In my view, the study of music should be rewarding and deeply enjoyable. I believe it is possible for anyone to learn and share in the joy of music and I value the individuality of each student that enters my studio. It is my responsibility to help my students gain access to the world of music and I am committed to teaching them the necessary tools and discipline needed to continue seriously exploring music for a lifetime.
In 2003 while I was studying in Vienna, I first encountered the Taubman Approach to piano playing. Immediately struck by its clarity and potential, I knew I had to pursue it. I had a few lessons before I returned to the United States, and during my last year of college I commuted to Boston when I could for lessons. After graduating, I began formal lessons in New York with Robert Durso, master teacher of the Taubman Approach and co-founder and senior director of the Golandsky Institute.
My lessons with Bob and my experience with the work has had a profound and transformational effect on my playing. When I first began my studies of the Taubman Approach, I came from feeling limited in my abilities and frustrated by the lack of clear and consistent technical instruction I had so far encountered. Every teacher I had had offered different prescriptions for virtuosity and beautiful singing tone. No one thing worked all the time, and when I did perform well, I felt like it was mostly due to luck. After studying the Taubman Approach for nine years, however, and as I continue to study it, I have found it to be the most efficacious and efficient philosophy to guarantee that my students and I move consistently forward.
In a nutshell, the Taubman Approach is a groundbreaking analysis of the mostly invisible movements that lie beneath a virtuoso technique. As a body of information, it helps pianists overcome technical limitations and keeps us from getting playing-related injuries. It goes beyond issues of correct body movement, though, and cuts through to why passages feel stuck in a particular tempo. It opens the door to speed and clarity. It gives pianists freedom and ease in playing. The Taubman Approach also addresses the expressive elements of piano playing, including how to produce beautiful singing tone, longer lines, and rhythmic vitality.
I believe everyone stands to benefit from this teaching, regardless of how far one wishes to go in music. As a teacher, I want to guide my students towards their individual goals as musicians, and I feel extremely well-equipped to do so with this powerful and ground-breaking work.
In addition to sharing the Taubman Approach, I teach my students what I consider the critical skills of a musician: ear training, rhythmic training, and note-reading. We work on traditional classical repertoire as well as music being composed today. My students perform in two recitals every year, and are active in CSMTA events and competitions.
My studio is located in a peaceful and bucolic section of Bloomfield, Connecticut on the side of Talcott Mountain. There is ample parking and a waiting room. I teach on two grand pianos, one a Kawai and one a Steinway, that allow for ensemble work as well as important demonstrating.
I served on the faculty of the Hartt School Community Division for seven years, and I also teach privately in NYC. I am an active member of both the Connecticut State Music Teachers Association, Hartford Chapter, and the Hartford Music Teachers Alliance.