The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the "mother-tongue" approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Cello School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki cello teacher to develop their potential as a musician and as a person.This Suzuki Book is integral for Suzuki cello lessons.
I grew up in Seattle and began studying cello as a Suzuki student at age five. As a youth I soloed with the Northwest Chamber Orchestra and performed in master classes for Lynn Harrell and Ralph Kirshbaum. I studied Cello Performance at Indiana University and the University of Washington where I received my BA in Music.
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What is more popular than the Suzuki Method? This rhetorical question is meant to make you think about the influence of the Suzuki Method on generations of musicians for the last half-century. The issue of composer and title attribution is as old as music itself. Three things can happen when we do not know the composer or title of a music work: 1. attribute it to "anonymous;" 2. attribute it to the likely composer; 3. call it a folk song. All three options are around us every day, whether we say, "That sounds like a piece from the Classical period," or, "That song is so 1980s." As a method of great influence, I believe that the Suzuki Method, now published by Alfred, owes its consumers the latest in musical scholarship, especially since the scholarship is easier than ever to obtain.
I would like to compile a comprehensive (by no means exhaustive) list of works where the Suzuki Cello Method, and by extension violin and viola methods, err in composer and title attribution. I hope that my list will be helpful to the next generations of teachers and students using the Suzuki Cello Method.
No. 1 - Let us start with the most controversial. Fair, Suzuki himself wrote variations on "Twinkle," as did Mozart, Dohnanyi, and many others. But the melody itself is "Ah! vous dirai-je, maman," a song published anonymously in the 1760s, not "Twinkle." The song is a gavotte, starting on the second big beat, as most gavottes do. To many, this may be a small thing, but right off the bat, the Suzuki Method presents a piece with wrong phrasing. It would have been better to write the piece in 2/4 like Mozart if Suzuki did not want to deal with starting a piece on an upbeat.
No. 3 - This is Minuet No. 3 from BWV 822, not Minuet No. 1. Bach's number on this Minuet (No. 3) is following the sequence of the Minuets in the Suite. Minuet No. 1 in the Suite is a completely different piece.
No. 4 - "Bach's" famous Minuet is G is another one of those controversial pieces. It is not by J.S. Bach but by Christian Petzold. There is no shame in saying "Petzold's Minuet in G;" it is a true statement, and should be spread far and wide.
No. 5 - The Chorus from Handel's Judas Maccabeus is correct, but needs the full title, "Chorus: See, the conqu'ring hero comes!," which is No. 35 in the oratorio. The catalog number is HWV 63. It is noteworthy that Beethoven wrote 12 brilliant variations on this melody, something cellists can look forward to when studying from Suzuki Book 2.
No. 9 - The Theme from Witches' Dance by Paganini is partly true. The theme is Paganini's set of variations (Op. 8) called "Le Streghe" (The Witches). The melody was written by Franz Xaver Sssmayr (the composer who was the first to complete Mozart's Requiem, K. 626). This melody comes from Sssmayr's ballet Il noce di Benevento (lit. The Nut of Benevento), commonly known as "Witches of Benevento."
No. 11 - Gossec's Gavotte from the opera Rosine first appeared in a Willy Burmester collection in the first decade of the 1900s. Here is the manuscript in Gossec's hand to the first violin part of the opera.
No. 2 - This is another "famous" Gavotte, this time by (not) Lully. It has been known for decades that this "Gavotte" is the Rondeau (No. 24) by Marin Marais from his Pices de viole, Livre 1. The misattribution can be traced back to Moffat and Burmester.
Breval's "Concerto No. 2" is in fact Sonata Op. 28, No. 1, Rondo. Breval/Feuillard "concertos" and "concertinos" have nothing to do with Breval's original concertos. Concertos composed by Breval are brilliant works, similar to concertos by Haydn, Boccherini, Danzi, and Reicha. Feuillard's arrangements date back to the 1930s. You may purchase the Urtext edition of the original Breval Sonata here.
No. 1 - Many of the pieces in Eccles's collection Premier livre de sonates a violon seul et la basse have been identified as plagiarism. The "allegro" or more accurately, the "Courante" presented in the Suzuki Cello School is by Francesco Bonporti, from his Invention Op. 10, No. 4. It is very questionable that the "Grave" is by Eccles. It would also be useful to know whose cello transcription is in the Suzuki Method.
No. 4 - As far as musical hoaxes go, the "von Paradis" Sicilienne is at the top with the "Albinoni" Adagio and the "Frescobaldi" Toccata. This piece is in fact by Samuel Dushkin, not von Paradis. This piece is directly based on Kreisler's arrangement of Weber's Larghetto from Violin Sonata, Op. 10, No. 1.
The misattribution of the famous "Sammartini" Cello Sonata can be traced back to Moffat and Burmester. The version of the sonata used in the Suzuki Method is actually by Martin Berteau. Mvt. III is also found in a set of 12 Cello Sonatas Op. 1 (Sonata No. 8) by Giuseppe dall'Abaco. The thematic idea is based on dall'Abaco's Sonata No. 8, mvt. I. Did Berteau plagiarize? Maybe. Or maybe dall'Abaco plagiarized from Berteau. Sammartini has nothing to do with this piece.
The Suzuki Pedagogy Program at Lamont is pleased to offer Suzuki instruction in violin, viola and cello. Lessons are offered by Lamont students enrolled in the two-year Suzuki masters and certificate programs. Individual lessons form the core of this program, but it is supplemented with group activities as well.
Suzuki instruction seeks to nurture the whole child through a high quality, child-friendly approach. Young beginners learn with the help of a parent or home practice partner so that effective learning can take place with preschoolers. Older beginners or transfer students are also welcome to enroll.
All parents are given the information and assistance that is necessary to form a positive learning triangle. At the beginning of lessons, some of the instruction time may be used to cover these necessary topics.
Students in this group, generally 6 to 10, learn the same skills as the younger Pre-Twinklers, but the approach and pace are adapted to their age. Students receive ten 30-minute lessons per academic quarter as well as the opportunity to join in group lessons with Primavera Place.
The Lamont Suzuki Pedagogy program provides practicum classes for Lamont students enrolled in the master of music in Suzuki pedagogy (violin or cello), as well as the Suzuki pedagogy certificate program for both instruments.
Our Suzuki program focuses on the potential and curiosity of our youngest learners and lays the foundation for life-long learning that allows students to develop their confidence, self-discipline, perseverance, a sense of purpose, and problem-solving skills.
Participation of one parent/guardian is required for all students. Recitals and play-ins are scheduled periodically throughout the year and will supplement lessons and classes. Weekly individual lessons (see Individual Instruction page) and weekly group classes are required of all students.
Similar to language immersion, beginning Tapestry Strings students learn to play first and read second. However, it is important to note that music reading is an important part of the Suzuki Method and Tapestry Strings students will become proficient readers throughout their journey. They will also be introduced to various world music genres, in addition to a core classical music curriculum.
Participation of one parent/guardian is required of all students for both lessons (see Individual Instruction page) and classes. Weekly individual lessons and group classes are required for all students. Group classes meet every other week and reinforce what is taught in individual lessons in a fun, collaborative, and dynamic environment with peers. Tapestry Strings also includes a parent orientation, annual group performances, as well as solo performances and workshops.
While there is no specific age requirement, most children begin Tapestry Strings between the ages of 4 and 8 for violin, viola, and cello. Tapestry Strings is offered at our Mary Louise Curtis and Wynnefield Branches in Philadelphia.
This course is a Suzuki-inspired program for children ages 3-6 interested in exploring cello, viola, and/or violin. This four-week program meets on Mondays in July and is a recommended introduction to the 16-week Tapestry Strings program offered during the regular school year.
In SECE students and their caregiver attend a weekly music and movement group class where they develop rhythmic and melodic awareness, and learn through interacting with other children. The repertoire for the class includes traditional lullabies, action songs, poetry, and nursery rhymes. Students hear and have the opportunity to play percussion instruments such as glockenspiel, triangle, drum, xylophone, and shakers. Attention, gross and fine motor skills, pitch and rhythmic skills, and musical vocabulary are all developed in this course. Because of the skills they master in Suzuki Early Childhood Education, most children in the program are ready to begin instrumental studies at a very young age. 152ee80cbc
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