2021 Golandsky Institute Virtual Summer Symposium
Come join an ever-expanding, world-wide community of performers, college professors, teachers, dedicated amateurs and music-lovers...
✔ Discover how to solve elusive problems with the Taubman Approach
✔ Bring problem passages that don't yield to practice alone to our highly-trained faculty in technique clinics.
✔ Attend discussions that spotlight particular excerpts from the repertoire, and participate in interactive break-out groups with hands-on attention from our experts.
✔ Observe our world-renowned teachers build scale and arpeggio technique.
✔ Evening concerts
✔ Attend master classes...and so much more!
Master class registration and video submission deadline is June 1.
Cancellation Policy: The fee is refundable upon written request by June 10. No refunds shall be granted for participants whose request is received after June 10. Deadline for registration is July 1.
Symposium Morning Activities
All times are in Eastern Daylight Time (EDT), UTC -4
|Level 1||The Building Blocks of the Taubman Approach||For newcomers||John Bloomfield, Robert Durso, and Mary Moran|
|Level 2||Exploration of how various elements of the Taubman Approach are integrated in specific passages||For returning participants and those already familiar with the Taubman Approach. Following a discussion of the passage, there will be interactive breakout groups where participants get hands-on attention from faculty members.||Deborah Cleaver, Elizabeth Swarthout, Yoriko Fieleke, and Brenna Berman|
|Level 3||Special Daily Sessions for Certification Program Participants||Edna Golandsky|
|Small interactive sessions, where participants are invited to bring their own passage problems for discussion. All participants will be scheduled in technique clinics. Participants will be divided into small groups and work with a faculty member in these clinics. Participants should send their questions and |
passage problems by June 25.
|These daily sessions are conducted by faculty members.|
Presentations For All
|Friday: Analyzing Brahms Intermezzo, Op.117 No.1 : Many aspects of the Taubman Approach are necessary for performing and teaching this popular Brahms Intermezzo without tension, especially tension from stretching. Mary Moran will discuss many of Dorothy Taubman’s interpretive ideas for creating drama, along with the technical steps necessary for beautiful voicing, balance and ease in this piece.||Mary Moran|
|Saturday: Exploring Chopin Etude Op.25 No.12 : Often nicknamed the "Ocean Etude", Robert Durso will discuss the various technical issues and how the Taubman Approach gives a clear and orderly way to practice and perform this work. Rather than a series of tips and tricks, Mr. Durso will create a "grid of skills" for developing the most efficient practice session.||Robert Durso|
|Sunday: Lecture on Consistency vs. Practicality : Pianists have a general tendency to use the same choreography for similar passages. Sometimes this works well, but other times it may cause unanticipated awkwardness. In this presentation, learn how a practical evaluation of context can lead to the most efficient choices when wrapping your hands around the complexities of a passage.||John Bloomfield|
Lunch 11:45 AM - 12:15 PM
Symposium Afternoon Activities
|12:15 - 1:00 PM: Golandsky Resource Group |
Barbara Banacos will lead this group, connecting people who are new to the work, people who are retraining their technique and people who are recovering from an injury. This session will not be recorded. It will be a safe place for participants to express their feelings about the process of retraining.
|1:15 - 2:00 PM: Master classes with Senior Faculty and guests. For all participants.||Senior Faculty and guests, Ilya Itin and Sean Duggan|
|2:15 - 3:00 PM: Problem Solving Sessions with Edna Golandsky - All participants will be together in one large group for these sessions with Edna Golandsky. We invite you to send your questions and passages for the Problem Solving Sessions so Edna can work interactively with you at your own piano. These questions need to be submitted by June 25.||Edna Golandsky|
|3:15 - 4:00 PM: Master classes with Senior Faculty and guests. For all participants.||Senior Faculty and guests, Ilya Itin and Sean Duggan|
|4:15 - 5:00 PM|
|Friday choice: Resolving Issues with Computer Typing and Mobile Phones - Although the computer keyboard is smaller and lighter than the piano keyboard, the basic positions and movements at both keyboards are similar. As a result, incorrect positions and movements at the computer keyboard and mobile phones can lead to problems similar to those suffered by pianists, and failure to resolve them can get in the way of fully resolving technical issues at the piano. |
Children’s Pedagogy The Interdependence of the Taubman Approach with Other Aspects of Piano Teaching - Mary Moran
|Edna Golandsky / Mary Moran|
|Saturday: Pedagogy Workshop - Interactive Session with Mary Moran. Ask questions or bring a student to work with Mary. Email Mary to schedule you and your student: mary.moran [at] golandskyinstitute.org||Mary Moran|
|Sunday: Preparing the Next Generation of Expert Taubman Teachers--the Process of Becoming Certified||Therese Milanovic|
|5:15 - 6:00 PM: Question and Answer Sessions on Daily Material||Friday: Robert Durso; Saturday: John Bloomfield; Sunday: Edna Golandsky|
Evening concerts 7:30 PM
Friday: Sofya Gulyak
Saturday: Ilya Itin
Sunday: Sean Duggan
Videos will be available to registrants after the Symposium is finished.
Concert access is INCLUDED for Symposium participants
Friday, July 9 @ 7:30 PM ET
Concert access is INCLUDED for Symposium participants
Recital in Style Brilliante
- Carl Maria von Weber - Rondeau Brillant Op. 62
- Felix Mendelssohn - Rondo Capriccioso Op. 14
- Sigismond Thalberg - Barcarolle Op. 60
- Camille Saint-Saëns - Etude en forme de Valse Op. 52 No. 6
- Liszt - Etude "La Campanella"
- Frédéric Chopin - Variations Brillantes B-dur Op. 12
- Frédéric Chopin - Valses Brillantes Op. 34 No. 2 and Op.34 No. 3
- Frédéric Chopin - Andante Spianato and Grande Polonaise Brilliante Op. 22
In September 2009 Sofya Gulyak was awarded the 1st prize and the Princess Mary Gold Medal at the Sixteenth Leeds International Piano Competition – the first woman in the history of the competition to achieve this distinction. Since then she has appeared all over the world to great acclaim. Her recital programs are frequently reviewed in superlatives, and her concerto appearances with major orchestras are noted in glowing terms by the world’s music press. Sofya has been praised for her "tremendous precision and coloration...exquisite soft playing ...with delicacy" and described as a “Rach star"(Washington Post). Sofya Gulyak’s resume includes prizes from many prestigious piano competitions: she is a 1st prize winner of William Kapell International Piano Competition in the USA, Maj Lind Helsinki International Piano Competition, Tivoli Piano Competition in Copenhagen, Isang Yun International Piano Competition in South Korea, San Marino Piano Competition, winner of Busoni Competition in Italy and prize winner of Marguerite Long Piano Competition in Paris. Recitals and concert appearances have been numerous, with Sofya Gulyak having performed all over the globe in such venues as La Scala Theatre and Sala Verdi in Milan, Herculessaal in Munich, Salle Cortot, Salle Gaveau and Salle Pleyel in Paris, Wigmore Hall in London, Grand Hall of Moscow Conservatory, Konzerthaus in Berlin, Gewandhaus in Leipzig, Kennedy Center in Washington, Palais de la Musique in Strasbourg, Hong Kong City Hall, Shanghai Grand Theatre, Tokyo Opera City Hall, Osaka Symphony Hall, Musashino Cultural Centre in Tokyo, National Hungarian Opera in Budapest, National Forum of Music in Wroclaw, Finlandia Hall in Helsinki, Bridgewater Hall in Manchester, Teatro Municipal and Cidade des Artes in Rio de Janeiro, Auditorium Manzoni in Bologna, Salle Molière in Lyon, Walt Disney Hall in Los Angeles, King Theatre in Rabat, Kursaal in Bern, Tivoli Concert Hall in Copenhagen etc..
Sofya Gulyak appeared as a soloist with the London Philharmonic Orchestra, Finnish Radio Symphony, Saint-Petersburg Philharmonic, Rio de Janeiro Symphony, Royal Liverpool Philharmonic Orchestra, Hallé Orchestra, BBC Scottish Symphony Orchestra, Orchestra of Opera North, Orchestra dell’ Arena di Verona, Orchestra Filarmonica di Bologna, Budapest Philharmonic, Enescu Philharmonic, Stavanger Symphony, Deutsche Staatsphilharmonie Rheinland-Pfalz, Slovak Radio Symphony, Helsinki Philharmonic, Copenhagen Symphony, Ulster Symphony, Orchestre National de France, Shanghai Philharmonic, NFM Wroclaw Philharmonic, Orchestra Sinfonica Siciliana, Oulu Philharmonic, Leipzig Philharmonic, Pensacola Symphony, Tatarstan Symphony, Philippines Philharmonic, Morocco Philharmonic and others. She collaborated with conductors such as Vladimir Ashkenazy, Sakari Oramo, Mark Elder, David Hill, Donald Runnicle, Vasily Petrenko, Alexander Lazarev, Alan Buribayev, Eiving Gullberg Jensen, Karl-Heinz Steffens, Theodor Guschlbauer, Giancarlo Guerrero, Rory McDonald, Danail Rachev, Fabio Mastrangelo, Michele Mariotti, Marat Bisengaliev, Fuat Mansurov, Alexander Sladkovsky, Daria Stasevska, Eiji Oue, Mario Kosik, Jesus Medina, Peter Rubardt.
The festivals in which Sofya Gulyak participated include Klavier Ruhr Festival, Chopin Festival in Duzniki-Zdroj, Festival de Sceaux, International Keyboard Festival in New York, International Strasbourg Festival, Busoni Festival, Harrogate Festival, “Joy of Music festival” in Hong Kong, Kraków Piano Festival, New Zealand Piano Festival, Ravello Festival, Festival Chopin in Paris, Shanghai International Piano Festival and many others.
Sofya Gulyak’s recording of Russian piano music (Medtner, Rachmaninoff, Prokofiev) was released on Champs Hill Records in 2013 and received a 5 stars review in Diapason magazine (“What a pleasure to hear the piano blossoming and projecting in the most vivid of ways when played by Sofya Gulyak. The singing sound alongside dazzling and powerful execution distinguishes an outstanding natural pianist”) and glowing review from “Gramophone” (“This is a stunning debut album…”) and “Guardian” magazines (“Sofya Gulyak is a fearless pianist, never afraid to scale the most technically demanding heights of the repertoire and equally proud to wear her heart on her sleeve”). Her CD with Brahms music was released on Piano Classics 2015 and has got praising review from American Record Guide (“The Handel Variations is among the top contenders on record. From the very first notes she takes charge and envelops us in a thrilling sequence of variations that will send goose bumps to susceptible listeners. She keeps you on the edge of your seat, as the music presses ever forward. Sometimes I was reminded of the young Argerich”) and “Fanfare” magazine (“Her musicality is beautifully attuned to the spirit of Brahms…I must praise Kazan-born Russian pianist Sofya Gulyak, whose impressive reading places a stronger emphasis than Perahia’s on the continuity of the variations…She’s a natural Brahmsian whatever his moods.”) … Her next CD with the Chaconnes for piano was released in 2017 on Champs Hill records (“…A fascinating collection, superbly realised and beautifully recorded…"-Artdesk; “Gulyak is a musician of exceptional depth and profundity, and a pianist with seemingly unlimited technical resources… I can’t wait to hear more of her…Of particular note are her beautiful versions of the Nielsen, the Casella, a ferocious Busoni Toccata, and a sparkling account of the Handel Chaconne."-Fanfare Magazine)
As chamber musician Sofya Gulyak collaborated with Wihan, Chilingirian, Arianna quartets, Quartetto di Venezia, soloists of English Chamber orchestra, violinists Olivier Charlie and Marianne Piketty, viola player Tatjana Masurenko, baritone Loa Falkman, cellists Quirine Viersen and Yuki Ito (with whom she recorded a CD of Rachmaninoff’s music for Champs Hill Records).
Sofya Gulyak is a native of Kazan (Russia) where she studied in a Special Music College under Nailya Khakimova, and then in Kazan State Conservatoire under Professor Elfiya Burnasheva. After that she continued her studies at the Piano Academy "Incontri col Maestro" (Imola, Italy) with Boris Petrushansky and at the Royal College of Music in London with Vanessa Latarche. Sofya Gulyak attended as a jury member the international piano competitions in Italy, Serbia, France, Greece, USA, and was invited to teach master classes in China, Italy, Austria, United Kingdom, Australia, New Zealand, Philippines, Hong Kong, Mexico, USA, Canada and Germany. She is an Artistic director of “Roberta Gallinari” International Piano competition in Italy.
She is presently a professor of the piano at the Royal College of Music in London. During 2016-2018 she was also a guest professor at “Monteverdi” Conservatory in Bolzano (Italy). Her playing has been broadcast on radio and TV in Russia, Poland, France, Italy, Germany, USA, Finland, Denmark, Serbia, New Zealand, Brazil, Mexico, United Kingdom (BBC3 and BBC4) and other countries.
Saturday, July 10 @ 7:30 PM ET
Concert access is INCLUDED for Symposium participants
Nikolai Medtner "Forgotten Melodies" Op. 38
- Sonata Reminiscenza
- Danza graziosa
- Danza festiva
- Canzona fluviala
- Danza rustica
- Canzona serenata
- Danza silvestra
- Coda. Alla Reminiscenza
Ilya Itin has performed with many of the world’s great conductors, including Sir Simon Rattle, Neemi Jarvi, Christoph von Dohnanyi, Yakov Kreizberg, Vassily Sinaisky, Valery Polyansky, and Mikhail Pletnev performing as soloist with orchestras, including the Cleveland Orchestra, the St. Petersburg Philharmonic, the Tokyo Symphony, the National Symphony, the London Philharmonic, the China National Symphony, the Symphony Orchestra of India; the Mexico City Philharmonic; and the Rochester Philharmonic.
Born in Yekaterinburg, Russia, his piano studies began at the Sverdlovsk School for the Gifted with Natalia Litvinova. He went on to graduate from the Moscow Conservatory with the highest honors in 1990 working with legendary teacher Lev Naumov. Mr. Itin won his first major piano competition while at the Conservatory, taking second place in the 1990 Russian National Rachmaninov Competition. Soon after, he won top honors in the William Kapell Competition, followed by First Prize, and the Special Chopin Prize at the Casadesus Competition (Cleveland Competition), and the Best Performance of a Work of Mozart, Best Prokofiev Performance, and Third Prize at the Gina Bachauer Competition.
Ilya Itin is on the teaching faculties of the Musashino Academy in Tokyo, the Academy of the Miami International Piano Festival and the Golandsky Institute at Princeton University. He has also taught in the piano departments of the Juilliard School prep and college divisions, Peabody Conservatory, and the Graduate Program at CUNY. Ilya Itin resides in Tokyo, Japan, and New York City where he maintains a private teaching studio.
Sunday, July 11 @ 7:30 PM ET
Concert access is INCLUDED for Symposium participants
“The Many Faces of Bach’s Keyboard Music” — including Bach the virtuoso, the teacher, the contrapuntist, the humorist, and the melodist.
Born in Jersey City, NJ, Sean Duggan obtained his bachelor of music degree at Loyola University, New Orleans, his master of fine arts degree at Carnegie Mellon University and his master of arts theology at Notre Dame Seminary, New Orleans. He entered the Benedictine order in 1982 and was ordained a priest in 1988. He was a member of the piano faculty at University of Michigan from 2001 to 2004 and has been piano faculty at SUNY Fredonia from 2004 to present.
In September 1983 he won first prize in the Johann Sebastian Bach International Competition for Pianists in Washington, D.C., and again in August 1991. Having a special affinity for the music of Bach, in 2000 he performed the complete cycle of Bach’s keyboard works eight times in various American and European cities. For seven years he hosted a weekly program on the New Orleans NPR station entitled “Bach on Sunday.” He is presently in the midst of recording the complete cycle of Bach’s keyboard (piano) music, which will comprise 24 CDs.
Duggan has performed with many orchestras including the Louisiana Philharmonic, the Buffalo Philharmonic, the Leipzig Gewandhaus Orchestra, the Leipzig Baroque Soloists, the Prague Chamber Orchestra, the American Chamber Orchestra, and the Pennsylvania Sinfonia. From 2001 to 2004 he was a visiting professor of piano at the University of Michigan. Currently he is associate professor of piano at SUNY at Fredonia. During the fall semester of 2008 he was also a guest professor of piano at Eastman School of Music.
Duggan has been a guest artist and adjudicator at the Chautauqua Institution for several summers, and is also a faculty member of the Golandsky Institute at Princeton, New Jersey. He continues to study the Taubman approach with Edna Golandsky in New York City.
Cancellation Policy: The fee is refundable upon written request by June 10. No refunds shall be granted for participants whose request is received after June 10.
Deadline for registration is July 1.
Will videos be available after the Symposium is over?
Yes, a video recording of all sessions will be available to registrants after the Symposium is over. Please allow a few weeks for videos to be processed.
Which level 9AM Morning Presentation should I attend?
Participants will be divided into levels and will receive links to the corresponding level presentation. For those who are new to the Taubman Approach, have never taken any lessons, or have never attended any Golandsky Institute workshops, seminars, or the Symposium are encouraged to attend Level 1. The Level 3 presentations are for Golandsky Institute Certification Program Participants. Videos of all of the presentations will be available after the Symposium is over so you will be able to watch the other levels afterward.
What will the 5:15PM Question and Answer Sessions cover?
Questions for the Q&A session can be about any of the material covered that day.
Will participants have a chance to work one-on-one in the Technique Clinics?
Yes, participants in the daily Technique Clinics will be broken up into smaller groups and faculty members will work one-on-one with participants to answer previously submitted questions. Questions are to be submitted by June 25 at the provided link in the registration confirmation email.
I submitted a question but can't attend live. Do I have to be there?
No, you can submit a question and not be attending live. In this case the question will be answered and addressed to the group.