Robert McDonald Robert McDonald

GuestArtistFeature

The Juilliard School and The Curtis Institute of Music are two of the most prestigious musical institutions in the world. These schools have earned their renown not only because of the talented students that study there, but also because of the world-class musicians who teach there. Robert McDonald, Juilliard and Curtis faculty member, is no exception. Bob has toured around the world as a soloist and chamber musician, playing with major orchestras, chamber groups, and distinguished instrumentalists. In recent years, Bob has spent more of his time teaching, and now is almost completely occupied with his two full-time positions.

The BYU School of Music welcomed Mr. McDonald in February as a guest artist. During his visit, Bob taught private lessons, mentored students in masterclass, and gave a solo recital.

While at BYU, Bob taught private lessons and mentored students in an observed masterclass. Jacie Glenn (BM, Senior) worked with Mr. McDonald on a Haydn Sonata, and noted how he approached every musical idea with purpose: “I’m inspired … to apply his advice to find meaning in every musical gesture.” Many students commented on Bob’s kindness and sincerity. Dr. Stephen Beus, current piano faculty member, studied with Bob McDonald during his years at Juilliard, and noted that “It was clear how devoted [Bob] was to his students.” Bob exhibited this devotion by insisting that his students build upon their natural sense of music to achieve a higher standard of playing. “Studying with Bob McDonald was one of the great privileges of my musical life,” said Dr. Beus.

Bob’s love for piano drove him towards teaching, but he also understood that teaching would be an endlessly challenging career. In his early thirties, Bob began his career as a piano teacher at the North Carolina School for the Arts. In our interview, he recalled a snowy December afternoon when he sat reflecting on his experiences as a new teacher. He remembered thinking, “I knew that I cared deeply about teaching, but I also knew so little as to what it was really all about.” He described a “restlessness” that continually pushed him to become an effective pedagogue, constructively questioning his techniques and always striving to be a compelling and accessible teacher. “A sense of inner restlessness,” he said, “can guide a person towards their goal for their entire life.”

In his many years of teaching, Bob observed that the undergraduate years, and even graduate years, are a tumultuous time of life for students some doubt their ability, motivation, and goals: “It is such a varied process for each person,” he said, “Some people never question where they’re headed, but others will have moments of great doubt.” Bob noted that these doubts are often part of a person’s musical evolution. He poignantly observed that, “If a person doesn’t have to go to the instrument the first thing when they get up each morning, it might not be right for them as a career.” But Bob explained that oftentimes students who have already come so far in their musical education already recognize their need and love for the instrument—they do, in fact, feel a desire to rush to the piano each day. “It should drive your very existence,” he concluded.

Not only has Bob guided his students through lapses in their musical passion, but he has mentored many to enter the industry as professionals. When asked what one piece of advice he would give to students preparing for professional careers, Bob said, “Whatever it is that you’re hoping for in your career, whatever it is that you dream about, it will likely turn out differently than you think and maybe even better.” He said, “As I think about the events that have landed me here [in his career], I can trace how it has happened, but I would have never guessed that this is where life would bring me.” Bob would advise students who aim for professional careers in music to prepare to be surprised, and to avoid being fearful. “The cautious parts of ourselves may not want to be caught off guard, but [uncertainty] invariably fuels our direction forward.”

Bob spends the majority of his time teaching, but he is an accomplished chamber and solo pianist. Even though he is likely drawn to the instrument each morning, Bob finds time to practice for his performances in the evening after the day’s lessons are complete. During his BYU visit, Bob performed in a solo recital a rare and special treat.

Bob first performed French Suite no. 4 in E-flat major by Bach, followed by Sonata no. 32 in C minor by Beethoven. Beethoven’s final sonata holds a special place in piano repertoire; it reflects Beethoven’s last thoughts on the piano sonata form and his struggles toward the end of his life. Bob observed that the piece is challenging, saying “The work is never done on Beethoven. If you were to study this music until the day you die, you would continue to be a student of this music.” Bob’s interpretation of Beethoven communicated the piece’s restlessness, exhibited by the rolling, nearly toppling lines of scales.

Bob followed his Germanic selections with Chaconne by Carl Nielsen, three preludes by Debussy (Book II), and ValseCaprice no. 2 in D-flat major by Faure. From Bach’s interlocking melodies to Faure’s flowing lines, Bob masterfully captivated his audience with precise yet emotional playing. When asked if he had a favorite piece on the program, Bob said, “I never think of favorites. I would say that I love all of these pieces. I never tire of going into the practice room and trying to address playing them a bit better each time.”

Having Bob McDonald on campus was “a thrill,” according to Dr. Beus, and all those who interacted with him during his visit as audience members or mentored students are sure to agree. Though he might not know it, Bob’s career represents BYU’s ideals of life-long learning and service. For Bob, excellence was not enough, and he relentlessly worked to improve both his playing and his teaching. Bob’s “restlessness” has motivated him to continually learn and improve so that he could then share light and knowledge with his students, being better able to serve them. His devotion to both his students and his music is a driving force in his life and sets an example for all. Bob demonstrates that ever-present curiosity and desire to improve can shape a person’s life all they have to do is go along for the ride.

By Sarah Griffin

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