Elizabeth Lamberth
Elizabeth holds a Bachelors of Music in piano performance from Oberlin Conservatory and a Masters of Music in piano performance from the Mannes School of Music, a division of The New School University. Her teachers have included Francis Walker, Sanford Margolis, Haewon Song, Robert Shannon and Stephanie Brown. Early studies were with Thomas Redcay and Addison Jones, a pupil of Emil Von Sauer. While at Mannes, she studied composition and theory with Carl Schachter, David Loeb and Robert Cuckson. She has studied Jazz at the Berklee School of Music in Boston and the Oberlin Conservatory where her teachers included Jan Jarczyk, Ray Santisi, Wendell Logan and Neil Creque. She is currently studying organ with Dr. Timothy Wissler.
While studying at Oberlin Conservatory, Elizabeth taught secondary piano students, aural skills pupils and maintained a large piano studio in the Oberlin and the Cleveland areas. While in New York she taught at Concordia Conservatory in Bronxville and also ran a large piano studio in Westchester and Manhattan. Ms Lamberth currently serves on the faculties of Georgia Academy of Music and The Presbyterian School for the Performing Arts.
Elizabeth has performed extensively giving solo piano recitals, and playing jazz piano as well as working as a chamber musician and accompanist in Ohio, Pennsylvania, North Carolina, New York and California. She has held church positions as Music Director responsible for all aspects of liturgies and services--most notably, at St. Malachy’s Church The Actors Chapel in New York but also in the Cleveland area. Her compositions have been performed in North Carolina, New York and Ohio. She has received many scholarships for her studies and a grant for work in composition on the Isle of Iona.
I have been extremely graced to have studied and worked in many different fields of music. I believe that even beginners should have a working knowledge of theory, form, scales and chords, besides learning to read, improvise/compose and perform music. It is immensely important that while studying the classical body of repertoire, students must also be playing the music they hear in popular culture, as music involves first and foremost, the skill of listening. I strive to include all of these aspects of study in my teaching. I also believe deeply in an attitude of compassion and kindness. The body is our true instrument and a miraculous vehicle of song, sound and creativity. Respect and gentleness between teacher and student are of the utmost importance when training the body to do all of the immensely complex tasks required in the making of music.
– Piano