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A graduate of the NYC HS of Performing Arts, Oberlin Conservatory, with a Master of Arts Degree from New York University, I teach all levels and ages at my two separate piano studio locations: El Cerrito, and Fresno. (Fees are adjusted for my Central Valley students) My posted article, "Realizing the full potential of students" asserts that all pupils have untapped areas of musical expression that need individual nurturing and development. Having over 30 years teaching and performing experience, I focus on the singing tone and fluidity of technique. Ear training and theory are woven into lessons to enrich musical study. As a framework, I believe in the heart, body, mind connection in making music. My students from ages 7 to 70 play a diverse repertoire of classical and popular music, and quickly learn that the joy of music making is its own reward.  A member of the Music Teachers Association of California, I've published articles on How to Help Children Compose in the California Music Teacher Magazine, and have created my own collection, "Moonbeams and Other Musical Sketches" that was favorably reviewed in Clavier Magazine. Pieces from this album were performed at the Los Angeles Convention of the Music Teachers Association. Studio Locations: El Cerrito and Fresno, CA.

Music Review: Shirley Kirsten - A Musical Journey: Scarlatti, Schubert, & Chopin Author: C. Michael Bailey of Blog Critics:

"Not only have the Internet, mp3s, downloadable music, and new compression methods revolutionized the production, marketing, and distribution of newly-minted popular music and jazz, they have also done the same for classical music. A case in point is Left-Coast pianist, maestro, and self-described piano finder Shirley Kirsten. Kirsten has just released her third self-produced recital of piano pieces, A Musical Journey: Scarlatti, Schubert, & Chopin that follows the previously released Musical Enchantment and Inspiration. While the combination and proportion of the eras represented on this disc is curious, multiple listening go a long way in supporting Kirsten’s method and vision Shirley Kirsten studied in New York City with Lillian Freundlich and in the Wild West with Ena Bronstein. One of her most significant influences has been pianist Murray Perahia with whom she attended the New York City High School of Performing Arts now located near the Juilliard School in the Lincoln Center district of Manhattan. This high school is also noted for having produced the likes of conductors Gerard Schwarz and David Zinman, pianists Joshua Rifkin and Steven Lubin and jazz musicians Bill Charlap, Eddie Danials, Marcus Miller, and Shorty Rogers. Kirsten also participated with Perahia in a pianist Master Class. Kirsten is not only a concert performer and recording artist, but she has recently penned a tome entitled Dream Piano that documents an eventful series of piano finding adventures in the company of one character, York, a colorful, 81-year old "piana tuna." All that adds up to Kirsten being quite a character on paper which this writer can further validate through recent conversations with the pianist. Having established that Kirsten is a cross between Agatha Christi and Muzio Clementi transplanted into the 20th Century, what of her precious Scarlatti? Kirsten is beautifully sola scriptura, carefully respectful of Scarlatti’s scores without perform them in a boring or rote manner. Kirsten has no fear taking on the Vladimir Horowitz Scarlatti book, devoting special attention to Sonatas in "G Major, K. 146"; "D Major, K. 96"; "f minor, K. 466"; "D Major, K. 491"; and "E Major, K. 380." Of sensual delight here is Kirsten’s feather touch on the f minor sonata and her inclusion of the E Major Sonata, with which Horowitz opened his 1986 Moscow concert captured on Horowitz in Moscow. Kirsten acknowledges her peer, Murray Perahia’s Scarlatti output with the inclusion of the "sonata in b minor, K. 27", accentuating Perahia’s purist approach with a more fluid articulation and expression in a way flattering to both pianists. Kirsten perfectly captures the lullaby character of the "B Flat Major Sonata, K. 440". Overall, this is superb Scarlatti, played with grace and care. Senior Reviewer for All About Jazz and publisher of the webblog Kultur.

Blog Critics Review: SCARLATTI and CHOPIN

West Coast pianist Shirley Kirsten follows up her well received A Musical Journey with an equally vital second collection juxtaposing the Baroque Italian Domenico Scarlatti (1685-1757) against the Polish Parisian Frederic Chopin (1810-1849). Kirsten again shows that the “indie” method of music promotion works for “classical music” also. In the past decade, the Internet, mp3s, downloadable music, and new compression methods revolutionized the production, marketing, and distribution of newly-minted popular music and jazz, they have also done the same for classical music.

Having studied in New York City with Lillian Freundlich and in the Wild West with Ena Bronstein, Kirsten has the chops necessary in her life as concert pianist, teacher, and world class “piano finder.” One of her most significant peers and influences is pianist Murray Perahia with whom she attended the Fiorello H La Guardia High School of Music and the Arts. This association with Perahia colors both her Scarlatti and Chopin performance. Kirsten approaches each composer interrogatively, coaxing the respective scores to reveal something new in a fluid dynamic like that of Perahia.

Kirsten infuses her new set of Scarlatti with a playful flare. Note the dance in the "Sonata in E Major, K 162," where Kirsten skips to the beat of the Italian master. She is able to slow things down to capture Scarlatti’s plaintive moods as in the "Sonata in C sharp minor, K247." This is Scarlatti at his compositional best, not with pyrotechnic technique challenge but with the internal emotional challenge necessary to interpret such pieces as his adagio minor key sonatas.

The Chopin Kirsten chooses provides a wide expanse of that composer’s talent. Her performances of the "Mazurke in C, Op. 67" and "Waltz in C sharp minor, Op. 64" are staid and her "Nocturne in C Sharp Minor, Op posthum."  "Etude in C sharp minor, Op. 10, No. 12" is melancholy. The brilliance in coupling Scarlatti and Chopin lay in the fact that both composers were masters at vignette pieces, small drops of aural emotion. To be sure, they are vastly different but Kirsten expertly shows how talents as vastly disparate as Scarlatti and Chopin could conjure the same notes from the Hammerklavier.

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East Bay Express Review, A Musical Journey: Scarlatti, Schubert and Chopin - Daily Lick: Shirley Kirsten Kirsty Evans — Thu, Dec 17, 2009 at 8:00 AM A Musical Journey: Scarlatti, Schubert and Chopin Accomplished local pianist, teacher, and graduate of New York High School of the Performing Arts and Oberlin Conservatory, Shirley Kirsten runs through a selection of Baroque composers including Schubert, Chopin, and the oft-neglected Scarlatti. Scarlatti, in particular, is notoriously difficult to play, and Kirsten handles it with impeccable technique, gorgeous tone, and general aplomb.

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