher’s house. I remember the good, somehow dignified smell of the old music school and all the friends I had at the group. Then there was the time my little 4 year old sister fell asleep during her violin lesson and also when I went to my lesson with an empty violin case. I have a feeling that Suzuki always meant something fun, happy and interesting in my life. After my formal studies in a Conservatory, I worked as a violinist in an orchestra and thought that playing was the thing I really want to do. But after having my first child I began to think differently. Teaching children started to look like an interesting job. I still felt that I was missing tools to teach, and I looked for different methods and ways of teaching but somehow the Suzuki Method seemed too familiar to me to really study that. It took me two more pregnancies and some more years before I was ready to find my real passion and started my Teacher Training with Hannele Lehto. Suzuki training really changed my life. With Hannele I got to see the other angle of Suzuki Method and I started to appreciate the work of a good teacher very much. Nowadays I can say, I truly love my job. When Hannele retired I was very happy to get her teaching position in Käpylä Music School in Helsinki which specialises in the Suzuki Method During my Teacher Training years, my youngest child also started her violin lessons with Hannele Lehto. I was very lucky that I got to follow Hannele´s teaching during those years. Also, the group lessons of Marja Olamaa were a huge source of inspiration and influence for me. Being a Suzuki mum was very giving but for me it was also the hardest part of the Suzuki triangle. Becoming a Teacher Trainer is an incredible honour and a huge responsibility. I want to pass on the things that I have learnt and consider to be so important. I realise that I am at the beginning of my journey and I have much to learn. I feel so lucky that during my instructor years I was able to follow the exams of different juries, take part in different workshops and got to see the international openness in Suzuki Method It is so wonderful that even on this very week we are going to welcome friends from Central Europe to our music school to share some group classes and a concert together with students and teachers of from another country. When there are wars going on in the world, it is so important to show children that we are all the same although we come from different parts of the world. We live in a moment when children’s concentration is really challenged. Different screens are magically attracting children and there are so many hobbies that children can choose from. It is lovely that, as a violin teacher, I am allowed to concentrate on facing the child, I can look him or her in the eyes, listen to them very carefully, guide his or her hands and the whole body and nothing is interfering with our concentration. Even the parent can and must stop and concentrate during the lesson. Sustainability and being able to stop for a moment, are the best things we can offer for a child. Add to that the group lessons, where a child may make friends and learn from his or her peers, and I am super happy. How did I end up in this fine situation? I have a job that really has a meaning! 2024 Teacher Trainer Appointments Kirsi Patrikainen VIOLIN, FINLAND
15 I was born in Turin on February 25, 1954, and began my musical studies at the age of six, graduating in piano at an early age. Later in life, during my Conservatory years I approached the theatrical world by through singing and acting courses and, in 1976, I took part in the group called "Topi d'albergo" working in Italy and abroad until the following year. In 1977 I was very happy to win the competition for assistant director at RAI in Turin, working with well- known authors and directors. I continue my theatrical activity in parallel as both an actress and a singer. I also compose musical commentary pieces and have recoded an LP for Fonit Cetra for radio soundtracks, one of which was performed at the "Prix Italia". From 1980 to 2011 I prepared and directed popular choirs with equal (male) voices and children's and polyphonic choirs. Interested in the didactic and educational aspects of music, I left radio employment in 1981 to further my research and to develop methodologies for early teaching, development and skill enhancement in children from birth. From 1982 I worked for 19 years in Public Schools producing theatrical performances, concerts, interdisciplinary projects and events, also in collaboration with various other bodies including theatres. As a pianist I have to my credit a hundred concerts in duo, trio and orchestral ensembles and have been an accompanist for singers and instrumentalists for many years. In 1984 I began a teaching experiment at the "Suzuki Talent Center" in Turin and established "Children's Music Laboratory" (CML) courses that anticipate and accompany the study of a musical instrument. Later I delved into aspects related to skill development by creating two new courses: "Music Lullaby" aimed at children, parents and kindergarten educators, and "Doctor Music" aimed at young children with difficulties and at training support teachers. At the "Suzuki Talent Center" with Masters Lee Robert and Antonio Mosca, I have been proud to develop the growth of my own three children along with a great many students; supporting them in their artistic and professional choices. In 1994 I was among the founding members of the "Italian Suzuki Institute." I began playing the accordion by selfteaching and soon found my passion to continue, later studying at the A. Boito Conservatory in Parma with Maestro Cesare Chiacchiarett, then in the class of Maestro Giorgio Dellarole (with whom I continue an active musical and educational collaboration). More recently I have elaborated the instrumental path on the accordion dedicated to pre-school children and have begun the didactic experimentation of the Suzuki Method approved in 2012 by the European Suzuki Association obtaining the S.A.P. (Suzuki Accordion Project) label. I am currently president of the "Suzuki Asti Cultural Association" and, since its establishment in 2007, of the "Musical Garden" association, which collects my methodological and educational experiences and insights and contributes to teacher training through stages, conferences, meetings, and courses in Italy and abroad. I have published several books dedicated to the development of children's skills through musical practice and am a teacher of accordion and CML propaedeutic courses in the city Asti (Italy). I have formed the Accordion Suzuki Ensemble (ASE') with my students to spread knowledge of the method and the instrument through concerts and events. On April 26, 2024, I was proudly certified as an accordion Teacher Trainer by the European Suzuki Association. 2024 Teacher Trainer Appointments Elena Enrico ACCORDIAN, ITALY
16 I grew up in a family where music was not only heard but was the centre of our daily life. My home was always full of sounds, with scores everywhere, and conversations around concerts and rehearsals, as they were part of the family agenda, and our days were organised around those events. My father and my brothers are musicians, and soon I followed that example as well. I am now aware that we were a very Suzuki family, music was not just an activity, it was the essence of our life. Despite this total immersion in the musical world, my true pedagogical inspiration did not come directly from music studies. It was thanks to two teachers, my literature teacher, and my German teacher. Through them, I discovered the value of the pedagogical vocation, I discovered that teaching was not about pouring knowledge into the students, it was about transmitting the love and beauty of the subjects from the essence of themselves. So, I can say that they were the ones who awakened in me the passion for teaching. The first time I heard about the Suzuki Method was thanks to embarking on work and realizing that I had no idea where to start, and thanks to that feeling of anguish, the search began. And in that search, it was Arantza López, with whom I began my training, who took me to a Suzuki children's course in England, which marked a starting point in my teaching life. I remember how, while playing “French Folk Song” surrounded by children, the energy and emotion were so deep and so different from what I had always experienced, and I felt the need to continue training. The Suzuki Method showed me that music is much more than playing notes correctly; it is a way of expression, of deep communication, and the most important, sharing something beautiful with others. Since then, I have been fortunate to dedicate myself to teaching music to children, and I cannot imagine a more rewarding job. Working with them allows me to learn from them every day, and their inexhaustible energy and spontaneity are a constant source of inspiration for me. During this journey, there have been many teachers and colleagues who have supported, taught and inspired me. However, I must mention Arantza López, Chantal Latil and Rubén Rivera, who were my trainers, and each of them, with their very different essences, marked my way of understanding the Suzuki Method with their vocation. Not only cellists marked this path, but violinists such as Wilfried and Veerle Van Gorp, Wim Meuris or Koen Rens, from their close proximity have shown me a very inspiring Suzuki soul. As an instructor, I have been lucky enough to observe how my mentor, Eulàlia Subirà, transmits not only to families and students, but also to teachers in training, her passion and enthusiasm for music and the Suzuki Method. Another of my lucky things is my wife, together with her, as a Suzuki mother, I have experienced how children of different ages develop, how practices really work at home, how the role of Suzuki families develops with the growth of the children, and what it means and implies to be a large family in a Suzuki summer course. Having this vision from the other vertex of the triangle has allowed me to model my way of teaching, with a more realistic vision of the situation. In addition, Maria's support has been crucial, especially in this stage as an instructor, because it is not always easy to combine being a teacher, entrepreneur, partner, mother and above all, continuing to be a person. Together with her, I have understood that teaching music is not only a transmission of technical knowledge, but a task of sharing emotions, of creating human connections and of being part of a process in which we all learn, both students, families and teachers. And, in that sense, I could not feel more fortunate to be able to live and share this passion with everyone around me, and to be creating it within our school, VOLUTA Escola de Música. In each of my classes, I try to pay attention on the emotion of that first time I cried playing “French Folk Song,” and I try to keep that feeling alive in each child who plays their first notes with a heart full of emotion. 2024 Teacher Trainer Appointments Regina Fuentes Gimeno VIOLONCELLO, SPAIN Music as a model for life and learning: My experience with the Suzuki Method
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