Anna Ulaieva

Pianist

My teaching method focuses on the needs of each individual personality and puts them in the center of the education. Each individuum is highly gifted with various talents and different abilities and carries his own personal story that lead to individual needs. In this sense my method is oriented towards the traditions of Heinrich Neuhaus and Theodor Leschetizky.


"There was no teaching method. His lectures were much more than a teaching method. It was a process that reached to set all hidden energies of the students free. He adressed the power of imagination, taste and individual responsiblity. He didn't deliever a model or an ideal solution. He gave his students a task, a recipe." *

Artur Schnabel about Theodor Leschetizky's education


Actually I'm leading the piano class of specially gifted students at the University of Music and Performing Arts Graz

Class of specially gifted students - 2018

My particular intention is to encourage gifted young people and to support their individual development extensively. 


Following this aim we founded an intense cooperation between the teachers of the classes of specially gifted students at University of Music and Performing Arts Graz. Emilio Percan (violine), Andrea Molnár (violoncello), Zoltan Füzesséry (piano) and Aris Feslikidis (piano) share these aims to strengthen young people in their artistic skills.
Emilio Percan, Andrea Molnár, Zoltan Füzessery, Aris Fesslikidis and Anna UlaievaEmilio Percan, Andrea Molnár, Zoltan Füzessery, Aris Feslikidis and Anna Ulaieva


As a result of this cooperation we founded the annual masterclass "Gifted in Music" in Kapfenberg. 

Gifted in Music - International Masterclass for Children and Juveniles

Piano, Violine, Violoncello & Chamber Music

for further info please visit

www.giftedinmusic.at


To advance my educational skillls I wrote a scientific masterthesis that mainly deals with the development of education methods:

Female pianists on the concert stage – Circumstances and influences in the 19th /20th century

This thesis deals with the development of concert activities of female concert pianists including circumstances and influences from the beginning of the 19th century until today. Starting with social conventions and limitations for women at the beginning of the 19th century, influences and circumstances within the context of social changes are depicted and the origin of professional education institutes for female pianists are illustrated. In addition, the development of modern piano education described, followed by a comparison of the piano teaching methods of Clara Schumann and Theodor Leschetizky. As most relevant female representatives of each piano teaching method the pianists Fanny Davies and Annette Essipoff serve as examples. Their artistic work is revealed by facts of their vita, concert activities and repertoire, as well as by analysis of sound recordings and newspaper reviews. Finally, relevant facts and career circumstances of today´s female concert artists are presented. 

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"There is no other profession that is able to fulfill the soul with such a divine satisfaction than artistry"

Peter Rosegger


*Artur Schnabel: Aus dir wird nie ein Pianist, Frankfurt am Main, 1991, S. 162