ESTA Summer School 2017

We have an amazing line up for this year's summer school, come and join us for a truly inspirational week of learning, recharging your batteries, challenging yourself and meeting some fantastic people - all at a great venue too!

Professional development lies at the heart of the European String Teachers Association and each year the Summer School draws together a world-class faculty of teacher-presenters to share experiences and pedagogic insights into teaching and playing string instruments.

2017 promises an inspiring series of workshops, lectures, demonstrations and concerts. Participants range from young professionals to semi-retired players giving a unique mix of experiences and opportunity for sharing of ideas and knowledge. Informal chamber music groups spring up every evening around suppertime and after the concerts.

The programme retains its ever popular Basics (String Pedagogy) classes which take an in depth view of how we play and teach string instruments. Every year these classes take on their own special life as the presenter and participants change and the class evolves to suit everyone's interests and needs.


Residential at Chichester University. If you're local please feel free to commute but if you can, do immerse yourself in the whole experience. It's amazing what conversations get started at breakfast!


Here you can book the entire week. If you just want individual days then please email  Please be aware that the daily rate does not include accommodation. This is an extra charge of £35 per night. (Accommodation is included in the whole week's fee.)


ESTA members are eligible to apply for bursaries. Click HERE for more details.



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  • Faculty



    The programme retains its ever popular Basics (String Pedagogy) classes which take an in depth view of how we play and teach string instruments. This year the upper strings class will be led by Bojan Cvetreznik and lower strings by James Halsey.  Each morning we will start with Daily Dalcroze for string players with Sian Ford. There will be some great practical sessions from Ted Wilson and Kay Tucker; how to teach position changing, vibrato and staccato. Paul Harris on sight reading, Kathy and David Blackwell on beginner repertoire, Gavin Sutherland on conducting, Charlotte Tomlinson on performance anxiety and Sarah Drury will take you through setting up school partnerships. Bojan will also be taking sessions on music and maths plus folk and jazz for classical technique plus Caroline Pearsall will be taking us through the rigours of playing tangos.


    And, of course, we have a fabulous line up of concerts by David Le Page, James Halsey and Bojan Cvetreznik and his band.




    Bojan Cvetreznik: Upper Strings Basics











    Photographer: Bojan Stepančič


    I am a performer, educator and composer. I initiated many projects that reflect the equality of different music styles. In the classical world I have performed solo, chamber music, contemporary projects and worked as a principal viola player in the Slovenian National Opera. My love of European violin folk traditions is expressed through constant learning of new violin styles. I am the original member of the BBC awarded group Terrafolk and I also worked as a violinist-soloist in the famous Canadian theatre 'Cirque du Soleil'. I worked as a teacher of classical viola and chamber music in the Conservatory of Music in Maribor and as a mentor for jazz improvisation at the Music Academy in Ljubljana. I founded the international Symbolic Orchestra that stresses the variety of expression in string instrument performance. I initiated the educational platform 'Godalkanje' and 'Special Courses' where I work with innovative didactic approaches to understanding music theory without the 5-lines staff and a methodology of teaching bowed string instrument at all levels. I cooperate with many bowed string instruments experts in certain music styles from all over the Europe. I run workshops and teacher training at Festivals, schools and ESTA Slovenia events. I am teaching violin also in the clasroom of Waldorf primary school in Ljubljana. I work with more than twenty 10 year old children to perform after 17 group school hours. I used to lead projects with the Jena Philharmonic Orchestra and the Slovenian National Radio Symphony Orchestra. I have also written scores of original music for those orchestras as well for the Symbolic Orchestra and smaller line-ups.


    I learned from:

    Mile Kosi, Kim Kashkashian, Diemut Poppen, Tabea Zimmermann, Laszlo Barshony, Mathias Buchholz, Carol Rodland, Hartmud Rhode, Vlado Batista, Saša Olenjuk, Christian Howes, Darol Anger, Jean Christophe Gairard, Marcel Ramba, Tcha Limberger, Dobrica Vasić, Zoltán Lantos, Ida Meidell Blylod


    I worked on creative projects with:

    Terrafolk, Symbolic Orchestra, European Symbolic Orchestra, Funtango, Transylvanian Folk Eaters, Terra Mystica, All Capone Štrajh Trio, Amnesty Trio, Midnight Sun Trio, Full Cool Orchestra, Danijel Černe, Boštjan Gombač, Klemen Bračko, Matija Krečič, Marko Hatlak, Izidor Leitinger, Sašo Vollmaier, Gregor Strniša, Barja Drnovšek, Ida Meidell Blylod, Vasilij Meljnikov, Igor Mitrović, Dejan Lapanja, JAMirko, Marko Črnčec, Arvid Engegard, Knud Lundquist, Susanne Lundeng, Janez Dovč, Aldo Kumar, Matej Hotko, Duo Aritmija, Kate Hosking, Milko Lazar, Jean Christophe Gairard, Una Palliser...


    I also performed or recorded with (a soloist or chamber musician):

    Vlatko Stefanovski, The Cat Empire, Matija Solce, Vinko Globokar, Miloš Mlejnik, Simone Zanchini, Aci Bertoncelj, Boštjan Lipovšek, Tommy Emanuel, Tilen Stepišnik, Kristijan Krajnčan, Neil Innes, Catch Pop String Strong, Miloš Simić, Mahesh Vinayakram...



    James Halsey: Lower Strings Basics










    James studied cello at the Royal College of Music with Eileen Croxford. Whilst still a senior student at the R.C.M. in the early 1980s, James joined the Auriol String Quartet and was straightaway involved in more than 40 recitals each season. This love of chamber music stayed and developed through his career and he is now cellist of the Bingham String Quartet and the Tagore String Trio. With these ensembles he has played all over the world, broadcast frequently, and made numerous recordings. At present he coaches on ten annual chamber music courses.


    As a solo cellist James has performed widely in the British Isles, and has played Beethoven sonatas and unaccompanied Bach in Japan and Australia as well as the UK. He is much in demand as a teacher and three of his former pupils are cellists in professional string quartets. He is Professor of Cello at the North East of Scotland Music School and the Royal College of Music Junior Department, as well as being director of the Aboyne Cello Festival, which he founded in 2006. (


    Sian Ford: Daily Dalcroze











    Following her musical studies at Chetham’s and York University as a violinist and singer, Sian trained in Dalcroze with leading American teacher Lisa Parker graduating with a License in Dalcroze and M.Mus in Vocal Performance. She has since taught at the Guildhall School of Music Preparatory Department, led workshops for many orchestras and organisations and worked with both with pupils and teachers to develop musicianship, instrumental and vocal skills through movement in several schools. Sian is currently Director of Music at Lanesborough Preparatory School where she incorporates Dalcroze into the busy musical curriculum of a choir school.



    Caroline Pearsall: Tango


    Caroline Pearsall












    Caroline was born in Southampton, England, to musical parents.

    She studied at the Birmingham Conservatoire with Philippe Graffin, Peter Thomas (CBSO), David Angel (Maggini Quartet) and Rohan de Sarum (Arditti Quartet). Her curiosity and fascination with new timbres and techniques on the violin led her to working with the contemporary music groups Ensemble Multilaterale, Ensemble Alma Viva (with guitarist Pablo Marquez) and Ars Nova.

    Having studied with Juan José Mosalini at the Conservatoire of Gennevilliers and Gustavo Beytelmann at Codarts in Rotterdam after winning a Leverhulme Trust Scholarship, Caroline has developed professionally in the Argentinean tango milieu since 2003. She has performed with numerous groups including Daniel Melingo, the Grand Orchestra of Juan José Mosalini, Quinteto El Despues, Tango Orquesta Imperial, La Chicana, Linea Tigre, Amelitar Baltar, Les Fleurs Noires, and Orquesta Silbando. With these different formations she has been on tour in over 20 countries.


    In 2006 she won a bursary from the Stephen Arlen Memorial Award to go to Buenos Aires to take lessons with famous tango violinists, Pablo Agri, Ramiro Gallo, Leonardo Ferreira and Mauricio Marcelli.


    In 2009 she founded the London Tango Orchestra, the first traditional orquesta tipica in the UK, with whom she took part in a BBC documentary 2012, appeared in Mr Selfridge II (ITV) and performed at the South Bank Centre and Royal Albert Hall Ignite Series.

    She received a Masters in Ethnomusicology (contemporary tango music) from the Royal Holloway University of London in 2011. In the summer of 2014 she won a Winston Churchill Fellowship to go to Argentina for 2 months to interview tango violinists (Fernando Suarez Paz, Pablo Agri, Leonardo Ferreyra…) doing research for a book.

    She also performed with the Orquesta Escuela in the Usina del Arte for the Buenos Aires Tango Festival 2014.

    She loves teaching and has given tango music workshops in Holland, France and the UK.


    Paul Harris: Sight Reading


    Paul Harris









    After studies at the Royal Academy of Music ad the University of London, Paul Harris has now established an international reputation as one of he UK’s leading educationalists.


    He studied the clarinet with Professor John Davies, winning the August Manns Prize for outstanding playing composition with Timothy Baxter and conducting with Maurice Miles. He then went on to study music education at the University of London where he was a pupil of Professor Keith Swanwick.


    He now has nearly six hundred publications to his name mostly dealing with a vast array of subjects concerning music education. His Music Teacher’s Companion (co-written with Richard Crozier), won the UK’s MIA Best New Book award. In addition he has written many works ranging from short education pieces to seven concerts, a ballet and a children’s opera.


    He writes regularly for many of the major international music magazines, including Music Teacher, BBC Music Magazine, the ABRSM’s Libretto, and the American ICA journal, and is in great demand as a workshop and seminar leader and adjudicator in the UK, the USA and the Far East, Australia and New Zealand. Paul has also undertaken research into specialist music education for the highly talented (the clarinet prodigy Julian Bliss number among his pupils), an interest that has taken him to many musical institutions around the world. He has presented a paper on teaching gifted young musicians at a convention at the University of Oklahoma.


    He is an examiner and adjudicator ad is frequently asked to take part in national events including the Chamber Music for Schools Competition, Music for Youth, the BBC Young Musician of the Year and he is a rregular judge for Classic FM’s teacher of the year. He has also co-authored (with Anthony Meredith) major new biographies of Sir Malcolm Arnold, (Malcolm Arnold: Rogue Genius), and Malcolm Williamson, (Malcolm Williamson: Mischievous Muse) and Sir Richard Rodney Bennett.


    Charlotte Tomlinson: Manage Your Performance Nerves


    Charlotte Tomlinson









    Charlotte Tomlinson is a Performance Coach who helps musicians perform at their peak on stage; this can involve helping them manage performance anxiety, move on from repetitive strain injury (RSI), rebuild their relationship with their instrument after difficult & traumatic experiences, alongside dealing with issues such as memory, focus, tension, practicing techniques and much more. She supports musicians in expressing the music in the best way they can by moving through whatever blocks are in the way, working intuitively, supporting each musician with exactly what they need. Her approach has been developed largely from her own experience of teaching and performing as a classical pianist, along with a strong background in personal growth, psychology and trainings in different bodywork techniques.


    As a duo pianist and chamber musician she has travelled the world. She has been an accompanist for all the London music colleges, for BBC Young Musician of the Year and has broadcast for Dutch National Radio, RTHK and BBC Radio 3. She has worked as a vocal coach for the Guildhall School of Music and Drama, and at the Hong Kong Academy for Performing Arts. She taught piano at the Purcell School, UK for 11 years and founded and directed an international chamber music course, which was given a glowing endorsement from Sir Simon Rattle.


    Charlotte interviewed 43 top international musicians on film about how they manage performance stress. ( She was interviewed for BBC TV Proms Extra (2015), as an expert in performance anxiety and as a Performance Coach for an American documentary, Composed.  She wrote her first book Music from the Inside Out in 2012, and is currently writing a book for school children about managing performance anxiety in exams (Rhinegold UK).


    Charlotte has been a Performance Coach for the Yale Summer Music School (Norfolk, US), regularly tours universities and conservatories in the UK and South East Asia giving talks and master classes, and holds piano master classes every year at the International Piano Academy, Konz, Germany. She has recently given master classes and coaching at the Royal Northern College of Music, Manchester, Royal Conservatoire of Scotland, St Mary’s School, Edinburgh, Leeds University and Edinburgh Napier University. She gives a regular performance class to final year students at Leeds College of Music and teaches piano and chamber music to students from the University of Oxford.



    Kathy and David Blackwell: Musical String Starter









    Kathy and David Blackwell have published over 40 books for young string players with Oxford University Press. These include the progressive repertoire and technique books of the Fiddle, Viola, and Cello Time series, more advanced repertoire books for violin and piano and for viola and piano (Solo Time), and books of pieces for junior string ensemble. They have twice won the UK’s Music Industries Association award for Best Education Publication.


    Kathy Blackwell, B. Mus. (Hons.), LTCL, LGSM, studied music at Edinburgh University and continued with post-graduate studies in music at the University of Oxford. Kathy is a string teacher with many years’ experience of teaching violin and viola. She was a strings consultant for the ABRSM Music Medals, and a contributor to the accompanying book All Together! Teaching music in groups (ABRSM Publishing, 2004). She has worked for Music Services and privately and her teaching experience has led her to co-author Fiddle, Viola, and Cello Time with her husband, David.


    David Blackwell, B. Mus. (Hons.), studied music at Edinburgh University and then pursued a career in music publishing, first at ABRSM and then at Oxford University Press. He now works as a freelance composer, arranger and music editor. As well as the string books he has written with Kathy, he is the compiler and editor of Piano Mix, three books of piano arrangements (ABRSM, 2015), and co-editor of Piano Star, three books of pieces for young players (ABRSM, 2016), shortlisted for the Best Print Resource Award at the 2017 Music Teacher Awards for Excellence. His choral music is published in the UK and America, and for OUP he has co-edited Carols for Choirs book 5 and In the Mood, a collection of popular American classics for choirs. He is also co-editor of Oxford Hymn Settings for Organists, six volumes of hymn preludes published by OUP.


    Gavin Sutherland: Conducting


    Gavin Sutherland











    Gavin Sutherland (born 1972) is a conductor, composer/arranger and pianist.

    Born in Chester-le-Street, County Durham, UK,he studied conducting, piano and orchestration at Huddersfield University and graduated with first-class honours, as well as gaining the Kruczynski Prize for Piano and the Davidson Prize for Distinction Brought to the Institution. He also studied as a trombonist.

    Gavin was appointed as pianist and staff conductor for Northern Ballet Theatre from 1992 – 98. On the basis of his first CD, British Light Music Discoveries on ASV, Gavin began working with the Royal Ballet Sinfonia on the concert platform and as the orchestra of Birmingham Royal Ballet (involving both national and international tours). He has featured as Principal Guest Conductor of the Royal New Zealand Ballet, and has also guest conducted frequently for English National Ballet, Atlanta Ballet, New Adventures and South African Ballet Theatre.

    In June 2008 he was appointed Music Director of English National Ballet, becoming Principal Conductor in 2010.

    In August 2009 he was appointed Chairman of the Light Music Society, taking over from the now-President, Ernest Tomlinson MBE, and also being responsible for Library of Light Orchestral Music, an important archive offering over 40,000 sets of light music for sale or rental to the public.

    He has made over eighty recordings have been made all over the world, predominantly with the Royal Ballet Sinfonia and the City of Prague Philharmonic Orchestra, for labels such as ASV, Sony, Warner Classics, Naxos Records’ Marco Polo imprint, Dutton-Vocalion, Campion and Olympian. He has played a part in the current revival of British Light Music chiefly through several popular series of discs, although he has recorded works as wide-ranging as Elgar’s Dream of Gerontius and the chart-topping Carry On Albums and the single release of the Radio 4 UK Theme. 2007 also saw him contribute a ten-minute medley of Carry On film themes for the BBC/BAFTA Film Music Prom at the Royal Albert Hall.

    Gavin appears regularly in concert with the Bournemouth Symphony Orchestra, BBC Concert Orchestra (particularly as a conductor for BBC Radio 2’s Friday Night is Music Night), the Münchner Rundfunksorchester and the Royal Philharmonic Orchestra. In May 2001, Gavin began another lasting relationship, as Principal Conductor of the Australian Philharmonic Orchestra, for whom he now conducts regularly both in Melbourne and Sydney Opera House. He has also guest conducted orchestras including the London Symphony Orchestra, the New Zealand Symphony Orchestra, the RTÉ Concert Orchestra, the BBC National Orchestra of Wales, the Auckland Philharmonia, the Willoughby Symphony Orchestra and Chorus, the North of England Concert Orchestra, Scottish Opera and the Johannesburg Festival Orchestra.

    In addition to his work as a conductor, Gavin works as a composer/arranger. He regularly supplies arrangements performed by all of the major BBC orchestras, the Australian Philharmonic, New Zealand Symphony, Philharmonia, Royal Scottish National, London Philharmonic, City of Birmingham Symphony, Royal Opera House and Hallé Orchestras amongst others, and his new arrangement of Giselle for the Norwegian National Ballet was revived by Milwaukee Ballet in 2004. Recent compositions include a musical, Little Women, which premiered in London in summer 2000 and received two West End revivals, a clarinet concerto, several chamber works and a one-act ballet, Revolting Rhymes. For English National Ballet Gavin orchestrated the piano music of Rachmaninoff for Wayne Eagling’s award-winning Men Y Men and has arranged and adapted the music of Tchaikovsky for My First... Sleeping Beauty, Angelina Ballerina’s Big Audition and Angelina’s Star Performance.



    Ted Wilson: Staccato, Vibrato and Position Changing


    Ted Wilson







    Ted came to Cardiff in 1976 and was a member of the Orchestra of Welsh National Opera for 18 years. He now works as a violin and viola teacher in Cardiff specialising in teaching beginners of all ages to beyond grade 8. Former pupils include, his daughter Nicole Wilson, Daniel Palmizio, Rhys Watkins now a 1st violin in the LSO plus lots of others who now work in the profession. Younger ex pupils include Menglin Li, leader of the under 13 National Children’s Orchestra, now taught by Professor Robin Stowell and 16 year old Charlie Lovell-Jones who is to play the Waxman Carmen fantasy with the John Wilson Orchestra and has a number of bookings with the English Chamber Orchestra. Charlie is now a pupil of Rodney Friend.


    Now aged 73, Ted willing admits that all his grade 8 pupils have better vibrato than he has, but he did teach them how to do it!


    Ted has been a member of the ESTA Council and was a director of ESTA 2013, the company that presented the highly successful international ESTA conference in Oxford. In May 2015 he was given an ESTA award for 'Exceptional services to ESTA (UK)'.


    Kay Tucker: Staccato, Vibrato and Position Changing










    Kay Tucker was born in Sheffield, Yorkshire and began studies on the cello at the age of 12, continuing studies at the Guildhall School of Music and Drama.


    Her portfolio career has combined teaching and adjudicating with performing as a soloist, chamber musician and orchestral player.


    Since 1998, Kay has been in popular demand as an adjudicator throughout the UK, having worked at well over 200 festivals including the National Festival of Music for Youth.  ‘Encouragement’ is a key word in all aspects of Kay’s work and she has great joy in working alongside musicians of all ages, particularly the very young.


    Kay’s passion for teaching led her to develop an early years strings & general musicianship system known as ‘Stringbabies’. Since its inception in 2004, ‘Stringbabies’ has become well established and accepted as a leading approach in string teaching  (surprisingly to all ages!) and is being delivered throughout the UK and abroad in individual teaching practices, schools and music services.


    In 2016, Musicbabies for Recorder was published, being the first adaptation of Stringbabies for a non-stringed instrument.


    Kay is currently working in partnership with Victoria College Examinations to develop a bespoke Stringbabies Award for beginner string players.


    In 2013 and 2014, Stringbabies was shortlisted for the Inaugural Rhinegold Music Teachers Awards for Excellence in music education. In 2014 Kay was also a finalist in the BBC Community Heroes Awards in Education in respect of her work in developing ‘Stringbabies’.


    Over recent years, Kay worked as a consultant to Trinity Guildhall, selecting and co-selecting repertoire for graded exams and diplomas.


    Kay is a Trustee and member of the Executive council of the European String Teachers Association (ESTA) as well as chairman of Horsham Performers Platform.


    Kay became an Adjudicator Member of the British and International Federation of Festivals in 1997 and undertook the Post-graduate Certificate in Adjudication in 1999/2000.


    Sarah Drury: Partnerships








    Sarah Drury studied the violin at the Royal College of Music with Tessa Robbins -Khambatta. On leaving the RCM she joined the Asturias Symphony Orchestra, Spain and on her return to the UK joined the London City Ballet orchestra and together with most of the leading ballet orchestras in the country toured the length and breadth of the UK. Having always loved her teaching she then became Head of Strings at James Allen’s Girls’ School in London and combined this with a varied  successful  freelance playing career encompassing everything from Proms, recordings and West End show work. She has taught and coached extensively in both the state and private sector as well as at Junior conservatoire level and is the conductor of the string orchestra at the ECSOC summer school in Guernsey. 


    In 2003 together with her young family she moved to Dorset to become Head of Strings at Sherborne School. Here she set up a successful electric strings project and most recently has worked on a music project involving greater integration between privileged and less privileged schools in the South West. She has had articles published in several music journals and lectured both in the UK and abroad. 


    Concert Faculty


    David Le Page ESTA UK President (Violin) and David Gordon (Piano)










    David le Page was born in Guernsey and began learning the violin at the age of seven. Aged eleven, he gained a place at the Yehudi Menuhin School, where he studied with Margaret Norris. He was a prize winner in both the BBC Young Musician of the Year and the Yehudi Menuhin competition. He completed his studies in Bern with Igor Ozim and in London with Sidney Griller.

    David has worked with a diverse selection of artists and ensembles, and he regularly appears as a soloist and orchestral director. He is director of the English Mozart Ensemble, besides forming his own groups: the Le Page Ensemble, the Harborough Collective and Subway Piranhas. Since 1995 he has been the violinist with the Composers Ensemble, giving world premières of works by John Woolrich, David Matthews, Gerald Barry, Tansy Davies and Julian Anderson, amongst others. In 1999 David was appointed leader of the Orchestra of the Swan, which has gained critical acclaim for its imaginative programming and commitment to new music. The orchestra has commissioned many new works and has gained a reputation for inspiring live performances.

    David was recently appointed as an Ambassador for ESTA UK. He regularly gives masterclasses, both in this country and abroad. He teaches at Birmingham Conservatoire and is in demand as a chamber music and orchestral coach. David plays on a violin made by Jean-Baptister Villaume in 1874.   


    David Gordon Piano


    David Gordon






    Yes, but I can explain everything. I started piano lessons at age 4, composing at 6, and discovered jazz for myself at the keyboard one day at 10. The house where I grew up was always full of baroque music, and contained a harpsichord.

    Jazz and baroque music have remained equally irresistible forces on me ever since.

    There are lots! While I love playing those styles of music on those instruments, I’m also interested in bringing things together. So jazz tunes based on baroque motifs sometimes pop into my head; I play ‘jazz’ on the harpsichord with my crossover group Respectable Groove; and have an on-going project to explore the role of improvisation within baroque music, beyond the realms of basso continuo accompaniment. I also find I operate best at the interface between art music and entertainment music. One day, perhaps I’ll come up with a unifying principle. Me and Steve Hawking both.

    And while I enjoy travelling and touring, I’m equally interested in functioning locally, within the community, in which I think music has an important part to play. Writing, rehearsing and performing the music for the community opera – or musical play – Semmerwater for the 2009 Swaledale Festival was a fantastic buzz. Collecting an AMI award for it in King’s Place in the heart of metropolitan London was another.

    While a mathematics student in Bristol in the mid to late 80s, I was fortunate enough to play with all the great musicians around, including Keith Tippett, Andy Sheppard and Jerry Underwood. If I hadn’t been a part of this thriving jazz scene, I would undoubtedly be a maths teacher in some school now.

    Dance then saved my life. Playing for classes at various London dance schools taught me self-sufficiency as an improviser, really challenging my power to create – and the nature of suffering. And playing for rehearsals and performances – some of them including the really great ballet dancers – raised my game no end.

    The European Baroque Orchestra is a fascinating and brilliantly-conceived organisation, a genuinely international orchestra for young professionals. Being part of its 1994 incarnation taught me the thrills and pitfalls of being an orchestral player, as well as being exposed to some amazing music and musicians.

    In the later 90s: Ronnie Scott’s, when bands were always engaged for a week at a time. Discovering how to play tough.

    2003, becoming the harpsichordist of the esteemed baroque orchestra The English Concert. The joy of coast-to-coast touring in America, playing some of the best concert halls in the world – inlcuding the BBC Proms – and the political minefield that an orchestra can be. 2008 was time to leave.

    Solo recitals, something I enjoy more and more.

    Composition commissions more hard work, great rewards!

    Teaching – a relatively new experience and a rewarding one. Jazz piano and harpsichord teaching, of course, but also improvisation classes for the pianists on the classical course at Purcell School, and being lucky enough to have young students interested in topics as abstruse as partimento!

    And in general, finding myself playing with an extraordinary, creative group of musicians in a variety of different bands, all of which seem to be the best of all possible bands while I’m playing with them. There’s a bit more about them here.


    James Halsey (Cello) and Julia Wagner  (Cello)


    James Halsey






    James studied cello at the Royal College of Music with Eileen Croxford. Whilst still a senior student at the R.C.M. in the early 1980s, James joined the Auriol String Quartet and was straightaway involved in more than 40 recitals each season. This love of chamber music stayed and developed through his career and he is now cellist of the Bingham String Quartet and the Tagore String Trio. With these ensembles he has played all over the world, broadcast frequently, and made numerous recordings. At present he coaches on ten annual chamber music courses.


    As a solo cellist James has performed widely in the British Isles, and has played Beethoven sonatas and unaccompanied Bach in Japan and Australia as well as the UK. He is much in demand as a teacher and three of his former pupils are cellists in professional string quartets. He is Professor of Cello at the North East of Scotland Music School and the Royal College of Music Junior Department, as well as being director of the Aboyne Cello Festival, which he founded in 2006. (


    Julia Wagner Cello


    Julia Wagner















    Julia is a professional cellist with extensive teaching and performing experience and is available to give lessons to cellists of all ages and ranges.

    She achieved masters in performance with distinction from the Guildhall School of Music and Drama in London.

    Julia is advisory board member of the London Cello Society and classical music consultant for Sofar Sounds. She freelances across the UK with orchestras including the English National Opera, Orchestra of St Johns and the Isle of White Symphony Orchestra, amongst others.



    Bojan Cvetreznik and the Terrafolk.










    Terrafolk was founded in 1999 by progressive rock composer Daniel Černe (aka Mystica), former classical soloist Bojan Cvetrežnik and multi-instrumentalist Boštjan Gombač. From the very beginning, the ensemble transcended national borders and, with a number of European tours, obtained a wide circle of listeners. Thanks to their unique approach to presenting music, excellent stage appearances, fluid communication with audiences, and distinctive mix of various musical genres from ethno, folk and world music to pop, classical and rock, the group built up a unique phenomenon that proved convincing to both demanding music critics and juries of international music prizes like the Spirit of the Fringe, Boomerang 2002, BBC Radio World Music Audience Award, Tap Water Awards,... The band has released seven albums.

    Some important venues and festivals where Terrafolk have performed in UK: 
    Canolfan Mileniwm Cymru-Wales Millennium Centre, Cardiff,
    Usher Hall and Queens Hall, Edinburgh 
    Shepherds Bush Empire, London 
    The Aldeburgh Proms, Snape Maltings Concert Hall, Snape Suffolk,  
    The Famous Spiegeltent, Edinburgh Fringe 
    The Gilded Baloon, Edinburgh Fringe 

    Fringe, Edinburgh
    Shetland Folk Festival,

    Glastonbury festival, 
    Musicport World Music Festival, Whitby,
    Big in Falkirk Festival with Full Circle show
    clubs (Borderline, Ocean, 100 Club, Komedia - Brighton…) 


    It would be a brave person who thought that he had the measure of a Terrafolk show. There are the gypsy traditions, the conservatory-standard musicianship, liberal injections of lunacy, audience participation, fiery exchanges between violin and accordion and just when you're thinking, well, that's quite a lot to be going on with, they'll produce some expert Bach or a heavy-metal solo out of an innocent-looking acoustic guitar…

    Rob Adams, The Herald



    Mystica – guitar, main composer

    Bojan Cvetrežnik - violin, double bass

    Barja Drnovšek - violin, double bass

    An Černe - flute, whistles, double bass


    One of reviews:

    Of all ex-Yugoslav republics Slovenia has made least impact on the world music scene. And then in 2003 a band called Terrafolk seemingly appeared from nowhere and walked away with the audience award at the BBC Radio 3 awards for world music. Anyone who was lucky enough to catch them live at one of their triumphant UK dates in 2003 will know that Terrafolk live up to their name. Central and South European music played with an attitude to terrorise the complete authentic folk brigade. The instruments may be acoustic but the attitude is pure punk. Enthusiastic energy is a fantastic virtue on stage, but the one question was how this would translate onto record. Well the energy tangential humour and virtuosity are all there. Terrafolk on record are a lot better that I had imagined. The connection to the land and the declaration of intent in their name I got and plenty I didn’t expect at all multi-layered instrumentation. Tastefully chosen material, good production and the variety of moods and styles. Uptempo original and traditional tunes are done with a rip-roaring power worthy of Kennedy, slower ballads come with a cheeky nod and a wink, Bulgarian harmonies are arranged with gorgeous understatement, and there’s even a beautiful and Kitsch Latin number with genius deadpan ‘come to bed mama’ vocals. Everything is respected but nothing is sacred – Bregovic’s standard ‘Mesecina’ comes out like a 70s Bavaria tourist board commercial. Brilliant.

    (Jonathan Walton (sep/okt 2004 - SONGLINES MAGAZINE)




    Sheila Holdsworth












    Sheila has been a freelance viola player since 1990 and has enjoyed a varied career playing for Covent Garden, BBC SO, Birmingham Royal Ballet, Welsh National Opera, RPO, West End shows and her favourite gig, the Bootleg Beatles amongst others. Sheila has always had fingers in other pies including running her own bra business called Know Knockers winning Take a Break’s competition Tycoon Idol in 2004. She is now also running a small felt making business called Felty Towers. Sheila has beena member of ESTA’s team since 2013.


    Julia Atkinson















    Julia Atkinson(violin) has had a busy career as both a performer and teacher.

    Her playing work has included The RPO, Northern Ballet and shows. Julia played for a season in Parma , Italy and was a member of the Trondheim Symphony Orchestra , Norway for a year. Julia is currently a member of the Astor String Quartet with Sheila, and plays regularly with the quintet at The Ritz Hotel.

    Julia is Head of Strings at St Dunstan's College in South East London. She has taught at Junior Royal College of Music as well as Junior Trinity College of Music. Apart from organising many string workshop days herself Julia coaches regularly on the South London Youth Orchestra Course and is the conductor for the String Group on the Elizabeth College Summer Orchestral Course in Guernsey.

    When Julia is not working she loves walking up mountains, along coastal paths and to the pub to enjoy some of the local ales!

  • Details and Costs


    Sunday 6th August to Friday 11th August, 2017



    Chichester University Music Department


    College Lane


    West Sussex

    PO19 6PE



    ESTA members are eligible to apply for bursaries. If you wish to apply for a bursary click here



    No price increases for 2017

    ESTA member -  £549

    ESTA non member -  £649

    ESTA student member -  £420

    ESTA student non member  -  £480

    Daily rates are available:

    ESTA member £110

    ESTA non member £130

    ESTA student member £80

    ESTA student non member £90


    Please note: If you book individual days and would like overnight accommodation please be aware there will be a £35 charge for each night booked. This includes breakfast. If you would like to book individual days, please email


    Please find our FAQ page HERE


  • Presentations



    Upper Strings Basics - Bojan Cvetreznik


    In daily upper string basics I will share little tricks that work instantly and present different approaches, that require long term work. Sometimes even a change of life style. I would like to point out, that my 'relaxed performing' is not my original personality. Most people wouldn't believe that in early student age I was known as a technically good player, but not very musically expressive. Before the age of 20 I didn't imagine that I would ever feel comfortable on stage. I did not recognize basic 6 diatonic chords at jam sessions before the age of 30 when I entered the world of improvised music. I wasn't able to improvise while following the chord structure before the age of 40. Ups, how old am I? Not too old not to continue a constant research of approaches that I am not so familiar with but they result in music that I really like. Today we focus a lot on the “top” of the music pyramid and sometimes we leave too many not fixed issues at  the “lower” levels. Many skills that disappeared from classical music after a massive score reproduction were known to every good musician in times of early music. After  I studied and performed with famous players I still  learn from autodidacts or even from little children at our school how to approach it differently to get good results.  I came to situations to ask myself concrete questions about my musical skills. Once I tried to play Max Reger viola sonata with piano. I wanted to play from random key signatures - so the use of note names was disabled. I was shocked by how bad I was in finding notes by ear. This was a piece of music that I performed succesfully at concerts many times. Is it possible for professional musicians to cross a border and relearn the basic perception of the music? I believe we will spend a great time together and I hope we will learn from each other in all directions.


    In the daily upper strings basics sessions I will present:


    1. the concept of working with beginners

    Presentation of the picturesque associations and imaginary stories behind them (as their extended context). They lead the students firstly to successfully recognise body positions and to then self-evaluate.


    2. how to control home practicing

    My experiment with regular video (online) evaluation of home practicing pointed at a gap between my expectations and students perception of my instructions.


    3. how to tune an instrument from the very beginning


    4. finger patterns in diatonic scales (modes)

    My system helps in practicing all scales without written music, in sight reading fast orchestral passages and in jazz improvisation.


    5.  a concept of physioviolin to prevent injuries

    We developed a chin rest for beginners that prevents the head from moving out of the natural position too much and too often. We will discuss whether children should hold the violin also with the inner side of the index finger or not. I hope we will be able to find an meaningful (and useful) intersection of conflicting opinions.


    Lower Strings Basics - James Halsey


    It’s all about the sound!


    I had dabbled with various instruments, and nothing had really grabbed me, then at the age of ten, I heard a life changing cello and piano recital at the Wigmore Hall. The sounds I heard that evening made me so sure that I just had to play the cello! When I was accepted at the Royal College of Music, it was to study cello with Eileen Croxford – the very same lady that had produced those thrilling sounds nearly a decade earlier.


    We all have an overall picture of “technique”, and where all the little bits fit into the whole jigsaw. Mine is dictated by two overriding themes – sound and natural movements, although the two are really intertwined and inter-dependent.


    During the week we will look at how crucial establishing the basics is to future progress. I heard a young cellist ask Paul Tortelier how much practice she should do. “None” was the answer – “you should have a lesson every day”! Getting these building blocks right at the start is so important, and will mean that students don’t have to go through those tedious remedial phases later in life. We will show how focusing on sound and natural movements leads to an inevitable solution to any problem. It is not the only solution, but I hope my ideas will be a starting point for discussion and the exploration of other possibilities.


    We will look at everything from sitting position and bow hold through to vibrato and spiccato, as well as starting each morning by playing music for cello orchestra. It is almost impossible to set an agenda for each day, as to a large extent the subjects we cover will be a combination of my schedule and the direction that sessions take depending on what you all want to talk about! I really look forward to meeting you and sharing ideas.


    I did attend one day of last summer’s ESTA summer school as my quartet (Binghams) were presenting a recital, and I hope to add to the exciting buzz that surrounds  this wonderful event.


    Daily Dalcroze - Sian Ford


    Moving Music – Exploring Dalcroze Eurhythmics


    These sessions will explore a particular strand of Dalcoze known as eurhythmics which aims develop all aspects of aural musicianship, expression and performance through movement. Please wear comfortable clothing and bring your instruments along to the sessions if you would like to play for movement. The sessions will be principally aimed at experiencing Dalcroze work as musicians ourselves, but some applications to class and individual teaching will be incorporated according to the needs of the group. Dalcroze Eurhythmics is multifaceted and there are many terrific books both by Dalcroze himself and others which include an insightful introduction by Laurie Bachmann called Dalcroze Today. A short introduction can be found here alongside several other Youtube posts showing the vast range of Dalcroze work happening across the world today. 


    Learn to play the Tango - Caroline Pearsall


    Workshop Plan

    We would firstly listen to recordings of the pieces we will look at to get everyone into the same sound world. All scores will be provided on the day or beforehand (if possible).


    We will progress from early tango from the 1930s to Piazzolla examining what constitutes the foundations of tango style, how each composer or bandleader created their own style and what all this meant for Piazzolla.


    After the listening we will learn how to play the most important tango techniques (different from classical playing), phrasing, and rhythms, looking at (amongst other things):


    - marcato in 4 and 2 where we need a new bow technique that is very percussive and demands players to switch from being melodic violinists into percussion players for dancers

     - arrastres, this is the drag glissando used extensively in tango and we will learn how to play it as well as talk about it’s musical role

     - sincopas, these are off-beat patterns that provide most of the rhythmic vitality of tango. Sincopas are varied in thousands of different ways and also represent the style of an orchestra or composer so we would examine these in detail

     - pelotita, this is a special phrasing effect used by the later orchestra of the 1940s and is something Pugliese took even further. We will practice how to play it and examine where it is used.

     - fraseo, this is the tango version of classical rubato, but it has a few different rules. We will examine how some of the most famous performers approached fraseo in their melodies and how timing in tango is particularly unique

     - effectos, these are the sound effects of whips, drums, strapata and cicadas that we use on string instruments

     - any other essential elements in tango music style.


    After enough time has been spent on these (roughly 1 hour) to get a good enough grasp, we will progress to the repertoire:


    1 – Francisco Canaro – El Choclo

    2 – Julio De Caro – Tierra Querida

    3 – Juan D’Arienzo – 9 De Julio

    4 – Anibal Troilo – Danzarin

    5 – Osvaldo Pugliese – Gallo Ciego

    6 – Astor Piazzolla – Libertango/Buenos Aires Hora Cero/Milonga Del Angel


    Each piece contains the most important techniques and musical expression used in each period enabling the workshop participants to see how the music developed on its timeline. We will rehearse these works, incorporating into them all the techniques and musical elements we learned. The participants will start to understand the differences between the styles and see, in a practical manner, how the style evolves. The influences of classical and contemporary classical music can also be pointed out as tango changes also according to changes in other musical styles and forms of art.


    You will be able to take away with you 2 arrangements from these pieces for string quintet (2 violins, viola, cello & bass) to use for your teaching as well as a sheet which lists the basic tango musical elements we learned. There will also be a recommended listening list as well as any books of interest.


    The overall aim of the workshop is to allow participants to walk away with new knowledge and techniques as well as ability to hear these details in the recordings and to contribute to the overall dissemination of this still much under-discovered but fascinating musical style.


    Manage your Performance Nerves - Charlotte Tomlinson


    Manage your Performance Nerves



    The aim of this presentation is to look at how performance anxiety can arise and the possible psychological reasons behind it, along with some simple practical tools to manage the anxiety better.


    Charlotte shows how practising with the Objective Observer rather the Inner Critic, and aiming for excellence rather than perfection, can radically reduce out-of-control nerves. She encourages musicians to move on from performance anxiety that is uncomfortable & detrimental, into a place where adrenalin can enhance the performance so that playing in public can become truly enjoyable.


    Master class


    The master class that follows the talk is an opportunity to put the information into practice. Musicians play a short extract from a piece, and are supported in finding new freer and more enjoyable ways of managing tricky performance situations. The master class is more of a performance workshop than a conventional master class – interactive and informal in style. It is inter-disciplinary and Charlotte will work with any instrumentalists or singers.


    “This way of working is currently missing in most main stream music educational environments. I found it invaluable and would love Charlotte to come to Yale School of Music as a regular fixture. It’s what we all need!”

    Masters student, Trombone, Yale School of Music.

    “She helped me perform better all in the space of two minutes! I would say Charlotte is perfect for anyone who struggles to turn practice quality into performance quality.”

    Masters student, Violin, Royal Northern College of Music.

     “The practical session after the talk completely changed my view on dealing with performance nerves. Finally, I had practical solutions, which really worked and allowed me to play as well as I know I can.”           

    Music undergraduate, Oxford University

    "Charlotte's technique concentrates on the person and their individual strengths and weaknesses.  By a gentle and unthreatening process, she coaxes remarkable changes in each subject's performing skills.  I would not have believed it if I had not witnessed it myself. This was certainly one of the best ESTA master classes that I can remember”                           

    John Shaylor, Chairman for ESTA (European String Teachers Association)


    Conducting - Gavin Sutherland

    Conducting sessions:

    The session will be both technical and practical, and it is hoped that participants will be prepared both to play and conduct (if they wish).

    Too many people who find themselves in the situation of leading an ensemble hide behind a premise of "being out of their comfort zone". Whilst we all learn a modicum of conducting knowledge at music exam level, it is important to use these tools to a fuller extent when passing on information to your group. From small ensembles to big orchestras the principles are still the same, and my aim is to develop the basics into something that will encourage both player and conductor to improve their interpretation of music. Clarity and economy is at the base, and that can assist character, shape and contact amongst the players.

    There will be two sessions:
    SESSION ONE (90 minutes) begins with a short history of conducting and its technique - why did we ever need another leader when we already have one? (A question no doubt many of you ask even today...). This will be followed by a group session looking at technique, from basic beat patterns through dynamics to cueing and phrasing. Some of this will include recorded examples.

    SESSION TWO (90 minutes) will be a wholly practical session, where we invest our knowledge and conduct some repertoire. I have tried to make the choice we have in our minimal time relevant to beginners and more advanced conductors alike, and hope to encourage as many as possible across the spectrum to try.

    The pieces will be selected from:
    MOZART Divertimento in D major (all movements)
    WARLOCK Capriol Suite (all movements)
    KARL JENKINS Palladio (first movement)
    PHILIP LANE Three Sea Shanties

    I encourage you to bring a baton, but a pencil will do!


    Music and Maths - Bojan Cvetreznik


    Most people think music theory is one of the most difficult subjects to understand. Also as an adult professional musician, I find major difficulties in connecting the understanding of the theory in the left brain with the practical experience in the hearing and emotional area of the right brain. The study of the theory is based on different visualizations, mostly connected with five-lines music staff or black & white piano keys. Some of us can't get rid of the constant re-calculating from the basic visualization that is stamped into our brain. This picture is mostly determined with the way we first got in touch with music theory. My picture is of piano keys. In any key, I see C major or A minor. This means I might be a character in this joke: 'what is the dominant of G?' Answer: 'strange question, G is already the dominant chord itself!':) It is quite rare, that the first picture would be strongly based on hearing rather than on a visual interface. Exceptions are some autodidacts or bass player.


    My concept is very simple. Zoltan Kodaly relative solfeggio is a very clear way to understand music theory relatively. But it is not useful at all in countries that use solfa syllables absolutely (DO=C).


    I won't have enough time to start from the hearing area, which would be far best way, so I will present a simple visual interface as an introduction to:


    -measuring relations between notes

    -building chords

    -matching parts of melodies

    -translating into different instruments

    -understanding the simplicity of the absolute names (music alphabet)

    -translating the music into different interfaces (piano roll, 5-lines, different fingerboards...)



    Teaching Spiccato, Vibrato and Position Changing (Upper Strings) - Ted Wilson


    Please bring your instrument to all sessions


    Teaching Vibrato (Upper Strings) Ted Wilson


    Vibrato and harmonics with Dvorak's first Romantic piece 

    Session 1

    The session will start with a simple & short Physics lecture on vibrating strings and harmonics after which Arm, Wrist and Finger vibrato will be discussed.


    A number of ESTA members have expressed concern about teaching vibrato and the “no touching” policy of many local authorities. Also, a number of cello teachers, employed by music hubs, now have to teach violin, as well as cello, and find violin vibrato challenging. In response to this expressed need Ted led a very successful ESTA events in Cardiff University and Primrose Hill, which demonstrated how he teaches vibrato.


    Ted claims that he does not teach vibrato, merely how to avoid technique, which prevents vibrato happening. He teaches technical tricks, such as “Wiggly Worm “which assist vibrato. These are taught to pupils from the very first lesson and are gradually refined until vibrato just appears. These aspects of technique will be demonstrated, tried and discussed.


    When vibrato appears depends on the pupil and in Ted’s teaching practice an occasional pupil produces “a kind of” vibrato for grade 2 and the odd one is still very tense at grade 8.

    However, the average pupil starts to “vibrate” at Grade 3 level and will become proficient between Grade 5 and Grade 6.

    Techniques for teaching vibrato to older adults, with stiffer fingers etc, will be discussed.


    Teaching Spiccato - Ted Wilson


    Session 2

    By careful choice of pieces it is possible to pass Grade 8 violin without ever playing a spiccato note. However, higher-level youth orchestra auditions and all professional orchestral auditions require spiccato.

    The following types of spiccato will be discussed:

    a. Ricochet

    b. Slow spiccato at the heel, including large string crossings.

    c. Medium speed Spiccato

    d. Col Legno

    e. Sautille.

    In this session particular attention will be paid to the role of the thumb in controlling the angle of the hair, the movement of the left elbow to maintain the bow parallel to the bridge and the alteration of the bow position when changing strings.


    Teaching Left hand position changing. (Upper Strings) - Ted Wilson


    Session 3

    Position changing with examples from the ABRSM Grade 3 + List.

    1. The session will start with a warm up using vibrato and whole bows.
    2. Note finding over 2 octaves
    3. Light shifts
    4. Examples from the current ABRSM repertoire list.
    5. The session ends with a quick resume of the previous two sessions and any points arising.


    Teaching Staccato, Vibrato and Left Hand Position Changing (Lower Strings) - Kay Tucker


    Over the 3 classes I am leading at this year's summer school, I will be looking at the issues of left position changes and shifting, vibrato and staccato. Each one is a huge subject area on its own but we will be taking a very practical view on how to teach these skills and foster them in our pupils right from the beginner stage. We will also take time to look at the different contexts in which we use these individual skills and look at common problems pupils have with them. There will also be time for sharing ideas about these skills - we can learn a lot from each other!



    How can we encourage a sound vibrato facility? We will look at some ideas on teaching vibrato from different sources and also looking at the physical issues that can prove problematical as well as some ideas for pre vibrato movements which can be encouraged well in advance.




    The little dots over the notes can be very deceptive! we will look at the different types of staccato, taking in spiccato and martele strokes and considering the context of the music to help us make decisions about ways to interpret the dots! We will look at the role of the fingers and thumb in various types of articulation and fun ways to encourage the necessary skills in beginners.


    Left hand position changes


    We will look at issues surrounding the geography of the cello, principles of good shifting and some ideas on how to encourage security in moving from one position to the next.



    Sight Reading - Paul Harris

    Sight Reading is such an essential skill for all musicians wishing to be independent and so derive the full joy and pleasure of music making throughout their lives. Paul Harris has been studying this skill for many years and this session will disseminate many ideas and practical strategies for developing this skill. Paul will discuss the physical process of sight-reading and how to develop fluency, accuracy and confidence. He will also discuss the often-feared sight reading test in exams and how we can ensure all pupils will look forward to that part of the assessment knowing they will probably score full marks!


    Setting up Partnerships with Schools - Sarah Drury


    Where do you teach? Do you teach in the state or private sector? Do you work with those who have a very privileged life or those who have very little? Have you ever tried to combine the two mediums and what was the outcome? 


    The UK is becoming increasingly polarised in its access to the arts and musical and social enriching  opportunities are being denied to many. in 2015 Sarah Drury decided to help make a difference and set up a joint music project with some of her musicians at Sherborne School and the Ilminster Avenue E-ACT Academy in Bristol. Along the way she both learnt and discovered a need for many more skills within her armoury. Hear how the project took off, what she learnt and some of the things that all the pupils learnt along the way. Gain top tips on how you could take steps to set up a similar project of your own  and see the many benefits that all pupils and indeed staff  gained as a result.  


    Alternative Styles - Jazz and Folk Bojan Cvetreznik


    Folk tunes for classical technique


    The materials that we use for improving a technique were written mostly by great artists to help their students improve a certain skill. Most etudes we practice are more than 150 years old. With some exceptions the material is not very inspiring in a musical sense. Can we achieve the same goal with an endless treasure of old and contemporary folk tunes that are musically very inspiring for students and teachers? Or can exercises even make listeners happy? Folk tradition brought a much bigger spectrum of detailed ornamentations and trills than classical music. I don't know a classical composer that would put such an important focus on bowing patterns as this is very essential among folk musicians in expressing the meaning of the music. We can also find similar importance with early music experts. I hope I can inspire string teachers to constantly research the countless tunes from different violin traditions.


    I will:

    -present some examples of tunes for different technical challenges and problems

    -provide some additional materials

    -give ideas, where to find additional useful tunes-encourage further research


    Folk tunes for jazz improvisation


    Folk music brings incredible richness to melodic lines. By studying jazz improvisation we usually focus more on harmonic scale structures and choose rhythmic patterns. That sometimes results in a not very communicative performance. Architecture of folk music spreads a vocabulary of improvised lines. If improvising over one chord or a complex harmonic structure the 'story telling' is what makes performing communicative and effective. There is a funny expression saying: "bluegrass is playing different melodies over same chords, jazz is playing same melodies over different chords". Welcome to merging those two approaches in one.

    The other important part of folk violin traditions for performing jazz is connected with bow patterns. There is an obvious difference between jazz players, that have background in folk music and those that don't. It results mostly in bow shuffles that are some kind of choreographed right hand movements. When analysing 'Dances of the right hand' of folk musicians we observe how confident and free their groove is. This is not reserved only for them, anybody can learn it step by step.


    In the workshop I will :

    -present widgets (elements) of the architecture of folk tunes

    -demonstrate them on practicing scales

    -implement them on jazz chord progressions

    -explain bow shuffles as repeating patterns

    -present bow shuffles from folk music to improve groove

    -present ghost note patterns from folk music

    -demonstrate performing techniques for presented bowing concepts


    The Musical String Starter - Kathy and David Blackwell


    The first stages of learning a string instrument are essential in setting the student on a successful and rewarding musical journey, yet there are many challenges in taking these first steps. Children learn in different ways and at different speeds, there are many demands on their time, while the techniques of holding the instrument and making a satisfactory sound can be challenging enough, even for the most able pupil.


    In this interactive workshop, Kathy and David will share some ideas on meeting these challenges and how to approach teaching young string students, based on the material they have written. They will offer creative ways of teaching pulse and rhythm, show how to achieve good posture and bow hold, discuss how and when to teach music reading, and suggest some ideas to help develop good intonation. In all their materials, Kathy and David’s approach has been to find an accessible and engaging way to teach key concepts where fun and progress go hand in hand, and the emphasis throughout this presentation will be on making music and developing a confident and musical string starter.


    The session will be relevant to all string teachers, whether teaching individually or in groups, and will provide practical ideas and games for the all-important early stages of learning. It will also offer some brand new ensemble repertoire, suitable for young players as they become ready to start playing together in a junior string ensemble. And there will be a chance to play a new work written specially designed for teachers and students to play together. This will be an interactive session so bring your instrument and be ready to join in!




    To view sample pages and listen to audio examples of Kathy and David’s music, visit the Oxford University Press website (Education/ Printed Music) or visit the Blackwell’s newly updated, mobile-friendly website, which includes full information on all titles and free downloads for students and teachers. The site also gives details of new and forthcoming publications, for example, Solo Time for Viola, three volumes for viola and piano approximately Grades 3-7 (April 2017), and  String Time Joggers Book 2, a second book of ensemble pieces (September 2017).

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    Concerts from David Le Page, David Gordon, James Halsey, Julia Wagner and Bojan Cvetreznik and DUOS: Terrafolk Violin Duo and Duo Aritmija.

    August 7

    David Le Page- Violin and Dave Gordon- Piano

    Blurred Lines

    Blurred Lines continues the ongoing collaboration between David Gordon and David Le Page with their mission to breathe new life into the violin and piano recital format. Drawing on David Gordon's skills as a jazz pianist, composer and as a highly regarded Baroque musician the recital takes us on an intoxicating journey from 14th century street music to contemporary classical and rock sounds via Cuba, the Balkans and the Middle East. Both men are accomplished composer/performers who enjoy walking the tightrope between art and entertainment and sometimes falling off...


    August 8


    James Halsey and Julia Wagner present an evening of cellos!


    August 9



    Terrafolk Violin DUO

    DUO Aritmija


    Two duos one after another or all together will perform a set of mostly original music, composed by performing musicians and some arrangements, inspired by different European music traditions.

    Terrafolk Violin DUO

    Bojan Cvetrežnik – violin, double bass

    Barja Drnovšek – violin, double bass

    Both violinists are soloists of the slovenian based band "Terrafolk" (BBC radio3 world music award) and the international "Symbolic Orchestra". They are classically trained violinists that travel and learn diverse folk music. Original compositions, arranged music for violins or just performing with 'no adds' is based on breathtaking or intimate live performances rather than studio music production. They are both leading mentors of Special Courses for bowed string instruments at, where young players are discovering diversity of violin sounds of European folk music geographically from south to north, in timeline from Baroque to disco strings and cultural from Indian music to Jazz. Their music is searching for the points that different music worlds have in common. With respect to all kind of music worlds musicians sometimes use elements that are traditionally not present in certain styles. It is hard to identify with only one music scene in this world full of good things, but we can still take time and experience nice unpredictable moments with live music.


    DUO Aritmija  

    Tilen Stepišnik: nylon-string acoustic guitar

    Šemsudin Dino Džopa: steel-string acoustic guitar

    Duo Aritmija is guitar duo playing their own compositions in world music style and Balcan traditional music mixed with various influences (flamenco, rock, jazz). Aritmija was formed in 2002 and since then they released 3 CDs and played more than 500 concerts in Slovenia and abroad. Both guitarists are also professional guitar teachers. Their last CD called »Street« was recorded live on the streets of Ljubljana in 2011.


  • Timetable

    Summer School Day 1 August 6

    1pm-3pm Registration

    3.00pm-4.30pm Tango with Caroline Pearsall

    4.30pm-5.00pm Coffee

    5.00pm-6.00pm Staccato. Upper strings Ted Wilson, Lower strings Kay Tucker

    6.30pm-7.30pm Dinner

    7.45pm-9.00pm Tango with Caroline Pearsall


    Day 2 Summer School August 7

    8.30am-9.15am Daily Dalcroze

    9.30am-11.00am Basics with Bojan Cvetreznik  (upper strings) James Halsey (lower strings)

    11.00am-11.30am Coffee

    11.30am-1.00pm Manage your Performance Nerves with Charlotte Tomlinson

    1.00pm-3.00pm Lunch

    3.00pm-4.30pm Music and Maths with Bojan Cvetreznik

    4.30pm-5.00pm Coffee

    5.00pm-6.00pm Vibrato. Upper strings Ted Wilson. Lower strings Kay Tucker

    6.30pm-7.30pm Dinner

    7.45pm-9.00pm Concert: David Le Page (Violin) with David Gordon (Piano)


    Day 3 Summer School August 8

    8.30am-9.15am Daily Dalcroze

    9.30am-11.00am Basics with Bojan Cvetreznik  (upper strings) James Halsey (lower strings)

    11.00am-11.30am Coffee

    11.30am-1.00pm Conducting with Gavin Sutherland

    1.00pm-3.00pm Lunch

    3.00pm-4.30pm Conducting with Gavin Sutherland

    4.30pm-5.00pm Coffee

    5.00pm-6.00pm Left hand shifting. Upper strings Ted Wilson. Lower strings Kay Tucker

    6.30pm-7.30pm Dinner

    7.45pm-9.00pm Concert: James Halsey (Cello) and Julia Wagner (Cello)


    Day 4 Summer School August 9

    8.30am-9.15am Daily Dalcroze

    9.30am-11.00am Basics with Bojan Cvetreznik  (upper strings) James Halsey (lower strings)

    11.00am-11.30am Coffee

    11.30am-1.00pm The Musical String Starter with Kathy and David Blackwell

    1.00pm-3.00pm Lunch

    3.00pm-4.30pm Exhibitor's Hall

    4.30pm-5.00pm ESTA PG Cert forum

    5.00pm-6.00pm Exhibitor's Hall

    6.30pm-7.30pm Dinner

    7.45pm-9.00pm Concert: Bojan Cvetreznik and DUOS: Terrafolk Violin Duo and Duo Aritmija


    Day 5 Summer School August 10

    8.30am-9.15am Daily Dalcroze

    9.30am-11.00am Basics with Bojan Cvetreznik  (upper strings) James Halsey (lower strings)

    11.00am-11.30am Coffee

    11.30am-1.00pm Sight Reading with Paul Harris

    1.00pm-3.00pm Lunch

    3.00pm-4.30pm Folk tunes for classical technique with Bojan Cvetreznik

    4.30pm-5.00pm Coffee

    5.00pm-6.00pm Setting up school partnerships with Sarah Drury

    6.30pm-7.30pm Dinner

    7.45pm-9.00pm PARTY! and we will be entertanined by the wonderful Bojan Cvetrežnik & Terrafolk


    Day 6 Summer School August 11

    8.30am-9.15am Daily Dalcroze

    9.30am-11.00am Basics with Bojan Cvetreznik  (upper strings) James Halsey (lower strings)

    11.00am-11.30am Coffee

    11.30am-1.00pm Jazz improv with Bojan Cvetreznik


      Sunday Monday Tuesday Wednesday Thursday Friday
    Breakfast 07:30 - 08:15 August 6 August 7 August 8 August 9 August 10 August 11
    08:30AM - 09-15AM  






    15 Minute change over
    09:30 - 11:00   Upper/Lower Strings Basics Upper/Lower Strings Basics Upper/Lower Strings Basics Upper/Lower Strings Basics Upper/Lower Strings Basics
    Coffee 11:00AM - 11:30AM
    11:30 - 13:00   Manage your Performance Nerves Conducting Musical String Starter Sight Reading Folk Tunes for Jazz Improv
    13:00PM - 15:00 PM - LUNCH
    15:00 - 16:30 Tango Music & Maths Conducting Exhibitor's Hall Folk tunes for Classical tech  
    16:30PM - 17:00PM - COFFEE
    17:00 - 18:00 Spiccato/Staccato Vibrato Left Hand Shifting Exhibitor's Hall School Partnerships  
    18:30PM - 19:30PM - DINNER



    David Le Page & David Gordon


    James Halsey & Julia Wagner


    Bojan Cvetrežnik DUOS: Terrafolk Violin Duo and Duo Aritmija



  • Terms and Conditions

    Conditions of Booking.  Booking is open to members and non-members of the European String Teachers Association. For details of membership of ESTA(UK) please contact the membership secretary or visit our ESTA Benefits page.  


    In case of illness or other circumstances beyond our control we reserve the right to alter advertised presenters but will inform you if this proves necessary.  


    Payment: Online payment must be made in full. Individual sessions or meals not taken will not be refunded.

    Cancellation of booking: Refund policy. Before April 30: 90% refund. Before June 30:  50% refund. July onwards: 0% refund.


    Request for media coverage.  ESTA requests permission to take photographs and/or videos for the sole use on the ESTA website and social media. ESTA will never sell or distribute images to third parties.  If you do not grant permission please email


    Liability: ESTA and Chichester University accept no responsibilty to loss or damage to instruments or personal belongings. You are strongly advised to provide your own insurance for instruments and other valuables.

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