list of teachers
| exam results
Deputy Instrument Director
Jane Afia Great Britain
Alison Apley Great Britain
Christophe Bossuat France
Judy Bossuat-Gallic USA
Helen Brunner Great Britain
Trudy Byron-Fahy Ireland
Mary Campbell Iceland
Virginia Ceri Italy
Heather Clemson Great Britain
Tove Detreköy Denmark
Leif Elving Sweden
Mysie Ferguson Great Britain
Wilfried van Gorp Belgium
Veerle van Gorp Belgium
Shannon Hawes Denmark
Lilja Hjaltadottir Iceland
Jeanne Janssens Belgium
Agathe Jerie Switzerland
Susan Johnson Netherlands
Karmen Kaaramees Estonia
Karen-Michele Kimmett Canada / France
Phillipa Lees Ireland
Hannele Lehto Finland
Johannes Lievaart Netherlands
Felicity Lipman Great Britain
Joanne Martin France / Canada
Jan Matthiesen Denmark
Wim Meuris Belgium
Isabel Morey Suau Germany
Liana Mosca Italy
Andrea Mugrauer-Beis Austria
Sarah Nolan Great Britain
Marja Olamaa Finland
Barbara Parham Great Britain
Jyrki Pietila Bermuda
Anna Podhajska Poland
Geneviève Prost France
Koen Rens Belgium
Lee Robert Mosca Italy
Fiorenza Rosi Italy
Martin Rüttimann Switzerland
Marianne Rygner Denmark
Clare Santer Great Britain
Sandrine Schär-Chiffele Switzerland
Ana Maria Sebastian Spain
Sven Sjögren Sweden
Sue Thomas Great Britain
Ewa Tosik-Warszawiak Iceland
Mary Trewin Great Britain
Kerstin Wartberg Italy
Elzbieta Wegrzyn Poland
Salla Ahokanto Finland
Maria Jesus Cano Lopez Spain
Yoko Hoshino Germany
Lynda Jordan Great Britain
Sámal Petersen Faroe Islands
Barbara Plaza Poland
Michaela Zirnbauer Germany
Teacher Trainer courses in Belgium, Croatia, Denmark, Estonia, Faroe Islands, Finland, France, Germany, Great Britain, Hungary, Iceland, Ireland, Italy, Lithuania, The Netherlands, Norway, Poland, South Africa, Spain, Sweden, Switzerland
Viola to Violin Conversion courses in Denmark and Great Britain
Short term 'conversion' courses in which qualified Suzuki Viola Teachers are able to attend a short course followed by an examination to qualify as Violin Teachers up to and including the level on which they have a Viola qualification (usually one level per short term course).
Malipiero v Nachez project - update
The Results from the Questionnaire were presented to the 2012 Board Meeting for consideration and discussion.
The Chairman clarified that whilst the results of the questionnaire demonstrated the views of the Teacher Trainers, an issue relating to core material was a matter to be decided by the ESA Board. The ESA are concerned with Teacher Training and the decision was whether or not the Malipiero edition was to be used in Teacher Training Courses.
Based on the recommendation of the majority of the Teacher Trainers, Marianne Rygner proposed that ‘The Malipiero edition can be used for Teacher Training if the trainee is familiar with the Nachez edition and can demonstrate the differences’.
The Board voted and there was a majority vote against the proposal, therefore the motion was not carried.
Martin Rüttimann concluded that the Board had decided that, with immediate effect, the Malipiero edition of Vivaldi A Minor and Vivaldi G Minor is no longer to be used in Teacher Training Examinations.
Teachers are, however, at liberty to present alternatives to the core repertoire to their students if they so wish.
Accuracy of the Revised Suzuki Violin School Volumes 1-5
It has been brought to the attention of the ESA that there are problems with the accuracy of the latest edition of the Suzuki Violin School Revised Editions Volumes 1 - 5.
After investigation, it was established that the incorrect file was used to reprint the Violin Editions.
Unfortunately, our contact at Alfred Publishing Company Inc., Judy Bagnato, has left the company which further complicates the situation.
This news is very unfortunate and most frustrating but please be assured that Alfred Publishing Company Inc., the ISA Board and the ISA Violin Committee are all working hard to resolve the issue and feel we are close to a resolution.
Of course, the Teaching of the Suzuki Pedagogy will continue in the correct manner even though there may be errors in the Suzuki Violin Books.
Corrections to Book 1 – 5
During this past year, the ISA Committee has been working with Alfred Publishing to make any corrections necessary in the files for the music, text and translations for Books 1-5. Going forward, all volumes will have an identification number on the title page so teachers and students can be sure to have the most up-to-date printing of each volume.
Reprints of the Revised Suzuki Violin School Volumes 1-3
The reprints of the Revised Volumes 1, 2, and 3 were completed and published in December 2008 by Alfred Music Publishing.
Volume 1: ISBN 0-7579-0061-5
Volume 2: ISBN 0-7390-4812-0
Volume 3: ISBN 0-7390-4815-3
The revised Piano Accompaniment for Books 1, 2, and 3 are available
Revised Violin Suzuki School Volume 4
The revised edition of Suzuki Violin School Volume 4 was completed and published in December 2008 by Alfred Music Publishing.
Please note two bowing misprints in the Practice Suggestions for the Bach Double Concerto on page 24.
Violin 2 (p. 27, mm. 40-41): The slur on the third beat in the first measure of the example should begin on the note D, not on the note E.
Violin 2 (p. 29, mm. 75-76): There should be no slur on the first beat of the first measure.
The bowings in the corresponding main text of the Bach Double are correct.
The revised Piano Accompaniment for Book 4 is available.
Revised Violin Suzuki School Volume 5
Work was completed on the revised Violin Suzuki School Volume 5 by the ISA Violin Committee in October 2008.
There are no changes to the repertoire in Volume 5, but there are some changes in fingerings and bowings to reflect more current performance practice and pedagogy.
The revised Piano Accompaniment for Book 5 is available.
New Edition of Violin Suzuki School Volume 5
It was decided that the repertoire in this book should not be changed, neither adding nor removing pieces.
Basic technical exercises to be worked on throughout the book will be presented at the beginning -
- Tonalization with tone colour differences using different bow placement
- Position Etude from 2d to 5th position
- Perpetual motion in 5th position and Changing string exercises 2nd part, the 1st being presented in book 4
- Three octave scales in G major and G melodic minor
Two Gavottes by Bach
A few notes of ornamentations are modified based on research of the original work.
A number of double stops for both gavottes (drawn also from original work) will be added in parentheses so that the teachers will be able to choose for their students according to their ability.
Vivaldi A minor 2nd mvt
The Nachéz version has been kept.
Several different fingering propositions in a couple of places.
Specifically written ornamentations in the last three lines.
Two bowings changes in the last line.
Vivaldi G minor
Bowing changes at the end of the first page, in the second and in the third making it clearer for some sixteen note parts.
A few finger suggestions on the second and third page, making the piece less romantic but still singing.
Up bow start decided, with some bowing changes in the 3rd and 4th line of the solo which will hopefully make the student remember the slurs better.
Also in line 5 and 6 different fingering propositions, and the same in the last line where we keep the four last bars in 1st position.
Often in the pieces there are suggestions of two different fingerings above and below.
Suggestions for different fingerings on all three pages.
One bowing change on the third page.
Mainly fingering suggestions using the second position more in the fast articulated parts in the middle.
Fingering suggestions but no bowing changes.
Many bowing decisions drawn from research into the first edition of this work. These bowings relate more to the style of the gigue, thinking also of this piece as a preparation of the Bach a minor 3rd mvt. A lot of this work was contributed by the American and Japanese Violin Committees
The new edition will present both parts printed in both Volume 4 and Volume 5, with an emphasised printing of the 2nd Violin part in Volume 4 and of the 1st Violin part in Volume 5.
A few fingering suggestions here with just one bowing change at the end of the first theme, as also in Volume 4.
Update on the Revision of Violin Suzuki School Books 6, 7 and 8
The revised Book 6 of the Suzuki Violin School is finally on its way. Alfred Publishing is expecting
Book 6 to be ready for printing in January 2013. Whilst there has been some delay in getting the revised Book 6 to press, the ISA Violin Committee felt the book should be thoroughly prepared before any publication.
The ISA Violin Committee met in October 2012 in Melbourne, Australia, to finalise its work on Book 7, most of which was accomplished, not only in the pieces themselves but also the exercises and added text necessary. The ISA Committee will meet during the International Conference in Matsumoto in March 2013 to finish its work on Book 7 so the music can be sent to the publisher for engraving.
The ISA Committee will meet again in October 2013 to begin work on Book 8 and plans to have the music ready for a recording of both Books 7 and 8 in early 2014. Publication of both volumes would follow within the year after the recording.
Following the mandate given to the ISA Violin Committee after lengthy discussions by all the violin participants at the International Teacher Trainers Conference in Boston in 2009, Books 6-8 retain the present Suzuki repertoire with attention to current performance practice and the Urtext for the Handel Sonatas and the Bach Concerto. Additionally, the Committee has deleted extraneous articulations and dynamics in many of the shorter pieces while adding scales and exercises pertinent to the repertoire, as has been done in previous volumes.
It was the intention of the ISA Violin Committee to compile a list for publication in Books 6-8 of suggested repertoire from different style periods appropriate for each book level. It proved a difficult task for all the Regional Association Violin Committees to arrive at consensus over a specific list. As a result, each Regional Association will assemble its own list for distribution to its members. This is not to create an alternate repertoire but to suggest additional pieces to enrich the depth of the current books, in many instances with pieces Dr. Suzuki himself used in lessons and concerts.