Teaching

Eve Wolf, pianist

Eve Wolf, pianist

Eve Wolf has been a teacher and chamber music coach in New York City for over 25 years. Ms. Wolf has lectured at The Juilliard School, is on the faculty of Columbia University Teachers College, and has recently joined the faculty at The Curtis Institute of Music. She has taught her seminar, Confronting Memory: A Seminar in Memorization Techniques for Musicians, in the United States and abroad.

Contact me by email.

Letter from Eve Wolf:

Dear prospective students,

For more than 25 years, I have been teaching piano and chamber music to students of every age and at every level of expertise: young children, teenagers, and mature adults; absolute beginners, highly competent amateurs, and professional performing artists. I pride myself on this special ability to work with and obtain good results from almost any person of any age and talent level.

My teaching is based on the principle that no single approach or method can work for everyone. Teaching must be multidisciplinary and multi-faceted, and my background has given me a unique set of skills that allow me to realize my ideals. I do not believe that learning keyboard technique and piano repertoire can be separated from understanding music theory, developing a grasp of music history and historical performance practice, and expanding students’ familiarity with the other arts and with general history. My background in art history, my experience writing scripts about musical, literary, and historical figures, and my familiarity with foreign languages add unusual dimensions to my teaching.

I was fortunate to have had some of the best keyboard training available, and I am adept at diagnosing and solving interpretive and physical issues at the piano.

I choose repertoire that advances students gradually toward their musical goals and toward realizing their potential. To me, technique is not separate from interpretation: they are inextricably bound up with each other. A technical solution must have a musical imperative and a musical thought must have a “choreographed” physical expression. In fact, all aspects of teaching the instrument are connected to each other; psychological, physical, and interpretive issues are not distinct from performing issues such as memory, performance anxiety, and concert preparation.

I believe in teaching students how to analyze what they are doing through an in-depth practicing process, so that they gradually become independent. Taking a student through the long process of development involves also knowing when to hold back information and not overwhelm, as well as developing a supportive and mentoring role as an important figure in the student’s life. I believe, too, that my role as a teacher includes motivating and inspiring my students, and I am always aware of having to adjust my demands according to how large or small a role the piano plays in the life and curriculum of each individual student, and what they want to accomplish.

Eve