First performers are two 10 year olds performing Spanish Dances, Op 12, second movement: Moderato, by Moszkowski.
Anderson's first question to the performers was, "do you guys enjoy performing this piece?" Ms Roe pointed out the title and the need to pull from the idea of "dance" and "Spanish." "We don't really get the dance spirit from your performance." The piece was almost too steady and didn't make us think of dancing. Mr Anderson is asking them to give as much shape and expression in the melody as possible. He reminds the secondo player to give interest to the part and support the primo player. They worked with these two young players to try to get more shape and expression. Mr Anderson reminded them that the primo plays two phrases and said, "oh, I like your shirt; but, oh, it has a spot." Ms Roe asked the students to sing the tune to have it become more expressive. "I'm too aware of all the little notes, instead of the shape of the entire phrase." Ms Roe summarized what they had worked on and reminded the students that the main melody comes back several times within the piece and they need to find the meaning and feeling of each. Sometimes, "coming home feels really warm."(Mr Anderson)
At one point in the piece, the main tune comes back, but the final note turns upward. Mr Anderson reminded them to "tickle their (the audience's) back" with that change.
Anderson and Roe sat down at the second piano and played a section for the students, and then asked them if they had ever waltzed. Mr Anderson marched and waltzed around the stage. Then they sat down again at second piano and played along with the two young performers. Mr Anderson also reminded them of the expressivity needed in the octave leap. 'Your singer needs time to reach that note.' They did a lot of demonstrating at the second piano. He also remarked that it needs to feel improvisatory, and doesn't need to sound metronomic. Mr Anderson had them play a fermata on the high note and wait to resolve that high note and played along to get them to be more expressive.
The second performers are now playing the Valse from Suite for Two Pianos, no 1 in F Major, op 15 by Arensky. These brothers, ages 11 and 14, have quite the flair as duo-pianists!!! Anderson and Roe are complimenting them about their great sense of ensemble. Mr Anderson is pointing out two things that are important in the opening: (1) chromatic lines ("something milky and sensual, risky about them, like a chorus of girls in the background singing this..." A "meow"...) and (2) more of a lilt in the melody. Mr Anderson asked them if they have listened to a lot of Strauss Waltzes like they play on New Year's Day in Vienna. These two boys play very well together!! Mr Anderson recommended a bit of pedal on the chromaticism. Ms Roe recommended lighter touch on second beat. Mr Anderson also recommend a bit of an overlap in the legato on the chromaticism to create that "oozing chocolate effect." They worked with both pianists on this idea, since they both have that line at one point or another in the piece. He worked with the second player on the big octave crashing chords and reminded him that it has to look joyful and effortless. Anderson and Roe were trying to get an explosion of sound in the hairpin passages (chromatic passages in the high treble range). They are going for over-arching phrase ideas and not individual notes and passages.
Mr Anderson sat down a few times to play along and showed effortless joy in making music! If one could take away one overarching idea from this master class, it is that Anderson and Roe were trying to evoke from the performers as much musical passion & expression on stage as possible.
10:20am
The final performers are now on stage. They are two 11th graders, performing the Sonata in D Major for two pianos, first movement, by Mozart. Anderson and Roe mentioned that whenever they perform this piece, it's the one they have to rehearse the most. There is the opening motive of a four-bar "hear ye, hear ye, exclamatory entrance." Thoughts from A&R: Let it be "cinematic and orchestral." Is it possible to make it sound big and orchestral but not harsh? They are asking for more warmth from the performers and the instruments. Mr Anderson described one of the LH parts (low repeated notes) as a bassoon. (My note: This is always the case when we play Mozart, isn't it? We almost need to think of opera orchestras and singers!) Ms Roe also pointed out that a lot of this piece is not downbeat-centric. They were having the primo player aim for for the second beat (quarter, stressed half note..). She recommended dabbing the bass notes with pedal. It's like a bass player plucking the string. There is a "residue." 'Warmth, resonance and energy in a pizzicato.' There is a tension going to the c# below the D.
There are still a few minutes remaining, but I have to run upstairs to pack and check out of my room, so I will be signing off the blog for now.
Ironically, in my inbox this morning arrived a "daily thought" from REAL SIMPLE magazine that said, "YOU CANNOT CREATE EXPERIENCE. YOU MUST UNDERGO IT." (Albert Camus) This is so "a propo" for today, given the age of the performers this morning. These young performers were all so talented; I am sure we will continue to hear them as they grow!
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