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A Master Class
With the Distinguished Pianist
Mordecai Shehori
(Read about Mordecai Shehori)
At
A.C. Pianocraft, Inc.
(A.C. Pianocraft, Inc. Website)
(See an Interview and Tour of A.C. Pianocraft, Inc.)
333 West 52nd Street
New York, NY 10019
212.957.9268
Dr. Roberta E. Zlokower
April 11, 2006
Program:
J. Brahms (1833-1897): Klavierstucke Op. 118, Four of Six Pieces, 3 Intermezzos and 1 Romance, Performed by Rowena Mariano.
R. Schumann (1810-1856): Arabesque in C major, Op. 18, Performed by Margaret Wacyk.
F. Chopin (1810-1849):
Mazurka in B-flat minor, Op. 24, No.4, Performed by Victoria Hamilton.
Mazurka in A-flat major, Op. 59. No.2, Performed by Lynne Beltran.
Mazurka in C-sharp minor, Op. 63, No.3, Performed by Marjory Duncalfe.
The New York Times reviewed a Mordecai Shehori piano performance as “daredevil showmanship and pure musicality”. Mr. Shehori brought his warmth, wit, and sizeable talent to Alex Kostakis’ A. C. Pianocraft, Inc. showroom, filled with elegant, restored Steinways and housing a unique piano restoration workshop on the premises. Guests at tonight’s event included students of Mr. Shehori, clients of A.C. Pianocraft, Inc., and the New York classical music community. Five piano “students” prepared works for presentation and public critique, a daunting challenge, and, one-by-one, they sat at an ornate, Mahogany Steinway that would have been most welcome at a Chopin salon. Each student performed her work straight through, and then repetitiously in brief passages that Mr. Shehori chose for improvement. Mr. Shehori used humorous and colorful metaphors to keep his audience engaged.
The first Brahms Intermezzo immediately filled the showroom with music, as this magnificent Steinway, with original ivory keys, exuded so much depth and resonance. Dr. Mariano presented these four pieces with structural development, repetitive, rippling themes, soft, slow chords, and a final dynamic dervish. Mr. Shehori asked for more passion, energy, and differentiated timing in each piece, and Dr. Mariano gave him the added details with ease. He requested agitation and mystery in the Romance, and Dr. Mariano provided this texture.
The Schumann Arabesque was performed seamlessly with dance-like rhythms. Mr. Shehori spent time with Ms. Wacyk in an attempt, he said, to “hook the audience’s ears”, to play with fascination. Mr. Shehori modeled chord changes and volume variations, before Ms. Wacyk repeated these passages with much more pronounced emotion. The three Chopin Mazurkas were presented in succession, with Ms. Hamilton’s work exuding some dissonance and softness, and ending in a fadeout. Mr. Shehori asked her to “play with voices” and to include sadness and sensitivity, prior to more optimistic lyricism. He modeled both darkness and lightness through deliberate changes in style.
The second Mazurka, presented by Ms. Beltran, needed a more flowing performance, with less pronounced transitions. The third and final Mazurka, played by Ms. Duncalfe, was improved by Mr. Shehori with a joke as a metaphor for more appropriate interpretive style. He said, “Would you say, I just had an operation, so what should we have for dinner?” He was illuminating the need for connectedness and charisma in her presentation. The students were all well-prepared and professional, and Mr. Shehori was an entertaining teacher and raconteur. A wine and hors d’oeuvres reception followed with the artists, Mr. Shehori, Alex Kostakis, and guests.
Mordecai Shehori and His Five Master Class Performers
Photo courtesy of Roberta Zlokower
Mordecai Shehori and Alex Kostakis
Photo courtesy of Roberta Zlokower
Mordecai Shehori and the Antique Steinway
Photo courtesy of Roberta Zlokower
Post-Concert Reception
Photo courtesy of Roberta Zlokower
Post-Concert Reception
Photo courtesy of Roberta Zlokower
Post-Concert Reception
Photo courtesy of Roberta Zlokower
AC Pianocraft Showroom
Photo courtesy of Roberta Zlokower
AC Pianocraft Showroom
Photo courtesy of Roberta Zlokower
Post-Concert Reception
Photo courtesy of Roberta Zlokower
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