Education >> Adult Education

 "Lots of us positives for me, perhaps the most important being that I really like your playing - it is so very rhythmical and yet avoids the frequently-encountered concomitant of being pedestrian.  I particularly liked (though paradoxically, could not really hear!) your Wilhelm Friedeman d minor polonaise, which can either sound nothing like a polonaise, or like one in which all the romanticism (for that is what it has) disappears.  Exceptionally attractive playing.  It was also a very good, and beautiful, venue, though a little noisy outside which intruded at times, and the organ is a great asset

And you always find something which will help those less experienced than yourself: it was quite noticeable how much one of the other students improved his sarabande, even within a few minutes. I was aware, as anyone who has tried to play it will be, of the way that the twiddles in the right hand drag you away from the task of maintaining the pulse, But in returning to the sarabande after your class, and with an absence of a few months from it, I also became aware that I was holding the bass note of the second beat too long, as other students were, until corrected.

I had forgotten about the table of Bach's ornaments in the Notenbuch and will get it out. Perhaps it is for this type of reason that I sometimes sit in on master classes -- you don't have to play to learn."
--P. Mole, (August 2010, after a masterclass on Bach and a concert)

"There were three parts, a recital a 'try it' session and a workshop.  The opening recital, given by Dr Schmitz, was a wonderful example of demonstrating the greater value and enjoyment of hearing early music played in accordance with historical styles of performance, on the instruments for which it was written….We were all brought closer to the music of another age."   -- Frank Field, British Clavichord Society Newsletter 45 ( October 2009)

Micaela has taught Music History through Analysis for University of Birmingham Centre for Lifelong Learning, and tutored a similar course as well as Technology of Music for the Open University.  She taught for a year at the Rugby Centre of Warwickshire College, on a range of courses including keyboard, vocal development, history through analysis, music in society, and listening to music, as part of their BTEC diploma programme.

Private tuition:

Micaela teaches harpsichord and clavichord one to one: please ring for rates, etc.

Keyboard Playing and Continuo Workshops:

She runs keyboard workshops occasionally, for example at the Worcester Early Music Weekend,. She uses the word 'informal masterclass' to describe many workshops, because they are meant to be inclusive, friendly, encouraging and exploratory.

 Micaela also enjoys leading workshops on continuo (how to accompany, for cello, gamba, keyboard, and the voice and melody instruments with them) and coached ensembles in private homes.  We always find there's 'a lot of music' in many pieces of music.

She has run courses on choral singing (Purcell, Byrd) and given talks on early keyboards for the Farncombe Estate Adult Learning Centre.

Micaela has given talks and demonstrations on early keyboards for Farncombe Estate, the Bate Collection in Oxford, and The Russell Collection at St. Cecilia's Hall in Edinburgh,  Finchcocks Museum, the Broadway Natural History Society (on soundboard decoration), the British Harpsichord Society, and the British Clavichord Society. For the BCS she has organised education events at the Birmingham Conservatoire, aiming to bring the clavichord to a wider audience.

(See our events page for more details).

Micaela edits the magazine Harpsichord & Fortepiano, which includes articles on music sources, maintainance and pedagogy. Go to this website, then click on 'Harpsichord and Fortepiano' to get to our page.  Potential Contributors may like to download our style guide there and note that deadlines are 5 January for Spring, and 5 July for Autumn.