Reviews

From the Stage to the Studio:

How Fine Musicians Become Great Teachers (Second edition)

Cornelia Watkins, Laurie Scott

336PP ISBN 9780197578667

OXFORD UNIVERSITY PRESS £81

When the first edition of From Stage to Studio was published in 2012, it was to a hugely positive critical reaction from pedagogues and performers alike, inviting phrases such as ‘I am stunned, amazed and forever grateful’ (Richard Stoltzman), ‘an essential keystone’ (Eric Booth) and ‘invaluable’ (Barry Green).

At that time, the foreword by Stephen Clapp referenced the more than 60 years of combined experience Watkins and Scott had brought to the work. Now, with this welcome second edition, that figure rises to over 80, and the generosity and wisdom that suffused the first book is enhanced in the process.

The central premises of the book – to identify the areas of congruence between artistry in musical performance and teaching excellence, and to build strong bridges between them by offering impassioned yet concrete and pragmatic advice – remain unchanged, the decade that has passed since the first edition in no way dimming the power and value of its original message.

In a world in which instrumental teachers can have a very hit-and-miss experience as they feel their way into the profession, this book is like a torch beam, highlighting the path to a world of generative and creative instrumental teaching. It is the kind that learners and teachers will alike find affirming, and will enjoy, and one that considers both as whole human beings with histories, preferences, failings and foibles, looking to enjoy together a lifetime in music. Though the advice the authors offer is designed to make musician teachers feel better about themselves, it is not done in a facile, self-comforting way, but one that encourages us all to appreciate what we uniquely bring, and to draw wisdom from within ourselves that we did not know was there.

In this second edition, with the benefit of further reflection, feedback and active use of the book with others, the authors have sought to address the areas they felt they ‘could, simply put, do better’. This they have done by updating and expanding references, streamlining discussions and allowing more space for reader responses. OUP has also applied higher design standards, adding pictures to make the book visually more engaging. Prompts to self-reflection are made more prominent, encouraging readers to engage directly with the book and to keep a record of their insights as they move through it.

The introduction ends with a quote from pianist Karl Paulnack,who said, in a welcome address to Boston Conservatory music students: ‘You’re here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.’ Not a bad mantra for those who choose the profession of music educator either.

Teaching cello fingerings

GETTY/MONKEYBUSINESSIMAGES

PHILIPPA BUNTING

Liuteria Romagnola Violin Making in Romagna: Masters, disciples and followers in the second half of the 20th century Leonardo Cella

124PP LIUTERIAROMAGNOLA.IT EDIZIONI BELLAROSA €250

Over the past few decades, research into 19th- and 20th-century Italian lutherie has shown that its appeal lies more in its regional diversity than in its adherence to the classical Cremonese violin making style. This new volume continues this approach by examining a school that has until now been mostly forgotten, or merged within the wider field of Emilia-Romagna violin making. However, the region of Romagna (the territory south of Bologna) shows specific trends and a taste that evolved independently from what was happening in the main city of the region, and therefore deserves more attention.

The author, the young violinist and researcher Leonardo Cella, is clearly in love with his subject. A native of Pesaro, not far from the southern border of the region, he is thus an ‘adoptive son’ of Romagna,and his interest grew from meeting some of the luthiers who were active there in the second half of the 20th century. These make up the focus of this volume.

A 1983 violin by Romano Comastri

LEONARDO CELLA

The book opens with an inspired account of Cella’s fascination for this territory. He then differentiates between the ‘masters, disciples and followers’ active in the region. In the first category, he includes four makers well known to the wider audience: Marino Capicchioni in Rimini and Arturo Fracassi in Cesena; then the perhaps slightly more neglected character of Primo Contavalli in Imola, and Giuseppe Lucci, a native of Bagnacavallo. This is a small town that used to be one of the centres of Italian violin making, for decades hosting a national competition under the auspices of Lucci himself.

All of these makers were mostly self-taught, as were the vast majority of the lesser-known names that form the subsequent section of the volume, a dictionary of instrument makers from Romagna that extends from the end of the 19th century to the present day. In some cases both these masters and their followers show interesting connections to other contemporary Italian makers, such as the Pollastri family in Bologna, the Bisiach family in Milan, and Simone Fernando Sacconi, among others.

The photographic section of the book focuses only on the luthiers active around or after the mid-20th century, grouped according to the leading makers listed above; the connections between them rarely involve a master–pupil relationship, and are mostly indirect connections. This makes the style of the ‘followers’ less distinctly adherent or influenced by the ‘masters’ but on the other hand is the reason for the naivety and spontaneity of their work. The illustrations are of fine quality, and all the violins, including those made by the lesser-known makers, are reproduced full-size. These are rarely encountered either on the market or in the auction sales, so the book will be a useful reference to their work for enthusiasts and collectors.

ANDREA ZANRÈ

Stringstastic: Double Bass Lorraine Chai

LEVEL 1: 52PP ISBN 9780645267082 LEVEL 2: 52PP ISBN 9780645267099 QUIET LIFE MUSIC

Stringstastic is a collection of instrument-specific theory books by Lorraine Chai, aimed at ages 6–10. Completing the string series are the newly published double bass books, for which Chai has been aided by two renowned bass players, Barry Green and Claus Freudenstein. Both the Level 1 and Level 2 books successfully bridge the gap between complete beginners to ABRSM Grade 1 theory, and would suit a group learning environment as well as individual lessons.

Book 1 follows the young bass player from their very first lesson through to an Initial grade level of playing, while Book 2 continues on to an approximate Grade 2–3 level. Both are clearly laid out with colourful illustrations. Opportunities for creativity are plentiful, including drawing a double bass and composing simple tunes using open strings.

I enjoyed the storytelling aspect of the books, and how they were linked to the student’s own practice. Animal characters guide students through each book, giving helpful tips including visualising the notes on their fingerboard, with opportunities to learn theory through playing the notes, scales or articulations on their instrument, something rarely found in other theory books. There is a test at the end of each volume, and a revision chapter at the beginning and in the middle of the Level 2 book. In addition, printable flashcards and more worksheets are available on the website www.stringstastic.com

It is always going to be a challenge to incorporate different teaching methods of learning and practice into a theory book, and while some different options are identified – such as showing the differences between playing French and German bow, and between sitting and standing – there are some technical explanations and approaches that not all teachers will agree with. These include the use of stickers on the instrument, how to shift and pivot, and certain fingerings and finger patterns for scales. While the C, G and E major scales are taught, D and A major are neglected, which is perhaps a missed opportunity.

It is great to see a theory book for the double bass, and these books are a welcome addition to pair alongside the student’s repertoire.

ELOISE RIDDELL