TEACHING

HAUTE ÉCOLE DE MUSIQUE (HEM), GENEVA

teaching philosophy

My teaching is based on three main principles:  honesty, independence, and versatility.

Honesty

First, honesty means that as interpreters we must remain faithful to what composers have produced. In other words, students must learn how to translate the music as it is written.  This includes articulation, dynamics, tempi.  As Aurèle Nicolet said, “before interpreting the piece, play what is written.”

Independence

Second, I want students to be independent and able to progress further with intuition. I use question-asking as a tool, rather than telling them to do things.  This greatly enhances the teaching efficiency, as students remember better what they have discovered themselves.

Versatility

Thirdly, I insist on students being fully versatile, like today’s actors in the theatre. They must be able to be authentic in music going from baroque to classical or contemporary, to give just a few examples. And finally, I insist a lot on sound quality, including having a full range of colours.

MAKING MUSIC VIA ZOOM

MENDELSSOHN

Watch my Geneva students and I perform an arrangement for flute ensemble of the Scherzo from Mendelssohn’s A Midsummer Night’s Dream, op. 61.

YOUTUBE

the ASPeCT I most emphasize in My teaching and My own playing

In my teaching I try to emphasize the physical aspects of flute playing. To be a flautist, we need to understand exactly how the human body works in relation to the playing. There is nothing philosophical about it. This is purely physical.

I want students to know exactly the name of muscles involved, how breath support works, the difference between quantity vs. speed in the air stream, and all these things that you need, among others, to be a good flautist.

I often see that when I ask questions, new students do not know these things and tend to think about purely artistic concepts. Of course, interpretation is all about expressing yourself, but it is very important to master the physical part too.