Today, 2 November, is the birthday of the late and much-missed Hungarian pianist György Sebök (1922-99).
Sebök was a distinguished pianist, but to his students and those who listened to his classes he will always be remembered primarily as a superlative teacher. I only played for him in summer courses here and there, and was never one of his regular students, but even so his lessons had a great impact on me.
What I particularly liked was that he spoke about things – musical things, psychological and philosophical things – which most music teachers don’t attempt to speak of because they are difficult to put into words.
I’ve written about Sebök in at least two of my books – in Beyond the Notes, p.132-39, and at greater length in Speaking the Piano where a whole chapter, ‘Beethoven among the Alpine Flowers’, is devoted to my recollections of Sebök’s summer courses in Ernen, Switzerland.
Today, in his memory, I’ve been looking at some old YouTube videos of him teaching. Here’s one I have watched many times, where he discusses a Haydn sonata with a very talented Dutch pianist (unfortunately her name is not given) in The Hague in 1987. It gives a good idea of Sebök’s manner when teaching – watchful, intent, outwardly undramatic. He speaks calmly and in measured tones about the essence of music, making no attempt to raise his voice for the benefit of the audience.
Yes, there is something patriarchal about the situation which makes the video seem a tiny bit old-fashioned, but there is nothing outdated about the advice Sebök is giving this young musician. She probably still remembers the lesson as a moment of deep musical exploration and discovery.
Hi Susan!
Thank you for sharing this with us . I have looked at the video and it’s fascinating! Apparently the student is Ellen Corver now a principal study piano professor at The Hague conservatoire and a pianist. How wonderful to hear this .
Thank you Orla! Sometimes you must tell me how you discovered the identity of the pianist, which I didn’t manage to find.
Susan,
Ah- re the student pianist in question: there are comments below a lot of the YouTube videos and someone there gave her name as they had studied with her.
Dear Susan:
What is the exquisite piece the student is playing in this lesson with György Sebök? I would love to learn it–depending on the level of difficulty, of course!
Hallo Nan, the piece the student is playing in this lesson is the slow movement of Haydn’s Sonata in C major, Hob.XVI:50. A great piece to learn!
I found your reminiscences of Sebok in your book ‘Speaking the Piano’ very inspiring. What a rare gift it is to be a great teacher. I only encountered two in my entire educational career, but it was worth the wait.
I remember Sebök saying that he tried to ’empty himself’ before someone started playing to him, so that he could respond without preconceptions. He described the feeling of ‘opening a channel’ at the back of his neck – I recall him touching the place on his neck with his hand to show us the ‘channel’ between his head and his spine. I’ve tried it myself, though without being quite sure that I knew what he meant!
Intriguing. My brother is keen on the Alexander technique, which I can’t quite understand, but I think sometimes in these cases belief itself can have its own powerful effects.
Miss him.
Susan
Good evening.
I am interested in the comment about philosophical approaches to teaching. In 2001 , I went to a masterclass at Vienne Jazz Festival with the jazz pianist Kenny Werner who had written a book (“Effortless mastery”) about taking a philosophical approach to improvising. A musician who played with a touring big band enthused about Werner’s approach and said it would be a brilliant experience but I was left really underwhelmed and got nothing out of it. There was nothing practical that I could take away and think is was a course aimed at musicians who already had the technique and were looking for something more. However, many of the French students also seemed unimpressed. I don’t think his personality helped either and the use of profanity in front of kids ultimately got him banned from future gigs at Vienne.
I regret that I am really sceptical about the use of philosophy to explain things. The other musician on the course, Dave Liebman, was quoted by another student to have expressed that he had no truck with this approach to teaching either. I am aware that it works for some people but I prefer it is someone offers more practical advice.
This is the only time I have encountered this although I have been on quite a few workshops in addition to having piano lessons. Interesting to read your comment. I have seen the likes of Michael Brecker explain improvising too and his advice was both straight forward and practical. He came across as really humble and able to put across his method succinctly. Simon Purcell who I met a Wavendon and I believe teaches at the Guildhall, was another musician who had a real gift for teaching . I really enjoyed the lessons I took with him. By contrast, I just felt that Kenny Werner crossed the point of being endearingly eccentric to being worryingly odd. He really coloured my opinion of how philosophy helps you learn music. I just play for fun and my own entertainment but it would have been nice to have taken something away from these lessons.
Cheers
Ian
Ian, I can imagine that sometimes a ‘philosophical’ approach can be a substitute for practical advice. However, György Sebök managed to be both philosophical and practical, and I am sure he helped many people with their piano playing. All these matters boil down to the individual teacher, the individual student and the interaction between the two – what may work for one student may not work for another. I wish you luck in finding the kind of teacher whose approach appeals to you.