Faculty & Workshops 2022
PIANIST & PEDAGOGUE
Individual Piano Lessons
"Chopin Études - Goals & Practice Strategies"
"Programming Your Recital"
"How I Practice"
Gintaras Januševičius has built an exemplary multifaceted career as a piano performer, pedagogue, stage coach, and event producer. His theatrical and educational recitals have taken him on tours all around Europe as well as the USA, PR China, Japan, and Brazil. His festival appearances include the Chopin Festival in Duszniki-Zdroj, Mozartfest Würzburg, Festival Besancon, and Dresdner Musikfestspiele to name just a few.
Teaching privately since 2012, he recently joined the teaching staff of his alma mater, the HMTM Hannover. In addition to his stage and pedagogical careers, Januševičius founded and directed several music competitions, two international piano academies, and numerous concert series. He frequently serves as a jury member at international competitions around Europe. More information available here.
- What is your personal approach to teaching?
In my opinion, a great teacher must be capable of recognizing a student's individual potential and ideas, and then must be willing to share their own knowledge and tools to help the student develop a great stage act. The goal of my work is to nurture a wide variety of artists with unique stories and voices and to help them reach out to as many audiences as they want. In my lessons I put student’s interpretation before my own and work on performance quality in order to make their interpretation work. In my view, no piece of music has just one superior interpretation - every new interpretation has a right to exist as long as it’s executed with unquestionable quality.
- Alongside to your piano lessons, you offer several group workshops. What would be their subjects this year?
Students responded very warmly to "How I Practice", a workshop on efficient practice. It returns this year in the form of mock practice routines, revised and enriched by a large portion of helpful technical exercises. Most students bring one or several Études by Chopin to our academy - this year I dedicated a full lecture to explain their goals and healthy practice strategies. Another newcomer - "Programming Your Recital", a lecture on creating story-based recitals and finding common threads between the pieces to make audience's experience more exciting. The workshop on Sight-Reading was successfully introduced during our "Intensive Bubble" edition in 2021 - we expanded it by making it more detailed and practical.
"Toolbox of Self-Promotion for Beginners"
- Artists tend to avoid the subject of self-promotion, as they often think that it’s someone else's job and playing the instrument to the highest standard should do enough to secure concert invitations. In your opinion, can a young artist survive in today’s music market with only concentrating on practicing and learning the repertoire?
Since geniality is a rare phenomenon, ability to take care of yourself is a necessity. Especially now when we all live in a social network time, when sometimes we do not step away from home without documenting it. So there are plenty of tools available now and artist just need to know how to use it in profitable way. It may help to create an own small world, establish direct connection with the audience and have a small stage which will be very helpful to reach the greater ones.
- Apart of the ability to play their instrument, what other skills and qualities should in your opinion an artist possess?
I always say that details matters. It is nice to have business with a nice person, responding timely, keen to share an own worldview. Speaking about an artist we speak about a person learning all his life, developing every day, every concert. So communication is just a mirror, it will help for honest passion to share the talent and hard work not to create a picture. Speaking earthly, I would like to come back to those tools, so ability to use it as well as ability to monitor the music field, to search possibilities, to have nice pictures, relevant bio and patience to write hundreds of e-mails till you become interesting to any kind of agent.
Julijus Grickevičius is a communication and marketing professional with long experience in music management, along with a passion for classical music, opera and jazz. He began his professional career in the Kaunas City Symphony Orchestra. He later led the public relations and marketing teams at the Lithuanian National Philharmonic and the National Opera and Ballet Theater, and is currently leading the radio channel LRT KLASIKA. His name is associated with the changes and innovations that emerge from a broad and curious look at international experience.
For five years, Grickevičius has been the President of the Lithuanian Jazz Federation and cooperates with international jazz festivals. In addition to his managerial work, he is a television and radio shows host.
TV & RADIO PRESENTER
Public Speaking Workshop
Gerūta Griniūtė is well known to audiences as the presenter and juror of the Lithuanian national pre-selection of the Eurovision Song Contest, as well from her work on numerous shows on Lithuanian National Radio and Television ("Dainų Dainelė", "Nacionalinė Ekspedicija") and LRT KLASIKA ("Bazinis Akordas").
She graduated from the National M. K. Čiurlionis School of Arts as a pianist and received her bachelor degree in piano performance from the Lithuanian Academy for Music and Theater. She went on to obtain a masters degree in analytic journalism at the Vilnius University. In addition to her TV and radio credits she is also an acclaimed presenter at most important Lithuanian festivals and competitions.
- How important for a pianist or any music artist is the ability to speak fluently in public?
I think if you want to be understood correctly, broadcast some information, or just try to get along with the audience, it’s a good idea to practice public speaking. In general it’s quite useful when you communicate with the world. Everybody can speak fluently in public - it’s just a matter of practice.
- Many young artists nowadays have doubts whether they should try presenting their programmes. Is bad presentation capable of ruining a concert experience for the audience?
Even if the artist performs wonderfully, bad presentation can surely leave too many questions or even a bad taste in the mouths of the audience. Don’t get me wrong - sometimes it’s really best to let the music talk. But in many cases you should be prepared. I have seen young artists prepare speeches and read them from the paper in a silent and shy manner - this might even leave an impression that one was forced to present despite own wishes. The artist feels bad, the audience feels bad and no one really needs it.
Generally, it is always a good advice to remember why one chose to perform that particular piece for this particular audience. If the artists knows that "why", he or she will be able to channel it into the enthusiasm and passion. The audience waits for the artist with support, looking forward to hear something fresh, new, and authentic. Trust yourself and trust your audience and you will both enjoy a memorable evening.
MACDARA Ó SEIREADÁIN
CLARINETIST & PERFORMANCE COACH
"Psychology as a Backbone to a Stage Career"
Personal Coaching Sessions
- Psychological comfort on stage is one of the core ingredients of a good performance. Is it something that largely depends on each character separately, or is it a learnable skill, everyone can master?
Comfort on stage is comprised of many different factors and is built upon the stable foundations of good preparation, mock performances, and being attuned to how your body reacts under stress. Everybody has their own individual approach and character, however, there are a number of techniques that can be learned to help better achieve mental quiet and focus when performing. Just like learning any new skill, it takes time to master in the practise room before bringing this onto the stage, but it is a skill that everyone can master if deliberately worked upon.
- Aside from your lecture, you offer personal psychological coaching for the students of our academy. You don‘t issue any schedule for it - students are expected to make the first step and ask you for an appointment. Is it part of the learning process?
It is a conscious decision as advice is most effective when it is sought out. By leaving the first step up to the students, it ensures that any work begins only when they are comfortable. Starting with an open mindset is an important factor is improving performance skills, and coaching is at its most effective when the student is ready. With this approach, our work together begins when the right mindset is present.
Macdara Ó Seireadáin is a native of Dublin and a First Class Honours graduate of both the HMTM Hannover and the Royal Irish Academy of Music. In 2019, after holding orchestral positions in Austria and Germany, he joined the RTÉ Concert Orchestra as principal clarinet. In addition to this he is a member of the Dublin-based Ficino Ensemble with whom he has recorded two CDs.
A multiple prizewinner, in 2010 Ó Seireadáin won the inaugural Irish Freemasons Young Musician of the Year competition and has performed throughout Europe, the USA, Canada, China, Chile, and India. Alongside a busy performing career, he lectures on performance psychology and has coached musicians worldwide to orchestral audition and competition successes.
PHYSIOTHERAPIST & MASSAGE THERAPIST
"Relaxation and Balance"
Personal Massage Therapy Sessions
Meike Bistram graduated from Rohrbach School in Hanover, with a degree in physical therapy.
Since 2006 she runs a private practice which focuses on orthopaedy, neurology, and surgery. Mrs. Bistram also teaches courses in gymnastics and aquarobics. She has attended training courses in taping, chiropractic, back care, relaxation techniques, reflexology, and traditional Chinese medicine. In addition to this she has worked as an official medical advisor for Germany's womens' national volleyball team. Since 2016 she treats numerous musicians ranging from pianists to woodwind players.
- Pianists daily spend many hours in unhealthy body positions. What are the most common physical problems, related to piano playing?
One of the most common problems is pain in the neck and shoulder area, which can lead to numbness or tingling of the fingers. Needless to say, it is very dangerous for those who must be able control their fingers in the finest detail. Another common problem is posture. A rounded back may lead to compression of the internal organs, including the heart, the lungs, and the stomach.
- How much time daily should we invest in exercises, to stay healthy?
Not much! Four or five exercises can be completed while doing some other work, f.e. tooth brushing or walking. We all take small breaks between practice sessions - why not to use that time too? Even 10 minutes a day will bring a significant effect.
DANCER & DANCE INSTRUCTOR
Improving Posture, Health, and Mood with the Help of Dancing"
- Dance and music are inseparable. How can pianists profit from learning to dance?
Dancing helps to form a healthy posture, improve coordination, develop body flexibility, and, what is important to every artist - strengthen one's confidence. Movement is also a valuable tool, which helps to better understand musical styles and expressions. Our body movements can recreate emotions and feelings awakened by the sounds of music. The goal of my dance lesson at the KPM academy is to encourage the students to learn their body and discover new musical ideas through movement.
- You dance on various European stages as well as teach people of different ages and backgrounds. You are also a mother of two young and talented artists. Is the ability to multi-task necessary to artists of our generation?
Being universally educated opens a great amount of doors. Every engagement offers wonderful discoveries; we can learn a lot about our primary profession in every other field. I encourage all my students to develop a broad outlook and to not be afraid to look around for inspirations and experiences. Broad-minded people are always more interesting in every aspect.
Born and raised in Klaipėda, Ana Buchovskaja-Zamulskienė graduated from the national M. K. Čiurlionis Arts School as a ballet dancer. Since 2014 she has been a soloist at the Klaipėda State Music Theater, where she created the role of Marina in "Zorba the Greek" as well as the title role in the modern interpretation of "Giselle". In 2019 she joined the ballet company of the Kaunas State Music Theater and also made her debut at the Bolshoi Theatre in Moscow.
Since 2013 Mrs. Buchovskaja-Zamulskienė teaches ballet lessons for different age groups.