Specialist in pianotechniek uit Kaapstad biedt individuele coaching voor halfgevorderde tot zeer gevorderde pianisten

Kom meer te weten over Robert

• When did you first develop a passion for music and your favourite instrument?

  I began playing the piano at the age of seven, and began writing music and playing the trumpet and other instruments a few years later. In my early teen years, my interests turned towards science and computers. It was in my late teen years, after completing high school, that I re-discovered my passion for music, and it became clear that it would always be part of my life. So I am actually a late starter. For that reason, I believe that I am more sympathetic towards late starters and musicians at all levels. Everyone has something to offer.

• Is there a particular type of music or an artist that you could happily listen to on a loop?

  I could happily listen to J.S. Bach's music the whole day, and I particularly enjoy his violin concertos. Mozart's symphonies hold an endless fascination to me. I am bowled over by their genius every time. I also enjoy listening to Keith Jarrett's improvised concerts, such as the Sun Bear Concerts.

• Explain to us the most difficult or 'riveting' lesson you could personally give to one of your students.

  The most difficult *and* effective lesson would vary with the level of the student. I could help the most advanced student who aspires to play in international piano competitions, or at a similar level, to advance their technique while improving the quality of their sound, and perhaps challenge them to a deeper interpretation. I could throw a Chopin/Godowsky étude at them, and ask them to invert it for the other hand, and it is likely that they will find it challenging no matter what level they are at. Moreover, I could share some practice techniques with them to help them attain a level where they could play such a repertoire without getting too tired or strained.
  
  For intermediate to advanced students, some small adjustments often yield the greatest improvements. For example, a small adjustment in one's thinking about pedalling immediately gives the student a better sound. There are different techniques for legato playing and counting sub-divisions in music that can make a significant difference as they are applied over and over again. The philosophy with which one approaches technical exercises gives one a different sound in the long run.
  
  For beginners, it is the example that one sets as a teacher that is most important, as this can determine the student's trajectory for a long time. So I find that teaching is a struggle of conscience and needs a lot of soul-searching.

• What do you think is the most complicated instrument to master and why?

  The piano is the easiest instrument to start, but I think that it is the most complicated instrument to master, as we are dealing with a combinatorial explosion of possibilities in what it can do, different techniques that can be used to play it, and the fact that everyone who plays it has a different physique. Due to the fact that the piano is so versatile, the literature of complex music that has been composed for it is vast. However, I have great respect for other instruments and other instrument players. To master any instrument takes the highest levels of dedication. Trumpet players need great stamina and string players need to cope with the physical demands of playing their instrument and creating a fine sound.

• What are your keys to success (aside from doing re mi fa sol ...)?

  If you are a music student, it goes without saying that you love music. I don't think that can be taught. The first key to success is your attitude and your compassion towards others. Without that in place, you won't grow into someone who has something meaningful to say. You need overall development as a person and knowledge of the arts and sciences. There are other priorities that are lower down on the list, and I think that all teachers will agree on them. A sound understanding of technique and a methodical way of working that does not mechanize the piano too much. I also find that keeping in shape physically and vigorous exercise is important.

• Name three musicians you dream of meeting on a night out, and explain why.

  When I was in my late teen years, I dreamed of meeting Andrei Gavrilov. I wrote to him and he invited me to visit him. I am still keen on meeting Ivo Pogorelich, Marc-André Hamelin, Maurizio Pollini, and Martha Argerich, as they were very influential on me, and Louis Armstrong, if he were still alive. I also dream of talking to some of my teachers who have passed away.

• Provide a valuable anecdote related to music or your days at music school.

  I remember that there was always a student who played better than me. In retrospect that was not so significant, as the only thing that matters is that you never quit and that you believe in your own uniqueness. Life throws a big curveball at everyone, so keeping your dream alive may be difficult. Even the best players struggle with depression and need encouragement. You can be the person who encourages someone else.

• What are the little touches that make you a Superprof in music?

  I thoroughly prepare for every lesson, and I don't try to mould every student in the same way. I try to understand where they are as a person, and that they may have other things pressing on them. So music classes should be a safe space for them to express themselves, in much the same way that I remember taking art classes.