Music Educators Association of New Jersey

 

After a vote was taken for the slate of officers by President Danette Whelan, MEA members and their guests were treated to an exciting and inspiring master class, conducted by Dr. Aaron Wunsch. He is a performer, educator, and presenter, who has performed and taught extensively in the U.S. and internationally. At Juilliard, he teaches graduate studies, chamber music, music history, and keyboard studies. He also directs Juilliard Pianoscope, the piano department’s performance series. For more click here.

The performers were selected from participants at the Young Artist level of the MEA Annual Piano Auditions. Aaron Wunsch chose to focus on fundamentals: singing tone, shaping phrases, dynamics related to form or structure, and articulation. With limited time, this was a very productive approach, as the students’ interpretations were greatly improved. At times, Aaron addressed the audience with helpful pedagogical suggestions.

Boxuan Fu, student of Hsingju Tseng, played The Lark by Mikhail Glinka. The piece opens with a single melodic line that is repeated many times with an accompaniment that grows increasingly complex. The challenge is to project this melody. Aaron offered a comment. “This is a love song, evoking a sense of longing. Ask the student to sing, or sing, yourself. Think quasi recitativo.” Another recurring element is the “filigree” or fluttering decorative passage that requires a light touch. Aaron praised Boxuan’s dexterity. He concentrated on Boxuan’s tone production of the melody.

How can one produce a rich sound and maintain control of the accompaniment? “Practice pushing the key with weight generated from the shoulder through the arm to the fingers, dropping the wrist.” Each key in the melody can be played with attention to this principle . Applying this technique, Boxuan then played the melody as the master teacher played it in a higher register. When Boxuan returned to the score, Aaron remarked, “You do that so well.”

Sophie Dong, student of Florence Liu, prepared to play the Prelude, Allemande, and Courante of J.S. Bach’s English Suite No. 2. but time constraints limited her performance to the Allemande and part of the Prelude. The goal is making this Baroque music “your own.” The score lacks interpretive directions: no dynamics, articulation, or tempo markings. Aaron said, “Baroque dances might involve subtle gestures, so why not add your subtle musical gestures?” Romantic era rubato would be inappropriate but minute adjustments, a hesitation or a slight slowing at a cadence, for example, might be tasteful. Find these cadences and treat them as arrival points. Take a tiny breath to avoid a run-on feeling. The harpsichordist might stretch a beat when engaging a stop. For clues for dynamics, look at the texture: one, two, three or four voices, or chords. What about the register? Consider articulation: legato, tenuto, detached, staccato of the short or sticky variety. “Music is like language: the lifts (disconnected notes) are consonants, legato notes are consonants.” How would a stringed instrument be bowed? “There is no simple formula.” Aaron Wunsch guided Sophie through several sections, admiring her spirit. “The Prelude is in the Italian style. The vigorous opening is bold. Bring out the motif!” Upon repetition, each motif entry was more robust.

Finally, Alessio Pasini, student of Joan Bujacich, played Liebestraum No. III of Franz Liszt. The challenges of tone production are similar to the Glinka piece, but here the melody is shared between two hands and involves the use of thumbs. “Inspired by a German poem, this piece requires passionate playing and you, Alessio, have captured that spirit.” The poem, by Ferdinand Freiligrath, is sometimes printed above the score. It is melancholy, about love and loss. Liszt’s melody was first composed as a song for soprano, then paraphrased for piano. The tune has three long repeated notes that should not sound alike. “Think of the direction of the tune. The song must be shaped. Go to the end of each phrase, with no ritard near the end. The singer has to get there, so the pianist similarly must maintain tempo.” Always sing out the melody. “The wrist must remain supple as you drop the weight into each key of the melody. At the same time, pay attention to the bass line.” The cadenza-like passages in this piece are different from the filigree-work of the Glinka. After some instruction, Alessio repeated some passages. Aaron remarked, “Now you are really projecting the melody.”

Aaron Wunsch highly praised each young artist for their accomplishments and for their responsiveness to his suggestions. He also complimented the teachers of these well-prepared young artists. A short Q. & A. followed. The program closed with the presentation of the Adell Williams Certificate to each young artist by Auditions Director and Master Class Coordinator Lisa Villamaria Casia.

Bertha Mandel Writer
Lisa Gonzalez - Layout
Photos - screenshots from Lisa Casia’s Masterclass video;
group photos taken by MEA meeting attendees