Malaysia – Melanie Spanswick

Indonesian Charm

Published on November 5, 2019November 7, 2019 by The Classical Piano and Music Education BlogLeave a comment

Over the past nine days I have been touring in the Far East. It’s always a pleasure to work with students and teachers in different parts of the world, and fascinating to note the various similarities in teaching styles, despite the cultural differences. I began my trip in Indonesia, a country I visited briefly last year as part of a larger joint Schott Music and G. Henle Verlag book tour.

Indonesia consists of thousands of volcanic islands and is home to hundreds of ethnic groups speaking a variety of different languages (apparently over 700), from Javanese, Malay, Chinese, Arab to Indian and European. The capital city, Jakarta, is situated on the northwest coast of the island of Java: over 10 million residents inhabit this sprawling place. It’s noisy, bustling, humid, vibrant, and certainly not for the faint-hearted. A government health warning should perhaps be issued when sampling some of the food; if hot and spicy isn’t your ‘thing’, you may struggle here. Public transport is limited to say the least, which results in serious daily traffic jams, and a substantial health hazard in the form of pollution. But none of this affected my stay, and I was overwhelmed by the generosity of my hosts and all those with whom I came into contact.

I had been invited to work as one of this year’s ‘Grand Mentors’ for the Cantata for Youth Scheme at the Sekolah Musik Cantata (Cantata Music School) in Kelapa Gading Square, North Jakarta. This school has several large premises across the city, of which the Kelapa Gading branch hosts over 600 weekly students. A range of instruments can be studied alongside music theory, and there are even options to study subjects like classical ballet dancing. Such learning establishments in Indonesia are generally arts based as opposed to solely music.

My task for the week was to work alongside the school’s piano teachers, helping to prepare students for the Sunday concert (see image to the left), and generally suggesting alternative practice ideas as well as offering methods for honing teaching concepts within the school. The Cantata Music School is a Trinity College Examination Centre and a growing number of pupils take these exams every year. Whilst traditional instruments, such as the gamelan, remain popular, there is increasing interest in Western music and Western culture, and, as in the case of other Far Eastern countries, the instant achievement found in certification drives many.

I spent three and a half days working with a complete cross section of diverse students; from elementary through to the associate diploma level. It matters little about where I go to teach in the world, the same elements frequently appear problematic. This may be due to lack of student interest or practice, but, more often than not, it’s sadly due to poor teaching. Becoming a piano teacher in Indonesia is no easy feat. Teachers don’t always have the required opportunities; most haven’t studied to Bachelor degree level, and there seems to be little provision to study Western music at a higher level. Therefore, prospective piano teachers rely on acquiring ABRSM or Trinity College London Grade 8 or diploma exams. Perhaps this may be resolved in coming years, but until that time, it remains for visiting teachers to implement a different approach. And that was my intention.

Students had mostly learned their prepared pieces sufficiently well, but were not always fluent at note-reading or keeping time. These issues were particularly highlighted during the duet playing.

One of the clever concepts of this school, is that they are keen to pair pupils together for duets and also, for trios (6 hands at one keyboard). The Sunday concert featured mostly duet and trio ensembles, and it was heartening that my book of elementary duets and trios, Snapchats (80 days publishing), was used for this purpose.

Snapchats are very short pieces, mostly between 8 and 16 bars in length, for two and three pianists at one piano; they take students from late beginner level to around Grade 4. And they are really beneficial for those just starting to play duets. Several more advanced students also played solo pieces from my new volume, No Words Necessary (Schott Music).

12 Intermediate Piano Pieces for Students from Grade 3 – 6 level, published by Schott Music

Encouraging ensemble work is a marvellous vehicle for overall improvement. I worked with each group (and their teacher), on such aspects as quick note learning, fingering and finger positions, general ensemble, and the importance of rhythm and pulse.

The pulse had been largely side-stepped by the majority of students, which rendered ensemble playing a real challenge. But after some stringent ‘pulse keeping’ in the form of counting out loud (where I found myself either conducting or stamping my foot!), pupils started to place beats more carefully, and were clearly happy to be playing in almost perfect unison alongside their fellow pianists. As a result, the Sunday concert was a resounding success, with some impressive playing (click on the videos below to hear some of the performances, and keep in mind that these children had never played a duet or trio before).

With students and teachers after the concert in Jakarta

With teachers participating in the Play it again workshop, held in Jakarta

My final day in Jakarta was spent working with teachers. I usually offer a teacher’s workshop during my travels. It lasts most of the day and focuses on disparate technical facets. The workshop features a selection of piano exercises, allowing teachers to form a basis for flexible movement with their students; an issue which I perpetually work on with my own students. Teachers responded well to this session, and were asking for more detailed information about flexible, relaxed movement around the keyboard, and therefore a further trip probably beckons at a later date. Many of these exercises are also featured in my course, Play it again (Schott Music).

The final two days of my tour were spent in Johor Bahru (Malaysia), where I gave private lessons at the Forte Academy of Music, and at the Cristofori Academy in Singapore, with a three-hour master class at Bechstein Music World.

At the start of my class at Cristofori held at Bechstein Music World in Singapore

Fearless explorers would relish a trip to Indonesia. I learnt much about the traditional music, responses to Western classical music, and the constantly evolving opportunities for Western musicians to perform on the Indonesian stage. I hope music education continues to thrive and, if so, it will be due to the admirable work done by schools like the Sekolah Musik Cantata.

The following videos were recorded at the Tea for Two (or Three) Concert and feature students from the Sekolah Musik Cantata.

My publications:

For much more information about how to practice piano repertoire, take a look at my piano course, Play it again: PIANO (published by Schott Music). Covering a huge array of styles and genres, the course features a large collection of progressive, graded piano repertoire from approximately Grade 1 to advanced diploma level, with copious practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.

You can find out more about my other piano publications and compositions here.

Touring in Singapore and Malaysia

Published on July 19, 2019July 28, 2019 by The Classical Piano and Music Education BlogLeave a comment

If you’ve been following my social media sites, you’ll know I’ve been working in Singapore and Johor Bahru (in Malaysia) over the past week. I aim to organise several overseas book tours per year as I love to travel, and I also enjoy meeting teachers and students from different parts of the world. I’m extremely grateful to my publisher, Schott Music, for their continued support; without them arranging such trips would indeed be challenging, particularly with regard to book distribution which can be tricky in some Far Eastern countries.

I have visited Singapore on a few occasions during the past couple of years; their hospitality is legendary as is their hunger to learn, and the same is true in Malaysia, too. I name these trips ‘book tours’, but they are actually much more than that. A book tour might describe an author who visits a country offering a brief presentation focusing on their book with, perhaps, a Q&A at the end. I generally offer workshops, public and private lessons, lectures or presentations, and adjudicating. Such elements are all connected to my piano course, Play it again: PIANO, but these workshops and classes are not merely presentations about the books. My teaching generally centres around piano technique, and during the workshops I touch on many technical aspects, and crucially, how to keep loose and relaxed whilst developing a solid technique.

In Singapore I gave a six-hour workshop for piano teachers employed by Cristofori. Cristofori is the largest piano company and music school in Singapore with a network of over 30 centres island-wide. Over 400 instrumental teachers are affiliated to the music school, and I was delighted that over 100 piano teachers came to my first workshop (see photo to the left). I offer four half-hour piano technique workshops in total, and after each one I encourage teachers to come to the piano to try out various ideas and exercises. Teachers can be a fairly reserved bunch in Singapore, but it didn’t take too long to coax them to the piano. And once one or two came up, there was no stopping them!

Chatting to Cristofori teachers at the Singapore Conference Hall

The following day I took a trip over the border to Malaysia. The second workshop (which was also for piano teachers) was shorter, and differed slightly from the first, still mainly featuring piano technique, but I also spoke about my compositions, played some of them, and then answered questions about incorporating composition into piano lessons. This took place at the Forte Academy of Music in Johor Bahru. Around 50 piano teachers attended the event and I appreciated their dedication and interest. They had no qualms about coming up to the piano to try my suggestions, and I endeavoured to answer the numerous questions about technique, piano teaching, and, of course, that perennial subject, piano exams.

Teaching at the Forte Academy of Music in Johor Bahru

Piano exams feature heavily in piano study in the Far East. ABRSM are the preferred exam board, and, again, copious questions ensued about various aspects of examinations, and particularly the diplomas, of which there are many candidates in this part of the world.

The final engagement on this short trip was adjudicating. It’s a privilege to listen to young pianists, and adjudicating (or jury judging) involves hours of listening and writing.

With fellow adjudicator Anthony Hewitt and our hosts from The Musique Loft, Winnie Tay and Angelyn Aw

The invitation to adjudicate at the 3rd Overseas Performer’s Festival came from my friends and colleagues, piano teachers Angelyn Aw and Winnie Tay who run The Musique Loft. This organisation hosts piano competitions, master classes and other events for piano teachers and their students. The festival consisted of a two-day event held at the Chinese Cultural Centre in the urban financial district of Singapore.

I was fortunate to adjudicate alongside fellow British pianist, artistic director, and professor of piano at the Royal Birmingham Conservatoire, Anthony Hewitt (see photo to the left). Tony and I have previously worked together on several occasions and it was wonderful to work in conjunction with another judge, otherwise this job can seem a hefty responsibility on one’s own.

We heard over 200 performances, and many were superb. An extremely high standard of playing was coupled with an interesting selection of diverse repertoire. Every performer played from memory (even the duets and trios), and students ranged from four- or five- year-old Grade one or Grade two students to twenty-five-year-old conservatoire graduates. All participants received trophies and lengthy written adjudications (it’s fair to say that my index finger didn’t work properly for a day or two afterwards!).

I’m not going to discuss whether competitions are ethical or not, but irrespective of this, such displays of piano playing can surely only help to secure a healthy interest in piano music, classical music, and music education in general. I’ve grown tired of making comparisons to the UK, but unfortunately it seems as though we are trailing far behind.

My trip ended with a further day of master classes for The Musique Loft and some private teaching. It was a full week in terms of engagements, but I felt inspired, energised and heartened by this outpouring of love for the piano and its music. I’m looking forward to returning to this part of the world in October to visit Jakarta (Indonesia), Singapore and Johor Bahru.

If you would like to attend one of my technique workshops, I’ll be at Ackerman Music Store in Hove on August 29th 2019, and at Forsyths Music Store in Manchester on August 31st 2019. I look forward to meeting you.

My publications:

You can find out more about my other piano publications and compositions here.

A Far Eastern Book Tour

Published on September 16, 2018January 8, 2019 by The Classical Piano and Music Education BlogLeave a comment

Book tours are fun. They could be referred to as the ‘pinnacle’ of the whole writing journey; by this time the books are safely published, usually after countless rewrites and corrections, and the writer is free to speak about the process through those rose-tinted glasses. This week I leave for my third book tour over the past year; retracing my steps in the Far East as well as visiting pastures new. I’ll be touring for my publisher, Schott Music, with my piano course Play it again: PIANO Book 1 & 2.

The tour will take me to Singapore, Malaysia, Indonesia and Hong Kong. In each place, I will be giving a series of workshops and master classes (and also private lessons in Singapore and Hong Kong). I’m extremely excited about this prospect; travelling has always been a way of life for me, and yet I still crave the buzz of excitement it offers, irrespective of the destination.

The tour begins in Singapore with a piano teacher’s workshop (details above), focusing on many elements mentioned in my books. The Kawai Music School in Katong has already been using Play it again: PIANO with many of their students. In my workshops, I enjoy involving teachers and students as much as possible with plenty of hands on participation and discussion. These workshops predominantly highlight various aspects of piano technique, an important element for teachers in particular, as without such knowledge, helping students achieve their potential is challenging.

After a few days, Malaysia beckons, and I’ll be moving to Malacca, which is to the south of Kuala Lumpur. Here, there will be a two-day workshop (including seven different presentations) and a student master class, all purely for piano teachers. Encore Music Centre is a popular school in this region, and the teachers have also been using Play it again: PIANO as their course of choice over the past few months. I can’t wait to see how they are getting on with it, and I’ll be hopefully able to answer questions and make suggestions regarding the content.

Kuala Lumpur is a buzzing metropolis, and is where I join Dr. Sigrun Jantzen, from Henle Verlag, and fellow Schott author, Samantha Ward. British pianist and artistic director of PIANO WEEK Samantha Ward, has her own series published by Schott (Relax with), but on this occasion, she will be presenting Piano Junior, the new beginner’s method written by German composer and writer Hans-Günter Heumann. Dr. Jantzen will present Henle’s extensive range of publications.

Together, we will embark on three large piano teacher seminars in three different cities. After Kuala Lumpur (see flyer above for details of the Kuala Lumpur seminars), we fly to Jakarta (Indonesia), and then on to Surabaya, to the East of Jakarta and the capital of East Java, (see image to the right for more details).

Finally, I fly to Hong Kong on my own for a special series of Play it again: PIANO workshops, master class and private lessons for piano teachers and students (see below for details). Tom Lee is one of the leading music retailers in Hong Kong, and as an adjudicator and examiner, I have worked many times at their various centres which are peppered across Hong Kong. Our venue is at the Megabox in Kowloon Bay; a large concert hall situated on the tenth floor.

Most of all, I’m looking forward to meeting new friends, teachers, and colleagues, and experiencing many aspects of music and music education in this region. If you live in this part of the world and are relatively near any of the venues, please do come along; it would be lovely to meet you.

Play it again: PIANO Book 1 & 2 will be on sale throughout all the classes and workshops, but you can find out more about them, watch my videos, and purchase them by clicking, here. They can also be purchased on Amazon.

My publications:

You can find out more about my other piano publications and compositions here.

A few thoughts on piano teaching in Singapore & Malaysia

Published on September 10, 2017January 8, 2019 by The Classical Piano and Music Education Blog2 Comments

I spent an energizing and inspiring Summer period away from home this year. For me, this was the perfect way to enjoy a substantial break from my conventional teaching and writing. After working trips to the US (New York) and Germany (Gelsenkirchen), I savoured a relaxing, short holiday in Devon (South West of the UK) before embarking on a three-week sojourn to Southeast Asia.

I was predominantly based in Singapore, but I did cram a jam-packed five days in Kuala Lumpur (Malaysia) too. This part of the world has always been a favourite; I have visited these shores many times as a young pianist, more recently returning as an examiner (for the ABRSM) and an adjudicator for the British and International Federation of Festivals (BIFF). The culture, colour, and sheer vibrancy of this region resonate with me completely, and I particularly admire the deeply respectful attitude to my profession.

My work began with a visit to the Singapore Performing Arts Festival, where I was invited to adjudicate (for BIFF) small classes of solo piano and strings. This festival, which is based in Katong (to the East of the city centre), is fairly new and has yet to blossom into the colossal organisation of the Hong Kong Schools Music Festival where classes of sixty are a regular occurrence (and where I will be adjudicating for a month in March 2018). The classes in Singapore were mostly filled with students preparing for exams or concert performances, and, as always, it was a real pleasure to hear their work and hopefully help with a few constructive comments.

The primary reason for the trip was to introduce and talk about my new two-book piano course, Play it again: PIANO (published by Schott Music), and under the kind auspices of the festival, I gave two days of master classes and a further two of workshops, all of which incorporated my new books. The first workshop was for students and their parents, and the second, for teachers. Both were well attended, but the workshop for teachers was especially interesting (pictured above). My chosen topics (piano technique, scales & arpeggios, memorisation and sight-reading) were subjects of concern such is the regularity with which these elements are taught, often due to examination requirements (the British exam system thrives throughout the region).

All twenty-eight teachers were not just responsive to my work, they were also keen to come to the piano, one by one, and try out my ideas and suggestions. The day flew past, and it was extremely satisfying and heart-warming to see such an animated, engaged group.

A couple of days were then spent giving private lessons for the festival; working both with children taking their graded exams, and teenagers and teachers preparing for their performing and teaching diplomas. Practice and preparation is a serious business in Singapore, which suits my style of teaching, and I relished working on the FTCL and FRSM repertoire with several students.

There are a plethora of piano studios and music schools in this tiny country, some of which inhabit shopping malls! My second engagement was giving private lessons and public classes at The Musique Loft and Musique D’amour, also both based in Katong, in a mall full of beauty salons and health shops. These busy studios teach students of all levels, and we had fun working on mainly exam repertoire. Parents are generally involved with their child’s musical progress and frequently come to the lessons. Some will disagree with this practice, but I find it can be very beneficial; it ensures fruitful practice and therefore bodes well for overall improvement.

The teacher’s workshop at The Musique Loft (pictured to the right, above) was held in a studio with a beautiful Steinway grand and with another group of dedicated teachers. Memorisation is a popular topic amongst teachers; ‘I can never memorise and therefore find it challenging to teach to students’ is a remark I commonly hear. We work at this subject in several ways, but memorising on the spot is a feature of my class, and I’ve yet to find anyone who can’t do it. Observing pianists who suddenly realise they can master this aspect of piano playing is always a happy moment.

Another element which appeared popular at all the workshops, were the sight-reading classes (which round-off the day); at the end of each session, I encourage groups to sight-read altogether (one of which is pictured to the left, at the Performing Arts Festival), with three pianists per piano or six hands (there were nearly always two or three instruments in the room (and we had five pianos to work with in Kuala Lumpur!)). I use one or two pieces, both of which are well within most student’s capabilities, and we run through them with me acting as the conductor; I use the same musical parts duplicated, which makes it easier for students to ‘hear’ and feel where they are in the piece (and in the bar) at any given time.

British composer Mike Cornick has written a splendid series of trios, 4 Pieces for 6 hands at 1 piano (there are several books in the series for different abilities), and the second piece, Sempre Legato, is a winner (the front cover of this volume was photographed many a time during these sessions, by those eager to get their hands on a copy). Sight-reading in groups is a sure way to improve reading, although most work on this demanding discipline is done individually in my classes before playing as a group.

In this part of the world, piano teachers sometimes work in music shops (where jobs are coveted). After working for three days at The Musique Loft and Musique D’amour, I gave classes and shorter workshops for two days at the Cristofori Shop and School (pictured below) near Marina Bay (with an impressive view of the renowned hotel, Marina Bay Sands). The Cristofori brand is new to me – it’s popular in this part of the world, originating in Singapore, and taking its name from the ‘inventor’ of the piano, Italian maker Bartolomeo Cristofori (1655 – 1731). The Cristofori instruments I played had a slightly muffled, ‘soft’ tone and a deep touch (which students responded to favourably).I took the bus from Singapore to Petaling Jaya, to the West of Kuala Lumpur, where I stayed for a few nights. A refreshing change from flying, it was a pleasant way to spend six hours and offered a chance to enjoy the scenery. Kuala Lumpur might be viewed by some as an assault on the senses with its stunning Batu Caves (I managed a quick visit), frighteningly imposing Petronas Twin Towers, endless traffic jams, bustling night markets, open-minded cultural mix, intoxicating heat, and stupendously spicy, fabulous food!

Gloria Musica is a popular piano school in this region with many students and teachers (and it’s about to become larger with a lovely new premises). I had been invited to coach several three-hour master classes and two days of workshops; one for students and another for teachers (pictured above, at the end of the day, with Play it again: PIANO). A factor which I feel is important when giving workshops is the inclusion of all. Active workshops seem the best way to assimilate information, and to this end I urge each participant to come to the piano and engage in what is being demonstrated (although this is a personal choice; students are never forced to take part). As a result, everyone does participate and they usually comment positively on how much more is learned.

After the final classes, the tour concluded with a teacher’s concert (see poster below). A group of teachers at the school (and professors from UCSI University) played short pieces to a large and appreciative audience. I played some of my own compositions. The range of music was interesting, from a duet version of Carnival of the Animals (by Saint-Saëns) to some compelling (and previously unknown to me) Chinese pieces.

I am extremely grateful to the teachers and piano studio owners who kindly invited me to their schools during this period (and spent much time and energy showing me around these enchanting countries), to the Performing Arts Festival in Singapore for its wonderful hospitality, and to Schott Music for their exemplary distribution and vital support.

The opportunity to travel is a privilege. And to incorporate travel and work together is an aspect of my life which I have never taken for granted. I left Singapore and Malaysia with a greater understanding of the culture and complete admiration for their dedication to music study. I can’t wait to return very soon.

My publications:

You can find out more about my other piano publications and compositions here.

Overseas Masters Winter Piano Academy 2014

Published on December 21, 2014January 3, 2019 by The Classical Piano and Music Education Blog1 Comment

There are a plethora of piano courses taking place every year here in the UK. The majority are held during the Summer months, coinciding with holiday periods, usually offering a mixture of one to one lessons and group classes. Courses can be a very helpful addition to a pianist’s regular musical activities, providing much-needed extra ‘ears’ and piano tips.

Two years ago, I was invited to coach group classes on the Overseas Malaysian Winter Piano Academy (as it was then known), which is held at the Yehudi Menuhin School in Surrey, UK. The structure of this course is fairly unique, in that it provides high quality lessons, classes, concert opportunities and a UK ‘experience’ to a group of talented young musicians from the Far East. Most of the participants are from Malaysia, although this year there were some students from Singapore too (25 pupils in all). Each participant has been auditioned and selected, and most are at least Grade 8 standard (many were far beyond this, several students in my classes had already achieved the FTCL or FRSM). Once chosen, pupils fly to London for twelve days, returning home on Christmas Eve, after a fantastic musical adventure.

This course was established in 2010 by Malaysian pianist Bobby Chen, who masterfully arranges all the activities and events. Bobby is a busy concert pianist who studied at the world-renowned Yehudi Menuhin School, and it does indeed provide a marvellous backdrop. The facilities are superb, with plenty of large music rooms all resplendent with one or two excellent pianos, as well as two concert halls, and beautiful surrounding grounds.

Each pupil receives several individual piano lessons, many groups classes (in Composition, Improvisation, Conducting, Chamber Music etc.), lectures, evening recitals given by some of the tutors, the opportunity to hear their fellow student’s lessons (most lessons are open classes), the chance to play in the final Gala concert, and a visit to London, taking in cultural sites and concert performances too. Most participants are pianists, but there were a few string players for the first time this year.

The faculty is impressive, showcasing some of the finest musicians and teachers: Anthony Hewitt, Dominic Alldis, Mikhail Kazakevich, Thomas Carroll, Julian Jacobson, Carole Cerasi, Andrew Ball, Douglas Finch, Leslie Howard, Murray McLachlan, Ruth Nye, Terrence Lewis, Stephen Goss, Graham Caskie, Boris Kucharsky, Mihai Ritivoiu, Tomasz Ziemski, Aleksander Szram, and me.

I gave three hours of classes to four groups. One hour each on Technique, Sight-reading and Memorisation Techniques. I enjoy group lessons and so, it seems, do students, as they eagerly learn from each other; lots of interaction can be both fun and instructive. My classes contain plenty of participation at and around the piano, and there’s always a Question and Answer session and discussion time too.

One great advantage of staying on campus for a couple of nights, is the chance to meet some of the faculty and enjoy their lectures and recitals. I was fortunate to have free evenings, and was able to hear three lectures. Pianist and Professor of piano at the Royal College of Music, Julian Jacobson, presented a fascinating talk about the first movement of Beethoven’s Appassionata Sonata No. 23 in F minor Op. 57. Julian played all 32 Sonatas in one day for charity last year, at St. Martin-in-the-Fields in London, so he has a wealth of knowledge on this subject. He played excerpts from the piece and shed much new light.

There were two lectures on the second evening. Pianist, Head of Keyboard at Chetham’s School of Music and Professor of piano at the Royal Northern College of Music, Murray McLachlan, talked about his new publication, The Foundations of Technique, published by Faber Music. Murray explained the reasons behind writing the book (formed from articles he had written for the International Piano Magazine, over many years), and the importance of honing piano technique. Covering wide-ranging crucial topics, Murray demonstrated at the piano and spoke eloquently.

The second lecture was given by Pianist and Professor of piano at the Royal College of Music, Andrew Ball. Andrew lectured, demonstrated at the piano and also played recorded excerpts about his love of Twentieth Century music. It was an interesting journey of personal discovery and reflection.

On my third and final evening at the school, we all enjoyed a piano recital given by Murray McLachlan. The programme consisted of Chopin’s Berceuse in D flat major Op. 57, Liszt’s Sonata in B minor, and John McLeod’s Fifth Piano Sonata, which was written especially for Murray. The recital was certainly a highlight and I will write in more detail about it and the wonderful McLeod Sonata in a future post.

Students were clearly lapping up the musical riches on offer at the course; many claiming they had never experienced such a rich tapestry of stimulating events and performances. I was only sorry I couldn’t hear my colleague’s open classes during the daytime.

Bobby must be congratulated for his meticulous attention to detail, and ingenuity in creating a course which juxtaposes his homeland and heritage with that of his education and present life. He has changed the lives of many Malaysian piano students, opening up a whole new world of possibilities. I look forward to the Overseas Masters Winter Piano Course 2016.

www.omwpa.com