ABOUT THE ARTIST
Jordan Lynch, piano pedagogy
Jordan Lynch is an experienced performer who has given numerous recitals and performances as a soloist and collaborative musician. After receiving his undergraduate degree in Piano Performance from WCU studying with Dr. Igor Resnianski, he continued his studies at WCU as a master’s student in piano pedagogy.
During his studies at WCU, he worked on and performed compositions from all major styles and composers, including Bach, Mozart, Beethoven, Brahms, Chopin, Liszt, Debussy, Ravel, and Prokofiev. Jordan has performed at the Wells School of Music Convocation, as well as many Keyboard Honors Recitals. In 2022 and 2023, he was accepted to the New Orleans Piano Institute, a competitive piano program where he took lessons and performed in masterclasses for prestigious pianists and pedagogues. In 2023 Jordan was named the third prize winner of New Orleans Piano Institute National Solo Competition.
Jordan is currently the official accompanist for the West Chester University Opera Theatre. He was the accompanist for the performance of Alice Tierney by Melissa Dunphy in the Fall 2024 semester and is the rehearsal accompanist for Hansel and Gretel by Engelbert Humperdinck for the Spring 2025 semester. In 2022, Jordan began teaching private piano lessons and currently has over 20 students. He deeply enjoys teaching and is planning to continue as a piano pedagogue as well as a collaborative musician after he graduates this Spring.
PROGRAM NOTES
PARTITANO.2INCMINOR, BWV826(1731)
Johann Sebastian Bach’s Partita No.2 in C Minor, BWV 826 is part of a collection of six partitas that represent Bach’s exploration of dance forms and suites for the keyboard. All his partitas open with a non-dance movement. The Partita in C Minor is known for its dramatic depth and structural sophistication, setting it apart as one of the most profound in the collection.
The partita opens with a three-part Sinfonia, which functions as an overture. It begins with a stately Grave section characterized by dotted rhythms and rich harmonic progressions. This leads into a lively fugue which showcases Bach’s mastery of contrapuntal textures. The Allemande is a moderately slow dance in quadruple meter, notable for its flowing melodic lines. The Courante has a quick triple meter and rhythmic complexity that creates a sense of urgency. The Sarabande is the heart of the partita through its slow triple meter and expressive harmonic progressions. The Rondeaux is light and dance-like, with a recurring refrain structure and playful ornamentation. The partita concludes with a Capriccio, a lively and virtuosic movement that features rapid scalar passages and intricate counterpoint.
SONATANO.17INDMINOR, “THETEMPEST”(1802)
Beethoven’s Piano Sonata No.17 in D Minor, Op.31, No.2, commonly known as the Tempest Sonata, was composed in 1802. This was the same year he wrote the famous Heiligenstadt Testament, where he professes his frustration and angst regarding his loss of hearing. The first movement opens with a mysterious Largo introduction, leading into a restless Allegro. The contrast between each section creates a sense of instability. The second movement is a calm and deeply expressive Adagio in B-flat major which showcases Beethoven’s mastery of orchestral textures. The final movement has a similar stormy character to the first; the perpetual motion creates a sense of unease that persists until the quiet ending. This sonata is one of the examples of Beethoven’s departure from the Viennese Classical style and foreshadowing of the Romantic style.
VALLÉED’OBERMANN(1855)
Franz Liszt’s Vallée d’Obermann is the sixth piece from his Années de pèlerinage (Years of Pilgrimage), a collection inspired by Liszt’s travels through Switzerland in the 1830s. The title refers to Obermann (1804), a novel by Étienne Pivert de Sénancour, which explores themes of isolation and spiritual longing. Lizst included this quote from the novel in the score:
“What do I want? What am I? What can I ask of nature? Every cause is invisible, every end illusory, every form changeable, every length fatiguing… I feel I exist to consume myself in indomitable desires, drinking in the seductiveness of a fantastic world only to be appalled by its voluptuous delusion.” Senancour, Obermann – Letter 53
Vallée d’Obermann unfolds as a tone poem for solo piano, structured in a broad ternary form with contrasting thematic material that reflects the protagonist’s journey. The piece opens with a moody, descending motif in the left hand, with chromaticism that evoke a sense of angst. This motif forms the basis of which this entire piece develops through thematic transformation. Liszt’s use of harmonic ambiguity, as well as his shifts in tempo and texture, require the performer to balance technical virtuosity with emotional nuance. The Vallée d’Obermann exemplifies Liszt’s ability to fuse literary influence with musical innovation.
PRÉLUDES(1910)
Claude Debussy’s Préludes, Book I, consists of twelve pieces for solo piano that reflect his impressionist style. Each prelude serves as a tone poem that evokes specific moods or atmospheres. Voiles is the second prelude in Book 1 and is one of Debussy’s most experimental explorations of tonal ambiguity and color. The title is intentionally ambiguous, as it could translate to “sails” or “veils”. This piece is built primarily on the whole-tone scale, which removes the sense of a tonal center and creates a floating quality. Les collines d’Anacapri (The Hills of Anacapri) is the fifth prelude in Book 1 and presents a vivid contrast to Voiles through its bright harmonic palette. The movement is inspired by Debussy’s visit to the island of Capri; he uses modal scales and Italian folk dance rhythms to evoke this lively atmosphere.
ACKNOWLEDGEMENTS
Jordan would like to express his deepest gratitude to his family for always supporting his musical endeavors. Additionally, his collegiate success would not have been possible without his professors, especially Dr. Igor Resnianski.
