ESTA UK Resilience For a Changing World

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ESTA UK Resilience For a Changing World


ESTA UK: Resilience in a Changing World online course June 10-12 2020

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ESTA UK Resilience For a Changing World June 10-12 2020


3 days of CPD for the new ‘normal’. A benefit to anyone who is trying to navigate new times. 


Come and join us for 3 days of support and inspiration. We have a wonderful faculty for you. You can either book for the whole thing or dip in and out as your timetable allows.

It will be held entirely online via Zoom, 9am-1pm with an opening night tech party on the 9th at 7pm and closing with a jam session from Chris Haigh and a fun quiz evening to finish on the 12th.



The programme retains its ever popular Basics (String Pedagogy) classes which take an in depth view of how we play and teach string instruments, upper strings: Simon Cartledge and lower strings: Prof Laura Ritchie. Each morning will start with Feldenkrais with Jo Horder followed by sessions from Simon Fischer and Lucy Hare. Chris Haigh will join us for the Friday night party folk session all topped off by a quiz.

Can’t take time off your teaching? All sessions will be recorded and providing you’ve booked the course you will be able to access the sessions via a private link.

ESTA members are eligible to apply for bursaries. Click HERE for more details.


See the price tab for details.


2020 Faculty.

Upper String Basics: Simon Cartledge

Simon Cartledge

I was born 1957, studied violin at Trinity College of Music.

Teachers,Tessa Robbins, Dora Zafransky and post college Maria Lydka.

Joined ESTA in 1980 and attended many summer schools with a huge variety of great teachers!

Early career was a combination of group teaching, freelance orchestral playing and chamber music.

I have given teaching workshops throughout the UK as well as in Spain, South Africa and Poland with a regular class at the Zenon Brzewski International Summer School.

This summer will be the fifth time I have presented the Basics Technique Class at the UK ESTA Summer School.

In 2013 I presented a workshop called, ‘Getting it in to the Muscle’ at the 41st ESTA International Conference Oxford.

From1993 to 2003 I was Head of Strings at Bedford Modern School.

Visiting lecturer at Trinity College of Music helping and advising on the incorporation of Dalcroze and Kodály principles in to string teaching.

Birmingham Conservatoire lectures on the principles of teaching.

Over nearly forty years of teaching my influences have been very eclectic.

Other than the direct line from Carl Flesch and Rostal through Maria Lydka, Paul Rollands principles of movement, Alexander Technique, Kinesiology and work done with sport scientists.

In May 2011 I qualified as a Master Practitioner in Neuro Linguistic Programming which has profoundly influenced my approach to effective communication.

Currently I have a thriving teaching practice in Cambridge, run and direct the Stapleford Youth String Orchestra as well as continuing to run workshops.

Lower String Basics: Prof Laura Ritchie

Professor Laura Ritchie

Laura Ritchie is Professor of Learning and Teaching in Music. She is a teacher, mother, musician, and dreamer. She is recognised as an educational innovator and was awarded a UK National Teaching Fellowship in 2012.

At the University of Chichester she coordinates both the Music with Instrumental / Vocal Teaching and the MA Performance programmes. Laura has also co-authored the curriculum for the European String Teachers Association Postgraduate Certificate in Teaching, which is an international, distance learning course. Laura trained as a classical cellist in America (Northwestern University) and London (Royal College of Music) and her PhD research focused on psychology of music and specifically the impact of students’ self-beliefs on learning and performing. In her academic publications and presentations she promotes excellence across disciplines in teaching and learning, and in particular provides innovative ways to unlock student potential through practical teaching settings.

Laura pushes the boundaries of learning for her students and herself. She advocates experiential learning and fully immerses herself in learning projects, teaching by example.

Feldenkrais: Jo Horder


I studied in London with Joan Dickson at the very time she was involved in founding ESTA UK. I went on to study in Salzburg with Antonio Janigro and in Düsseldorf with Johannes Goritzki. My career in chamber music has included many performances at the Wigmore Hall and the South Bank as well as numerous recordings for radio. I was a founder member of Divertimenti Ensemble and the Schubert Ensemble and principal cello of Kent Opera. My commercial recordings include several with Divertimenti, most notably the Mendelssohn Octet and chamber works of Arnold Bax, Brahms and Weber. As a freelance cellist I have played with the London Mozart Players and the Orchestra of the Age of Enlightenment at the Proms, Glyndbourne and throughout Europe. With my husband, violinist Paul Barritt, I am co-director of Tring Chamber Music, “West Hertfordshire’s best kept secret.”

I have enjoyed teaching cello students of all ages and stages privately throughout my career, as well as being a peripatetic cello teacher in West Hertfordshire schools.

In the early nineties just a few one-to-one Feldenkrais lessons transformed my experience of playing and performance. At the time it seemed like magic: musical intentions became effortless and pleasurable to express; technical challenges morphed from being daunting to becoming realistic, enjoyable projects. I felt an unexpected sense of limitless potential. Keen to understand this transformation I eventually embarked on the 4-year training to become a Feldenkrais Method Practitioner.

Since graduation as a Practitioner I have been teaching public classes in Awareness Through Movement as well as Functional Integration to private clients. In addition I run specialist Feldenkrais workshops for musicians, fusing my career-long experience as a cellist with a deepened understanding of movement and function. I have given workshops for ESTA, the Royal Birmingham Conservatoire, Benslow Music, Arpeggione, CelloDynamo, and for Buskaid in Soweto, South Africa.

Simon Fischer

Simon Fischer

Simon Fischer

Simon Fischer is recognised as having a place amongst the world’s elite teachers. Having studied in London with Yfrah Neaman, and in New York with Dorothy DeLay, Fischer’s approach unites the best elements of the French, Russian and American violin traditions. He also studied Alexander Technique under Walter Carrington (himself a pupil of Alexander) for seven years.

He is a professor at the Guildhall School of Music. He has also held positions at three specialist music schools, the Yehudi Menuhin, Wells Cathedral and Purcell. For 15 years he was also a visiting professor at the Royal Scottish Academy of Music.

Fischer’s published work greatly influences the teaching of the violin. Having written for The Strad magazine from 1991-2014, his monthly articles attracted a worldwide following.

Published by Edition Peters, his technique books Basics and Practice, Scales and The Violin Lesson (translated variously into Korean, Italian, Japanese and German),  have become standards on many continents – as has his DVD The Secrets of Tone Production, His book and DVD Warming Up, was described by The Strad magazine as “23 pages of pure technical gold”.

In 2014 Simon Fischer was awarded the European String Teachers Association prize “In celebration of a lifetime contribution to String Teaching”.

Tech: Steve Bingham

Steve Bingham

Steve Bingham studied violin with Emmanuel Hurwitz, Sidney Griller and the Amadeus Quartet at the Royal Academy of Music from 1981 to 1985, where he won prizes for orchestral leading and string quartet playing. In 1985 he formed the Bingham String Quartet, an ensemble which has become one of the foremost in the UK, with an enviable reputation for both classical and contemporary repertoire.

The Quartet has recorded numerous CDs and has worked for radio and television both in the UK and as far afield as Australia. The group has toured in Europe, the Middle East and Australia and has worked with distinguished musicians such as Jack Brymer, Raphael Wallfisch, Michael Collins and David Campbell. The Quartet’s educational activities have included residencies at London’s South Bank Centre, for several UK festivals and at Radley College. The Quartet is also known for it’s many performances of new works by some of the best young composers in Britain.

Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra, English National Ballet and English Sinfonia. He has given solo recitals both in the UK and America and his concerto performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St. Johns’ Smith Square and the Royal Albert Hall.

In recent years Steve has developed his interest in improvisation, electronics and World music, collaborating with several notable musicians including guitarist Jason Carter and players such as Sanju Vishnu Sahai (tabla), Baluji Shivastrav (sitar) and Abdullah Ibrahim (piano). Steve also plays live with No-Man, the progressive art-rock duo of Tim Bowness and Steve Wilson.

Steve’s debut solo CD “Duplicity” was released in November 2005, and has been played on several radio stations including BBC Radio 3 and Classic FM. His second solo CD, entitled “Ascension”, was released in December 2008 and has since been followed by “Touchable Dreams”, a CD of poetry and violin with Jeremy Harmer, “Third”, an eclectic mix of live-looped pieces, and in 2014 “The Persistence Of Vision”, which features the amazing Bach D minor Partita, and works by Michael Nyman. Steve has also released many single tracks, and has an active YouTube channel featuring many weird and wonderful video creations!

Beyond performing on the violin Steve is a conductor of some repute, and currently conducts the Ely Sinfonia, Ad Hoc Sinfonia and City of Peterborough Symphony Orchestra, with guest appearances with several other ensembles. Steve is a committed teacher, and is Editor and Webmaster for the European String Teachers Association (UK). He coaches on many chamber music courses as well as giving regular school workshops to all age groups. He is particularly known for his communication skills and enthusiasm. Steve is also Joint CEO of PartPlay, an exciting online music service for chamber musicians.

Steve’s interests include ornithology, photography and Celtic knotwork.

Lucy Hare: Restart or Reinvent?

Lucy Hare – Musician (Double Bass) and Coach

Lucy has been a freelance bass player for 30 years playing in a huge variety of styles and places including BBCSO, LPO, Royal Opera House, BBCCO and Matthew Bourne’s New Adventures dance company. For 10 years she ran an Argentinean tango quintet, Tango Volcano and became an obsessive tango dancer. A love of Celtic and Latin music began from being a founder member of the Oxford Concert Party, a whacky group of six musicians who have produced 8 CDs and one cookery book, and spent as much time working in prisons as they have in concert halls.

Her coaching work has taken her into corporate settings as well as many music colleges and orchestras. Lucy is a trainer for Barefoot Coaching, one of UK’s foremost coaching organisations. She is passionate about bringing energising and creative coaching work to performers everywhere.

Chris Haigh: folk session

When it comes to fiddle playing, Chris Haigh wrote the book. As a professional for over 30 years he has covered almost every aspect of fiddling, playing on over 100 albums, and working with artists as diverse as Morcheeba, Bob Geldof, Alison Moyet, All about Eve, Najma Akhtar, Andrew Cronshaw, Brendan Power, Diz Disley, Steps, The Coal Porters, David Soul, the Quireboys, Jyotsna Srikanth and Oumou Sangari.

He has played at private parties for Sting, Elton John, Paul McCartney, Princess Anne and countless others, and as a session musician has played on numerous jingles, and TV and film soundtracks.

He covers a huge range of fiddle styles with ease and authority, including many of those normally outside the scope of a folk fiddler; country, rock, jazz, western swing, klezmer and gypsy. He has written eleven books on fiddling, including the highly acclaimed “Fiddle Handbook”, and for Schott, books on rock, jazz, folk, Hungarian, French, country and klezmer fiddle. He organises an annual event, the London Fiddle Convention at Cecil Sharp House. Now in its 28th year, this brings together fiddlers from every conceivable tradition for a day of workshops and performances.

Chris’s website, gets over 1.5million hits a year and is probably the primary source of fiddle information on the web.

Tech Facilitator: Nicole Wilson

After Nicole’s first job in the first violin section of the London Symphony Orchestra, Nicole went on to become a principal violinist in English National Opera and a guest leader around the UK and Europe with symphony and chamber orchestras.

A professor of violin at the Royal Academy of Music, she founded and is CEO of the online music teaching company Musical Orbit and AuditionPerform, a music course helping graduating musicians hone their audition skills.

Nicole has presented concerts for BBC 4 TV , and BBC3 and Classic FM radio. Her portfolio career has also seen her produce CDs and concerts. As an ESTA trustee, Nicole enjoys helping music teachers from all walks of life reach the students who need them.


Simon Cartledge: Upper Strings Pedagogy

The online workshop is going to be a very practical session. I’m going to do my best to make it as similar to what we would do on the summer school but with some obvious differences.

Have your violin/viola to hand so that you can try things out and then come back with questions. The sessions will help you to focus on your own technique. It will give you many ideas for your teaching and ways in which to develop your teaching.

I am also happy for this to be participant lead to some degree, so if people want to take the work in a certain direction that is also very possible.

Session 1

From Lobster to Karate Kid

Happy Woodpeckers

Big movement principles that can be learnt away from the instrument that support, and are, the foundation of bowing techniques and right arm technique.

Left hand set up and freedom of movement.

Ready for vibrato

Session 2

String crossings and Bowings

Elbow on a Hamster wheel and much, much more

Using the ideas of session 1 to bring bouncing bows and fluid string crossing to life

Session 3

Burning Issues

Reviewing, taking all these techniques further. How to get the message across directly. Enabling not inhibiting our students

Hopefully this menu whets the appetite

See you soon, Simon

Lower Strings Pedagogy with Prof Laura Ritchie

  • Left Hand: Hand shapes and shifting across the cello (to include songs, scales and etudes)
  • Right Hand: Bowing placement and finger flexibility (focus on tone)
  • Both hands! Holistic playing, including exercises for dexterity and expression combining L&R hands

Welcome to online ESTA cello fun!
In these three days we explore the fundamentals of technique involving both hands from open strings to octave shifts, with an interactive, online experience that involves listening, playing, and working with one another.

Day 1: Left hand finger training.
As any cellist progresses, learning involves more practice and careful treatment of the fingers. We discuss hand shapes and their usefulness in understanding the geography of the fingerboard, especially with relation to scales and choosing what position or string to use in the repertoire. We apply the technical principles of lifting & falling (as opposed to pressing) to the fingers, and hand-shapes to studies by Cossman and Feuillard before putting them into
practice in some folk-duets.

Day 2: The right hand.
Today we identify the three main variables involved with bowing and explore how placement, weight, and speed influence making a good sound. This session is all about bow hold, bow angles (as introduced by Gerhard Mantel), bow speed, and of course flexibility in bow changes. We apply these with both technical rhythm exercises and with well known tunes from the repertoire.

Day 3: Expressive playing.
Elements of expression involving both hands are presented today. Left hand vibrato games and challenges include matching the speed of the operatic diva and continuous vibrato exercises both within one hand shape and across shifts. The bow aids in expression as we dissect shifting and add some variation of bow speed to broaden your colouristic palate.

Cossmann, B. (1876). Studies for Developing Agility for Cello. Available online:,_Bernhard)
Feuillard, L.R. (1919). Daily Exercises for Violoncello. Schott: London.
Jensen, H. J. (Ed.). (1994). The Ivan Galamian scale system for violoncello. Galaxy Music
Corporation: Fenton, Missouri.
Jensen, H. J. (1996). Fun in Thumb Position. Shar Music: Chicago, Illinois.
Jensen, H.J., & Chung, M. (Eds.) (2016). Cello Mind. Ovation Press: Chicago, Illinois.
Mantle, G. (1995). Cello Technique: Principles and Forms of Movement. Indiana University
Press: Indiana.

Lucy Hare: Resilience for Changing Times

This workshop will look at the key elements of Resilience and help participants look at their own strengths to find a way forward through these challenging times.

What is Resilience and what is your personal definition of that term?

How do you score on the Resilience scale?

The four key elements to strong Resilience.

How to develop in these four key areas, and how to come through these times stronger and more resourceful.

Lucy Hare: Restart or Reinvent? How will you return to your teaching practice?

Is this a time of crisis and loss, or a once in a lifetime chance to stop and take stock of what you do and why you do it? How will you emerge from this time of change?

What are the challenges and opportunities currently facing you?

How can you use this time to refresh your teaching practice?

15 key questions to recharging your practice.

Create your own Refresh and Restart strategy.

Simon Fischer: Question Time

This session will be lead by your questions! send any questions in

Chris Haigh: Folk Fiddle

Chris will lead you through the delights and complexities of folk music. He will take you through 4 styles of folk music, one entirely from ear so you can experience the true folk tradition plus 3 other numbers – dots will be provided for prior to the course!

Jo Horder: Feldenkrais

With resilience in mind, my classes nourish a deepened state of awareness through the medium of gentle movement. They offer an opportunity to centre yourself whilst exploring your potential to play with greater ease and pleasure.
The Feldenkrais Method is especially interested in the relationship of our skeleton to gravity. Bones provide resilience.
We will address issues which are common to all musicians, including balanced sitting and how to use your hands and arms more effectively.
Day 1: Can our feet help us to sit better?
Day 2: How long is an arm?
Day 3: Hands, feet and everything in between.

What is the The Feldenkrais Method?

A unique and practical way to help you do the things you want to do in life, Feldenkrais is an educational method focusing on learning and movement, and is named after it’s originator, Dr Moshe Feldenkrais (1904-1984) who was an engineer and physicist and Europe’s first-ever Judo black belt.

The method involves neither exertion, exercise, stretching nor fitness. Relaxed attention is combined with movement riddles to stimulate brain plasticity – intriguing, illuminating, accessible to all – helping us learn (or rediscover) how to move more easily and efficiently in all areas of our lives.


Resilience: June 09

  • 7.00pm: Setting up Zoom and tech party with Nicole Wilson and Steve Bingham

Resilience Day 1: June 10

  • 9am-9.45am: Daily Feldenkrais with Jo Horder
  • 10.00am-11.30am: Upper Strings/Lower Strings Basics with Simon Cartledge and Prof Laura Ritchie
  • 11.30am-12: Coffee Break
  • 12.00am-1.00pm: Lucy Hare, Resilience for Changing Times

Resilience Day 2: June 11

  • 9.00am-9.45am: Daily Feldenkrais with Jo Horder
  • 10am-11.30am: Upper Strings/Lower Strings Basics with Simon Cartledge and Prof Laura Ritchie
  • 11.30am-12 : Coffee Break
  • 12-1.00pm: Lucy Hare, Restart or Reinvent?

Resilience Day 3: June 12 

  • 9.00am-9.45am: Daily Feldenkrais with Jo Horder
  • 10am-11.30am: Upper Strings/Lower Strings Basics with Simon Cartledge and Prof Laura Ritchie
  • 11.30am-12: Coffee Break
  • 12-1.00pm: Simon Fischer, 20 Questions
  • 7pm: Chris Haigh Folk Session followed by Quiz

Can’t take time off your teaching? All sessions will be recorded and providing you’ve booked the course you will be able to access the sessions via a private link.




  • ESTA member –  £200
  • ESTA non member –  £250
  • ESTA student member – £100
  • ESTA student non member – £150
  • Overseas delegate – £250

Single sessions can be attended on a session by session basis. Please email to book. I’ll send you a payment link for the sessions booked.

Single Sessions:

  • ESTA member £25
  • ESTA non member £25
  • ESTA student member £10
  • ESTA student non member £15
  • Overseas delegates £25

If cost is an issue ESTA members can apply for a bursary of up to 50% from the Nannie Jamieson Nutshell Fund. Please click here to apply.

Non members signing up for the course can have a 50% discount code for ESTA membership.

Any problems or questions? email:


If you are an ESTA UK member you are entitled to apply for  bursary.

We have two funds, The Nannie Jamieson Nutshell Fund (NJNF) and the Joan Dickson Chamber Music Fund (JDCMF). Adult CPD bursaries are supported by the NJNF. We really are very grateful to our sponsors who, over the years, have enabled many people to attend these valuable courses.

Many thanks to:

To apply for a bursary click here

Terms and Conditions

Conditions of booking:

  • Booking is open to members and non-members of the European String Teachers Association. For details of membership of ESTA(UK) please contact the membership secretary or visit our Join ESTA page.
  • In case of illness or other circumstances beyond our control we reserve the right to alter advertised presenters but will inform you if this proves necessary.
  • Payment: Online payment must be made in full. Individual sessions not taken will not be refunded.

Request for media coverage:

  • ESTA requests permission to take photographs and/or videos for the sole use on the ESTA website and social media. ESTA will never sell or distribute images to third parties.  If you do not grant permission please email

Event Details

Start date: June 10, 2020

End date: June 12, 2020

Start time: 09:00

End time: 22:00

Venue: Online