Master class opportunities are usually plentiful. They can be useful on many levels. But coaching sessions with outstanding artists are indeed rare. This is especially true for those encouraging the inclusion of pianists who essentially play for their own pleasure. Andrei Gavrilov (pictured below) is a pianist of the highest calibre, with a once stratospheric career. This week he has been giving master classes to both amateur and young professional pianists in the West Country here in the UK. It’s hardly surprising that many of the classes were over-subscribed. I attended one on Monday near Bath. It featured just four lucky participants who all benefited from Andrei’s undivided attention.
Monkton Combe School provided a fabulous backdrop for this event. The stunningly beautiful wood panelled concert hall (see top banner image), is complete with Steinway Model B and perfect acoustics.
Since winning the International Tchaikovsky Competition in 1974, Andrei has enjoyed an outstanding career. He has performed around the world with major conductors and orchestras. He has taken several sabbaticals from the concert platform. More recently, he returned with renewed vigour and energy. His love of music was evident right from the start of this class.
The first young pianist, a student at the school, presented Chopin’s Nocturne No. 20 in C sharp minor (Op. Posth). Andrei has recently recorded the complete Chopin nocturnes (his first recording for many years) and offered copious demonstrations, whilst seated at a second piano. The young pianist gave a competent, musical account. Under Gavrilov’s tutelage, many aspects of her performance changed instantaneously. This is a credit to her flexibility and perception, as well as Andrei’s expert guidance. The importance of sound quality, varying dynamic shades and rhythmic stability were discussed at length. The right hand scalic passages, which close this work, improved dramatically, and were eventually executed with gossamer-like conviction.
Scriabin’s Poème Op. 69 No. 2 was played enthusiastically by the second young pianist. For me, this was the most interesting part of the afternoon. Not perhaps from a performance view-point, but rather from Andrei’s ideas about this great composer’s music. Scriabin’s often complex style exudes exotic mysticism. His essence was glimpsed in all its glory through the eyes of a fellow Russian. This quirky, capricious piece came alive suddenly. It did so through explanations of Scriabin’s fascination with mysticism, theosophy, and the ‘mystic’ chord. The young performer’s sound was crucial in this miniature. It changed markedly when she was exposed to Andrei’s descriptions. She also benefited from his illustrations at the piano.
The final participants were both music conservatoire students. The first presented the last movement of Beethoven’s ever popular Pathétique Sonata (No 8 in C minor Op. 13). Andrei highlighted rhythmic precision and lightness of touch as priorities. He also stressed the importance of pedal control, and the significance of producing an orchestral sound.
The master class ended with Schumann’s heroic Symphonic Etudes Op.13 and one of Rachmaninov’s impressive Etudes Tableaux Op. 39. Gavrilov’s views regarding colour, touch, melodic line in the Schumann, and technical fastidiousness in the Rachmaninov, were compelling, insisting the only way to approach the latter composer convincingly is to a acquire a total understanding of the Russian Orthodox faith.
The high point undoubtedly came at the end of the class. We were treated to a performance by the maestro himself. It consisted of Chopin’s C sharp minor Nocturne Op. Posth., swiftly followed by Prokofiev’s extraordinary Suggestion Diabolique Op. 4, ably illuminating the technique and musical prowess that have earned Gavrilov his reputation. Master classes are important for participants and observers because they proffer an excellent vehicle for sharing interpretations and ideas.
Image: Andrei Gavrilov performing at the end of his master class.
