Beethoven: Cello Sonata no. 2 - 1st movement (Benjamin Zander - Interpretation Class)
ฝัง
- เผยแพร่เมื่อ 3 พ.ย. 2016
- For more classes like this one, please visit the Benjamin Zander Center - www.benjaminzander.org/
Peiyao Guo, cello & Jayoung Kim, piano
Interpretations of Music: Lessons for Life
with Benjamin Zander
Dave Jamrog Audio Video - เพลง
Mr Zander should give recitals on occasion. He has more to offer than most virtuoso pianists. Such a beautiful man.
2:46 i feel bad for the page turner 😭😭😭😭
True
@@bro6117...
@@samcollins8330 .
I feel brilliant for the responses to this comment, lol
LittleShreDDer_Lev1_1 Twoset must react to this!
After 30 minutes non stop, he goes “now the string quartet!”
If I can be that high energy at 80, boy, I’ll sure get busy passing on my knowledge
Excellent cello playing
I personally found his over the top exuberance somewhat intimidating for these 2 gifted young players. The cellist produced a beautiful sound, but I could'nt help thinking that Zander caused the pianist to feel inadequate judging from her body language.
13:30 is my favourite bit, i wish more of this played in the song
Piece*
@@mikehunt1805 song to me
@@mikehunt1805 15:55 he litterly says its a song.
12:06 Also this.. :D
Zanders should be renamed Zenders! He's a genuine Zen master.
13:33 i wish this went on for long its so deep
I wish i had the opportunity to learn this, i keep coming back to it for some reason, this little phrase says so much and sets the scene so perfectly.
“Show up for a masterclass.... accompaniment get’s the schooling....” -__-
Cuz the guy is playing technically correct, just out of sync and style with accompaniment.
James Dowell Perhaps, not being a trained musician, I used the wrong terminology. But I will argue, it’s only nonsense if you’re so bound to title definitions that you can’t grasp what I was expressing humour.
James Dowell okay 🤷♂️
@@jamesdowell8758 Yikes! While it is definitely true that many Sonatas for cello are truly Sonatas for cello AND piano. The joke still stands however, as the cellist was the one showing up to get instruction from Maestro Zander, not the pianist. Beethoven was a virtuoso pianist and so his Sonatas often give much greater weight to the piano part versus the theoretical soloist. Accompaniment is still an appropriate term as well, despite the virtuosic weight leaning towards the piano part. For a part to be an accompaniment, it merely needs to assist a designated soloist. Here the designated soloist is the cellist, not the pianist. The unfortunate reality of the piano and keyboard instruments generally, is that they have become the default "assist" and accompaniment to other feature instruments. They shouldn't get too miffed about this reality though, as they also probably have one of the largest solo libraries of any instrument in history. Remember they still call trios and quartets that include the piano, "Piano trios" and "Piano quartets".
Even Rachmaninoff's cello sonata is still built to feature the cello, despite the piano part being a monster. The piano introduces themes that are then embellished by the cello, the piano swings into highly complex harmonies, but never draws too much attention away from the cello as the backbone of the melody. Every movement has a melody that works to the strengths of the cello, from the straining yearning of the first movement, the rapacious c-minor and love song in A-flat major of the second, the contemplative legato of the third, and the celebratory attitude of the fourth. Each theme utilizes the sonorous qualities of the cello, its inherent ability to sing even normally joyful notes with a sad quality.
Beethoven's sonatas are similar, they are built to feature the cello. The themes are often garnished by the piano, but find their fullest expression when the cello engages in them. The garnish is definitely fantastic in its own right, but it still serves that role. Even when the cello is playing the harmony and counter melody, the design plays to the cellos strengths and virtuosity. You can contrast this to Beethoven's solo piano sonatas, which develop themselves in a completely different manner, where the virtuosity of the piano is engaged with far greater development. The rhythms and voicings are more complex (particularly in later sonatas), the piano is doing things only the piano at the time could do.
A sense of humour goes a long way too. It was a funny comment, and accurately assessed the situation of the video.
9:20 watch out for the T-Rex attack
Imagine how beautifully would Mr. Zander sing had he been a professional singer.
Poor girl in the piano she left the audition thinking she was completely unable to play well
really??? So sad
Where is Dina? 👀
Haha, I was wondering the same thing. Such a wonderful pianist.
I never knew that talented pianist's name. Do you know anything more about her? Thanks xx.
dictate an interpatation, or learn to interpetate?
This is too easy for Zander
Lifeless performance why doesn’t Zander just go play the piano he’s capable enough
He can't play the piano and mentor the cellist. His focus is primarily on his student, not performing himself.
His advice is great. It's just the pianist and cellist were lifeless in their performance.
---- wish I was as 'lifeless' as that...!
on my 'cello
This is a classic case of Asian sending their kids overseas to learn something tat they are not passionate abt, not their fault, but it's a waste of time and resources sadly, after you watch the whole series of the other video, it's sad for both of them. Coz the others play so much more life and beautifully then them. Sorry.
I think this is something very common with Asian players. I've seen it with the videos of young child 'prodigies' on here. They play technically demanding pieces, but they just seem to be going through the motions. There is no passion or interpretation - just mechanical playing. They don't ever seem to be INVOLVED with the music or to be enjoying themselves.
Lot of ignorance and racism in this thread...clearly none of you have seen how Janos starker played...he was usually a bit stiff and robotic, which was most likely due to how he approached his playing philosophy. He placed emphasis on the music more than conveying your own emotions as it had the potential to draw attention away from the music...yet no one bats an eye about his lack of musicality/emotion when he plays and is something probably overlooked due to his incredible technique (I actually admire starker as a cellist and respect his playing philosophy so not trying to throw shade at him haha). I’m also assuming none of you have ever heard of yo-yo ma. If you haven’t, he is a Chinese American cellist and is quite expressive and musical with his playing so maybe you all should look him up ;) The way peiyao is conveying his emotions is quite subtle but tasteful, especially considering the characteristic of this movement (or at least the portion he played before he was stopped). It seems most of you would want him to be more exaggerated and flaunt his emotions in a way that screams “wow I am so musical,” which is something that can come across as contrived rather than authentic. Who cares how he decides to display his emotions as long as he serves and delivers the message behind the music. Sure the expression of the player can make a difference in how a performance is interpreted by the audience. But if it serves no purpose for the music and is only for show so the audience has something nice to look at, then what’s the point?
It is true. As an Asian, it is true. They have no passion
As a cellist i just want to say that this piece is very hard to play. But i also think the pianist was terrible.
Not terrible at all and that was a mean comment.
What was wrong with her?
Never say that to a musician: it’s very rude!
i think she didn’t fully understand the piece to accompany him but it’s so rude and bad to say that to a musician i think she did her best after whatever zander told her
It's not only for the cellist but also the pianist.