Julie Ainscough at the Frobenius organ of
All Saints' Parish Church, Kingston-upon-Thames, Surrey (U.K.).

Photograph: © Copyright 2000 Michael Harrold Artist Management.

Piano Teacher

Julie Ainscough's career as a well-qualified, experienced and successful professional musician encompasses instrumental tuition (which includes twenty-nine years' teaching in schools and thirty-four years in an extensive private practice, with excellent examination results backed-up by conspicuous success in competitive music festivals - e.g. First Prize in the 11 years and under own choice J.S. Bach section in the Reigate & Redhill Music Festival of May 2006, won by Katie Farquharson, plus several Distinctions and Merits in other classes - including the concerto class) together with performance as choral director, organist (principally) and accompanist on piano, organ and harpsichord. She teaches at all levels: ab initio to University and Conservatoire entrance level plus preparation for the professional diploma examinations of the Royal College of Organists and also presentation of candidates for Oxford & Cambridge Universities' organ scholarships). Grade and diploma examinations for pianists - for those who wish to undertake them - are arranged routinely with the External Examinations Board of Trinity College, London, unless particular circumstances dictate otherwise.

Piano tuition forms a significant part of her professional activity, the diversity of her qualifications and experience notwithstanding. She teaches pupils with a wide variety of abilities, needs and aspirations, spanning jazz styles to diploma preparation, taking an holistic approach and following the precepts of Matthay with an element of Alexander Technique to ensure that pupils learn about correct hand and arm position plus good posture at the piano. Students are encouraged to play duets and in ensemble with other instrumentalists. She places a firm emphasis on sound instrumental technique and specific aspects of pianism such as development of a wide dynamic range, a good cantabile tone and effective use of the pedals. Students who do elect to undertake examinations are encouraged to balance their prescribed study with playing of a wide range of contrasting music purely for their own personal pleasure: a discernible element of playing solely for enjoyment is recommended for even the most studious of pupils.

Julie Ainscough accepts private pupils and teaches according to the stipulations and recommendations of the Incorporated Society of Musicians (which organisation has elected her as an accredited member of its Register of Private Professional Teachers, after exhaustive scrutiny of her modus operandi and having obtained thoroughly-validated references from within the profession). The terms and conditions under which she teaches privately are contained in a document entitled An agreement for music tuition, which is supplied as a hard copy to all prospective clients when she meets them for an initial consultation.

Prospective private pupils are invited to contact Julie Ainscough with a view to arrangement of a meeting wherein there would be ample opportunity to discuss aims and objectives and to ask any questions which they may wish to put forward. This consultation is without cost and obligation and is most definitely not a formal audition, but, given the very limited number of places available in a representative year, some evidence of the applicant's potential plus high levels of motivation and commitment will be needed. An opportunity to play the piano at such a meeting is offered to prospective new pupils who have prior experience.

Julie Ainscough took delivery - in early November 2002 - of a superb grand piano by one of the world's greatest piano makers: the Viennese firm of L. Bösendorfer Klavierfabrik GmbH, restored recently and specifically for her by the highly-esteemed and Broadwood-trained technician/tuner, Jean-Marc Boisset at Piano Renaissance in South London - Telephone: (+44)(0)7780-672461. This instrument - which features a superlatively good, concert-platform standard action - has, undoubtedly, enhanced the development of good technique in her private pupils and has underlined to them that she takes their musical education seriously. Mozart, Beethoven, Chopin, Debussy, Ravel and John Ireland are the mainstays of her own repertoire: the "new" instrument also enhances, most certainly, her own enjoyment of playing the piano and has influenced her work as a composer. The Bösendorfer instrument is typical of that manufacturer's style: the tone is rich and yet mellow, but with no lack of incisiveness or power. Bösendorfer is the marque of choice amongst such luminaries as András Schiff and the jazz legend Oscar Peterson. Influenced by experience of their teacher's instrument, two of Julie Ainscough's pupils - a married couple, one of whom studies piano and the other learns organ with her - acquired recently a new Bösendorfer Model 290 Imperial grand piano (their largest concert instrument at 9' 6" and equipped with an extra nine bass notes down to Bottom C, as written for by Debussy, Ravel, Busoni and Bartók, the last in his iconic Piano Sonata - Sz80 of 1926).

Prior to the acquisition of her new teaching instrument, Julie Ainscough taught privately for many years with a high-quality Rodgers grand piano (badged "Reisbach"). This piano - a 5' 6" boudoir grand in a rosewood case - was built around 1920 by Rodgers of London and was sold, new, from the London showroom floor of Grotrian-Steinweg, to the founder of a private music school in South London for his personal teaching use. This business was continued - and the piano used similarly - by the founder's son until his own retirement, over fifty years later. He then sold the instrument to Julie Ainscough (who had taught in the music school), since when it has been in the care of Jean-Marc Boisset, who re-pegged and re-strung it in March 1991. The "Reisbach" continued in daily use up to November 2002.

The "Reisbach" piano has a rich and mellow tone, unmistakeably English in character, but it is also satisfyingly powerful when so called upon. This is a fine instrument, suited ideally to an advanced amateur pianist looking to upgrade from an upright piano, or for a young, diploma-level pianist with career aspirations. Pianists who have developed their skills on "Reisbach" pianos include Paul Roberts, now a Professor at the Guildhall School of Music in London, whose publications on and recordings of the music of Claude Debussy (using a Bösendorfer piano) are regarded, rightly, with considerable respect. Julie Ainscough's former "Reisbach" instrument has now found an appreciative home at St. Mary's Church, Summerstown, in London SW17, where, with its case re-polished, keys whitened, an A-frame fitted to facilitate the instrument's portability within the church, plus a new cover, the piano is to be used for occasional recitals.