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Masterclasses

Learn not only from a professor, but also a performer.

Not where a piece is born — where it becomes yours.

Book a masterclassWhat we work on
  • Intermediate and above
  • Strictly one-on-one
  • 60 minutes
  • In person or online

What this is

For music already in your hands.

For music that already exists in your hands, but not yet fully in your body, your sound, your presence, or your story. Not slowly learning notes from scratch — taking something prepared and making it more alive, more convincing, more fully owned.

Why trust this with your playing

You already play well. That is the starting point.

Which is exactly why the question is fair: what does this hour give you that another hour of practice would not?

  1. Alexander Technique, certified under Nelly Ben Or

    Royal Academy of Music, London and Northwood. Physical release is not an add-on here — it is a trained discipline, applied to where your effort is actually going, including the tension you stopped noticing years ago.

  2. A performer, not only a professor

    Solo pianist for Viking Cruises, concert programmes, hotel rooms, and public squares across more than 50 countries. Stage presence is taught by someone who still has to walk out and do it.

  3. A composer, so interpretation is argued from both sides

    Bulgaria National Culture Fund programme, 2026. Benslow Music Competition, Hitchin UK, 2011. Knowing how the notes were chosen changes what you are allowed to do with them.

  4. Research behind the teaching

    Ongoing PhD in Music Perspective: Anthropological and Societal Outcomes. Bachelor's and master's in piano and solfège teaching, both with perfect scores.

Bartók — Four Dirges IINürnberg, Germany
Own composition, Culture Fund programmeBulgaria National Culture Fund programme

Bulgarian National Radio — BNR Horizons — feature interviewIn Bulgarian. Browser translation reads it fine.

What we work on

Eight things, and none of them are notes.

Open any of them for what it means in a session.

  • Crisis management on stageWhat you do when memory slips, when the instrument fights you, when the hall is wrong, when the page turns badly. Rehearsed responses, so that the recovery is a decision and not luck.
  • Alexander Technique and physical releaseWhere the effort is going that you cannot hear yet. Held shoulders, a jaw that works during fast passages, a breath that stops at the difficult bar. Removing that usually changes the sound before it changes the comfort.
  • Stage presenceWhat the audience decides about you before the first note — the walk, the sit, the silence you take. Most of it is controllable, and almost nobody practises it.
  • Music philosophy and interpretationWhy this phrase, this way. An interpretation you can defend out loud is one that survives a bad hall, a cold audience and your own nerves.
  • Visual understanding of techniqueSeeing your own movement from outside and mapped, instead of feeling for it blind. What you think your hand is doing and what it does are rarely the same thing.
  • Self-teaching habitsHow you practise when nobody is watching. Everything between two sessions depends on it, so it is treated as a subject rather than as homework.
  • Reading the audienceThe room reports back constantly — attention, restlessness, the quality of its silence. Most players are too busy inside the piece to hear any of it.
  • Turning preparation into communicationThe distance between “it is prepared” and “it reached them”. Closing that distance is the whole point of the session.

How a session runs

One hour, one player, one piece worth the hour.

Level
Intermediate and above.
Format
Strictly one-on-one. Never a group.
Length
60 minutes per session.
Place
In person, or online.
Online setup
The camera has to show hands and posture clearly — ideally from above and diagonally. Sound matters less than what can be seen.
Who it suits
Players who arrive prepared and want to work in depth for an hour.

Session focus

Choose what the hour is for.

  • One piece, reshaped in depth. The most common choice, and usually the most useful.
  • Preparation for a specific event. A competition, an audition, a concert with a date on it.
  • Multi-session work across several pieces. A programme instead of a piece.
  • Ongoing refinement. Stage presence, sound and response, over time.

Pricing

€49.99 per session

One session, 60 minutes, one-on-one. Multi-session work is agreed case by case.

Tell me the piece, roughly where it stands, and what you want it to do that it does not do yet. If a masterclass is the wrong tool for that, you will hear so before you pay for one.

Book a masterclass