Throughout my studies I was lucky enough to meet many outstanding teachers.  Christophe Bossuat, my first teacher at the Suzuki Institute in Lyon, Tibor Varga who taught me for over ten years and Dorothy Delay not only taught me the violin and music, but above all the importance of teaching itself in a musicians life. As important, but over a shorter length of time,  encounters with the likes of  Gérard Poulet, Zackhar Bron and Roland Daugareil reinforced my desire to pass on this skill to others.

At the Juilliard School I became one of Dorothy Delay's assistants for the 'pre-college division'.  For three years I was able to discuss many aspects of teaching with her, and I was able to put her advice into practice working with young and gifted students from all over the world.

The festival des Arcs (again!!) gave me the opportunity for many years to teach chamber music.  
Invited by the Catalan composer Benet Casablanca, I was also in charge of a violin class at the Liceo Superior Conservatory in Barcelona.  Unfortunately I had to give up this position because my schedule became too full and I did not not want to become an 'invisible' teacher who was never there for his students.  

The many experiences I have had enable me to effectively help young violinists who wish to audition for orchestras or international competitions.  I am very keen on the idea of  'coaching', a way of teaching that is hugely lacking in our profession.  As Director of the Festival des Arcs since 2005, I started a department aimed at preparing musicians for competitive orchestral auditions.  Surrounded by soloists from the greatest French and European orchestras, the young people who are enrolled follow a specific teaching method .  They receive, on top of their lessons with their instrumental teachers, advice from a mental preparation coach, a yoga or an aikido teacher, and they take part in a variety of workshops that try to prepare them in the best way possible for the short auditions that could make their career.  

Beyond purely teaching music to future professionals, I strongly believe in the artist's role in educating his public.  I fervently support involvement in the school environment, and I have, since I created my Opus festival, met more than 7000 young people aged between 3 and 18.  These informal meetings in small groups are an indispensable way of ensuring that our art (classical music) opens a door into their hearts, a door that has often been closed to them because of the images of 'culture' that they have been exposed to.

© Eric Crambes