News by E-mail

Peter Oundjian, Wendy Sharp

Schools: Can anyone tell me about experiences with Peter Oundjian or Wendy Sharp? What about other Yale School of Music faculty? What are their approaches to teaching? How competitive is entrance to their studios?

From Jude Ziliak
Posted September 25, 2004 at 08:42 PM

Can anyone tell me about experiences with Peter Oundjian or Wendy Sharp? What about other Yale School of Music faculty? What are their approaches to teaching? How competitive is entrance to their studios?
Thanks,
Jude

From Dumitru Lazarescu
Posted on September 27, 2004 at 04:27 AM

I only played under the baon of Peter Oundjian but know his playing from the many recordings he made with the TSQ. He is a master in violin, chamber music and orchestral music as well. I would trust his direction.

From Preston Hawes
Posted on October 6, 2004 at 07:38 PM

I love it here at Yale!

Wendy Sharp teaches mostly undergraduates as far as I know and does some coaching for chamber groups (she's organizes chamber music here).

All of Oundjian's students are top-notch. He only accepted one student this year. As far as I can tell, he is spending more and more time in Toronto and less time here. His students typically get a lesson every month or maybe twice a month.

The other violin faculty are just as good (even better if you want a regular lesson). I study with Ani Kavafian (and Ida when Ani is away). She's incredible. Syoko Aki has a very strong studio as well. I don't know her teaching but everyone who studies with her seems to like her. Strangely, she only has one male student though I'm sure it wasn't on purpose.

Preston

From Jude Ziliak
Posted on October 6, 2004 at 10:32 PM

Thanks for the information! This
is very useful. Can you tell me any more about Ani Kavafian's teaching style and emphases? I'm thinking of studying with her at the new Bard Conservatory.

From Preston Hawes
Posted on October 8, 2004 at 04:40 AM

Ani puts much emphasis on correct style, vibrato choice, bow distribution etc. Basically whatever you need to work on in the particular piece.

She doesn't spend a lot of time on things like intonation. She expects you to hear it (she'll let you know if you don't hear it) and fix it on your own...simple musical hygene that we should all be personally responsible for anyway.

She's also VERY nice and approachable. An excellent teacher.

Preston

From Julie C.
Posted on October 8, 2004 at 05:55 AM

Is Wendy Sharp related to Irene Sharp and Robin Sharp?

From nate r
Posted on October 8, 2004 at 07:14 AM

Yes.

From Chris Hong
Posted on January 14, 2005 at 03:15 PM

Does anybody know where these instructors from Yale are teaching during the summer? I am interested in studying with them. Also, can anybody tell me anything about Kyung Hak Yu at Yale?

Also, I was looking into the double degree programs at Yale, and I saw that there are two options as an undergraduate:
1. Embark on the 3 year Certificate in Performance program and then opt to convert it into a masters of music in your senior year
2. Continue to study music in years 1-3, and audition in year 4 for the masters program at the school of music...get both a BA and MM in year 5.

Is this correct? Does anybody know anything about the pros, cons of these approaches? Any info is helpful, thanks.

From nate r
Posted on January 14, 2005 at 04:50 PM

From Maia Jasper
Posted on January 14, 2005 at 06:36 PM

Hi there -- I studied with Kyung Yu at Yale when I was an undergrad. Just so you know, she doesn't teach graduate students. I really liked her a lot. At a time when I was overly concerned with technique and would stop my practicing at the drop of a hat to "perfect" something, she made me take in works as a whole and taught me the value of running through what you're playing. She is a very musical and friendly lady. We worked on my left hand position a bit, but beyond that she didn't focus on my technique at all. She taught me that at competitions and auditions, someone will ALWAYS object to the way you play technically, so your safest bet is to make it sound good and eliminate the most consistently objectionable technique problems.

If you are looking for a teacher who will help you see the big picture composition-wise and life-wise, go play for her sometime and see what you think!

As far as the double-degree programs go: I know two people who did this and it was because they really liked their teachers (Aldo Parisot and Syoko Aki) and really liked New Haven. Because Kyung doesn't teach grad students, you'd have to switch teachers if you wanted to do those double-degree programs. But for me, after 4 years of Yale and the New Haven Symphony I felt like I needed a change for my masters. My personal opinion is that it's useful to go to grad school in an area you will want to work later. I came to this conclusion by seeing a couple of good players come out of Yale who were unable to relocate for fear of losing what little work they got in the Connecticut area. I'm really glad that I came to Los Angeles for grad school because I'm getting enough gigs now to make me confident that I'll be able to survive once May and my degree get here. It's definitely helped that I came back to my hometown, where I knew I might want to live, to meet people and get work while I was still in school. Something to think about.

From Henry Flory
Posted on January 14, 2005 at 10:54 PM

I had a lesson with Wendy Sharp recently and I thought she was excellent. I was visiting Yale, and the music school seemed very good.

From Jude Ziliak
Posted on January 15, 2005 at 05:43 AM

Hello all,
Here's an update on my Yale situation. I applied Early Action and was deferred, so I'll hear the final answer in April. Henry, are you applying to Yale? Maia, how did you like the undergraduate music experience at Yale? Did you have enough time to practice?

From Elizabeth Adams
Posted on January 18, 2005 at 01:32 AM

I studied my senior year at Yale with Wendy Sharp, and have now gone on to the School of Music and am studying with Ani Kavafian. Wendy teaches only undergraduates (and every so often grads) and chamber music. She is fantastically well organized as a teacher and approaches technique methodically and sensibly. (Plus she's smart, being a Yale College alumna herself.)

Mr. Oundjian takes nobody--maybe 1 student a year, as Preston mentioned. (Hi Preston!)
As far as the certificate program is concerned, I think it is a crock. I have never heard of Anybody doing both Yale College and the Certificate program at the same time; first you'd have to get in as an undergraduate, as well as into the Certificate program, and then you'd have to have the time to do all the work necessary for both, which isn't feasible. The five-year BA/MM program is pretty successful, though many students stick around for another year anyway and do an Artist Diploma. As Maia pointed out, you do have to get matched with a teacher (most undergrads get Kyung or Wendy or graduate students for teachers), and if you do the five-year, you often have to change. For people interested in the College, it is most important to send a tape and get in contact with a teacher before you get here so they look out for you at lessons auditions in the fall.

From Chris Hong
Posted on January 18, 2005 at 02:21 AM

What are the benefits of the certificate program anyways? Why do that instead of just waiting until your third year to audition for the BA/MM program?

From nate r
Posted on January 20, 2005 at 05:36 PM

If you are a serious violinist and have good grades I would apply to the Juilliard/Columbia or the Harvard/NEC programs. The Peabody/JHU program is another good one. The violin faculty now at Peabody is extra good after the appointment of Keng-Yuen Tseng who is an outstanding violinist I have to say.

The general level is pretty uneven at Yale as far as violin goes. However the broad range of other subjects that you will find here academically are only probably matched by less than a handful of schools in this country. If you are looking at the undergraduate program that combines both music and academics, it can be pretty difficult to practice 4-5 hours a day or even half that.

Those other joint programs I mentioned besides Yale are of course challenging as well (musically and academically) however I see at those schools a higher level of teaching (when it comes to music) and a more competitive environment to develop as a violinist.

YSM's stress now is primarily on orchestra and chamber music which can be good if that is what you want. The Dean gives a big speech each year (I've heard it at least three times) to the orchestra telling everyone they will probably teach or if they are lucky one day maybe play in an orchestra.

The strength of the school of Music now is primarily its piano faculty which is world class I have to say. The clarinet teacher David Shifrin is one of the great clarinetists in the world, I always enjoy hearing him play. So there are many nice things about this school.

From Chris Hong
Posted on January 20, 2005 at 06:52 PM

But is the certificate program worth doing? Or is it better to just wait and do the BA/MM program?

From Jude Ziliak
Posted on January 20, 2005 at 07:07 PM

Thanks, nate. That was very helpful. I actually did apply to the Harvard/NEC program-- in fact, my NEC audition is tomorrow.

From nate r
Posted on January 20, 2005 at 09:46 PM

Jude I hope everything works out with you, best of luck. Please let me know how everything turns out with you. To answer your question Chris no I don't think the Certificate program is worth doing at all now especially. The violin situation is very transitional as they search for a new teacher. I feel it was one of my biggest mistakes now to be a part of this program. However at the time it seemed right. I began this program already having studied with Mr. Friedman in high school and so it seemed like a great idea. He was one of idols, so really no school or program made a difference at the time. I would have went to study with him had he taught on the Galapagos Islands. Unfortunately times change cruely as many of you know he passed away last year. If you want to do the 5 year BA/MM program Chris I would think that is a bit of a better choice however I would also keep your options open and think of other alternatives for a master's degree. Those schools I mentioned before are all wonderful and I highly endorse them. I forgot to mention USC and their wonderful violin program.

From Preston Hawes
Posted on January 20, 2005 at 09:54 PM

Nate,

Perhaps it's a bit extreme to say that the level of violin playing at Yale is pretty uneven. It is no different from any other school in terms of "evenness". Any school (Mannes, Juilliard, Indiana..etc.) is going to have the "star players" (which Yale definately has) and there will also be (shall we say) "works in progress"...and then of couse the mass of those in between.

The fact that Yale attracts many excellent players from some of the finest conservatories and universities in the USA attests to the fact that Yale has excellent violin representation.

Also, I think that if Ani Kavafian is added as a full time prof. for next year, that will really add to the desirability of the school for violinist. Each lesson I have with her I end up leaving amazed about something she has taught me.

Preston

From nate r
Posted on January 20, 2005 at 10:20 PM

Hi Preston,

I think there are some wonderful students here you included. This school has certainly attracted some world class calliber violinists most recently Min Lee and Ann Fontanella. Two people I can guarantee you will be hearing more and more of as time goes on.

Not to knock YSM in any way but if you take a look at Juilliard, NEC, or Curtis you find many more advanced competitve minded players with a tunnel vision. I'm not saying Yale never has those types of people around but the fact is there is a higher variability of talented people in the bigger schools for various reasons. One of them being the greater selection of teachers and styles whether it be learning the tricks of the trade to becoming a soloist, orchestral musician, or chamber musician. Yale's stress now under the Dean's administration is chamber music and orchestra performance. We all know what the orchestra program is like here :) As I pointed out earlier the piano faculty to any aspiring pianist is a pianist's greatest dream come true to work with such people like Berman or Frank. Berman in particular is one my most favorite pianists to listen to. There are many wonderful things about this school and as a whole the University is one of the great schools in the world.
Nate

From Preston Hawes
Posted on January 21, 2005 at 05:28 AM

Well, I certainly wouldn't consider myself one of the stars. I think what makes Yale different and difficult to compare in terms of the ratio of "uber-talented" students compared to the main body of students is that there is only a Performance degree at the Graduate level. I think that if there was a performance degree at the undergrad, you would find that it would closely compare ratio wise to the conservatories you mentioned. I think that if you look at the graduate programs (Curtis now excluded) you will find that they are all very similar to Yale (even in number of students not just ratio).

I think that the atmosphere of Yale has much to do with the type of players it attracts. I think you are correct in that you don't find as many people with "blinders on", and for that I am very thankful. Yale seems to attract musicians who are not only very fine players but also very bright people who are interested in not only music. The sort that might, if inclined and permitted, add a philosophy or language or environmental studies elective. Personally those are the sort of people I better relate to and I might go so far as to say they often make for more interesting players too (not a Juilliard "factory" student...sorry Juillites, not ALL of you are).

Nate, you are right about the orchestra. Though I think it's fantastic that we work so hard (9 hours a week folks...and that's just the Philharmonia never mind New Music New Haven and the Opera Orchestra if you happen to be in those as well). I think that the orchestra (from what I've heard...since I can't compare from last year or years before) has really made great strides under Shinik Hahm. On a personal level, I really need hard work in orchestra since I've largely neglected it for solo pursuits.

See you in orchestra! :P

Preston

From Mark L
Posted on January 22, 2005 at 03:01 AM

My only personal experience with Oundjian was when he guest-conducted my high-school's orchestra (in Toronto). He was a lovely man and very eloquent at expressing his musical thoughts. Other than that, he is a great conductor at the TSO and has brought many of the great pieces of the English repertoire to the symphony here. Sorry I can't be of any help.

From Chris Hong
Posted on June 15, 2005 at 12:54 PM

Can anybody say anything about Sidney Harth? I understand that he and Ani Kavafian were visiting professors in 2004-2005. Does that mean that they will not be at Yale for 2006-2007 (my freshman year)?

I get the message from you guys that Yale School of Music is very orchestra oriented...so this is a good thing especially if one is looking into a career in the orchestral profession?

Lastly, about the certificate program...when are auditions for this program for someone like me, a prospective undergraduate freshman? Are the auditions during the audition period for grads into the professional school or after the undergraduate school year starts? Thanks.

-Chris

From George Philips
Posted on June 15, 2005 at 01:50 PM

Wendy Sharp is great teacher if you already hav great posture and technique. I however, have a couple physical problems that prevent me from playing in a normal manner, and she just couldn't wrap her mind around that. Syoko Aki is an AMAZING teacher. I studied with her once, and she recommended me to one of her students. She was just an amazing teacher, who thought philosophically about problems and posessed a real understanding of what she was doing. Working with her student has opened up a whole new world of performance practices, i.e., Bach in a semi-Baroque manner. Someone mentioned John Hopkins and Ani Kavafian. What about Pamela Frank? I did a masterclass with her, and it was absolutely amazing. She is amazingly intelligent, and gave me some great insight into the Mozart #4. Check out Eastman as well - they have some great teachers there such as Krysa, Castleman, and Zveitlin.

From Preston Hawes
Posted on June 15, 2005 at 09:37 PM

Chris,

Ms. Kavafian will be back for 2005-2006, that I know. If she is around for 2006-2007 your best bet is to send her a tape before hand and arrange a lesson. However, we only had one undergrad in our studio this year. I think most that applied to study with her got us (her students) as teachers.

Syoko Aki has a higher number of undergrads in her studio (I think maybe 4) and all very talented too.

As far as I know it's pretty competitive for an undergrad to get a spot in the studio of one of the Music School instrumental profs. But like I said, arranging a lesson before hand will likely up your chances or at least you might get a more definative answer before deciding on where you will attend (if that decision is based on your teacher assignment).

Preston

From Anastasiya Metla
Posted on April 2, 2008 at 08:08 AM

Hello everyone!
I am from Russia, so I don't know a lot about all the schools yet, so I am asking for advice.
I am accepted at Yale in Ms Syko Aki's studio, also Eastman with Zvi Zeitlin, Mannes with Lewis Kaplan, and I can't make a choice.I had lessons with Kaplan and Zeitlin before , but I know nothing about Syokon Aki.Can anyone tell something comparative about these teachers?
Thanks in advance!

From Claire Allen
Posted on January 1, 2009 at 04:06 PM

Hi all!

I'm currently an undergraduate junior at Baldwin-Wallace Conservatory in Ohio and Yale is one of the schools I am looking at applying to for graduate school. I was wondering if anyone knew where the various Yale professors teach during the summer and who they would recommend studying with.

Thanks!

From Claire Allen
Posted on January 1, 2009 at 04:06 PM

Hi all!

Thanks!

Search

Editor's Blogs

Laurie Niles
Violinist.com's editor is a professional symphony violinist and former newspaper reporter who interviews top violin performers and pedagogues, as well as reports on her experience in violin music and education.

Plus: The Weekend Vote

Interviews

Indianapolis Symphony concertmaster Zach DePue explores jazz, folk and other genres as part of the trio "Time for the Three."

Hilary Hahn talks about the development of her new recording, "Bach: Violin and Voice."

Sarah Chang talks of her perspective on life as a prodigy, and how that's prepared her for her current career.

More interviews...

Blogs Post Blog Discussion Violin Tips Violinists Instruments For Sale Festivals Register Log In

News by E-mail

Peter Oundjian, Wendy Sharp

Schools: Can anyone tell me about experiences with Peter Oundjian or Wendy Sharp? What about other Yale School of Music faculty? What are their approaches to teaching? How competitive is entrance to their studios?

Search

Editor's Blogs

Interviews

Sponsors