Learning with Professor McClure
Rhythm, counting and playing
Professor Mac develops this course to bring the students to internalize both rythm and musical gesture. This course is intended to provide a more solid base for future musicians and a more grounded interpretation for performers.
Breathing your body and instrument
Professor Mac recognizes the importance of breathing not only as fundamental for the construction of a musical phrase, but also in how students connect with their instrument, A more conscious approach to how we breath and applying this knowledge to the instrument allows to open doors for a better relationship with our instrument and a more relaxed and natural interpretation.
Professor McClure’s Learning Background
Roots of Barcelona
Professor Mac joins the Faculty of Music of the National University in Colombia in 2010. A search for his pedagogic roots takes us back to the years he spendt in Barcelona where he was trained and had the fortune to meet celebrated composers and musicians of the spanish contemporary music scene. In 1984 professor McClure arrives in Barcelona where he begins piano studies with Carlota Garriga and under occasional supervision of Mercedes Roldos who dedicated her life to the Marshall Academy, Carlota Garriga was a former student of Frank Marshall and upon his death she continued studies with Alicia de Larrocha. In the same academy, Professor Mac also had the opportunity to work with Narcis Bonet who taught in the École Normal de Paris. His chamber master in the Marshall Academy was Xavier Turull, a student of Yehudi Menuhin and Ruggero Ricci and with close reationships with Francis Poulenc and Oliver Messeian. During his stay in Barcelona he also had the fortune to meet and work closely with Xavier Montsalvatge and Frederic Mompou and wife Carmen, They were of major influence in his development as a musician and as a pianist.
Until 2010 Professor Mac had been teaching in summer festivals and giving Master classes around the world.
Fascinating professors, fascinating people
Carlota Garriga was a fascinating woman, teacher, pianist, painter and had a profound influence in the life of Professor Mac. She had spent many years beside the great Russian director Igor Markevich.
Professor Mac has been fortunate to be able to work on a variety of different repertories with Alicia de Larrocha: Bach, Haydn, Mozart, Chopin, Brahms as well as Granados, Albeniz, Surinach, Montsalvatge, Turina and Falla form the shared piano repertory with this renown interpreter.
Mercedes Roldos was a child prodigy who had played for Alfred Cortot and Emile Sauer both being close friends of Frank Marshall. Her supervision on the artistic development of Professor Mac was evident.
After being under the direction of Enrique Granados, subdirector Frank Marshall would become a later director of the Marshal Academy. It was precisely Alicia de Larrocha his prize pupil and the person who inherited the Academy named after him.
Arola Natola Ginastera was the second wife of the great Argentinian composer Alberto Ginastera and an extraordinary great cellist. Professor Mac accompanied her in two concerts and was also able to study alongside with her the interpretation of songs for voice and piano as well as several piano pieces (Sonata Op 22, Suite de Danzas Criollas)
Dalton Baldwin is one of the greatest living vocal accompanists. His work with Gerard Suozay, Ellie Amelling, Jessye Norman among many other celebrated vocals has undoubtedly left a mark on the vocal accompaniment. Professor Mac had the opportunity to work on and off with Dalton Baldwin for over five years. The complete works of Faure and Duparc as well as over half the vocal production of Debussy and Poulenc were a sampling of their work together alongside wonderful singers like Marisa Martins, Norah Amsellem and Rosa Mateu.