Maestro Michael: You are as sound a teacher as you are a conductor. I am still sad that you're leaving San Francisco, and "my" symphony. (I grew up in San Francisco) I hope you will continue your "Keeping Score " with the SFSO. They are little jewels of musicology and music itself.
THANK YOU MAESTRO, I am a conductor myself, but was absutely delighted wth that marvelously clear, concise, and educational lesson. I have really beenefitted from some of those pointers you gave. Thank you SO much, I LOVED it.
@@AmericanClownAcademy Thanks for asking. Saito's analysis shows that the Secondary point (that place in space and time when the motion is slowest) is the element that allows players to anticipate the Beat point and to play exactly together with ease. He also describes gestures to enlarge the pallet of expressive motions. He explains how controlling the acceleration and deceleration of the motions helps one express musical ideas through gesture. Those ideas complement those of Maestro Tilson Thomas.
Even once, try conducting with a complete secret score without placing a podium score stand in the stage actual performance. Like Karajan, Dr.Böhm, Kubelik, etc.
I've seen you from the another video and I think you don't seem to notice how important is the conductor before and at the performance. Please note that I am just an amateur musician and I just giving a "report" of my observation. From what I observe, great conductors don't just analyse and rehearse, but also to inspire the musician because the great instrumentalists already know how to play their instruments. I won't get in too much detail about that, just watch Iván Fischer masterclasses. One instance is in an interview, the timpani player said his orchestra (I forgot what it is) is performing and he notices changes of sound within the orchestra, and then he realises that the reason is Furtwängler enters the room. What great orchestras needed was someone who had something to offer and to challenge them. But of course what I observe is just from great orchestras and great conductors, and I am not sure that is the case for not-so-good orchestras. If you want to know why a conductor is nessesary during a performance, literally just watch any videos of great orchestras and conductors performing Mahler, Bruckner, R. Strauss, Boulez, that kind of thing. Leonard Bernstein and Iván Fischer have the most clear gestures. Or just watch conductor documentaries. That way you can't compare a theatre director to a conductor. And pardon my english.
Yes they do. They typically are in the wings but when they aren’t they usually have stage managers and the like to delegate to. This was a sad comparison.
Some orchestras, like the London Mozart Players, do fine without a conductor. Conducting itself didn't become a real profession until the nineteenth century. Before that time sometimes the concertmaster or concerto soloist could give the upbeat, and that was enough. The conductor has to be a good enough musician that other players are interested in following the conductor's vision for the piece. Otherwise, the conductor will just be competing against the good instincts of the players.
My father, who had no musical training, once thought very much like our commenter berighteous. However, after hearing and watching many MTT concerts, especially some of the Mahler symphonies, he came to understand the importance of the skill of the conductor. MTT may be the greatest conductor alive today. He is worth listening to.
Thanks So Much For Sharing This Lovely And Timeless Document!!!
Maestro Michael: You are as sound a teacher as you are a conductor. I am still sad that you're leaving San Francisco, and "my" symphony. (I grew up in San Francisco) I hope you will continue your "Keeping Score " with the SFSO. They are little jewels of musicology and music itself.
I saw him conducting many years ago and I've always loved his reading and emotion injected into the piece. MTT is the best.
MTT is so elegant in his speaking manner! So intelligent as well.
uhm, how is there only 264 views on this post, and 8 likes? Free education!! wow!! thank you for posting this!!
One clue: Education
Excellent and very clear - thank you
Brilliantly!!!
Amazing
Nicely done!!!
THANK YOU MAESTRO,
I am a conductor myself, but was absutely delighted wth that marvelously clear, concise, and educational lesson. I have really beenefitted from some of those pointers you gave.
Thank you SO much, I LOVED it.
This is an extremely insightful video. Thank you so much for uploading this. Do you have the rest? Thank you.
best conducting teaching vedio ever
İ advice Denise Ham.
Excelent
Ingolf Dahl....USC's jewel
Explore the analysis of conducting gestures by Hideo Saito.
@@AmericanClownAcademy Thanks for asking. Saito's analysis shows that the Secondary point (that place in space and time when the motion is slowest) is the element that allows players to anticipate the Beat point and to play exactly together with ease. He also describes gestures to enlarge the pallet of expressive motions. He explains how controlling the acceleration and deceleration of the motions helps one express musical ideas through gesture. Those ideas complement those of Maestro Tilson Thomas.
Even once, try conducting with a complete secret score without placing a podium score stand in the stage actual performance. Like Karajan, Dr.Böhm, Kubelik, etc.
Watching this I feel so stupid.
Неа, я не так даю четвертую долю, просто в стороне и тоже с запахом вверх
But a theater director or a coach does not stay on stage during the performance.
I've seen you from the another video and I think you don't seem to notice how important is the conductor before and at the performance.
Please note that I am just an amateur musician and I just giving a "report" of my observation.
From what I observe, great conductors don't just analyse and rehearse, but also to inspire the musician because the great instrumentalists already know how to play their instruments. I won't get in too much detail about that, just watch Iván Fischer masterclasses. One instance is in an interview, the timpani player said his orchestra (I forgot what it is) is performing and he notices changes of sound within the orchestra, and then he realises that the reason is Furtwängler enters the room.
What great orchestras needed was someone who had something to offer and to challenge them. But of course what I observe is just from great orchestras and great conductors, and I am not sure that is the case for not-so-good orchestras.
If you want to know why a conductor is nessesary during a performance, literally just watch any videos of great orchestras and conductors performing Mahler, Bruckner, R. Strauss, Boulez, that kind of thing. Leonard Bernstein and Iván Fischer have the most clear gestures. Or just watch conductor documentaries. That way you can't compare a theatre director to a conductor.
And pardon my english.
Yes they do. They typically are in the wings but when they aren’t they usually have stage managers and the like to delegate to. This was a sad comparison.
he's so full of himself. He's just waving his stick to the beat.
No, he literally makes the beat by waving his stick. Like. What is wrong with you lol
Haha you really are shallow aren't you sir.
Wow. Crawl back under your rock. Try starting any orchestra without a conductor.
Some orchestras, like the London Mozart Players, do fine without a conductor. Conducting itself didn't become a real profession until the nineteenth century. Before that time sometimes the concertmaster or concerto soloist could give the upbeat, and that was enough.
The conductor has to be a good enough musician that other players are interested in following the conductor's vision for the piece. Otherwise, the conductor will just be competing against the good instincts of the players.
My father, who had no musical training, once thought very much like our commenter berighteous. However, after hearing and watching many MTT concerts, especially some of the Mahler symphonies, he came to understand the importance of the skill of the conductor. MTT may be the greatest conductor alive today. He is worth listening to.