Friday 12 August & Saturday 13 August
5.00pm – 6.00pm
Born in England to Viennese parents, Walter Reiter graduated from the Royal Academy of Music in London and continued his studies in Israel with Prof. Ramy Shevelov, a former Ivan Galamian assistant who later took over Galamian’s chair at The Juilliard School, and in Germany with Prof. Sandor Vegh and Prof. Michael Gaiser. Having studied towards a Master’s Degree in Violin Pedagogy at the Jerusalem Academy of Music with Prof. Felix Andreiewsky (former assistant of Prof. Yankelewitch in Moscow) he completed his studies with Prof. Piotr Bondarenko, who had been David Oistrakh’s assistant in Moscow.
After working for three years with Yehudi Menuhin’s ‘Menuhin Festival Orchestra,’ as well as with the Jerusalem Symphony Orchestra and several contemporary music groups in Paris, he devoted himself for six years to the intensive teaching of talented children at the Rubin Conservatory of Music in Jerusalem. Many of his students there went on to become professional violinists and violists working as orchestral players and as chamber musicians.
His love for the music of the seventeenth and eighteenth centuries brought him to the study of ‘authentic’ performance practice on period instruments, and this has been his passion ever since.
As someone who has been immersed in the HIP (Historically Informed Performance) movement for some 40 years, I am well aware that many of my colleagues in the teaching profession have inhibitions about entering the HIP world, often simply because the opportunity to explore it has never arisen. I’m delighted to have been asked to hold two mini-workshops at this year’s ESTA Summer School in August. These ‘initiation’ sessions will be open to all string players, and I’m sure participants will find them revealing, informative and fun, and that they will have plenty of questions for me to answer. I shall be providing some baroque bows for a more authentic experience.
HIP has so radically transformed the world of music since the days of my youth, when all-male symphony orchestras played Brandenburg Concertos very slowly and seriously, half a dozen players on each part! Today’s ‘Period’ orchestras and the ever-increasing number of modern instrument ensembles who are influenced by them will be recruiting our students into their ranks. I hope our brainstorming sessions might open a window on their future world.