Camps v1 n1
1990 Suzuki Summer Camp – Snells Beach
The Academy for Development through Music held its fourth annual summer camp at Snell’s Beach in January. The Directors of the Academy are Karen and Joachim Neupert, whose teaching philosophy is based upon that of Dr. Suzuki, but the success and exhilaration of the camp is engendered by their enthusiasm.
This year they invited the following tutors:
- Robert Wakely – violin and viola
- Louisa Griffiths – violin
- Rae Carter – violin
- Tom Pierard – cello
- Kerry Langdon – violin
- Malcolm Humphris – recorder and flute ensemble
- Lynette Hubbard – movement
The aim of a musical week such as the Snell’s Beach camp is, at the most superficial level, a chance to be immersed in Suzuki’s philosophy with a group of families and to play together as much as possible. More importantly, however, it is a week in which music becomes THE way of life: everyone communicates through music (which encompasses singing, movement, folk dancing, as well as playing an instrument) and it is to be hoped that such an experience makes the participants not merely more musically responsive, but also fuller, more integrated human beings.
The communal nature of camp life was emphasized each morning by a singing session in which everyone was encouraged to take part. Karen was the conductor and taught the groups simple rounds ranging from “Wake up Proud Chanticleer” to “Cantate Domino,” a Renaissance Canon. We were also fortunate to have a number of mothers who taught us the words and actions of several Māori songs.
After singing, work began in earnest. Small groups of younger children went either to their movement classes for an hour, or to their master violin, cello, flute or recorder class. The older children attended an advanced lesson of their particular instrument – there was a flute ensemble, a string quartet, and master classes. Parents were, of course, expected to be with their children for their master classes, but were also encouraged to wander about and observe different activities. The air was “full of noises, sounds, and sweet airs that delight and not hurt.”
As I roamed, I certainly heard my share of Twinkle variations, but the flutes also practiced hard on a piece of music written especially for them, entitled “A Four-Part Fan-Fare for Four Fair Flute Fans,” and a Nocturne by Quantz.
The orchestra consisted of all the children who had been playing for a number of years. Robert Wakely was able to generate a tremendous sense of energy into the children’s playing and they worked with great concentration and cohesion, finally performing a very interesting set of Hungarian dances.
Naturally, there was music for the parents as well. Malcolm was the tutor for the recorder ensemble, which consisted of keen parents of varying ability and any children who wished to join them. This was a harrowing ordeal for some new parents who had never experienced Malcolm’s unconventional method: such as instant memorising before and a few desperate players resorted to such subterfuges as pinning their music on the backs of younger players in front of them. By the end of the week, however, confidence had grown and the recorder ensemble performed with a polish that surprised themselves.
A natural consequence of such a musical week was the emergence of a mixed ensemble which contained instruments for anyone who wanted to play anything: there were some children who had never played an instrument before. It was an unusual but melodious group consisting of guitars, xylophones, recorders, percussion, and a flute or two. Everyone at the camp wanted to make music in some way or another, and everyone was encouraged to do so.
At the end of each day, everyone assembled for a recital in which the children who had been working hard on a particular piece were able to perform. This chance of solo recital is very valuable because it encourages the young performer to polish his or her work and to seek deeper personal confidence and satisfaction. It is a very valuable experience to all young listeners too – the children love to see their friends playing pieces they all know well.
As well as the daily classes, recitals, and orchestra practices, there was a concert given by the tutors. This was for me, one of the highlights of the week because we were able to see our teachers as performers, and the children could hear music that they might play themselves one day if they continue their musical education. The tutors’ concert set a standard of excellence which permeated the spirit of the camp.
From the opening play-in to the play-out on the last day, which was an Israeli song entitled “Shalom Chaverim” (Farewell Friends) in which all sang or played, polished performance was emphasised.
“The music in my heart I bore Long after it was heard no more.”
Catharina van Bohemen
Catharina van Bohemen is a mother of four. She plays the piano and the recorder. Three of her children are involved with different “Suzuki instruments.”
South Island Camp Report
The third Annual Summer Camp of the South Island branch of the New Zealand Suzuki Institute was held at Eyre Lodge near Christchurch from Monday 15 to Saturday 20 January 1990.
This year with three tutors it was possible to accept 65 violinists, an increase on the previous years of 17. The tutors were Margery Aber from the United States, Yasuki Nakamura from Sydney, and Roseanne Forde of Queenstown, who studied for five years with Dr. Suzuki in Japan. They were assisted very ably by teachers from all over the South Island.
The camp was a good mixture of hard work, learning, and fun. Each child had a private lesson in a masterclass of four and a group session in the morning. The afternoons were free for the families to swim, walk, or relax, and the teachers to get together for teacher training. Before dinner, the children were divided into two groups for repertoire sessions. In the evenings, they had a chance to test their performance skills in a series of informal concerts. The adults had their questions answered in two parent talks, and there was plenty of time for socialising and discussing the pleasures and pains of being a Suzuki parent.
Two highlights of the camp spring to mind—seven children playing the Bach Double and switching parts during the performance, a first for the South Island, and the items put on by the tutors on the final day. Duets played on one violin by two violinists and worse.
As well as families from such places in the South Island as the West Coast, Central Otago, Oamaru, and Darfield, we had one Wellington and one Sydney family. It is always a bonus at a camp to have visiting families, and we would encourage anyone planning a South Island trip to make it January next year when our camp will be held at Teschmakers, formerly a girls’ boarding school set in beautiful countryside near Oamaru.
The South Island branch would like to acknowledge in this newsletter the enormous amount of work that two Christchurch teachers, Lois Routledge and Alistair Sands, have done in establishing the branch and organizing the three highly successful camps.
—Nicky Adams