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JEREMY SIEPMANN'S EDITORIAL
from the current issue of PIANO
Teachers stink. Don't take my word for it. In almost every field, in our society, teachers are widely held in something closely resembling contempt. Just look at the pay scales. That shows you where our values lie - or rather where they don't. And even within the profession, our scales are wonky. University professors (who generally profess a lot more than they teach) bestride the earth in their robes while pre-school and primary school teachers are regarded as little better than drones. 'Oh, she's only a primary school teacher.' At what stage are teachers more formative? At what stage do they play a more vital, shaping (OK, let's get trendy, a more 'enabling') role? Or a more potentially inspiring one? Who are the greater guardians of civilised values? Yet we find no less a figure than George Bernard Shaw proclaiming, notoriously, 'Those who can, do. Those who can't, teach.' Notorious? Hardly. In many circles this is the prevailing view. Teaching is something you settle for. Something you have to do, not something to aspire to. And, anyway, who says teaching isn't doing, or that doers in other fields are necessarily any good at all when it comes to teaching? Nowhere is this more pertinent than in our field. Through two centuries, countless aspiring young pianists have suffered, often cripplingly, under the delusion that great and/or famous pianists (not necessarily the same thing at all) are the teachers to go for. Many of these revered figures have, in fact, been little better than assassins (not only in politics does Lord Acton's dictum apply: 'Power tends to corrupt. Absolute power tends to corrupt absolutely'). And what do such attitudes to teaching say about their holders' attitudes to learning? For many, alas, learning would seem to be a bore - an exercise in drudgery, rather than an endlessly exciting voyage of discovery. I cordially defy any reader to maintain such a view after reading this issue of Piano. Its pages are crammed with the reflections, suggestions, perspectives - and with the sheer inspiration - of doers, doers and double-doers. And equally important, of learners, learners and tireless, exhilarated searchers. We explore the pianistic applications of the Alexander Technique, learn about the curse of focal dystonia from one of the world's foremost authorities on the subject, and celebrate the birth of a major new international competition in which teaching, education and learning play a central role. Several of our contributors, as it happens - great pianists all - are also celebrating notable birthdays this month: Leon Fleisher (than whom no-one has a more inspiring story to tell) is turning 80, Bernard Roberts 75 and Anton Kuerti 70. All great teachers too. And Angela Hewitt, so she keeps trying to convince us, is turning 50. A likely story. To them all, many happy returns. To you all, happy reading!
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