Violin teacher recommendation in the Rockville/North Potomac/Gaithersburg area

[Anonymous]

Anonymous wrote:Retired Violin teacher with 30 years here: All of my colleagues were professional players as well as teachers. We all understand that not everyone can practice daily. None of us were impressed with "Russian style" teaching which btw isn't really a thing. We did frequently discuss parents and their unrealistic ambitions for their kids which often kacked in authentic appreciation for the very music the purported to value.

OP : call and ask the teachers what their expectations are and how they run their recitals. There should be one recital a year. It helps motivate the students.

You can also find a graduate performance major. We were all teaching while in school. I taught my first student when I was 16 and had entered college on scholarship. Positive exposure on the first engagement is always good.

*lacked. Small phone keyboard!

[Anonymous]

The "Russian style" is absolutely a thing. Arguably even two things -- the Imperial Russian style and the Soviet style -- although both of those have similar roots.

There have historically been three major traditions of violin-playing -- the German style, the Franco-Belgian style, and the Russian style. The German style is largely dead (you generally only see it in older Suzuki teachers who follow Suzuki's original teachings, which were physically modeled on the German tradition that Shinichi Suzuki himself was trained in). The Franco-Belgian and Russian styles are fused into the Galamian style, which is effectively the American style and largely globalized now.

Each style represents a physical approach to the violin, and a certain pedagogical tradition (influencing repertoire and etude choices, for instance). Many modern players mix and match, but a lot of professional players still have a primary stylistic influence.

Many players with prestigious teacher lineages are relatively pure exhibits of a particular style and tradition. Locally, despite Russian-trained teachers being quite rare, their students dominate much of the competition scene.

(Lya Stern comes from the Russian tradition, tracing a teacher lineage back directly to Leopold Auer. I believe Olga Khroulevitch does also. If I recall correctly, Emil Chudnovsky traces his lineage back to Stolyarsky -- he's more of a Soviet-influenced player, especially an Oistrakh influence through his mother.)

In terms of famous modern players, Maxim Vengerov represents the Soviet Russian style. Many of the pupils of Roland and Almita Vamos, including Rachel Barton Pine, display the Imperial Russian style. Hilary Hahn is the most prominent modern player displaying the Franco-Belgian style.

You'll find plenty of teachers who were taught in style X and disdain the other styles. Given the prevalence of the Galamian style in the United States, you'll find plenty of pros, like the previous poster, who disdain the Russian style.

But I'm just gonna say, those students in this area who are learning from Russian-tradition teachers are pretty dominant in competitions, chair auditions, etc.

[Anonymous]

Anonymous wrote:OP : call and ask the teachers what their expectations are and how they run their recitals. There should be one recital a year. It helps motivate the students.

There should be at least TWO recitals a year. Musical instruments, like the violin, are a performing art. That means that to learn the art, you have to learn to perform. Performing skill comes from experience.

Most of the community music schools in this area, like Levine, have two recitals a year.

[Anonymous]

Anonymous wrote:The "Russian style" is absolutely a thing. Arguably even two things -- the Imperial Russian style and the Soviet style -- although both of those have similar roots.

There have historically been three major traditions of violin-playing -- the German style, the Franco-Belgian style, and the Russian style. The German style is largely dead (you generally only see it in older Suzuki teachers who follow Suzuki's original teachings, which were physically modeled on the German tradition that Shinichi Suzuki himself was trained in). The Franco-Belgian and Russian styles are fused into the Galamian style, which is effectively the American style and largely globalized now.

Each style represents a physical approach to the violin, and a certain pedagogical tradition (influencing repertoire and etude choices, for instance). Many modern players mix and match, but a lot of professional players still have a primary stylistic influence.

Many players with prestigious teacher lineages are relatively pure exhibits of a particular style and tradition. Locally, despite Russian-trained teachers being quite rare, their students dominate much of the competition scene.

(Lya Stern comes from the Russian tradition, tracing a teacher lineage back directly to Leopold Auer. I believe Olga Khroulevitch does also. If I recall correctly, Emil Chudnovsky traces his lineage back to Stolyarsky -- he's more of a Soviet-influenced player, especially an Oistrakh influence through his mother.)

In terms of famous modern players, Maxim Vengerov represents the Soviet Russian style. Many of the pupils of Roland and Almita Vamos, including Rachel Barton Pine, display the Imperial Russian style. Hilary Hahn is the most prominent modern player displaying the Franco-Belgian style.

You'll find plenty of teachers who were taught in style X and disdain the other styles. Given the prevalence of the Galamian style in the United States, you'll find plenty of pros, like the previous poster, who disdain the Russian style.

But I'm just gonna say, those students in this area who are learning from Russian-tradition teachers are pretty dominant in competitions, chair auditions, etc.

Thank you. I agree.

[Anonymous]

Anonymous wrote:The "Russian style" is absolutely a thing. Arguably even two things -- the Imperial Russian style and the Soviet style -- although both of those have similar roots.

There have historically been three major traditions of violin-playing -- the German style, the Franco-Belgian style, and the Russian style. The German style is largely dead (you generally only see it in older Suzuki teachers who follow Suzuki's original teachings, which were physically modeled on the German tradition that Shinichi Suzuki himself was trained in). The Franco-Belgian and Russian styles are fused into the Galamian style, which is effectively the American style and largely globalized now.

Each style represents a physical approach to the violin, and a certain pedagogical tradition (influencing repertoire and etude choices, for instance). Many modern players mix and match, but a lot of professional players still have a primary stylistic influence.

Many players with prestigious teacher lineages are relatively pure exhibits of a particular style and tradition. Locally, despite Russian-trained teachers being quite rare, their students dominate much of the competition scene.

(Lya Stern comes from the Russian tradition, tracing a teacher lineage back directly to Leopold Auer. I believe Olga Khroulevitch does also. If I recall correctly, Emil Chudnovsky traces his lineage back to Stolyarsky -- he's more of a Soviet-influenced player, especially an Oistrakh influence through his mother.)

In terms of famous modern players, Maxim Vengerov represents the Soviet Russian style. Many of the pupils of Roland and Almita Vamos, including Rachel Barton Pine, display the Imperial Russian style. Hilary Hahn is the most prominent modern player displaying the Franco-Belgian style.

You'll find plenty of teachers who were taught in style X and disdain the other styles. Given the prevalence of the Galamian style in the United States, you'll find plenty of pros, like the previous poster, who disdain the Russian style.

But I'm just gonna say, those students in this area who are learning from Russian-tradition teachers are pretty dominant in competitions, chair auditions, etc.

Really well stated, thank you!

[Anonymous]

Back to OP’s question, we like The School of Music on Rockville Pike for a more casual approach to music lessons. You sign up for a certain number of lessons and it’s easy to reschedule if you need to miss one. We’ve used them over the short term to try out a new instrument and also used them long term (one DC is on year 3 with the same violin instructor). It’s a very low pressure environment, which is what my DC wanted.

[Anonymous]

Definitely meet with Elise Blake! https://www.eliseblakeviolin.com/ Not sure if she's still accepting students, but worth a try!

[Anonymous]

Please look up Christian Simmelink. She might be what you are looking for

[Anonymous]

Anonymous wrote:Chris Sanchez from Capitol Strings. Excellent teacher.

I know this thread is old, but just adding in case this makes a difference to anyone reading. Chris Sanchez is a Trump supporter

[Anonymous]

Anonymous wrote:OP here. By pushing too hard, I mean expecting daily practice and giving him a hard time if he doesn't practice daily.

If you don't care if your kid practices everyday, I'd find a teacher that will come to your house. Super easy for you. The downside is, they may not do recitals. If you care about recitals, do a music school or find someone that teaches in their home/studio. If your kid is enjoying it and putting in the practice time you can always move them to a more serious teacher.

[Anonymous]

Anonymous wrote:The "Russian style" is absolutely a thing. Arguably even two things -- the Imperial Russian style and the Soviet style -- although both of those have similar roots.

There have historically been three major traditions of violin-playing -- the German style, the Franco-Belgian style, and the Russian style. The German style is largely dead (you generally only see it in older Suzuki teachers who follow Suzuki's original teachings, which were physically modeled on the German tradition that Shinichi Suzuki himself was trained in). The Franco-Belgian and Russian styles are fused into the Galamian style, which is effectively the American style and largely globalized now.

Each style represents a physical approach to the violin, and a certain pedagogical tradition (influencing repertoire and etude choices, for instance). Many modern players mix and match, but a lot of professional players still have a primary stylistic influence.

Many players with prestigious teacher lineages are relatively pure exhibits of a particular style and tradition. Locally, despite Russian-trained teachers being quite rare, their students dominate much of the competition scene.

(Lya Stern comes from the Russian tradition, tracing a teacher lineage back directly to Leopold Auer. I believe Olga Khroulevitch does also. If I recall correctly, Emil Chudnovsky traces his lineage back to Stolyarsky -- he's more of a Soviet-influenced player, especially an Oistrakh influence through his mother.)

In terms of famous modern players, Maxim Vengerov represents the Soviet Russian style. Many of the pupils of Roland and Almita Vamos, including Rachel Barton Pine, display the Imperial Russian style. Hilary Hahn is the most prominent modern player displaying the Franco-Belgian style.

You'll find plenty of teachers who were taught in style X and disdain the other styles. Given the prevalence of the Galamian style in the United States, you'll find plenty of pros, like the previous poster, who disdain the Russian style.

But I'm just gonna say, those students in this area who are learning from Russian-tradition teachers are pretty dominant in competitions, chair auditions, etc.

Oh yes, Russian school instruction is most definitely a thing, and very different from other instruction styles! Signed, a former student one of Yuri Yankelevich's teaching assistants!!

[Anonymous]

Contact the Strings Chair at Levine Music, Patrick LeStrange. He can match you with a teacher who would be a good fit. My son has taken lessons at Levine for years and has really enjoyed it. I'd also recommend their Junior Chamber Orchestra program run by Vasily Popov.

[Anonymous]

Anonymous wrote:

Anonymous wrote:Chris Sanchez from Capitol Strings. Excellent teacher.

I know this thread is old, but just adding in case this makes a difference to anyone reading. Chris Sanchez is a Trump supporter

From what his page describes, it looks like he’s been getting some decent results with his students. No need to bash him. I really don’t care about my kids’ teacher’s politics so long as they don’t enter into the lessons. The goal is to learn the violin, not to study current events. We don’t need to politicize everything.

[Anonymous]

We have had a fabulous not too intense experience with this violin/viola instructor:
https://bethesdaartsstudio.com/collections/pastel-collection