Albert Lau

E493 Fall 2010

Dr. Karen Taylor
Observation Report #3

Observation Report #3 (Professor Haguenauer’s Studio Class, 6 October 2010, 20:30 Auer

Hall)

1. Reading and fundamentals

Since the students were all very advanced, there were no problems of reading or counting.

2. Technique

To a student who played the Toccata in E minor by J. S. Bach, Prof. Haguenauer pointed out that

the hands should be ready to touch the keys even before fingers are laid on the keyboard. He

worked a lot with the student on how to interpret the dialogue between the two hands in the

opening passage. Also, he emphasized that the intensity should be maintained throughout the

opening section, all the way to the first Perfect Authentic Cadence. He directed the student’s

attention to the overall structure of the piece.

Prof. Haguenauer also stressed that passing tones should not be played as equal, separate notes.

Since passing notes are secondary in importance, they should not be given equal importance as

the notes which provide the main harmony. This also helped the student maintain a flowing

pulse when he played the piece again.

3. Interpretation

One of the students played the Prelude and Fugue and C minor from the Well-tempered Clavier

(Book II) by J. S. Bach. Prof. Haguenauer commented that the performance lacked character and

intention. Also, the mood that the student conjured was a bit too dark and heavy, which

contradicted with the flow and lightness that the Prelude called for. The teacher gave plenty of
 Albert Lau
E493 Fall 2010
Dr. Karen Taylor
Observation Report #3

advice on phrase shaping, and on how to make a phrase sound more horizontal. He emphasized

a lot of the horizontality of the music, and stressed the importance of the upbeats.

4. Other

Prof. Haguenauer emphasized a lot on the importance of having a wide palette of sounds.

Whenever there was a change in texture, harmony, pattern, or character, he asked for a change of

timbre in the piano to reflect what is going on in the music.

5. Teaching strategies

Prof. Haguenauer varied his teaching strategies to suit different students’ needs. In general he

did not demonstrate a lot. He gave a lot of verbal explanations on the particular sound effects

that he wanted the student to achieve. In particular, he used a lot of gestures and body movement

while the student played. This often helped the student to play the passage concerned with a

more natural flow. At one point he tried to convey the idea that the student’s performance was

not ‘outspoken’ enough, he made a humourous move by mumbling behind the piano. The

student got the point being made and there was a noticeable change in his subsequent playing.

6. ‘Teaching Personality’

The teacher was very patient throughout the master class. He used a very warm tone so student

felt comfortable to play. When a student finished playing a piece, he always gave positive

comments first. He told the student what he liked the best about the performance, and what he

found was the most convincing. Then he proceeded to mention issues that the student needed to

improve on. This strategy prevents students from being discouraged.

 Albert Lau
E493 Fall 2010
Dr. Karen Taylor
Observation Report #3

7. Final thoughts

Perhaps the teacher could have asked for some participation from the rest of the studio as well, in

addition to teaching the student on stage. He could bring other students’ attention to issues that

he finds important – for example how to handle/practise a particular passage, even if not all

students in the audience have learnt the piece before. That way the audience could feel more

connected to the teacher and the performer on stage.