Panama Jazz Festival: Workshops with Edna Golandsky and also Barbara Banacos, designed to solve technical and musical problems.

Edna Golandsky returns to the Panama Jazz Festival to give her much acclaimed classes that present strategies and solutions for long-simmering technical and musical problems.  This hands-on experience is targeted to jazz/classical pianists and other instrumentalists and is highly recommended!  Students, teachers, and performers of all levels and experience are welcome to attend!

 As a new addition, Edna’s morning workshop will be followed by Barbara Banacos in the afternoon, who is a certified teacher of the Taubman Approach and daughter of world-renowned jazz educator Charlie Banacos. Ms. Banacos will further explore technical challenges of improvisational patterns that are common in jazz practice.

 Edna Golandsky is co-founder and artistic director of The Golandsky Institute, the preeminent center of the Taubman Approach based in New York City. She has earned wide acclaim throughout the United States and abroad for her extraordinary ability to solve technical problems and for her penetrating musical insight. The Taubman Approach has proven to be highly effective in the resolution of technical limitations and playing-related injuries. It provides musicians with a foundation that allows for full artistic expression and the development of virtuosic technical ability. Performers and students from around the world come to study, coach, and consult with Ms. Golandsky. The Panama Jazz Festival is the official site of The Golandsky Institute in South America.


What are people saying about the Taubman Approach?

 “This education should be taught worldwide. It should be a part of every educational system from early on so pianists can develop to their utmost potential…It makes playing the piano so easy.” Danilo Perez, jazz pianist, Founder and Director of Panama Jazz Festival

“The Taubman technique leaves no stone unturned . For every detail of piano playing the Taubman  approach  brings the most logical and economical method  for safe and painless virtuosity.” Garry Dial, Manhattan School of Music

“Fue una experiencia maravillosa, que me cambió la vida. Gracias por enseñarnos cómo mejor nuestras técnicas en el piano y cómo aplicarlas a nuestras vidas.” Ginger Rivas, pianist

Join me in Cambridge!

Come join me at St. John’s College in historic Cambridge, England, for 2 unforgettable days of asking the questions you always wanted to ask,  bringing passage problems that never seem to go away,  being in an atmosphere of learning that is enjoyable and highly effective.  Here is what doctors say about the Taubman-Golandsky Approach:
“The underpinnings of the Taubman technique rest on remarkably simple but, to my mind, highly sound and rational applications of a thorough understanding of anatomy and neuromuscular physiology.” ~Dr. H. Franklin Bunn, M.D., Brigham and Women’s Hospital, Harvard Medical School

“I went to Edna in September of 2010 at the suggestion of an old friend who is a Juilliard faculty member.  She immediately put me at ease and gave me very specific guidance which transformed my playing over the course of the year. I had approached her looking for technical adjustment; I wound up with a deeply transformed relation to my instrument and a revived delight in playing.” ~Dr. Renna Pye, M.D.

“This approach is the first – at least that I’ve heard of – that considers human anatomy and physiology as part of the process of piano playing.  My playing has been affected dramatically, and I continually see improvement.  Impressive results with the Taubman approach in relieving and preventing injuries and also facilitating greater accomplishment at the piano appears to me to be a gross understatement.” ~Dr. Jerry Titel, M.D.

“One of the revelations of the symposium was the exposure to the benefits of the Taubman approach for other instrumentalists; indeed, it is apparent that avoiding injury at the computer, or with any repetitive stress, can be maximized by applying the Taubman principles! As a physician, it is clear that this approach emphasizes the soundest of principles related to movement, and with proper movement, musical expressivity can be expanded to its optimal potential.” ~Dr. Stanley Rockson, M.D., Stanford Center for Lymphatic and Venous Disorders, Stanford University School of Medicine

“Attending the Institute’s Summer Symposium, I discovered that a lot of people came because they were injured.  As a doctor, this was very interesting to me.  Until discovering the Taubman approach, I had never come across a physical therapist or occupational therapist for pianists. This work is a kind of physical therapy, because the focus is on correct alignment and healthy, coordinate movements that will not hurt you.” ~Dr. Karin Boisvert, M.D.

“Now, I’m not a motion specialist, hand specialist or pianist, but I am a physician with a strong scientific background in research and it makes perfect sense to me that any repetitive and demanding motions which can be effected with putting the least if any stress into those motions and still get the job done with even greater efficiency, is something of great value and importance. This appears to exactly be the case using the Taubman approach to piano playing with a properly certified teacher at the helm.” ~Dr. Leo Gorelkin, M.D.

“The current study evaluates the Taubman Approach to piano technique, which in terms of its approach to CTDs (cumulative trauma disorders) is effectively a movement retraining approach.  Mrs. Taubman developed her approach in order to help pianists play with more virtuosity by developing a coordinate technique; however, it became evident that a coordinate technique also can prevent or lead to reversal of injury.  Documentation of the efficacy of the Taubman Approach could represent a major breakthrough in the as yet unsuccessful effort to lower the incidence of CTD.” ~Dr. William A. Pereira, excerpt from a 1995 federally-funded study

Taubman Approach Symposium for piano and violin in Cambridge UK, this March!

Click here to read about the exciting two-day symposium on the Taubman Approach, held on March 23-24 2013. For the first time in the UK, Edna Golandsky (piano) and Sophie Till (violin) will work with pianists and violinists from all over the world.

The mission of the Golandsky Institute is to instruct musicians in the skills that enable them to realize their highest potential as performing artists. It also teaches them how to overcome technical limitations and recover from playing-related injuries. It is the leading institute for the Taubman Approach, an internationally recognised technique for the prevention and cure of the injuries, pain, discomfort and fatigue related to playing. The resulting physical knowledge provides the tools for tone production and musical expression.

For many years, the Taubman Approach has focused on the needs of pianists but for the first time in the UK , this ground breaking Symposium will apply the Taubman Approach to both piano players and violin players.

The experience of applying the Taubman Approach to the violin has opened an entirely new world of technical and musical possibilities for violinists. The combination of this approach with the clarity and thoroughness of its pedagogy is producing revolutionary results.

The intensive two-day Symposium will focus on the following:

  • Presentations on the principles and practical application of the Taubman Approach
  • Hands-on work dealing with physical/technical issues such as pain, numbness, fatigue and playing limitations, offering diagnostic tools and concrete solutions.
  • Intensive study to achieve solutions to problem passages in the repertoire.
  • Master classes addressing musical issues, such as tone production, colour. shaping and more
  • Separate workshops to cater for the different instruments: piano workshops with Edna Golandsky, and violin workshops with Sophie Till.
    Delegates can join either the piano or violin symposia, for one or two days, either as a participant or an auditor. Registrations for both the piano and violin symposia are now open. Places are strictly limited.

EdnaGolandsky9920 sophietill

The Golandsky Institute Summer Symposium 10th year anniversary, coming up at Princeton University this July!

We are very excited about celebrating our 10th Golandsky Institute Summer Symposium at Princeton this year, with special and inspiring programs.

The Golandsky Institute has been an incredible success, attracting pianists and other instrumentalists from all over the US and the world. Whatever their level and aspirations, whether students, professional performers, teachers, or passionate amateurs, attendees have found that the Golandsky Institute offers the kind of programs that are tailored to their needs. Many participants  come to improve their playing,  others have  unanswered questions, unresolved problems, or playing-related injuries.  Often, musicians are in the midst of an active performing career, and need the practical solutions which will allow them to  continue playing.  Many  experience dramatic transformations over the eight-day Symposium, and acquire an incredible amount of knowledge which is why so many return year after year.  These results are due to the highly trained faculty who continue to learn and expand their knowledge.
When I decided to found the Golandsky Institute in 2003,  my  vision depended from the beginning on the invaluable partnership of John Bloomfield, Robert Durso, and Mary Moran (shown in accompanying pictures).  Our relationship started many years ago, when they came to me as students. Through their talents, intelligence, hard work and dedication to the learning and development of the Taubman Approach, they became experts and masterful pianists and teachers in this work, and are now in great demand. That, combined with their warmth, kindness,  generous  natures and our ability to work together so well, made them natural partners.
The founding, development and accomplishments of the Golandsky Institute has been remarkable, and could not have happened without John, Robert, Mary, and the many others who have contributed so much along the way.  We look forward to continued growth and exciting developments in the future. Hope you will join us in July this year, for this unmissable 10th anniversary.
Celebration of the 5th anniversary of the Golandsky Institute

Interview with Edna Golandsky in this edition of Clavier Companion!

Click here to read this latest article on the Taubman Approach and the work of the Golandsky Institute in this month’s Clavier Companion, with an interview between Edna Golandsky and Clavier Companion’s editor, Scott McBride Smith.

NB you will be prompted to a log in screen, click the red button on the right “Free preview” and you will be directed to the article.

The Golandsky Institute Summer Symposium featured in the New York Times!

Click here to read the recent article about the Golandsky Institute Summer Symposium.

Review of Ilya Itin’s recital at the Golandsky Institute Summer Symposium and Piano Festival

Itin: Expressive, not flamboyant

David Patrick Stearns, Inquirer Classical Music Critic

Ilya Itin is part of the Golandsky Institute

Ilya Itin is part of the Golandsky Institute’s annual International Piano Festival.

PRINCETON, N.J. — Glancing at the lineup for the Golandsky Institute’s annual International Piano Festival here, one might initially assume that it’s yet another laudable program to put young classical artists on a solid career path, starting on the right (or correct) foot. Why, then, is one of the festival’s most important recitals by the well-into-middle-age pianist Ilya Itin?

The Golandsky Institute actually has a much broader reach, to pianists young, old, professional and otherwise, to acquire a piano technique with minimum danger of injury and to play without pain, no doubt the indirect legacy of pianists such as Gary Graffman and Leon Fleischer who, at the height of their considerable careers, lost the use of their right hands.

Itin, who placed well in the prestigious Leeds Competition and has a good career in Europe and the Far East, is apparently the institute’s poster person. The idea is the physical freedom that allows pianists to be all that they can be. Music education veterans say that many such institutes exist with similar missions.

Evaluating the Golandsky Institute’s effectiveness is well beyond the scope of an armchair observer. At Itin’s recital Friday in Richardson Auditorium here, one can only say what one heard (a pianist with easy command of every aspect of his instrument) and what one saw with a good view of the keyboard (which was practically nothing). He seemed hardly to move at all.

That’s significant for those of us who witnessed the flamboyant rise of Lang Lang from the Curtis Institute, who represents the opposite of physical economy — and is seen, all too often, with worrisome Band-Aids on his hands. For Itin, lack of physical movement did not translate into a lack of expressive range in the least. Were that the case, one would certainly hear it in his formidable concert program including Chopin’s Preludes Op. 28 and Ravel’s Gaspard de la Nuit.

Chopin’s 24 intentionally fragmentary preludes are like shards that hail from different worlds, almost like a series of archaeological objects. Whatever one might think of how Itin characterized the preludes individually, he gave each one its own coloristic tint, while also giving keen attention to the way they’re sequenced with an intelligent tempo scheme. So there was unity — amid maximum diversity.

The greater feat, though, as in Ravel, who often inspires modern pianists to render feats of scene painting. Itin’s approach was the opposite of that, emphasizing what the notes say (as opposed to how they sound). The music could have seem dry from a descriptive standpoint. Yet the final movement’s depiction of the mythical, demonic Scarbo — who usually seems fairly harmless with scene-painting pianists — was malevolent bordering on terrifying. Undoubtedly, Itin is a major pianist, with an ease about him that makes you want to listen to him for hours.

Read more:

Photos from Panama Jazz Festival, 2012

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