My teaching aims to touch and discuss every side of the pieces or the composers taken in exam in a suitable way for the avarage person to understand, in order to give knowledge which will transform how they listen to the present and future music.
The major topics I usually talk about are the cultural premises, the piece itself, its musical language and the consequences and influences on other authors and the following decades and centuries.
Although a large part of the meeting time is spent on the music an its charateristics, I find crucially important to explore the role and the meaning of pieces, composers and of music in general in the history of our culture, touching subjects as history, literature, philosophy and sociology: music is expression of the inner world of the author and his time, and the importance of a broader look to the cultural environment which gave birth to him cannot be overstated.
The discussion and clarification of the actual pieces of music revolves around the analysis of its charateristics with the aid of recordings: I talk about what is important to know and to notice, how the piece is built, the artistic ideas behind it and so on.
While I teach I try to keep the talking the most possible (whenever it is actually possible) concretely close to the music and the listening moments, quickly alternating explanation and theory with the actual listening, which represents the practical experimentation of the knowledge acquired. Pointing out during the music what has been explained is crucial to get the concrete results and train the students’ ears and awareness.
When necessary, I play myself little examples on the violin, if it can help to clarify some spots or musical effects.