Steven Isserlis Master Class: Beethoven Cello Sonata No. 4, Andante
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- เผยแพร่เมื่อ 23 ธ.ค. 2023
- Claire Deokyong Kim, cello; Yundu Wang, piano. New England Conservatory of Music 2023.
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I don't understand all the negative reactions, This is such generous teaching.
About all the negative comments about Isserlis way of teaching:
1. He is a Sagittarius
2. He is British and he has a very British humor
3. He is one of the greatest musicians of our time
4. He is a truly musician not only a cellist like many many others
5. I find the lesson very challenging and full of great valuable information
6. If I wasn’t prepared to the 200% I would never play for him since I know he is not only a cellist but a truly musician and he talks bout music in lessons so he is not the type of teacher for everyone
'I'm being very tough on you - it's for your own good'. 😇
One purpose of a masterclass is to not only help the student in front of you, but to broadly present inights to an audience as well.
He wants her to be on his level.
I understand the criticism around his teaching. However I think that his style is for the student to understand the piece, not just play it. As well as to improve on their mistakes, and to prevent mistakes or poor choices in the future, At least thats what I think.
Can someone please explain to me why he keeps referring as the movement from B to A as a 9th? What am I missing?...
My opinion- They are in G chord. So from G t B is 9th.
I believe that from the second half of the 4th bar they're over a G chord (dominant) and exchanging what they called "2nd ideas" each time finishing in different notes of the G chord they're sustaining. First time the cello finishes on a D (5th degree of G), second time the piano on an F (7th degree) and the final time, the cello is on the 9th like @jungbinlim3397 said. Hope I explained myself well enough😅
9th like 9-8 suspension
Years ago I remember him as a new and fresh "star" in the mud world. He was an arrogant man then, too. He acted like the whole of a class or a performance to lesson was about him. It seems it has not abated.
Isserlis is a megalomaniac. He is the antithesis of Yo Yo Ma. Obviously a great cellist and performer, but in a tutorial setting, self agrandizing and making the student feel small. He compliments, but not believably.
With all due respect to your personal interaction with Isserlis, I have known him to be a top notch player, teacher, and person. A few years ago, I met Steven at the Colburn conservatory in Los Angeles and had a great chat with him about how much I appreciated his playing, but even more, his clear teaching. As flutist (and son of a cellist), I’ve learned more from his clear and direct masterclasses than most of the flute classes I’ve ever seen or participated in my career! After learning of my father’s declining health, he went above and beyond and made a personal video message for my father as a way to lift his spirits. My father and I love talking about cellists and methods and Steven is among the best. Top class person and musician in my book! For those of us who met him, worked with him, and still marvel at his patience with the world, I had to write this small note to counter and respectfully say I do not agree with your assessment of Steven Isserlis.
I see what you're saying but I honestly believe hes trying to get the student to be aware of aspects of the composition they dont have a understanding of yet. To him thats very crutial so it seems very obvious.
I completely agree… or at least that is the feeling he gives off during masterclasses which makes him seem like an unlikable person
Hmmm I don’t agree… at least based off this video. I think he is just trying to make her think differently and more in intervals rather than emotion feeling. To analyze the music a bit.
Though interpretation seems to have gone out the window…
A not very useful lesson for the student. The information given seems to serve more the purpose of enhancing the teacher´s knowledge and ego .... any experienced musician can analize the piece and get to these structural conclusions ... the dificulty is how to translate these into coherent sounds without constantly attacking the student. In this aspect this lesson doesn´t seem very useful for the student... the teacher also exagerates too much when imitating the student, which is wrong, rude, and leaves the student confused...
Several thoughts - first, many students or even young artists these days do not bother to do a cursory analysis of structure-function relationships. For instance they don't know the key relationships and how a composer alters the material following the exposition. This is plainly evident if you listen to other of his master classes. At Julliard he took one seasoned student to task bc he wrongly identified chord progressions in the Schumann Concerto. And this is particularly the case in Beethoven which Isserlis has said repeatedly is the most precisely marked among composers. Isserlis has edited editions of various works including the Beethoven sonatas and presented his work in a lengthy podcast which amounted to a complete analysis of each sonata with an emphasis on left and right hand articulations. This involves knowing both the piano and cello parts intimately. The conclusion is Isserlis is very exacting and detail-oriented which certainly comes out in his performances. As for copying what the student has done so as to embarrass them, I can say from personal experience that my teacher often copied what she heard in my playing to illustrate with emphasis how what I was doing was at odds technically and musically with the standard. Sure, it could be at times humbling but I always felt she had my interests at heart so that it was never interpreted by me as insulting, demeanimg, or derogatory. I might agree with you if these were master classes populated with high schoolers or younger but the master classes I've watched with him are with undergrad and even grad students attending conservatories and major schools of music under expert tutelage from the likes of Krosnick, Doane, etc. I think the standard should absolutely be the very highest possible and the students capable of the demands placed on them in terms of their applied instrument. After all, these are tomorrow's orchestral, chamber music, and soloists that will grace the venues we concertgoers attend.
One additional question - how do you know what this student's reaction to the masterclass was? Unless you talked with her after the fact..
@@michaelrosa2015 Sure... totally agree with your general thoughts, however I believe that a masterclass situation can be a moment of ego trip for a teacher, and nowadays that should not be accepted ... advising students to analyze pieces carefully is good but to put them on the spot over something that you know they are in "inferiority" is both disrespectful to the students and to their teachers ... If you are an invited guest to something like a masterclass you should be constructive and this was not the case. I have enough personal experience both as student and as a teacher... the other thing is... being analytical is not enough if you don´t carefully translate it into sounds... this work was not carefully done by the teacher, which translates to me that he was just worried about showing everybody watching how smart he is ...
@@cruzdavid I recently heard a talk given with the cellists Steve Doane and Guy Johnston in which Isserlis articulated his vision of teaching which not surprisingly he finds is lacking even at the conservatory level, annoys him to no end and perhaps accounts somewhat for the disrespect you spoke of. His masterclasses are generally atypical in that they do not explore some technical aspect of the cellist's playing that is limiting their ability to perform authoritatively but focus exclusively on elements of interpretation which necessarily must spring forth from a performer's intimate knowledge of both the cello and piano parts. The way Isserlis was taught figures significantly into how he approaches what he calls coaching. Basically, the idea is that any technical exercises are done with whatever piece within the repertoire is being studied so that the main focus becomes phrasing, articulation and so on thereby eliminating technical issues that will interfere with execution of the musical ideas inherent in the work. So you will be disappointed if you are expecting Isserlis to address issues of sound production, intonation, hand position or myriad other challenges that plague many a young artist. I also find it interesting that you refer to this student's 'inferiority'. I'd reframe inferiority with lack of awareness as the performer is clearly not used to conceptualizing this piece in analytical terms so Isserlis is providing insights on how Beethoven's compositional methods and/or how he hears the piece can inform her interpretation of the work.
Just can't stand that self-absorbed guy! 🤮
who's being self-absorbed?
Clever people don't communicate with morality and smart students should know how to handle and grow with criticism. A master class is still a class, not two friends chatting, and if you want to learn anything, compliments are definitely not the most efficient way. A small thing most string learners neglect is exactly the unintentional slur Isserlis mentioned. Including me, we feel beautiful while playing the slur, but for listeners, it breaks the phrase and produces inconsistent tonality.