The Actual Record of the First Annual International Music Festival of Xiamen University (II)
- Julian Jacobson and Daniel Epstein Masterclasses
The masterclasses held in the first annual international music festival of Xiamen University came to the third and fourth sessions of which directed by Royal Conservatory of Music Professor Jacobson and Manhattan Conservatory Professor Epstein, whose teaching of contemporary piano repertoires has attracted a good turnout.
Professor Jacobson is one of the most innovating and invigorating pianists in UK, whose performance is known to specialized in colorful texture and insightful interpretation on vast repertoire spanning. The masterclass given by Professor Jacobson covered pieces of Beethoven sonatas Op.10 No.1 and Op.31 No.3, to which Dr. Jacobson expressed the importance of Beethoven's original writing, which are ought to be followed scrupulously. In addition, Dr. Jacobson reminded the audiences that Beethoven's music style varied according to different period of his life, thus, it is required to play with much imagination from the pianists. During the lecture, Beethoven sonata Op.31 No.3 was compared with Haydn's Op.49 sonata for being the humorous side of Beethoven's character and opera buffa. The interrelationships of two pieces fortified the ways of interpretation in Classical era music.
Professor Epstein of Manhattan Conservatory and Rutgers College is a world acclaimed pianist and scholar, who specialized in repertoires of Impressionistic and 20th century music including Barber and Kapustin. His expressed: " It is imperative for us (modern musicians) to have our unique style of playing, in order to standout from the rest. It makes important to understand the score in every detail, such as the structure, harmony, texture...etc. These points aforementioned require deep concentration when practicing."
To summarize the teachings of the masterclasses by Dr. Jacobson and Epstein, we are able to conclude that scrupulous reading and deep understanding of the score are significant. From the technique point of view, we ought to be aware of articulation, phrasing and dynamic contrasts. Last but not least is the instinct of the pianist to the composers' intention.