Passion For Collaboration
Passion For Collaboration
CONFERENCE ARTIST
PASSION FOR
COLLABORATION
A
By Janice Wenger
nne Epperson is passionate about California-Santa Barbara and the skills to students and has a proven track
collaborative piano, both as a per- University of Colorado-Boulder. In record of developing quality programs.”
former and pedagogue. Starting addition to her affiliation with many Her soon-to-be colleague, interna-
with her position at the University of summer music festivals, she created and tionally renowned pianist Anton Nel,
Illinois at Urbana-Champaign as the developed the collaborative piano pro- said it best, “In addition to her extraor-
instrumental colleague in the program gram at the Music Academy of the West dinary artistic and organizational skills,
created there by John Wustman, she has in Santa Barbara and was on that artist Anne is also a warm and collegial per-
built a reputation as one of the top-tier faculty from 1992 until 2006. Recently, son: exactly what the School of Music
professors in the world. She has devel- Professor Epperson accepted a faculty needs as it is introducing these brand
oped degree programs at the Cleveland position at the University of Texas- new programs. I have enjoyed working
Institute of Music, the University of Austin to begin in fall 2008. B. Glenn together with her on the many facets of
Chandler, director of the School of her new position and keenly look for-
Janice Wenger Music, said “After we decided to take ward to having her in our midst.”
is vice president of the path to create a new degree program In a recent conversation, she elaborat-
MTNA. She is pro- in collaborative piano at UT, we wanted ed on her training and her thoughts on
fessor of music and to establish instant credibility by hiring collaborative pedagogy with Janice
coordinator of key- the best person in the country to lead Wenger.
board studies at that program. Anne Epperson’s name
the University of came forward quickly, based on her JW: What was your early training in
Missouri-Columbia, work at other prestigious institutions. music?
where she teaches piano literature She was the unanimous choice of the AE: I was born in New Orleans,
and applied collaborative and solo search committee. Anne Epperson has Louisiana, and grew up in Baton Rouge.
piano. impeccable musicianship, which is key I began piano studies before my fourth
to the success of the position. She has birthday and was fortunate to have a
the ability to transfer information and good solid formative experience with a
30 FEBRUARY/MARCH 2008
2008 CONFERENCE ARTIST
local private teacher Naomi Kennard along with Monroe Kanouse, an inspir- remember a week on memorizing, a
Singleton, who, incidentally, incorporat- ing coach, conductor and pianist still week on pedal technique and a week on
ed sight reading as part of my lessons working in the Bay Area. Even though concerto repertoire. When it came time
from the very beginning. As a high further graduate study was delayed, I to perform the concerti for Madame
school student, I studied through the appreciated all the opportunities at the Lhevinne, no one else in the class was
extension division at Louisiana State time. In a more global sense, I didn’t willing to play the orchestral reductions
University with Earl Stout, a student of really understand the importance of all except me. I thought it was great fun
Leschetizky. I graduated from the the things I was doing. It’s as though I and did them all. Another USC faculty
National Cathedral School in was being drawn to a career in collabo- member observing the seminar, Eudice
Washington, D.C., and during my sen- ration by some grand design rather than Shapiro, heard my playing and knew
ior year there I had the opportunity to any conscious intent on my part. that Jascha Heifetz was looking for an
travel to New York and have coachings accompanist to work with his students.
with Leonard Shure. As part of my JW: Was this followed by graduate Heifetz called and his assistant arranged
undergraduate study, I spent two years school? an audition, which involved working
at the Juilliard School in the studio of AE: I started a master of music degree with one of his students and then sight
Sascha Gorodnitzki. As a reward for in solo piano at the University of reading the last movement of
practicing my solo repertoire a lot, I Southern California with Daniel Beethoven’s “Kreutzer” Sonata and the
accompanied my friends in recital. I Pollack. I was fortunate to also work second movement of the Franck Sonata
realize now what amazing experiences I with Gwendolyn Koldofsky, a great col- with HIM! I didn’t know enough to be
had at that time, including lessons on laborative pedagogue, while at USC in nervous, and he liked the audition—so I
French art song in the studio of Jennie an accompanying course. The summer became the staff pianist for his master
Tourel! preceding this, I had been chosen by classes at USC for the following year.
Few pianists ever mentioned accom- Pollack to be one of eight pianists to My own formal schooling soon took a
panying at that time at Juilliard; it was participate in a six-week seminar con- backseat to the work with Heifetz,
not what pianists did. The distinguished ducted by Rosina Lhevinne. She was 93 which was an incredible educational
collaborative program now fully devel- years old at the time and sharp as a tack! experience.
oped at Juilliard under the leadership of This was a fabulous experience, and My master’s degree was ultimately
Jonathan Feldman, Margo Garrett and each week we discussed one topic. I completed at Louisiana State University
Brian Zeger stands as a prime example
MTNA NATIONAL CONFERENCE OPENING CONCERT
of how far the awareness has come since
I was a student there. I think of it as a
papal blessing on the profession. Two’s Company!
After a series of liberal arts explo- Saturday, March 29
rations at various schools, I completed a Denver Hyatt Capitol Ballroom
bachelor of arts degree in music at the 8:00 P.M.
College of Notre Dame in Belmont,
California. There I studied with
Thomas LaRatta, a student of Rudolph
Ganz and artist-in-residence at the
College. LaRatta is one of the best
teachers I ever worked with, and he is
still teaching privately in California.
Following the B.A., I worked for a Anne Epperson, piano Robert Spillman, piano
year as a staff pianist with the Western
Opera Theater, the training and touring
company for young singers affiliated
with the San Francisco Opera. The
company brought major opera produc-
tions to smaller communities through-
out the western United States with two
grand pianos as the orchestra. (And the Margaret Lattimore, Marianne Gedigian, James Buswell, violin
occasional upright with special prepara- mezzo-soprano flute
tion for Mozart recitatives!) I helped
create arrangements from the full score
AMERICAN MUSIC TEACHER 31
2008 CONFERENCE ARTIST
Photos: Naoko Suga (MM Collaborative Piano 2006; CU-Boulder)
instrumental or vocal. Incidentally, pleasure of spending time with Professor faculty at UT. In my own teaching, past
Allison has also created and developed a Spillman and arranging for my students and present, I always coach and interact
master of music degree in collaborative to work with him…a totally inspiring with the instrumental and vocal partners
piano at the North Carolina School of interaction! of the students, so I am excited about
the Arts, where she is on the faculty. working in tandem with the instrumen-
Her training as both vocal and JW: What is your vision for the new tal and vocal faculty as well. Dr.
instrumental partner has served her well program at the University of Texas? Chandler, with admirable vision, has
in this important work. AE: My plans for creating the new taken a chance on this new program,
program in Austin will follow the model and we already have degree plans in
JW: What events or activities, other now in place at the University of place. I have created a collaborative liter-
than your own teaching, have most Colorado-Boulder, which has been very ature course that will be part of the new
influenced your current thoughts on the successful thanks to exceptional support graduate degree plan. Although most
pedagogy of collaborative music? from Dean Daniel Sher and all of my schools have good course offerings in
AE: I have been thinking about the valued faculty colleagues. At the song and opera literature as well as
teaching of collaborative piano for some University of Texas, I will be a part of chamber repertoire, I have designed a
time, but the first exploration of the the new Division of Collaborative and two-semester course in which we intro-
topic was led by Jean Barr through Chamber Music and I will head the duce and evaluate the more practical
MTNA and other early pedagogy gath- Collaborative Piano Department within instrumental literature encountered by
erings. Jean, along with Margaret that Division. This new department will most professional collaborators, such as
Lorince as president of MTNA, created not only instruct majors in graduate standard orchestral reductions of concer-
panels and presentations that reaffirmed programs in collaborative piano and ti, pieces for winds and brass from the
what many of us were doing in isolation develop related programs for other stu- Paris Conservatoire and salon music for
at the time. This was an early beginning dents, but also will be implementing a all instruments, as well as exploration of
and through Jean’s good energies, con- service resource for the whole school. I the important sonata repertoire. The
tinued into the ’90s. With the creation will be working closely with the piano graduate administration of the School of
of the MTNA Collaborative faculty as well, to further develop collab-
Performance Forum, as well as the orative training for the undergraduates
upcoming Pedagogy Saturday focus in their historically strong piano pro-
devoted to Collaborative Pedagogy at gram. I learn a great deal each time I
the national conference, I am pleased embark on a new collaborative adven-
that the topic has been supported and ture and hope to take all of that experi-
nurtured by MTNA. ence with me to Austin.
Many of us have been teaching col- I am really looking forward to fulfill-
laborative music making for a long time, ing the collegial exchange and working
and our graduates have been successful with Anton Nel and the whole piano
as performers, coaches and teachers
themselves. Now, they are mentoring
their own collaborative students, and we
are seeing more new degree programs
emerge around the country. Also, the
Photos: Naoko Suga (MM Collaborative Piano 2006; CU-Boulder)
Music in Austin has been so very helpful Music in New York City and also work- song cycle by American composer Jake
in the process of official program ing with the outstanding class of collabo- Heggie with Margaret Lattimore, a won-
approval and in implementing the prepa- rative majors at Juilliard. I look forward derful mezzo-soprano with an active
rations for application and auditions. We to a week’s residency at the University of operatic career who also teaches at CU-
already have a strong pool of applicants Southern California this spring, just Boulder. Poulenc’s Sonata for Flute and
who will audition in February for the prior to the MTNA conference. I have a Piano, and Fantasie by Georges Hüe will
inaugural class to begin next fall. new summer affiliation at the Colorado feature Marianne Gedigian, competition
College Summer Music Festival in winner, regular performer with the
JW: What other activities interest you Colorado Springs, a great program for Boston Symphony and now on faculty
now? instrumentalists and pianists offering UT-Austin. The program will conclude
AE: Invitations to adjudicate, espe- varied opportunities in solo, chamber with the Franck Violin Sonata with
cially chamber music competitions, have music and orchestral keyboard. James Buswell, renowned concert and
increased in recent years. I was on the Performance opportunities continue recording artist since his teens, who
judging panel for the Coleman to spice up my plate of professional taught at Indiana University and now at
Chamber Music competition in activities, and I especially enjoy working the New England Conservatory in
regularly with certain colleagues, notably Boston. It will be an honor for me to be
clarinetist Håkan Rosengren and violin- on stage with these four amazing col-
ist Benny Kim. It’s a good life. leagues, who are not only fabulous per-
forming artists but are equally
JW: At the MTNA National committed to teaching. I’m also pleased
Conference in Denver, you’ll be perform- that MTNA is featuring a program of
ing on a program you have called “Two’s varied performers; it not only reflects my
Company!” What is the story behind philosophy, but also shows the expanded
that title? interests of the MTNA membership
AE: The concept came to my mind
when I was teaching at UC-Santa JW: Any final thoughts?
Barbara about seven years ago, and I AE: This has been the most satisfying
have continued a similar series at CU- thing that I ever could have imagined
Boulder. Basically, it’s a series of faculty doing with my life. From those early
recitals that represent what I believe in. days with Heifetz, the challenge and
Each program features a broad variety of reward of the work was so obvious that I
pairings, instruments, sounds and col- had to pay attention to it. Continuing
laborative styles. I like to show the to grow with the other great teachers
diversity of repertoire a collaborative and now my own students, I feel that
pianist can experience. In addition to my most important mission at this
California last spring and will return as the sonata repertoire, for example, a point in my career is the teaching of the
juror for the Fischoff Chamber Music program might include French conser- art. I am proud to be part of a very spe-
competition in May 2008. It is impor- vatory pieces for woodwinds, orchestral cial group of colleagues who have cho-
tant to be active in this arena and also is reductions, art songs, opera arias, salon sen to commit to the highest standards
a mark of the progress of the profession pieces, four-hand music and so forth. of collaborative education. I do enjoy
in the direction of collaborative per- One year I amended the title to become performing; it keeps me honest and
formance. “Two’s Company, Three’s a Crowd!” and helps maintain my credibility with my
I also enjoy giving master classes and included trios on the program. In addi- students! The ultimate goal of a collabo-
workshops. In the spring of 2005, I was tion to being fun for me and for my col- rative musician is truly to explore the
invited for a week-long residency in leagues, the performances demonstrate “life lessons” of respect and flexibility.
Seoul, Korea. I did a series of master to the students and audience members All of the performers in a collaborative
classes for pianists and their partners the need for collaborative pianists to venture must learn to get the most out
from many of the important universities have skills in many areas. of their partnership with each other. It is
there. It was so wonderful to witness the For the MTNA program, I’m pleased about the process of finding how to do
success of my former student, Bang-won to continue this idea with four of my one’s best, and how to set higher stan-
Han, who is now the first tenured pro- friends and professional colleagues. We’re dards for all musicians. My thanks to
fessor in collaborative performance in starting the program with some Schubert you, Janice, and to MTNA for allowing
Korea. Recently, I had the pleasure of for piano, four-hands, with Robert me to share my philosophy, my experi-
coaching some wonderful young per- Spillman, a uniquely versatile collabora- ence, and my passion!
formers at the Manhattan School of tive artist. The program continues with a AMT
34 FEBRUARY/MARCH 2008