Every time I pick up the phone and that someone enquires about my teaching availabilities, I am often totally dismayed by the few questions I’m asked. Most often, fees are discussed and what days of the week I teach. However, when one starts to learn an instrument, one often signs a (very) long-term contract. It is not unusual that students stay in my class seven, eight or even ten years. Though I quickly explain that my ultimate goal is that they won’t need me anymore and that they’ll be able to figure out how to work out any technical difficulties, in general, apprenticeship is not instantaneous. And, yes, through the years, teacher and student become close to one another, music being an experience to be shared.

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It’s the beginning of the school year, which means back-to-school time, busier schedules, and the selection of various activities. Perhaps you are considering music lessons? Before picking up the phone, it is important to think about the amount of time that will have to be spent playing the instrument. It is not enough to simply book lessons in the agenda of an otherwise busy schedule. To make significant progress in playing an instrument you will have to invest a minimum amount of time in practice. Most teachers have quotas for their students, generally ranging from 20 minutes to an hour a day.

You are now ready to begin the selection process that will land you on the doorstep of the ideal teacher… for you.  Take the time to ask whatever questions you have and do not hesitate to ask to attend a mini-lesson. This will enable you to appreciate the physical environment, the rules that apply in the studio, the teacher’s capacity to teach, and also whether you hit it off with the teacher.

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Lise Brunelle, Sophie Lemaire, Marjorie Maltais, Eric Prud’homme, Annie Sanschagrin, Pierre Verreault:  are these the names of new Canadian artists to be recorded by the Analekta label? Not exactly… at least not yet! In fact, these are the names of the six amateur singers who have been selected to take part in Apéro à l’opéra, Opéra de Montréal’s latest outreach program. Starting on September 22, they will follow a very serious formation, with experts from the opera world. Master classes, private lessons, as well as workshops in stage presence, diction, stress management and prononciation of Italian, German and Russian are also on the menu.

No less than 168 candidates from all over Quebec sent in their application for this unusual competition. I’ll keep you posted, of course.

Two previously unknown works composed by a young Wolfgang Amadeus Mozart have been discovered and validated by the International Mozarteum Foundation recently.

The pieces, an extensive concerto movement and a prelude, were found at the end of a lesson book compiled by Mozart’s father for his daughter Maria Anna and young Wolfgang.

The works first appeared in a 1892 but were then classified as anonymous compositions, since they were in Mozart’s handwriting. But the research department at the Mozarteum Foundation re-evaluated the compositions and strongly believes that the pieces were actually composed by Mozart before he was versed in musical notation. The Foundation believes that Mozart’s father transcribed the works as Mozart played them.

First concert performances of the pieces are slated for Mozart Week 2010 in Salzburg.

It is not often that a film about musicians is presented. You missed The Soloist, with Jamie Foxx and Robert Downey Jr., when it camed out, as I did? Now you can make amends and run to your video store. Anne Midgette, of the Washington Post, talks about the ups and downs of the movie, as seen by someone who loves classical music and is (obviously) interested by journalism. Read here…