- Career Highlights
- B.M., M.M., Boston University
- Doctoral studies, Boston University
- Piano study at the New England Conservatory of Music with Lucille Monaghan and David Barnett; at Boston University with Edith Stearns, Bela Boszormenyi-Nagy, and Maria Clodes; at the Dorothy Taubman Institute; and with Margaret Chaloff
- Recipient of a grant for study at Tanglewood
- Extensive public performances in solo recital, as an accompanist, on television in the Boston area, and as a soloist with local orchestras
- More than 40 lectures/recitals at regional, national, and international conferences on the music of Chopin, Messiaen, Takemitsu, Chen Yi, and others
In Their Own Words
"As a private piano instructor, my emphasis is teaching the classical repertoire of all periods; piano technique, including tone production; and how to overcome tension and other physical problems common to pianists."
"Students come to me with varied backgrounds and objectives. My background of piano study with eight teachers, whose approaches and strengths differed widely, allows me to tailor the instruction to the different needs of each individual student by drawing from these many approaches."
"Almost all of my students have had previous classical training. Some are interested in working on classical repertoire for its own sake and to continue their development as classical performers. I select pieces to develop greater control of the playing mechanism, more technical facility and strength, and greater variety of sound. Of course, the work on these elements benefits the jazz performances, as well."
"Other students may want to work on classical repertoire specifically to support their jazz playing. They find it benefits their jazz performance and improvisation to study the pianistic and compositional techniques of the classical composers. By working on classical pieces and études, students can focus their attention on how they play the notes—on good technique and tone—whereas in improvisation the first concern is, of course, what notes to play."
"Some students come with nonmedical problems of strain and pain. These students can benefit from our work on tone production to develop more freedom and control of the playing mechanism, and from repertoire carefully selected to avoid strain while gradually developing more strength."