Music Educators Association of New Jersey

 

This outstanding program featured concert pianist and master teacher Michael Lewin coaching MEA members/pianists Jacqueline Schiller on the Allegro con brio (first movement) of Beethoven’s Piano Concerto No. I in C Major, Op. 15 and Barbara Landi Hause on the Overture and Passacaglia (movements I and VI) of Handel’s Suite No. 7 in G Minor, HWV 432 and J. S. Bach’s Sinfonia No. 3 in D Major, BWV 789 and Sinfonia No.4 in D Minor, BWV 790. Following opening remarks by President Danette Whelan, Program Chair Sophia Agranovich introduced the guest presenter. Michael Lewin enjoys a national and international career as soloist in recital and with orchestra and has an extensive discography. He is professor and head of the Piano Department at the Boston Conservatory of Music at the Boston Conservatory at Berklee. See: michaellewin.com/about

Membership Chair Lisa Gonzalez had sent a document prepared by Beverly Shea, Teachers’ Master Class Coordinator, that contained the program and biographical abstracts of Mr. Lewin, and the two participating pianists.

Jacqueline Schiller began the program with a sparkling performance of the Allegro con brio (first movement) of Beethoven’s Piano Concerto No. I in C Major, Op. 15. At the start, Michael Lewin cautioned against the soloist incorporating some of the tutti in practice sessions because these added notes could be memorized along with the actual piano score and become indistinguishable from it in the performer’s memory. Reverting to the score after practicing the tutti part could jeopardize a performance. He also advised the soloist to refrain from conducting. “There is one conductor and it is not you,” he quipped.

After an enthusiastic “Brava!”, Michael Lewin offered suggestions for articulation and dynamics. For example, in some passages, more arm movement can aid in emphasizing the pulse of triplets. In other passages, there is an option to share a repeating pattern between the hands. To ensure an effective sforzando, listen for less sound from the keys preceding and following the emphasized note. And in piano subito spots, listen to convey Beethoven’s characteristic notation. The contrasting natures of the principal and secondary themes became even more clear. As Michael Lewin reviewed the movement, he occasionally sat down at the instrument to demonstrate. Jacqueline incorporated his suggestions.

Now it was time to hear from Baroque masters, both born in 1685. Barbara Landi Hause played the Handel selections, and it was a real shift of gears from the Beethoven. A different set of variables would be considered: dynamics, spirit, repetitions, ornamentation, variation, and more. It was all about making decisions! Michael Lewin praised the performer for her moving performance, and then proceeded to revisit the selections.

First, Michael emphasized, “We are playing the piano, but in planning dynamics, we must take the style into account.” And “style” seemed to be the governing standard affecting interpretation. The forte would not be the robust sound of a Beethoven concerto’s forte; the “spirit” in rapid passages might sound dancelike rather than like passagework; the repetitions could be played with some variation, or they could be omitted; solid chords in the score might be arpeggiated, and incomplete chords might be filled in.

Michael suggested that the Presto following the solemn opening Adagio could be dancelike or playful. “Think trumpets when you play those thirds and sixths in the relentless dotted rhythm,” he coached. “Then, when you play the passacaglia, think about low strings accompanying the treble.” He demonstrated. “And when you play the octaves in the bass, (mm. 5-8), think happy, not angry.” Consider detaching the bass keys (mm.13-16) to avoid a “too Romantic sound.” This is more consistent with Baroque style.

Then Barbara played the two Sinfonia. The options for phrasing and articulations were discussed. The editorial decisions are left up to the keyboardist. In the Sinfonia in D Major, Michael suggested experimenting with detaching eighth notes instead of letting legato eighth notes predominate. “But either is all right.” He would approach this piece gently. The same principles and dilemmas apply to the Sinfonia in D Minor. While the subject is projected throughout the piece, in the final measures (21-23) the top voice descends chromatically, and it is this line that should be heard. It was a beautiful and peaceful way to end a very inspiring meeting.

Bertha Mandel, writer
Lisa Gonzalez, layout
In-Person Attendees, photos

L-to R -President Danette Whelan, Barbara Landi Hause, Michael Lewin, Jacqueline Schiller, Program Chair Sofia Agranovich

 

Program prepared by Beverly Shea, Teachers’ Master Class Coordinator