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Piano Teachers

The Piano Teacher, by Julia Cho, which opened recently at the Vineyard Theater off-Broadway to mixed reviews, features a haunted keyboard pedagogue with nasty secrets to hide. The Vineyard Theater production benefits from the presence of the veteran actress Elizabeth Franz in the title role of an isolated, shunned teacher who is only marginally more sane than the sado-masochistic piano teacher incarnated by Isabelle Huppert in the 2001 French film of the same title, based on a perverse novel by the Austrian Nobel-Prize winning author Elfriede Jelinek.

The reiterated imagery of peccant piano instructors is so ingrained in our culture that a Google Search of “piano teacher” by anyone actually trying to learn to play the instrument will bring up references to Jelinek’s book and film, first and foremost. The world of music education as represented by such writers belongs to an earlier, less psychologically acute era. It is a relief to escape such querulous and indeed unmusical paradigms and look at today’s real world of superb piano teachers, who represent a vastly more intriguing, mysterious, and gratifying accomplishment.

Juilliard’s Yoheved “Veda” Kaplinsky, the Tel Aviv-born chair of the school’s piano department, also teaches in the Pre-College division, where some of America’s most astonishing prodigies are currently thriving. One such is Conrad Tao, a pianist and composer born in Illinois in 1994, whose live recordings on CD and video convey a sense of musical line (with the entire score evoked in every measure of a given work) as found only in the greatest musicians. Tao is also a characterful, accomplished composer of charm and nuance; his early compositions on CD sound more adult, individualistic, and masterful than those by any preteen composer I have heard, including Mozart.

One of the most admirable aspects of Tao’s musicality is his collaborative acumen, and another outstanding Kaplinsky pupil, the Chinese pianist Peng-Peng Gong, born in 1992, often plays with Tao, in addition to his solo performances. Such brilliant students are allowed to flower into musical maturity in a healthy, non-neurotic way. Encouraging, rather than stifling, prodigies allows them to develop as artists and human beings, instead of condemning them to becoming the stunted, frustrated, unhappy leftovers, some of whom are alas still present on the concert scene today.

Another outstanding Juilliard piano teacher, Oxana Yablonskaya, is helping to guide the destiny of Alice Burla, born in Toronto in 1997. In such challenging works as Chopin’s “Variations brilliants,” Burla displays the suavity and maturity of an adult musician, quite apart from her fabulous technique. Tao, Peng-Peng, and Burla already are more accomplished artists than a number of adult pianists who trudge around the concert circuit; the challenge for their teachers is clearly not to spoil or discourage their inborn talent. This custodial task of wonderful young talent is far more thrilling than any fictional elaboration of a pathological teacher.


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