THINKING WITH DENK (3/3/2011)

On the heels of an acclaimed performance at Carnegie Hall, pianist Jeremy Denk gave a masterclass at NYU.  The art of conducting a masterclass is one that not all performers, or even teachers, possess.  Ideally, the master clinician works with a student while also speaking to the larger audience.  Mr.Denk certainly wanted to help each student that performed and provide constructive comments work with them.  The first student performed the solo version of Gershwin's Rhapsody in Blue.  The poor fellow was obviously quite nervous and did not always seem to know what he wanted to do with the music.  It's always said that when nerves strike the rhythm is the first thing to go and that was the case here.  Mr. Denk worked with the student on finding "rhythmic grooves."  And although he said he was no "expert' on the Rhapsody, Mr. Denk did guide the student in thinking about some of the jazz and pop styles Gershwin employs (such as stride) and encouraged the student to develop a more secure connection with the music.  Mr. Denk demonstrated often and used exaggerated facial expressions to get his point across.

A second student performed Beethoven's Op. 90.  While she was more secure and confidant with the work than the Gershwin layer had been she still needed to bring out the musical elements more definitely.  Mr. Denk worked mainly with the second movement, especially with the idea of creating singing melodic lines of simplicity. 

The third student performed four pieces from Brahms' Op. 116.  Her performance was generally very secure and musically satisfying, if not very imaginative.   Mr. Denk did notice some technical aspects of her playing that tended to be constantly problematic.  One was playing legato melodic octaves.  Another was playing chords without clenching, or forcing the sound.  He guided her in using her imagination to create more layers of sound and to find more interesting things in the bass parts.  She responded quite well.

Although in all honesty I had hoped to hear more twentieth century music as Mr. Denk has emphasized it in his repertoire (although he often collaborates with violinist Joshua Bell who gravitates toward the nineteenth century).  It is always instructive to see a musical mind at work and see how someone works with students. I know they all went away feeling that they had gained something positive from the experience.