EUROPEAN SUZUKI TEACHER TRAINERS’ CONFERENCE 2025 L I T HUAN I A European Suzuki Flute Gathering GERMANY European Suzuki Guitar Convention ITALY European Suzuki Piano Days LATVIA Teachers’ Newsletter European Suzuki Association Quality Suzuki Teacher Training 2025 | VOLUME 45
European Suzuki Association Teachers’ Newsletter Volume 45 2025 Editor Jennie Kirby admin@europeansuzuki.org Next publication date 1 November 2026 Deadline for copy 1 September 2026 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 Administrator Assistant Jennie Kirby (New to Role) Company Secretary & Registered Address Martin Wood, Gross Klein Wood, 26B, Tesla Court, Innovation Way, Peterborough, PE2 6FL England 2025 Board Meeting & AGM Summary Chair’s Column European Suzuki Teacher Trainers’ Conference 2025 European Suzuki Flute Gathering 2025 European Suzuki Guitar Convention 2025 European Suzuki Piano Days 2025 2025 Teacher Trainer Appointments Neuroscience Validates the Power of Listening SUZUKI™ Early Childhood Education – Why it Matters PressPlay What Music Appeals - Life's Communication with Life Then and Now – Teaching Piano in a Digital World European Suzuki Children's Convention 2026 European Suzuki Teachers’ Convention 2027 Rethinking Online Teacher Training in the SUZUKI METHOD™ SUZUKI™ Refresher Course & National Concert 2025 Spotlight on Zimbabwe Suzuki Teaching Development Trust Poland Hosts SUZUKI™ Ukrainian Violin Workshop Teacher Trainers/Examiners & Instructors Table of Contents The ESA Board of Directors Officers Chair Anke van der Bijl Deputy Chair Koen Rens Treasurer Martin Wood Honorary Secretary Patricia Rüttimann Officer Juan Carlos Navarro Country Directors AUSTRIA Andrea Mugrauer-Beis BELGIUM Wim Meuris CZECH REPUBLIC Jana Hrabaňová DENMARK Camilla Holm Svanberg ESTONIA Grete Heinsaar 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 Stefan Bivand POLAND Bartosz Henrych RUSSIA Elena Sterelyukhina SOUTH AFRICA Carol Solomon SPAIN Daniel Fajardo Pérez SWEDEN Päivikki Wirkkala-Malmqvist SWITZERLAND Patricia Rüttimann TURKEY Müge Eraydin Yegin UNITED KINGDOM Helen Brunner UKRAINE Olha Bykanova ZIMBABWE Catherine Stirling 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. 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 - • Teachers’ Convention every 2 years • Teacher Trainers’ Convention every 4 years • 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 - 2026 European Suzuki Children’s Convention TURKEY 2027 European Suzuki Teachers Convention NORWAY 2028 European Suzuki Teacher Trainers Convention venue TBC 2029 European Suzuki Teacher 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 2 3 4 5 8 9 10 11 17 18 19 20 22 24 25 26 27 28 30 32 33 With a background in primary education and a passion for nurturing potential. Jennie brings strong organisational skills, clear communication, and a commitment to supporting the ESA organisation.
2026 ESA ANNUAL GENERAL MEETING 14.00 hrs Friday April 3 2026 ISTANBUL, TÜRKIYE All A & B members welcome Please confirm attendance with the ESA Office by 31 January 2026 st 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: esa@europeansuzuki.org or through ‘Contact ’ on the ESA website. Latest editions of ESA Manuals are available on the ESA website https://www.europeansuzuki.org/esa/tt examappointments-manuals/ Teacher Training Manual Examinations Manual Appointments & Accreditations Manual 2025 Board Meeting & AGM Summary 3 Board Meeting and AGM April 2025 Lithuania FULL COUNTRY MEMBER HUNGARY RESIGNATIONS Officers Honorary Secretary Kristīne Rāviņa Country Directors Karmen Kääramees ESTONIA Mona Anita Nesse NORWAY Lucia Bellido SPAIN APPOINTMENTS Officers Koen Rens-Deputy Chair Patricia Rüttimann-Honorary Secretary Country Directors Grete Heinsaar ESTONIA Stefan Bivand NORWAY Daniel Fajardo Pérez SPAIN DIRECTORS’ REPORT & ANNUAL ACCOUNTS 2024 Available on the ESA website here INSTRUMENTS Early Childhood Education The ECE Development Committee have developed a 5-year plan (2024): Every SUZUKI™ Teacher in the ESA should know about SECE Find a way to include SECE in the instrumental Syllabus European standard repertoire (mostly /exclusively in E language) More teacher trainers (2-5 in the next 5 years) Having more SECE trained teachers (200-300 in the next 5 years) Having SECE trained teachers in more ESA countries (20 countries in the next 5 years) Having more classes in more ESA countries (classes in 15 countries in the next 5 years) Having approved material (repertoire/recording) in more ESA countries (5-10 in the next 5 years) Strategies for easy access to teaching material (Repertoire) Strategies for easy access to what is happening in the ESA SECE community. Particular focus is needed on the development of ESA Repertoire and ESA Recordings for Teacher Trainers in different languages to reflect those of the region. A Repertoire/Recordings project will be costed, and a fundraiser will be organised through the ESA with an application to STT for financial support. Mandolin The Mandolin Development Committee reported that progress continues in spreading Mandolin across the region. Steps have also been made to connect with SAA Mandolin players. Organ The Organ Development Committee (ODC) continue to work on strategies to reach out to organists to become Suzuki organ teachers and in the long run, how to have more teacher trainers in organ. Three members of the ODC, are planning to take 5 levels in the SUZUKI™ Organ Method, in order to become teacher trainers. CHANGES TO ESA MANUALS TEACHER TRAINING MANUAL Registration of Examinations In order to ensure that ESA procedures for exams are checked ahead of the exams, it has been agreed to look at a process for registering the exams for the approval of the Board at their next meeting. Graduation The Graduation process is added to the ESA Syllabus for Level 2. Graduation Certificates with water colour of Matsumoto Mountains and Dr. Suzuki’s handwriting are available from TERI at a cost of $2 each. EXAMINATIONS MANUAL Appendix C1 Examiner Fees The minimum fee for any examination regardless of length is 240€, except for online examiners where they are paid the hourly rate. The hourly rate is increased from 50€ to 60€ per hour. Appendix C2 Examination Pieces DOUBLE BASS Level 1 Book 1: Twinkle Twinkle; French Folk Song; The Little Fiddle Level 2 Books 2 & 3 Up to Gaelic Melody Bk 3: Bach, March in G; Dixon, Trilling Waltz Level 3 Book 3 from The Elephant & Book 4: Saint- Saëns, The Elephant; Marcello, Sonata in E min Level 4 Books 5 & 6 Up to Vivaldi Sonata: Capuzzi, Concerto mov.1; Lorenziti, Gavotte Level 5 Book 6 from Dittersdorf Concerto, mov.2: Bottesini, Elegie; Dittersdorf, Concerto mov.1 APPOINTMENTS AND ACCREDITATIONS MANUAL Appendix E2 Recognition of Teachers without Approved Accreditation Once resident in the ESA region, ESA Practicums/Alternative to Practicum must be completed.
community. Across Europe and beyond, we’ve seen the SUZUKI METHOD™ bring people together in beautiful and meaningful ways. From the European Suzuki Flute Gathering, Guitar Convention, and Piano Days of 2025, to the Violin Workshop in Poland uniting Ukrainian and Polish musicians, to introductory Suzuki courses in South Africa organised by Carol Solomon— each event reflected our shared commitment to nurturing children through music. Looking ahead, we are planning future events such as the European Suzuki Children’s Convention in Istanbul (2026) and the European Suzuki Teachers’ Convention in Norway (2027). Such Suzuki events deepen our bonds and renew our sense of purpose as educators and musicians. A major highlight of this year was the Teacher Trainers’ Conference in Vilnius, themed The Power of Collaboration. Together, we reflected on how to adapt our training procedures to changing times — simplifying procedures, Chair’s Column Anke van der Bijl 4 Still, we hold on to our mission. We believe, as Dr. Suzuki did, that children can save the world. In this spirit, I want to mention a challenge we face. The rise of self-promotion and commercialization—especially through social media—can lead us away from the collaborative spirit that lies at the heart of the SUZUKI METHOD™. Promoting your own courses is, of course, understandable; we all need to sustain our work. But our Method is more than a brand or a business—it is a philosophy rooted in connection: to children, to parents, to each other, and to the world. Let us be cautious not to turn our teaching into isolated, private “Suzuki shops.” The danger is not only fragmentation, but forgetting the deeper cause that unites us. If we begin to see one another as competitors, we risk losing the very spirit that has allowed our work to thrive. Collaboration is more than a theme— it is a necessity. Our association is built not on competition, but on service, generosity, and a shared belief in the transformative power of music education. SUZUKI™ Philosophy is not just something we talk about—it is something we must live. A heartfelt thank you to all teachers, trainers, and volunteers who organise, support, and sustain the Suzuki community. You are the heart of this work, and your commitment makes a difference every day. With gratitude and hope, Anke van der Bijl Chair, European Suzuki Association embracing the positive aspects of online learning, and finding ways to ensure that our systems are both clear and fair. In this ever-shifting landscape, our current teacher trainers are like experienced sherpas: guiding with insight, rooted in years of dedication. They help ensure we do not drift from the heart of our work. It is easy to be swept up in the fast pace of digital life —but Suzuki education asks something deeper and slower of us. As Dr. Suzuki reminded us, true character and talent grow gradually, in the spirit of love and consistency. Within our ESA there are 27 national Suzuki associations, and the ESA covers Europe, Middle East and Africa. We had our annual ESA board meeting in Vilnius. You can find the decisions made at that meeting in the '2025 Board Meeting & AGM Summary. It’s remarkable how often our board—diverse in culture, language, and perspective—reaches unanimous decisions. Perhaps there is a lesson in this for other European institutions. At our core, we are a music education organisation, not a political one. And yet, maintaining international connections in today’s world often means navigating sensitive terrain. European Suzuki Association Dear Colleagues, The past year has been full of inspiring events in our Suzuki
Other topics discussed included: The roles of the Instructor, the Mentor and the ESA Instrument Committee on the Instructor’s path to becoming a Teacher Trainer. The importance of the SUZUKI™ Early Childhood Education program as an integral element of the Suzuki community and a reminder of Dr. Suzuki’s vision to give every child an opportunity to develop their potential through quality music education from birth. Continuous--Professional Development - should ESA provide courses and events for continuous professional development, and should these courses be required for maintaining membership? How proactive should ESA be in reaching all its members? Fortunately, the planners also provided for time to be social and enjoy the company of our colleagues, which is always an important part of a conference! Thank you to the organisers for this inspirational weekend! 5 Teacher Trainer Manuals and Examinations - are there too many rules? Where did the manual and rules come from? Who should become a Teacher Trainer and how do we find the right people? How can we collaborate with other instruments on our courses and exams? The focus of the conference was very much on examining the structure of our Teacher Training Courses and in particular, the Teacher Training and Examination Manuals which ensure a uniform means of evaluation throughout the membership countries. But is the procedure too prescriptive? How do we balance freedom and flexibility for the individual Teacher Trainer against ensuring quality? Edith Code European Suzuki Teacher Trainers’ Conference 2025 European Suzuki Association Teacher Trainers’ Conference in the beautiful city of Vilnius, Lithuania, April 18-20, 2025. It was three days of inspiration and connecting/ reconnecting with colleagues from 25 countries. The program was packed from morning to evening with presentations and group discussions, taking a look into the past, present and future of SUZUKI™ Teacher Training. There were 80 participants attending, and in the spirit of collaboration, it was not only Teacher Trainers who were invited. Instructors (soon to be Teacher Trainers), Level 5 Teachers (Teachers who have completed all the levels of training) and Country Directors (our link between ESA and the national associations) were invited as well. Most importantly, we also had ESA’s Administrator, Sue Wimpeney, who is essential to keeping the organisation running! This mix of participants allowed us to share our experiences from many different vantage points and for many of us this shed new light on the whole topic of Teacher Training. The event started with a wonderful concert with Lithuanian students. Many thanks go out to the Suzuki Flute, Piano, Guitar and Violin students and Teachers of Lithuania who presented us with a beautifully prepared and very touching program where Lithuanian music was highlighted. The program of the conference was well thought out by Patricia Rüttiman, alternating between presentations for the entire group, discussion groups with about 15 in each group, and smaller workshops/talks with 2-3 talks held simultaneously. This provided a good way to cover a subject from various angles. hese are some of the questions that were explored at the recent T
6 the stage. As one conference participant light-heartedly remarked: “The ‘choreography’ of your concert was one of the best parts.” This comment truly lifted our spirits. Following the concert, we received a wealth of heartfelt and touching feedback about the children’s performance. Conference attendees were delighted by Lithuania’s first Flute students, who performed a folk song, as well as the beautifully played Violins, Guitars, and original Piano performances. Teacher Trainer, Guillem Calvo, shared his reflections on Facebook: “Loving the children’s tone, how it flowed effortlessly, all the different instruments (Violin, Piano, Guitar and Flute!) and Lithuanian repertoire. That last Twinkle—from singing to playing together—touched our hearts.” Elvyra Kriškčiūnienė, our colleague from Kaunas who attended the concert, expressed high praise for the performance: “It was a beautiful concert—from the thoughtfully chosen engaging programme to the well groomed, well-prepared children and teachers. Everything was rehearsed and well thought-out. Excellent work.” Violin teacher Jelena Bojarun, who prepared the children and participated in the concert, reflected on the performance: “The concert at the Artis Hotel was a warm and inspiring celebration that brought the entire Suzuki community together for a noble purpose. It was a wonderful opportunity to once again remember the essence of the SUZUKI METHOD™ —to nurture the child through music and togetherness—and to strengthen the feeling that, by walking this path together, we can achieve so much more.” Suzuki Association President, Violeta Ancienė, warmly praised the concert, commending the dedication and tireless effort of all those involved: “I am truly pleased that the entire Lithuanian Suzuki community contributed to organising this concert. The teachers worked with dedication, tirelessly devoting their time and energy to help their students learn the concert pieces. The children studied the music sincerely and patiently, rehearsed diligently, and gave their best. Parents, too, played an essential role—tirelessly driving their children to rehearsals, listening to teachers’ feedback, and making sure the children practised at home. My heartfelt thanks to the entire Lithuanian Suzuki community.” We are proud to have raised such a group of young musicians, whose beautiful sound brings joy to all. A beautiful sound reflects a beautiful soul. Lina Kasauskiene European Suzuki Teacher Trainers’ Conference 2025 described as friendship, communication, and togetherness. Bendrystė, when created by listening to the voice of one’s heart, expresses a belief in a beautiful future, because it helps shape a beautiful person. This belief gives meaning to everything we do together. Shared work and shared faith are like a light that makes hearts tremble with joy, and the sounds of music, filled with this trembling, touch each of us deeply and personally, lifting us above the everyday. This remarkable concert, held on the opening evening of the European Suzuki Teacher Trainers’ Conference, featured nearly a hundred children performing on a variety of instruments. Its memory continues to resonate in our hearts. The repertoire began to take shape during our journey home from the European Suzuki Teachers Convention in Denmark. A small bus carried Guitar, Violin and Piano teachers, and the long journey gave us plenty of time to discuss this. We all agreed to present music by Lithuanian composers—what remained was to select the pieces and align them with the Suzuki repertoire. The next stage was preparing the children. Naturally, the number of pianists was limited by the availability of instruments. However, more children could participate if they played string or wind instruments. Young musicians from Vilnius, Kaunas and Nemenčinė began rehearsing for the concert. When the Violinists gathered for their first rehearsal in Kaunas, it became clear that there were quite a few participants. Next, we faced the challenge of arranging all the children beautifully within the conference hall, which also needed to accommodate the audience, Pianos, and children playing Guitars and Flutes. To plan effectively, we visited the Artis Centrum Hotel and measured the space, carefully considering the placement of instruments alongside mapping out the children’s entrances and exits from The word ‘bendrystė’ in the Lithuanian language dictionary is
meet new people is an invaluable part of any gathering. This conference was no different. There were many opportunities to sit together, unwind and socialise over drinks and meals alongside time to explore the beautiful old town of Vilnius. Meeting together in ways which were inclusive of different generations, countries and experiences led to fruitful and meaningful conversations, the value of which cannot be underestimated. At the heart of this conference was the spirit of coming together as an extended Suzuki family. Our deep appreciation goes to Patricia Ruttimann, Sue Wimpeney, and the ESA Team for their meticulous planning, creativity and care. Their vision for this conference gave a rich and thought-provoking experience for those who attended, and we left equipped with new ideas, connectedness, and renewed energy to continue in our work of upholding Dr. Suzuki’s legacy. teachers meet, since wherever we come from, we feel as though we are stepping away from busy schedules to spend time with good friends for a few days. We talk about our students, our teaching, share ideas, find solutions, and all of this is wrapped up with lots of laughter and being filled with a renewed sense of energy and purpose. Such was the experience of attending the European Suzuki Teacher Trainers’ Conference, which was held in Vilnius, Lithuania, from the 18th to 20th April 2025. The theme for the conference was ‘The Power of Collaboration’, and from the start, this focus was evident. Delegates were treated on the first evening to heart-warming performances given collaboratively by the students of our Lithuanian colleagues; instruments included: violin, piano, guitar, and flute. Conference sessions, presented over Saturday and Sunday, included a wide array of topics focusing on various aspects of Teacher Training including: Philosophy, Tonalization, Teaching There is a special feeling of community when groups of Suzuki 7 Strategies, Book Reviews, various practicalities of Teacher Training, gathering thoughts around the content of both the Teacher Training and Examination Manuals, discussions on mentoring, and ways of nurturing the next generations of Instructors and Teacher Trainers. There were opportunities to take part in thoughtful discussion groups which included Teacher Trainers, Instructors, Country Directors and Level 5 graduate teachers. Having teachers together who were at different stages in their own Suzuki journeys meant insights from a variety of perspectives could be offered for the benefit of all participants. One of the most enjoyable parts of any Suzuki event is the opportunity we have to connect with colleagues and friends. Whether during sessions, in breaks, or after-hours social time, the chance to catch up with one another, discuss teaching, share ideas, and European Suzuki Teacher Trainers’ Conference 2025 Margaret Parkin
European Suzuki Flute Gathering 2025 GERMANY 8 months of preparation, everything was designed to ensure that both teachers and students felt like true stars in a serene and collaborative atmosphere. Students took part in a wide range of activities, and each teacher had the opportunity to teach, share ideas, and collaborate with colleagues. Everyone enjoyed themselves and made new friends. It would go beyond the scope of this article to describe every activity, but the programme included group lessons, masterclasses, individual lessons, a parent talk, games and a big quiz, a children’s music laboratory, sessions for siblings who do not play the flute, and much more. On Sunday, the weekend culminated in an atmospheric concert, where the fruits of the intensive rehearsals were impressively showcased. For the occasion, an Italian composer, Francesco Cerrato, who was a SUZUKI METHOD™ student, composed a piece for four flutes and piano inspired by Ludwig van Beethoven’s, “Ode to Joy.” Titled “Joy,” it was performed for the first time by the entire group of students and teachers from the inaugural ESFG. The weekend was marked by musical exchange, new friendships, and abundant inspiration. Special thanks go to the parents who actively supported and accompanied the entire project, whether through supervision or logistical assistance. Without their commitment, Suzuki lessons would be unthinkable, and this special weekend would not have been possible. Particularly touching was the feedback from an Italian father, who wrote after the workshop: “Thank you, thank you, thank you, thank you so much for this wonderful experience! Music, art and culture unite people – which is exactly the opposite of division and war. A warm hug to everyone. See you at the next event.” A successful workshop that will resonate for a long time to come, with participants and listeners alike. We are delighted to share the success of this wonderful event through this article and are equally thrilled at the thought of meeting again for the Second European Suzuki Flute Gathering. Britta Roscher & Marco Messina extraordinary musical experience. Twenty-five flute teachers, thirty-two young musicians, and their parents from across Europe gathered at the Limburg Youth Hostel for an inspiring Suzuki flute workshop: the First European Suzuki Flute Gathering (ESFG). For three days, they rehearsed, made music, laughed, and learned – across all languages and national boundaries. The participants, the youngest just five years old, travelled from nine countries: the Netherlands, Germany, Italy, Estonia, Iceland, England, France, Spain, and Switzerland. A truly international group, united by the flute. A special highlight came on Friday evening when the mayor of Limburg personally welcomed the group. In return, the participants performed a short concert – a musical gift that clearly left a lasting impression. On Saturday, Limburg’s pedestrian zone was transformed into a lively open-air stage. Young musicians performed street music at various locations – an unforgettable experience for many. The cheerful, clear sounds of the flutes attracted numerous passers-by, lifting spirits and sparking curiosity. The performances also drew attention to the grand finale concert on Sunday afternoon in the Protestant church. The money raised was invested in a well-deserved round of ice cream for everyone! The gathering was organised by Italian teacher trainer Marco Messina from Caserta and Suzuki teacher Britta Roscher from Wiesbaden, Germany. From the outset and throughout In mid-July, Limburg, in the heart of Germany, became the stage for an
9 European Suzuki Guitar Convention: Chitarrissima 2025 ITALY writing, listening and playing music with dozens of artists gathered in an orchestra is a stunning exercise in civilisation, every time successful ... I begin to suspect that for a nation to support orchestras means to give space to an idea of the world, to a utopia and to a social project that can even frighten so much, it is that beautiful.” Nicola Campogrande. Learning to Listen “One must not teach music to children in order to make them become great musicians, but so that they learn to listen and, as a result, to be listened to,” Claudio Abbado. The Listening Project Dr. Suzuki too, was not interested in training professional musicians – it matters little if many of them later choose that path – but thanks to music, he aimed to create better citizens. Today, in 2025, Suzuki schools courageously dare to place at the centre of their educational approach the very ability to listen. I would say that here we are right at the core of the SUZUKI METHOD™, which is inspired by the way we learn our mother tongue. Musical ability is not an innate talent but a skill that can be developed. Every child who is properly supported can develop musical ability, just as everyone learns to speak. To grow, learn, care and improve, we must know how to listen. The ability to listen is fundamental: we use various methods of communication, but they are often lacking in meaning. The heart of the matter radiates precisely from the ability to listen. Any solution requires this skill, and if we do not acquire it, we are destined – at the very least – to feel dissatisfied. We all have, if we truly desire it, a great capacity to confront and resolve this disconnection. The Listening Project is therefore our low-risk, high-impact solution, aimed at improving listening through our innovative approach. As we nurture more well-rounded listeners, we create a more meaningful environment in which we can truly listen to one another. We can create a world full of open hearts; a world in which solutions are truly heard and embraced. It is wonderful to see students – now young adults – who began attending the Suzuki school shortly after they were born, and who learned to sing the words of simple songs even before saying “mama” or learning to walk, now expressing themselves through performing the repertoire from the final books of the SUZUKI METHOD™. How much music they have listened to and how much they will continue to listen to! “It would be very beautiful if we focused on music to design the future. What do you think?” Nicola Campogrande’s article ended with this very question, which I now make my own. Elio Galvagno families, gathered in Saluzzo for the 32nd year of Chitarrissima, the European Suzuki Guitar Convention. From Caserta to Geneva, from the Swiss Canton of Zug to Monopoli, passing through Salerno and heading up to Pavia, they joined students from the Suzuki School of Saluzzo to rehearse and perform in an orchestra. Dr. Suzuki, following in the footsteps of the great masters of the past, strongly believed in the formative power of the orchestra, integrating it permanently into the weekly lesson programmes and making it one of the pillars of his educational approach. On this path, however, he remained practically alone: we remember, in fact, the role that orchestral and choral courses had in the Conservatoire until not long ago. In recent years, perhaps thanks to more than 400 orchestras now spread throughout Italy - there are now many Suzuki schools - and in addition to the two Italian Suzuki Orchestras (the opera-symphonic one and the plucked one), many orchestral experiences have emerged in the school environment. Today, there is no music camp that does not include an orchestra. In the early 2000s, composer Nicola Campogrande wrote an article titled, ‘The Civilisation of the Orchestra’, which remains a historical point of reference. It is not possible to reproduce it in full, but I believe the following quotation successfully conveys his thinking. The Civilisation Of The Orchestra “I do not know if a country as divided as ours has the desire to realise that Once again, young and older pupils, together with their teachers and
country. This absence of hierarchy created a wonderful sense of community; everyone was both teacher and learner. Throughout the weekend, teachers took part in different group sessions featuring 10 pianos, 5 pianos, and 2 pianos—realistic teaching scenarios that encouraged hands on practical exploration. Every participant had the chance to play, openly ask questions and exchange ideas. Small discussion groups ensured that every voice was heard, with insights gathered and shared back to the whole group. Some of these ideas are already being kept in mind for future collaborations and development. The weekend was a true success— energising, inspiring, and full of connection. It reminded us that we the Suzuki piano teachers of Europe are part of a vibrant, international network of colleagues who share the same passion and purpose. And the best part? This is only the beginning. The next ESPD will take place in October 2027—so mark your calendars! We can’t wait to welcome even more like-minded teachers to join the music, the laughter, and the learning next time! “Thanks to the whole organisation for this wonderful event and thank you especially for getting all of us together! This event really strengthen the feeling of our European Suzuki Piano Community. It was great that so many teachers shared their expertise, experiences and ideas and there were opportunities to discuss different topics in smaller groups.“ Maarit Honkanen, Finland “When there is a sense of fun in the learning zone, we know how this changes outcomes & during this weekend all the active participation, laughter and play most certainly did that. Among many outcomes, details and rediscoveries, perhaps the most valuable of all for me was to rediscover my colleagues and to get to know others for the first time. We not only have to have beautiful hearts in our Suzuki encounters but we have to be able to open our hearts sometimes - at European Suzuki Piano Days 2025 many hearts opened. Thank you all.” Graham Rix, UK 10 European Suzuki Piano Days 2025 LATVIA Michelle Post Building Connections Across Pianos piano teachers—a time to connect, share, and recharge—has been quietly brewing in my mind for many years. Whenever I mentioned it to friends and colleagues, the reaction was always the same: “What a brilliant idea —why hasn’t this been done before?” For many pianists within the ESA, the journey has often been one of studying hard, achieving an exam level, and then returning to our studios— sometimes people are even left feeling a little isolated from the wider community. Over time, a sense of “level hierarchy” developed, and the encouragement to meet and learn from one another across countries and stages of experience was missing. What a loss that is—for our teaching, our creativity, and the friendships that could so easily flourish across borders. Of course, every pianist knows the logistical challenge of gathering enough instruments and suitable rooms in one place. But with an amazing team and plenty of enthusiasm, we made it happen! And so, the First official European Suzuki Piano Days (ESPD) came to life in Riga this October. We welcomed 45 teachers from 17 countries, all eager to share ideas and learn from one another. The atmosphere was open, generous, and full of joy. The programme was designed by teachers, for teachers: sessions were built around topics participants specifically wanted to explore, and presenters were chosen simply because they were perfect for the topic and ready to share their experience — regardless of level or he idea of creating a special weekend just for European Suzuki T The ESPD Organising Team Michelle Post, Anna Sibley, Sylvain Pénard, Kristine Ravina
McCarthy in Edinburgh. I then became a Piano Instructor, with Mary as my mentor. It has been a privilege to receive training from two people who knew Dr. Suzuki personally and studied with him in Matsumoto, Japan. Through the gentle guidance of Anne and Mary, I have absorbed much about Suzuki’s philosophy and character. Caroline Fraser has also been a huge inspiration and has provided invaluable guidance on my Suzuki journey. It is wonderful to see how the SUZUKI METHOD™ teaches families to develop a love and respect for both music and each other, while also achieving very high standards of performance. I now know that it takes years to fully appreciate the benefits and workings of this amazing Method, and how it can truly transform lives. It is exciting to be doing what I love. I will continue to share the core messages of the SUZUKI METHOD™ with those whom I teach: the young people, their families, and future Suzuki teachers. 11 2025 Teacher Trainer Appointments Nancy Birse PIANO, SCOTLAND I am so thankful for the friendship and support of everyone in our extended global Suzuki community. Observing other teachers and musicians has really influenced how I teach music to others. I have experienced the joy of sharing music and, like Suzuki, believe that ALL children can learn to play. “Musical ability is not an inborn talent but an ability which can be developed. Any child who is properly trained can develop musical ability just as all children develop the ability to speak their mother tongue. The potential of every child is unlimited.” Dr. Shinichi Suzuki. piano. I believe the SUZUKI METHOD™ would have been my ideal way of learning. I was born in South Africa to Scottish and American parents, and my first musical experiences were hearing the Zulu community sitting on our porch, singing Zulu songs every evening. I still love all kinds of African rhythms and songs. My mother also taught me and my three sisters many American Girl Scout songs and Folk songs. Although we were back in Scotland by the time I was three, we sang these songs for years, on every car journey and simply for fun. At the age of five, I began piano lessons. Although they were shortlived, I loved performing concerts for my Scottish grandmother. I played the piano while my little sister sang. My grandmother adored these concerts and always encouraged us. I resumed piano lessons at the age of eleven with an amazing teacher. I also played the flute and pipe organ at school. My introduction to the SUZUKI METHOD™ came as a teenager when I read about Dr. Suzuki’s visit to Britain in a magazine. Although still at school, I was fascinated by a photo of three and four-year-olds in Japan learning how to hold their violins, take a bow, and perform, even before playing a single note. The article also emphasised the enjoyment of lessons and learning. About fifteen years later, once I had children of my own, this article came back into my mind. I began researching whether there were any Suzuki teachers in Scotland. Amazingly, Anne Turner was now living in St Andrews and had started a Piano Teacher Training course. I auditioned in April 1998 and began Anne Turner’s training course in St Andrews. After Anne stopped teacher training, I continued with Mary For as long as I can remember, I have always wanted to play the
12 2025 Teacher Trainer Appointments brothers. Two of them began playing the violin, and although I longed to follow in their footsteps, it was decided that I would take up the cello instead. In hindsight, this was a wonderful decision. Gjøvik had a vibrant musical environment for children and young people, and I was fortunate to receive many opportunities to develop my skills. This path eventually led me to the Norwegian Academy of Music, and from there into freelance work with symphony orchestras in Oslo. Alongside performing, I began teaching children and quickly discovered how much I loved it. Over time, teaching in the local Culture Schools became an increasingly important part of my professional life. My introduction to the SUZUKI™ world came almost by coincidence. I had never heard of the method until I saw Anne Berit Halvorsen and her violin group perform on Norwegian Broadcasting. I was deeply impressed by the young children, playing beautifully from memory with such a lovely sound: a seed was planted. My husband, a violin professor, returned from teaching at a workshop in Denmark with stories about Anders Grøn and his inspiring way of teaching. The good news was that Anders was about to launch a new Level 1 SUZUKI™ Course in Copenhagen. Curious and motivated, I decided to enrol in 2003, together with my dear friend and colleague, Ingrid Søfteland. That marked the beginning of the Suzuki cello journey in Norway. For five years, I travelled regularly to Denmark, completing all levels of training with Anders. I will always be grateful for the inspiration and knowledge he shared, and through those courses I also met wonderful colleagues, including my friend and later mentor, Dorte Rolff-Petersen. Since completing my first Suzuki exam in 2003, the Method has been an essential part of my life and teaching. The SUZUKI™ philosophy profoundly shaped my practice: the belief that every child can learn, the importance of small steps, learning by heart, careful listening and review, the wellstructured repertoire, group learning, and above all, the nurturing of a positive and encouraging environment. These ideas resonated with me, reminding me of the supportive musical community I had experienced as a child. Through SUZUKI™, I find that same spirit of inspiration, both in the classroom with children and parents, and among colleagues around the world. After many years of teaching, I was encouraged to apply to become a Suzuki Instructor. At the time, there were only a handful of cello teachers in Norway, three in Oslo and two in Bergen, and we hoped to grow the Suzuki cello community further. I applied in 2020 and was accepted in June of that year. During my instructorship, I was fortunate to be supervised by my colleague and mentor, Dorte RolffPetersen. I observed her courses in Aarhus, assisted her in Denmark, and learned a great deal about both the practical and pedagogical aspects of running teacher training courses. I also had the privilege, during my instructorship, of attending international workshops such as: Aarhus Cello Expo, the Children’s Convention in Cuneo, and Cellofest International Summer School. Observing distinguished teachers including Carey Beth Hockett, Anja Maja, Eulàlia Suberà, Ruben Rivera, Brendan Conroy, and Chantal Latil gave me invaluable insights and inspired me with fresh ideas. The generosity of the Suzuki community, its willingness to share knowledge and learn from one another, is something I deeply value. In 2023, we launched the very first SUZUKI™ Cello Teacher Training course in Norway, with Dorte as Teacher Trainer and myself as Instructor. Six participants joined and all successfully passed their Level 1 exam. This was a milestone for us, and a true joy to witness. Today, I am thrilled to see the Norwegian Suzuki cello community growing, with six new and dedicated teachers recently joining. I am currently teaching at two wonderful Culture Schools in Sarpsborg and Fredrikstad, as well as working with private students. I also have the joy of performing regularly with a project orchestra called Orkester Innlandet. Looking ahead, I am truly excited to continue building Suzuki teacher training here in Norway and to share the SUZUKI™ spirit with even more teachers, children, and parents. Hilde Sponberg Hansen VIOLONCELLO, NORWAY I grew up in Gjøvik, a small town in Norway, in a family with three
13 2025 Teacher Trainer Appointments Mediterranean, renowned for its rich history and distinctive cultural traditions. Music has always been my language, my compass, and my way of connecting with the world. But it wasn’t until I discovered the SUZUKI METHOD™ that I truly understood how deeply music could shape lives; especially those of children. Discovering a New Path I graduated in harp from the Conservatory “G. Pier Luigi da Palestrina” in Cagliari in 1994. My early career was filled with competitions,---orchestral collaborations, and solo performances. Yet something was missing. In 1999, I met Professor Gabriella Bosio, and through her, I encountered the SUZUKI METHOD™. That meeting changed everything. I began my training with curiosity and humility, knowing that becoming a Suzuki teacher required more than technical skill; it demanded patience, experimentation, and above all, passion. I immersed myself in the philosophy that every child has talent, and that education is the key to unlocking it. Building a Suzuki Harp School in Sardinia At the time, harp instruction in Sardinia was limited to conservatories and older students. I wanted to change that. I founded the Associazione Musicale Arpeggiando in Cagliari Tiziana Loi HARP, ITALY and created a Suzuki Harp School where children as young as four could begin their musical journey. Using the SUZUKI™ approach, I taught through play, imitation, and listening. I involved parents at every step, creating a shared experience that strengthened both musical and emotional bonds. I believe that beginning to play the harp through the SUZUKI METHOD™ means learning with joy, but also with discipline, just like older students, only adapted to a child’s world. Creating Ensemble Magic One of the most beautiful aspects of the SUZUKI METHOD™ is ensemble playing. I formed the Sardinia SUZUKI™ Harp Ensemble, a group of young harpists trained entirely through Suzuki principles. Since meeting Professor Gabriella Bosio and beginning my journey with the SUZUKI METHOD™, the Sardinia Suzuki Harp Ensemble has grown not only in numbers but in spirit. Over the years, we have joined forces with other harp ensembles, creating the European Suzuki Harp Ensemble; a beautiful collaboration that reflects the heart of our shared musical philosophy. Together with Gabriella and other Suzuki teachers, we have participated in numerous European events, from international harp festivals to Suzuki conventions and cultural exchanges, performing in some of the most prestigious venues in Europe. Each concert has been a celebration of harmony, joy, and the power of collective growth. I still remember the emotion of seeing so many children play together at the Turin Suzuki World Convention; an unforgettable moment that affirmed everything I believe in. Becoming a Teacher Trainer In time, I became a certified SUZUKI™ Teacher Trainer for harp. I now lead training courses, especially across Italy but also abroad. Sharing my experience with new teachers is one of the most rewarding parts of my work. Seeing my first students become Suzuki teachers themselves fills me with pride and hope. Crescere con la Musica: A Competition Rooted in Suzuki Values One of my proudest achievements is the creation of the International Harp Competition, Crescere con la Musica, now in its fifth year. This competition is designed specifically for harpists studying through the SUZUKI METHOD™. It’s not just about winning; it is about celebrating progress, sharing experiences, and encouraging young musicians to grow. The competition welcomes children from around the world. The repertoire spans classical and traditional music, and the spirit is inclusive: students of different ages and abilities perform together. Through Crescere con la Musica, I’ve seen how the SUZUKI METHOD™ empowers children—not just musically, but personally. It’s a space where they learn to express themselves, connect with others, and discover their own voice. I also publish harp ensemble arrangements with Musica Practica publishing house, including Passacaglia di Haendel, Moments Musicaux No. 3, Op. 94 by Schubert, and Non Potho Reposare by G. Rachel—a beloved Sardinian melody I arranged myself. Today, I continue to publish harp ensemble arrangements, organise festivals, and promote Suzuki pedagogy through many events with the Arpeggiando Musical Association. My mission is to ensure that every child who wants to play the harp has the opportunity to do so, with love, support, and the right method. After Gabriella’s passing, I feel an even greater sense of responsibility, as a Teacher Trainer, to carry forward her legacy by expanding the knowledge and practice of the harp through the SUZUKI METHOD™ across an increasing number of European countries. The SUZUKI METHOD™ has given me more than a teaching framework—it has given me a community, a purpose, and a legacy. Through music, I help children grow not only as musicians but as individuals. And that, to me, is the true harmony. Icome from Cagliari, in Sardinia, Italy, an island in the heart of the My Journey with the SUZUKI METHOD™: A Life in Harmony
14 Patricia Rüttimann VIOLIN, SWITZERLAND 2025 Teacher Trainer Appointments simplicity, paired with enormous depth. The principles are simple: look on the bright side, be aware that you are not the only one, and never stop learning about other perspectives. Of course, in daily life as well as in teaching, it can be a bit more difficult to understand. Even more important than understanding is the application, which can indeed be quite complicated. As a Suzuki teacher, one is genuinely passionate about the work, not only with students and their families, but also with colleagues. This is fantastic, and I would never want to live or work in an environment lacking passion, yet it can sometimes become ‘too much’. There is always the risk of focusing too much on one direction, improving and perfecting one aspect at the expense of another, and thereby losing sight of the bigger picture. We care so deeply for our children, and yet we are often in danger of throwing out the baby with the bathwater. I am deeply fascinated by the SUZUKI™ approach, and truly happy to dedicate much of my life to the many aspects of this method and philosophy, as I find profound meaning in it. For me, however, the SUZUKI™ Philosophy is, above all, the art of finding balance. Balance is not a fixed state, but an ongoing search and a continuous flow. We mustn’t lean too far to one side in pursuit of perfection—this will most certainly disrupt the balance. The importance of searching for balance can in fact be seen everywhere, at any time: in our posture, in our breathing, in the music, in delivering lessons, in designing the yearly plan, shaping workshop settings, and so on. There are always two extremes, and countless shades in between. Finding the right nuance for each situation is the true art of balance. These are just a few examples of how the search for balance manifests across different areas of life. Ultimately, it all comes back to two innate human needs: the desire to belong, and the desire to be unique as an individual. Of utmost importance is to feel the balance when it comes to our Suzuki communities: making space and giving space, both to ourselves and to others. And again, this is not a fixed state we can reach once and for all. Situations and needs within communities evolve, and therefore the balance must be continuously adjusted. So, How Do We Teach and Live By This Simple Philosophy? Perhaps by just letting the life force, also known as LOVE, blossom, and by creating a beautiful environment in which not only we ourselves feel safe and content, but also those around us. This helps us connect within our communities, feel part of something bigger, and yet remain true to ourselves. I am grateful to be surrounded by so many interesting, kind individuals, some who, at times, challenge me in ways that encourage deep reflection and remind me to be grateful. I hope not only to grow as a person, but also to help others find their own way. One of the beauties of the SUZUKI™ Philosophy is its
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