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Year XXII, No. 2 (February 2018)



Joyce C. (piano)
Gary W. (piano)
Laila W. (voice/piano)
Karen D. (guitar)
Jacky C. (piano, guitar)
Yoyo C. (flute)
Anthony P. (piano)
Lucas T. (Drums)
Noah H. (guitar)
Lucas G. (piano/voice)
Nicole X. (flute)
Konstantine K. (piano/voice)
Mithran S. (guitar)
Jeremy A. (voice)



Steven L., Edward L., Ravleen S., Alicia L., Lucia A., Felix Z., Bethany T., Harry S., Mithran S., Rhianna C., Kayvon N., Mariella G.




Feb 2. PA day (YR). School is open
Feb 10. Flato Markham Theatre. Kindred Spirits Orchestra: The Will of life. A Chinese New Year Celebration
Feb 14. Valentine’s Day
Feb 15. RCM SPRING session application deadline
Feb 16. Chinese New Year
Feb 19. Family Day. School is Open
Feb 20-Mar 3. Kiwanis Music Festival






The International Music Academy – Stouffville campus, is growing and has hired a new guitar teacher and specialist in computer music.

Michael Lukaszuk, DMA, MMus, BMus
Guitar studies, computer music

Description: Macintosh HD:Users:Kristian:Documents:IMA:IMA Stouffville:Photos:Faculty:Michael Lukaszuk.jpgMichael Lukaszuk is a multifaceted musician with interests spanning composition, guitar performance and music technology. He holds a Doctor of Musical Arts in Composition from the University of Cincinnati, College-Conservatory of Music. He studied guitar in Toronto with Eli Kassner and at the University of Western Ontario with Wilma Van Berkel. As a guitarist he participated in master classes with internationally renowned artists such as Graham Devine and Patrick Roux. As a composer, his interests lie in the use of computers in music, and extending the classical guitar literature. His music has been performed at international festivals and conferences across Canada and the United States, and in the United Kingdom, the Netherlands, Poland, Romania and China. Michael has served on faculty at the University of Cincinnati, College-Conservatory of Music and Miami University (Oxford, Ohio).



If you are ready to purchase a high quality pre-own piano through one of the IMA commercial partners, 3 of your lessons at the IMA will be free. Call our Office or e-mail Office@InternationalMusicAcademy.ca for more information. Pre-own piano is a great investment that comes at an attractive price, with a free tuning and delivery.



We have been very pleased with the continuous success of our students. They have improved a great deal and we share their excitement with their families, friends, neighbors, and schoolmates. We appreciate your interest towards our programs and services. We are always very happy to welcome new students of all ages, levels, and instruments to the iMA. Please tell your friends about your experience with the International Music Academy.

Do you know someone who is thinking of taking music lessons or who has children who may be interested in getting their hands on a musical instrument or singing? Do you know a teenager who needs a high school OAC credit? Do you know an adult who has wanted for a long time to learn how to play a musical instrument but has never had the time or inclination? Please tell them about the IMA.

As an appreciation for your referral, we will give you a $30 credit for each new student who registers at the International Music Academy as a result of your referral. As we value your friends as much as we value you, we will offer to each referred student a $30 credit as well.



Stay in touch and follow the IMA latest news on Facebook. Visit Facebook and become a friend of the International Music Academy.



The IMA offers personalized Gift Cards that could be used as thoughtful birthday, holiday, bar/bat Mitzvah, graduation gift or for any other occasions as well as to encourage someone to start learning a musical instrument or singing. The card can be used for any products or services.

The gift card is available for any amount. As cards are personalized with the name of the person who will receive it as well as with the name of the person who purchase it, requests have to be made 1 day in advance. Cards can be ordered in person, by phone at 905.489.4620 or by e-mail at info@InternationalMusicAcademy.ca. At the time the card is ordered, a non-refundable $5 deposit is required. The full value of the card is paid upon pick-up (and the deposit is credited towards the purchase price). Payments can be made by any major credit card, cheque or cash as well as through the accounts of the IMA Clients.



3/02/1809 Mendelssohn was born

13/02/1883 Wagner died

15/02/1857 Glinka died

23/2/1934 Elgar died

23/2/1685 Handel was born

27/2/1887 Borodin died

29/2/1792 Rossini was born

Where you born or do you know someone who was born on the same day as these famous composers? Drop us e-mail at info@InternationalMusicAcademy.ca to let us know.




Piano Studies and Interpretation, Music Theory

Description: Macintosh HD:Users:Kristian:Desktop:Antonia de Wolfe.jpg

Ms. Antonia de Wolfe has graduated with a degree in piano performance from the George Enescu Institute of Music in Bucharest, Romania and, later, with another degree from the Central School of Music affiliated with the P. I. Tchaikovsky State Conservatory in Moscow. She has also graduated from the Academia Nazionale di Santa Cecilia in Rome, where she studied with Sergio Perticaroli, and has earned a Master in Music (piano performance) degree from the University of Toronto. In addition, Ms. de Wolfe has studied with Maestro S. Petricaroli at Mozarteum Hochschule für Musik in Salzburg (Austria). Ms. de Wolfe has given several recitals and concerts in some of the finest concert halls in Bucharest, Moscow, Rome, Paris, Salzburg, and Toronto. She has also taught piano at the Columbus Centre, Cosmo school of Music, and Koffler Music School. As a collaborative pianist and accompanist, she has been in great demand for several productions of the Centuries Opera Association, Toronto Opera Repertoire, Palestrina Choir, Ethobicoke Centennial Choir, and others. Ms. de Wolfe is a registered teacher with Royal Conservatory of Music (RCME 44667).

Ms. De Wolfe was happy to answer a few questions for our students and parents:

1. What do you like most about teaching? I feel a great satisfaction upon following the development of my students’ skills and of their understanding of music. When I teach pieces that I myself have played I get a new perspective on them and I get new ideas about alternative ways to approach them. Teaching requires a keen analysis of musical structure, which helps the teacher to unveil hidden or new meanings involved in the experience of music. Also I like to perpetuate the love of classical music for the new generations.

2. How do you inspire students to practice more? It’s very important to listen to music. Listening to recordings, going to concerts… Listening to music is an active process that inspires a student. It awakens in them the expressive possibilities that music offers. I always demonstrate a piece of music on the piano. Also, I give the student several repertoire choices and let them pick their favourite one. Finally it is important to put a piece in historical context: information about the composer and the period the music was written in. All of this leads to inspiring my students to learn more.

3. What roles does performance play in student’s development? It is important to have performances as milestones in a student development. Such events contribute much to shape the self‐image of a student. Once a student has a performance as a set goal practicing becomes more exciting! Simply, a motivated student puts more effort into practicing. The performance in itself represents the culmination of all the effort put into practice. Plus it’s a great feeling to be on stage and create beautiful music.

4. Who are your favourite composers? Robert Schumann has been a long-standing favourite composer of mine. His intense romanticism has always moved me. His ability of changing moods from lyrical calm to passionate torment, from sadness to great joy and glamour, exemplify is depth of character (as a composer). Also from orchestral repertoire I like Symphonie Fantastique by Hector Berlioz. Wagner and Berlioz were both innovators of program music (music that has a story line behind it).

5. What was the last piece of music (sheet music or a recording) you purchased for yourself? I purchased Carnival by Robert Schumann, a piano piece.




Jessica Wang

Description: Macintosh HD:Users:Kristian:Desktop:Jessica Wang.jpg What instrument do you play? –  I have been playing the piano.

What instrument do you play? –  I have been playing the piano and also I take vocal lessons

How long have you taken lessons? – I started taking lessons 7 years ago and at the International Music Academy in 2017.

Who are your favourite musical artists? – My favourite artist is Andreas Bocelli.

What are your other hobbies, besides music? – I love to dance, skate, and trampoline gymnastics.

Favourite food? – Chocolate!

What is the coolest thing you’ve learnt in your lessons in the past three months? I have learnt a song in French

Do you have any performance coming up? – Nothing yet.

How long have you taken lessons? – I started taking lessons at the International Music Academy in 2015.

Who are your favourite musical artists? – I don’t have any favourite musical artists yet. I like songs from many different artists.

What are your other hobbies, besides music? - I like reading and rock climbing.

Favourite food? – Definitely steak and sushi.

Do you have any performance coming up? – I have a Royal Conservatory of Music exam coming up in mid-January.

E-mail to info@InternationalMusicAcademy.ca a photo of yourself (or your child) together with the answers of the questions above. The deadline for submissions is the 15th of every month. We will feature you in one of the next issues of the newsletter.



Send a photo of your pet together with following information and we will publish it in one of the next issues of the IMA newsletter. What is the name of your pet? How old is he/she? What kind of breed our pet is (if applicable)? How long have you had him/her for? Any special circumstances around getting the pet (i.e. a gift, foster pet, etc.)? The funniest story about you pet? Any special skills or abilities.



Wolfgang Amadeus Mozart (1756-1791)
Mozart was a child prodigy

CREATOR: gd-jpeg v1.0 (using IJG JPEG v62), quality = 75 From the age of seven, Mozart spent much of his childhood on tour, paraded by his father before potential patrons, academics and professional musicians.

Between June 1763, five months after his seventh birthday, and November 1766, the Mozart family visited no less than ten German cities, as well as Brussels, Paris (where they dined with Louis XV at Versailles) and London. After a year in England, they returned home via Holland, Paris and Switzerland to Salzburg. But they would not stop for long. After barely a year at home, they returned to the road again, this time journeying to Vienna (where both children caught smallpox), Olomuc and Brno, returning home in January 1769. Mozart was just 13 years old.

Not much of a childhood, really: a non-existent home life; constantly writing or performing in different places; threatened with, and as often as not, succumbing to illness; constantly on display; always in the company of adults. But what did it do for Mozart and his music?

Before setting off on his first tour, Mozart had already laid the firm foundations of his technique, learning from the collections of more than 100 keyboard works, mostly by North German composers such as Telemann and CPE Bach, that his father had gathered for him and his sister, Nannerl, to study.

It’s no surprise, then, that Mozart’s earliest works show their influence and North German seriousness would become an important feature of his mature style, such as in the slow movement of his Sinfonia Concertante for violin, viola and orchestra (1779) – an unquestionable masterpiece of the classical canon.

But it was during his visit to London that the eight-year-old Mozart met Johann Sebastian’s youngest son Johann Christian, with whom he would form a life-long friendship.

JC Bach had spent much of his earlier life in Italy, mastering the Italian style, and had since established himself in London with a successful series of concerts at the fashionable Vauxhall Gardens. His Italianate style made a profound impact on Mozart who modelled his first three symphonies on those of Bach and his business-partner, Carl Friedrich Abel. Mozart also arranged three of Bach’s Op. 5 keyboard sonatas as Piano Concertos (KV107). Indeed, Bach’s ‘singing allegros’ can be heard in many of Mozart’s most characteristic first movements and finales, most triumphantly in the finale of the Jupiter Symphony No. 41 (1788).

Mozart’s travels made him a great mimic of men and music.

By the age of 13, he had already composed a little one-act opera, Bastien and Bastienne, modelled on the sort of French comic operas he had heard in Paris. It was the seed from which Mozart grew his ambition to create German opera, later realised with Die Entführung aus dem Serail (1782) and Die Zauberflöte (1791). To hone his operatic skills and establish his reputation, Mozart visited Italy three times between 1769 and 1773, performing in Rovereto, Verona, Mantua and Milan, where he met composer Niccolò Piccinni and was commissioned to write his opera seria, Mitridate.

Few modern-day tourists have seen as much of Italy as the teenage Mozart.

From Milan he journeyed to Lodi where he produced his first string quartet, and then to Parma, Bologna and Florence where he became friendly with just about the only child he ever had dealings with as an equal – the English composer Thomas Linley the younger.

For Easter, Mozart was in Rome, where he famously broke the Papal decree against publishing Allegri’s Miserere by memorising it after hearing it at St Peter’s and later writing it down.

In May, Mozart visited Naples where he met composer Niccolò Jommelli and the English historian, Charles Burney. Returning via Rome, where he was knighted by the Pope, he visited Bologna, taking lessons from the great contrapuntist, Father Martini. The lessons proved beneficial and, after passing a gruelling test in counterpoint, Mozart was elected a member of the prestigious Philharmonic Society. His style would combine contrapuntal rigour with Italian suavity, to be exploited as and when occasion demanded: for church, stage or concert hall.

If Mozart’s first tour of Italy was an outstanding success, France, to which he and his mother journeyed in September 1777, was an unmitigated disaster. Indeed, the summer of ’78 in Paris proved to be one of the saddest in Mozart’s short life: the young composer was forced to fend for himself when his mother died.

Neither a businessman, nor any longer a child prodigy, he struggled to survive.

Of the few commissions that came his way, some were unpaid, others unperformed.

In recompense for non-performance of a Sinfonia Concertante for four wind instruments and orchestra, however, he received a commission for a Symphony (Paris, No. 31) – his one success.

Embittered and frustrated, he wrote to his father: ‘Whether it will please, I do not know, and to tell the truth I care very little. I guarantee that it will please the few intelligent French people present... as for the stupid ones – I see no great misfortune in not pleasing them…’

After returning home, it was not long before Mozart moved to Vienna, married and cut down on his travels. Still, in the last ten years of his life he seemed restless and continued to move from house to house.

Could it be that, raised against a backdrop of ever-changing scenery, Mozart perhaps needed disruption in order to compose? Certainly there is an identifiable sense of restlessness in his music – the modulations in the development of the Jupiter Symphony (No. 41), for example, that give rise to changing moods, shifting like the shadows of clouds across its musical landscape. In this sense, Mozart’s music not only speaks of the joys of existence, but also of the impossibility of peace.

Chris de Souza



Text Box: International Music Academy GIFT CERTIFICATE for new students only  ONE FREE LESSON Call the IMA Office at 905.489.4620 (Markham) or 905.640.6363 (Stouffville) to schedule your first lesson. Once scheduled, the lesson cannot be rescheduled. Cannot be combined with any other offer. No refunds, no exchanges.

Text Box:   Music is sooooooooo beuatiful!  Register for lessons by February 15, 2018 and receive $50 off New students only. 1 offer per family Cannot be combined with any other offer.

 Text Box: REFER A NEW STUDENT and GET ONE FREE LESSON!  When you refer a new student to the IMA, who registers for lesson, you will get one free lesson for every new student. So, if you refer the IMA to 2 new students, we will give you 2 free lessons; for 3 new students – 3 free lessons etc. Fill in the coupon below and leave it with the IMA Office administrator.   Your name: ______________________________  Name of the new student: __________________  You can print or photocopy this coupon as many times as you need. Cannot be combined with any other offer.


Dr. Teresa Suen-Campbell
DMA in Harp Performance (Northwestern University)
Studio located in Oakville (Dundas St and Bronte Rd)

  • Now accepting students of all ages; lever or pedal harp
  • Some music background is preferred but not required.
  • Former students won top prizes in various International Harp Competitions.
  • Aural and sight-reading skills training also available.
  • Free consultation on rental/purchase of instrument

Phone: (647) 222-3349
Website: www.teresasuen.com
E-mail: teresasuencampbell@gmail.com