Anna Ulaieva


My teaching method is oriented towards the needs of each individual personality and places them at the centre of the education. Each individual is highly gifted with different talents and abilities and has her or his own personal story that leads to individual requirements. In this sense my method is based on 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 achieved releasing all the hidden energies of the students. He turned to the power of imagination, taste and individual responsibility. He did not provide a model or an ideal solution. He gave his students a task, a recipe.." *

Artur Schnabel about Theodor Leschetizky's education

At present I lead the piano class of the particularly gifted students at the University of Music and Performing Arts Graz

Class of specially gifted students

My special concern is to promote talented young people and to support their individual development comprehensively.

With this aim in mind, we have established an intensive cooperation between the teachers of the classes of particularly gifted students at the University of Music and Performing Arts Graz. Emilio Percan (violin), Andrea Molnár (violoncello), Zoltan Füzesséry (piano) and Aris Feslikidis (piano) share these goals in order to strengthen the artistic abilities of young people.
Emilio 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

In order to improve my pedagogical skills, I wrote a scientific master thesis, which mainly deals with the development of educational 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. 


"There is no other profession capable of filling the soul with such divine satisfaction as art."

Peter Rosegger

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