Me: gotta go to bed early today so i'll be focused tomorrow in the university 01:00 AM: watching Christoph Waltz and Daniel Barenboim in a conversation
These are my two favorite artists and I love them so much. Between my love for film and my respect for what Christoph has done for the industry, as well as my adoration for classical music and Barenboim's interpretations, especially all 32 Beethoven sonatas, I have found a rare gem which I won't find another comparable for quite some time. Thank you
I just finished reading Daniel's book "Everything is Connected." I would read a few pages, then I'd have to close the book to literally breathe and process a new way of looking at music - and the Middle East. Similarly, as I watched and listened to this discussion in this video, I frequently paused it so that I could jot down ideas shared by both Daniel and Chistoph that were singular moments of personal 'epiphanies' - the questions of "what" and "how" and the difference between information and knowledge. I am an adult piano student & I have returned to university - I am ever the student; ever learning. I have been studying music history this past year, and Daniel's books and videos have given me an appreciation and understanding of music far beyond that of any university textbook. Thank you, Daniel Barenboim. You have enlarged my world.
Thank you so much for telling about the l book.."everything is Connected" I have read the first pages.... And It gives s o much alredady, of understanding and the feeling of music playing it. So thank you s o much , and of course Thank you to Baremboim for giving it.... or how you choose to express it...
To listen to two great masters in their fields have a conversation is rare treat I feel honored to eavesdrop on. "Knowledge is different from information" You study to gain knowledge, you watch social media for information/disinformation/etc. Pure gold.
I actually agree with Waltz that the question 'What?' should precede the question 'How?' First ask yourself what is it in its core that what you are playing, then the 'how' will come naturally. First think about what do you want your sound to 'mean' and then choose your means to do it- the sound.
Hello, if you are a pianist, do you know one of the most important point what Neuhaus had taught to his pupils? The dialectic thinking. The how determines the what and the what determines the how! Read it, it is one of the first explaination of him!
Dear Mr. Barenboim, I listen to your interpretations of Beethoven`s sonatas nearly everyday. I am a great fan of yours, truly. And I hope you take your time to read the comments on your own, sometime. In my opinion, you show every movement of his work in a very appealing and enjoyable way. With this said, I just want to express my admiration to you and for this channel, for talking about your own experiences and conversation like this.
Two very inteligente people reaching very deep with a profound knowledge of their trade. You don’t need tô be an actor or composer to take allot from this. I wish there was more. I also wish Christoph Waltz would do a series of podcast in any subject - it would genius!
Daniel!! Muchas gracias por estos videos. Escucharlo hablar es un privilegio, así como también escucharlo tocar música. Aprendo muchísimo con cada video. Lo esperamos en el Colón nuevamente en el 2018!!! Thank you and Mr. Waltz, two geniuses for sure!!!
I agree with Christoph Waltz in this. It seems to me, that the analogy and the philosophy behind how to achieve something in Art, not just Music, is established via understanding WHAT. And I can't believe Barenboim maintained the personal opinion here while in reality, in almost every day life, we must choose WHAT, in order to execute HOW.
Initially, I might be inclined to agree with what Christophe Waltz says. He argues that you must first understand 'what' you want to achieve before you can determine 'how' you are going to do it. Waltz describes a scenario in which he explores how he can best interpret or perform a text. In that context, his assertion that 'what' is more important than 'how' would be logical. Barenboim emphasizes the 'how' over the 'what,' particularly because more is given in music upfront than in dramatic literature. When examining and analyzing sheet music, requirements such as style of delivery, volume markings, expression marks, and tempo indications are already apparent. These are things missing in the texts that Waltz reads, which consist solely of words. That's why I think Barenboim finds it more important to focus on the 'how' (how to realize the basic information). Once you understand how to approach the music with what is given upfront, you have the freedom to find your own voice within it. This search is similar to what Waltz implies. They are both right. Waltz's approach is highly applicable to our daily lives (what do I want? this, how, this is how), making it applicable in all scenarios. But as it were, music thus takes an extra step before we can ask the question, 'what do I actually want myself?' The ‘what’ is firstly given by the composer.
In past years I didn't like the idea of interpreting music, about "something", or to say that "this phrase is about a sweet breeze", etc. but i have recently come to understand that music for the sake of music is merely an impossible illusion. There is always a "what" behind the composer's music, besides "how". You can hear Lamond talk about liszt speaking about chopin's polonaise, describing a section of it as the marching of the cavalry. Knowing this automatically helped me appreciate and understand the section much easier and helped to to execute the "how", reletively easier than before.
Dude u wanna chain smth. unchained. People don't wanna manage anything because some1 likes that, although u can get a lot of benefits of whatever. In the next conversation they recall the social meaning of creative and artistic activity. But money and fame for example are not the point. The point is to be in harmony with yourself and the world. And in that sense there is no connection beween what composer or writer mean. They mean only what they do and the rest is your personal collaboration with the creator. That's why you are wrong and should clearly understand that. End doesn't justify the means at all
Seeing you once again makes me so happy, Maestro. The love I have for you and your music shall always be extricable part of my soul. And may I say what an interesting and delightful comparison between two beautiful branches of humanities this is.
Thank you for this conversation!!! I (am a musician) agree more with Waltz!!! We know a language yet we can say a word in many ways and so, with many meanings, and the same will happen with music. It all depends on the *intention* -Waltz-, i could play a chord with no musical purpose but if it goes to another chord THEN I can say: wait, run, cry, shout, question, answer.
Very deep conversation...it's funny because I have always assumed Christopher would have this very German or Dutch accent and Daniel has more of that and he's Argintinean...but Christopher sounds American...non the less I love both of these mens work.
Such an interesting conversation. On one level actors/readers and musicians are doing the same thing; bringing to live, uncovering and putting a meaning into signs (notes/letters) on a paper. Actors bring persons and situation to live and unlock their personalities and reactions and thereby, hopefully, uncover the writers intentions. Musicians bring notes to live and in that way, hopefully, uncover meaning and intentions of a composer. In some cases going beyond what words can possible describe.
Welcome to TH-cam Daniel and your whole TH-cam creator team. Looks interesting and I can't wait to see more. I would love for you to do collaborations with other Classical Music TH-camrs like myself. It could bring a more well-rounded TH-camr like experience. Plus it would be fun!
Mr. Waltz said it perfectly. Some of these conductors can wave their arms very eloquently with corresponding expressions, but probably have never written anything of consequence or worth remembering and yet, they wield so much power in deciding who gets performed. LET THEM WRITE A PIECE WORTH REMEMBRANCE.
Yes, I was expecting an interesting conversation but seems like there wasn’t even a conversation, if so it was a debate-like one. I really don’t know why.
Absolutely. I have this conversation running in the background at low volume so I can't understand a word, but the tone of voice of both is so pontificating, so blasé , so 'radical chic', so reminiscent of self-satisfied lecturing, that I instinctively turn my head to look for the exit door like I did in the lecture hall during a boring 'exposé in my college years, only to realize that I am at home and can just turn it off. Fortunately then there is the Chopin music to soothe my battered ears, just in time.
I feel so overwhelmed by too many ideas and not knowing what to do with them when I try to write music. I feel it's a lot like the job of a good movie writer, or writing a good story. It's not about the actual ideas that you have, but the way you're able to put those ideas together. You can have a thousand different motifs kicking around in your head and think you understand everything there is to understand about music theory and tonality and harmony but it all means absolutely nothing if you don't know how to go about crystallizing a singular object from the boiling bubbling brew of your soup of ideas
Bareinboim is not German. He's probably way more fluent in english. And waltz has an excellent level in English of course. English was definitely the way to go imo. + it reaches a wider audiance that way
I think Waltz didn't mean "what", he meant "why". Why does someone say or do something? That helps him understand the character, so he can play it. Barenboim on the other side doesn't have a why, he looks for a sound he wants to create. It's always an interpretation of the sheet music for him. Personally, I don't think that's true, because a piece of music always has a purpose or at least a circumstance in which it was written. Short: Barenboim can suck it.
There was no point to be made. I believe he was just trying to get what he wanted out of him, Baremboim first insists on sensibility and then on technique, he was just chatting. They kept it going and showed everyone that theres a difference between what you do and what you maybe want to do.
I think, Christoph Waltz`s interpretations of a text can be compared with the conducting of S.Celibidache or the playing ofA.B. Michelangeli or F.Gulda because i don´t know any other actor, who pronounces and articulates the words so clearly like Mr. Waltz (at least in german).
Buenas sr Barenboim Me gustaria si es de su agrado que hablara de cada una de las sonatas de beethoven por separado, su opiniones de cada una ellas por ejemplo. Gracias y muy intructivo sus videos.
Different instruments. Different skills. Different interpretations. Different models. Different teachers. Different rooms. Different acoustics. Different listeners. Everything is always different. And how does anyone know what was going on in someone's head 200 years ago?
Absolut respect and humble with the text yes. But, I don't agree with exesive purism clamming the need to play Bach as Bach did it, Chopin in Chopin's way and so on. It is impossible, ilusory, and also unnecesary! It is well known that Chopin preferred Listz's way to interpret many of its own compositions... I think that a piece of art should be alive, and it can express in infinite ways to transmit its message.
"Every good gift and every perfect gift is from above, and comes down from the Father of lights, with whom is no variableness, neither shadow of turning." Jesus is the way the truth and the life. "whosoever calls upon the name of the Lord will be saved"
An orchestra can start playing the Beethovens 5th in the most gently and sweet way if they want so. Its not written IN the score, that that beginning should sound angry or violent or scary as it is always played. So…how we decide that we are going to play in the second way as it is normally played?
For a musician, instrumentalist, the first and extremely hard thing to do is separate the music written from all the mistakes and unvoluntary wrong things you do BECAUSE of the difficulties YOUR instrument has for you. You have to learn to be sensitive, awake, and be conscious always that probably your instrument is dictating things that you dont really musically want or mean to play. Wrong accents, wrong phrasings, etc. Once we have accomplished a lot of that, can we FIRST start talking about text reading philosophy
In music as in drama, to be completely faithful to the author or composer is not always the way to go, it depends in the quality of the work you are interpreting. As an example, an actor is doing Shakespeare, let say Hamlet, the quality of the text is such, that even if it can benefit a little with a great performance, it doesn’t really need it, someone can stand up and only read the words and you will appreciate a great work. But that dont´t happen with a film like, let say, “Joker”, the words are not enough, the script is not comparable with the text in Hamlet, so it certainly will benefit with a great performance, as it happened with the actor that played the "Joker". This is true in drama and in music. Sometimes there is more space for some interpreter to contribute, sometimes there is less. And in the case of a master piece perhaps is none.
I love Christophe Waltz. He is bright, intelligent and respectful. Barenboim is skilled but a blown up macho and not modest. There is no modesty in Barenboim only pride.
Dear Mr. Barenboim, there were several interesting topics in this video. I do not agree with the fact that music is an art greater than theatre: in my personal experience, working as a pianist and composer with actors, actresses and dramatic directors, I found out that theatre is mainly made not by words. As music can be written on the paper, theatre can too: on one side you have notes, tempos, indications by the composer, etc. On the other one you have wrods, acts, indications by the author. But in both cases you can not write the real "what it is" or the objective "how to play": every pianists plays a piece of music in their own way, as every actor/actress does with a piece of drama. It is something very subjective. (And even your personal feelings are included in your perfomance: it is something like the concept you mentioned concerning listening to a piece of music by Mozart.) As far as words in theatre are concerned, I said theatre is not only made by words: I see that the dramatic performance is mostly made of choices about "how" the actor/actress decides to show the dramatic text on the scene, similarly to what happens in a musical performance. The difference is "what" physically they show: music is just sound. Theatre is more than sound, as a sense. Much of a dramatic performance is braught by the view: the body, the position of the performer is something that can astonish our view. To my eyes, theatre is a living portrait, which always shocks me terribly. Acts, gestures can shock us, in a different way than sound and, therefore, music do. Actually, I think too that both "what it is and how it is played" is decided by the performer. Of course, those two matters and also which one of them becomes the main question of the performer make the performance different. And, of course, the answer to those matters makes the biggest difference. That is the reason why I think theatre is just a different art, as music is. This is just my opinion. I hope you apprecited reading it. A warm good bye!
I think they both aboard the subject from the wrong perspective. Because this feels more than a discussion rather than a conversation. If they would've started with what are the complexities of each art this would have a different tone. I think that what Barenboim wanted to point out at the beginning is that music is way more difficult to express than a word. If you have on the script "I hate you" the audience obviously knows what that means, no matter if the actor is good or not. In music how can you transmit anger? it is more complicated in that regard. But obviously both arts have a lot of complexities and are equally difficult.
Surely music made by an artist is more than "just sound" unless your definition of musical sound includes a player's physicality and expressive intentions - in other words, beyond mere literal degrees of loud and soft, faster or slower, etc This idea of embodied musical sound is the means by which a player as an artist can communicate a sense of individuality to the audience - for example, Horowitz's sound at the piano has a different and very particular physical sense to it than say, Alfred Cortot. The successful communication of expressive intention in musical sounds may even project specific kinds of relationships between sounds and purely musical characters. And think of how combined musical sounds and the gestures and actions or even sense of narrative they convey stimulate strong physical impulses for dancers or impact audiences emotionally or even psychologically in film scores above and beyond the visual medium. Instrumental music through the player's embodied musical sound has the possibility to be dramatically charged even without a specific program or text.
I've made a german video about Christoph Waltz film tips. Here you can see the three parts: th-cam.com/play/PL3Hp2NkfigRhZ8Qm1rZQFZKStoG1QhkJ6.html English subs are planned!
I liked Christoph describe the actors world very good I am not liking Barenboims talks of sound, again and again...., Its hisself .... I dont know ... love, objective. Do k 414 please....
bothers me that the musician dude always approaches the dialogue adversarially, seeking to negate what waltz says, which is fine in essence but how he does it is annoyingly abrasive. waltz goes "i agree" and then draws an interesting distinction whereas music guy just goes "but in music its different" as though waltz doesn't know that
Sehr geehrter Maestro Barenboim, als Mozart- und Beethoven Verehrer verstehe ich die maniziösen Frechheiten des eigentlichen an sich großen Pianisten Glenn Gould über diese beiden Meister nicht. Er meinte sogar, dass Mozart eher zu ,,früh als zu spät'' gestorben sei und die Appassionata von Beethovens mochte er auch nicht sonderbar. Daher möchte ich Ihre Meinung zu dieser Verachtung Goulds hören und wie Sie selber zu deren Musik stehen. Danke schonmal im Vorraus :-)
Barenboim is completely wrong. Start listening to the beginning of Mathews passion and if you still feel joyful….Id say, either you havent heard any western music until that moment or…go to see a psychiatrist.
![Critic & Musical Career | Daniel Barenboim Replies To Comments No.3 [subtitled]](http://i.ytimg.com/vi/BBvCjWUa0YM/mqdefault.jpg)
Me: gotta go to bed early today so i'll be focused tomorrow in the university
01:00 AM: watching Christoph Waltz and Daniel Barenboim in a conversation
Or Mizrachi here at 0:05 AM!
01:16 with Uni tomorrow too
2:11 AM, same situation :-)
Or Mizrachi 5:28 and today i skipped my music class but im watching this videos... 🤔
3:16am
Mr. Barenboim is a great human and a great musician! Enjoyed the great insights from both Daniel & Christoph.
If I'm not mistaken, both of these gentlemen speak English, German, French and Italian fluently!
And spanish in the case of baremboim
+RETOROMAN, +Spanish, +Portuguese..
Sie sind polyglot en..
These are my two favorite artists and I love them so much. Between my love for film and my respect for what Christoph has done for the industry, as well as my adoration for classical music and Barenboim's interpretations, especially all 32 Beethoven sonatas, I have found a rare gem which I won't find another comparable for quite some time. Thank you
I just finished reading Daniel's book "Everything is Connected." I would read a few pages, then I'd have to close the book to literally breathe and process a new way of looking at music - and the Middle East. Similarly, as I watched and listened to this discussion in this video, I frequently paused it so that I could jot down ideas shared by both Daniel and Chistoph that were singular moments of personal 'epiphanies' - the questions of "what" and "how" and the difference between information and knowledge.
I am an adult piano student & I have returned to university - I am ever the student; ever learning. I have been studying music history this past year, and Daniel's books and videos have given me an appreciation and understanding of music far beyond that of any university textbook. Thank you, Daniel Barenboim. You have enlarged my world.
Thank you so much for telling about the l book.."everything is Connected" I have read the first pages.... And It gives s o much alredady, of understanding and the feeling of music playing it. So thank you s o much , and of course Thank you to Baremboim for giving it.... or how you choose to express it...
I'll be reading Daniel Barenboim's book "Parallels and Paradoxes" next!
To listen to two great masters in their fields have a conversation is rare treat I feel honored to eavesdrop on. "Knowledge is different from information" You study to gain knowledge, you watch social media for information/disinformation/etc. Pure gold.
A combination of two personal favorites I never expected together - great
"very dangerous to talk about the meaning of music". Thank you Meister Barenboim, this statement is enlightening.
I actually agree with Waltz that the question 'What?' should precede the question 'How?' First ask yourself what is it in its core that what you are playing, then the 'how' will come naturally. First think about what do you want your sound to 'mean' and then choose your means to do it- the sound.
Hello, if you are a pianist, do you know one of the most important point what Neuhaus had taught to his pupils? The dialectic thinking. The how determines the what and the what determines the how! Read it, it is one of the first explaination of him!
hi Danica. I totally agree with you. I'm a musician and I think in this way too: know what for how I have to do it.
@@CarlosCorreiaOficial Ditto.
Mr Baremboim and Hanz Landa. The perfect combination.
A stupid comment just for the thumb = dumb!
Indeed, excuse me for my stupidity. It's obviolsly Mr. Baremboim with Dr. King Schultz. Im sorry.
that Landa is a madafaka but... what a epic guy
Dear Mr. Barenboim,
I listen to your interpretations of Beethoven`s sonatas nearly everyday. I am a great fan of yours, truly. And I hope you take your time to read the comments on your own, sometime.
In my opinion, you show every movement of his work in a very appealing and enjoyable way.
With this said, I just want to express my admiration to you and for this channel, for talking about your own experiences and conversation like this.
Couple of genius. Thnak you so much! Greetings from Colombia.
Two very inteligente people reaching very deep with a profound knowledge of their trade. You don’t need tô be an actor or composer to take allot from this. I wish there was more. I also wish Christoph Waltz would do a series of podcast in any subject - it would genius!
Daniel!! Muchas gracias por estos videos. Escucharlo hablar es un privilegio, así como también escucharlo tocar música.
Aprendo muchísimo con cada video. Lo esperamos en el Colón nuevamente en el 2018!!!
Thank you and Mr. Waltz, two geniuses for sure!!!
The collab I never knew I needed.
This is a great actor. Interesting discussion on the similarities and differences in music and acting according to these two great artists.
I agree with Christoph Waltz in this. It seems to me, that the analogy and the philosophy behind how to achieve something in Art, not just Music, is established via understanding WHAT. And I can't believe Barenboim maintained the personal opinion here while in reality, in almost every day life, we must choose WHAT, in order to execute HOW.
Initially, I might be inclined to agree with what Christophe Waltz says. He argues that you must first understand 'what' you want to achieve before you can determine 'how' you are going to do it. Waltz describes a scenario in which he explores how he can best interpret or perform a text. In that context, his assertion that 'what' is more important than 'how' would be logical.
Barenboim emphasizes the 'how' over the 'what,' particularly because more is given in music upfront than in dramatic literature. When examining and analyzing sheet music, requirements such as style of delivery, volume markings, expression marks, and tempo indications are already apparent. These are things missing in the texts that Waltz reads, which consist solely of words.
That's why I think Barenboim finds it more important to focus on the 'how' (how to realize the basic information). Once you understand how to approach the music with what is given upfront, you have the freedom to find your own voice within it. This search is similar to what Waltz implies.
They are both right. Waltz's approach is highly applicable to our daily lives (what do I want? this, how, this is how), making it applicable in all scenarios. But as it were, music thus takes an extra step before we can ask the question, 'what do I actually want myself?' The ‘what’ is firstly given by the composer.
In past years I didn't like the idea of interpreting music, about "something", or to say that "this phrase is about a sweet breeze", etc. but i have recently come to understand that music for the sake of music is merely an impossible illusion. There is always a "what" behind the composer's music, besides "how". You can hear Lamond talk about liszt speaking about chopin's polonaise, describing a section of it as the marching of the cavalry. Knowing this automatically helped me appreciate and understand the section much easier and helped to to execute the "how", reletively easier than before.
Dude u wanna chain smth. unchained. People don't wanna manage anything because some1 likes that, although u can get a lot of benefits of whatever. In the next conversation they recall the social meaning of creative and artistic activity. But money and fame for example are not the point. The point is to be in harmony with yourself and the world. And in that sense there is no connection beween what composer or writer mean. They mean only what they do and the rest is your personal collaboration with the creator. That's why you are wrong and should clearly understand that. End doesn't justify the means at all
Seeing you once again makes me so happy, Maestro. The love I have for you and your music shall always be extricable part of my soul. And may I say what an interesting and delightful comparison between two beautiful branches of humanities this is.
There are moments I think: youtube is great! This conversation is just full of them.
5:35, a reference to Charles Ives' piece "The Unanswered Question!"
And also the Leonard Bernstein lectures
Right, I forgot. That series of lectures are true pedagogical gems.
two geniuses really..... wonderful discussion
Thank you for this conversation!!! I (am a musician) agree more with Waltz!!! We know a language yet we can say a word in many ways and so, with many meanings, and the same will happen with music. It all depends on the *intention* -Waltz-, i could play a chord with no musical purpose but if it goes to another chord THEN I can say: wait, run, cry, shout, question, answer.
Very deep conversation...it's funny because I have always assumed Christopher would have this very German or Dutch accent and Daniel has more of that and he's Argintinean...but Christopher sounds American...non the less I love both of these mens work.
The BEST maestro
Thank you Maestro Barenboim for.making this wonderfull videos!!
Te amo! Maestro Barenhoim. Best wishes from Hong Kong.
Really enjoy every video in master Barenboim's channel.
Such an interesting conversation. On one level actors/readers and musicians are doing the same thing; bringing to live, uncovering and putting a meaning into signs (notes/letters) on a paper. Actors bring persons and situation to live and unlock their personalities and reactions and thereby, hopefully, uncover the writers intentions. Musicians bring notes to live and in that way, hopefully, uncover meaning and intentions of a composer. In some cases going beyond what words can possible describe.
¡Qué gusto que haya subido otro video, Maestro! Siempre aprende uno de usted.
Welcome to TH-cam Daniel and your whole TH-cam creator team. Looks interesting and I can't wait to see more. I would love for you to do collaborations with other Classical Music TH-camrs like myself. It could bring a more well-rounded TH-camr like experience. Plus it would be fun!
Mr. Waltz said it perfectly. Some of these conductors can wave their arms very eloquently with corresponding expressions, but probably have never written anything of consequence or worth remembering and yet, they wield so much power in deciding who gets performed. LET THEM WRITE A PIECE WORTH REMEMBRANCE.
I wish there were new ,recent episodes I just love listening these two 😊
Wow, great idea, fidelity to scores and scripts. NICE!
Am I the only one who felt there was an underlying piss contest between the two masters? I don't know why but there was an element of hostility.
Johann Sebastian Bach Precisely- I also miss the broader point here, they dont seem to be listening to one another at all
You hit the head of the nail! I sense an egotistical exercise between the lines!
Yes, I was expecting an interesting conversation but seems like there wasn’t even a conversation, if so it was a debate-like one. I really don’t know why.
It's because this Waltz guy, totally didn't go along and is a pompous sunuvabitch
Absolutely. I have this conversation running in the background at low volume so I can't understand a word, but the tone of voice of both is so pontificating, so blasé , so 'radical chic', so reminiscent of self-satisfied lecturing, that I instinctively turn my head to look for the exit door like I did in the lecture hall during a boring 'exposé in my college years, only to realize that I am at home and can just turn it off. Fortunately then there is the Chopin music to soothe my battered ears, just in time.
This is perfect. Greetings from Spain.
It isn't at all
@@aramzulumyan6380 Muy bien, troll.
This is an awesome combo
I feel so overwhelmed by too many ideas and not knowing what to do with them when I try to write music. I feel it's a lot like the job of a good movie writer, or writing a good story. It's not about the actual ideas that you have, but the way you're able to put those ideas together. You can have a thousand different motifs kicking around in your head and think you understand everything there is to understand about music theory and tonality and harmony but it all means absolutely nothing if you don't know how to go about crystallizing a singular object from the boiling bubbling brew of your soup of ideas
These two need to be speaking to each other in German instead!!! Please I'm sure they could be much more clear this way. They are great together!!
Bareinboim is not German. He's probably way more fluent in english.
And waltz has an excellent level in English of course.
English was definitely the way to go imo.
+ it reaches a wider audiance that way
LEFANDESGTA Barenboim is fluent in 6 languages, I think he can carry a conversation in German
@@brandonc7952 He actually is fluent in German, but I guess they decided to speak in English to (as LEFANDESGTA said) reach a wider audience.
Barenboim's German is much better than his English. He's been working and living in Berlin for a long time now.
@@hansmahr8627 He is argentinian ashkenazi jew so he can speak fluent yiddish hence also german to a decent extent
"In music, you're basically having a conversation..."
I think Mr. Barenboim plays the piano, which is my favorite instrument and I don't play it, plays beautifully and I enjoy listening to him.
What point did Barenboim want to make? Waltz also didn't know. The result is 15 minutes of meretricious non-conversation.
I think Waltz didn't mean "what", he meant "why". Why does someone say or do something? That helps him understand the character, so he can play it. Barenboim on the other side doesn't have a why, he looks for a sound he wants to create. It's always an interpretation of the sheet music for him. Personally, I don't think that's true, because a piece of music always has a purpose or at least a circumstance in which it was written. Short: Barenboim can suck it.
There was no point to be made. I believe he was just trying to get what he wanted out of him, Baremboim first insists on sensibility and then on technique, he was just chatting. They kept it going and showed everyone that theres a difference between what you do and what you maybe want to do.
Exactly. They are both geniuses but this conversation was a little bit cringe
True artists' talk
I think, Christoph Waltz`s interpretations of a text can be compared with the conducting of S.Celibidache or the playing ofA.B. Michelangeli or F.Gulda because i don´t know any other actor, who pronounces and articulates the words so clearly like Mr. Waltz (at least in german).
My question to Mr. Barenboim is, do you listen to rock n' roll, and if you do what're your favorite bands and songs?
1:30 That's me when i'm bored in class.
You choose a type of musik in
Purpose of your mood
Maestro Barenboim,
What responsibilities do we have as musicians when we play a piece of music?
It must be intimidating to have Daniel paying attention just to you even for a person like Christoph that have so many intelligent things to say.
i don't speak German but would like to have heard this conversation given in German
Christoph! Love him so much!
Buenas sr Barenboim
Me gustaria si es de su agrado que hablara de cada una de las sonatas de beethoven por separado, su opiniones de cada una ellas por ejemplo. Gracias y muy intructivo sus videos.
Daniel barenboim composed a waltz named christoph waltz and here it is hehe.
Christoph Waltz 🤩 What a Beautiful Man 🥰❤
Bueeeniiiisimo !!!!!!!!!!
Why should there be a hierarchy or musicians and actors (both in essence dealing with sound and its presentation) in the first place?
Different instruments. Different skills. Different interpretations. Different models. Different teachers. Different rooms. Different acoustics. Different listeners. Everything is always different. And how does anyone know what was going on in someone's head 200 years ago?
We know what it, It is written down in notes, and more
musikalitet Not all all, but it is fun to play pretend.
Absolut respect and humble with the text yes. But, I don't agree with exesive purism clamming the need to play Bach as Bach did it, Chopin in Chopin's way and so on. It is impossible, ilusory, and also unnecesary! It is well known that Chopin preferred Listz's way to interpret many of its own compositions... I think that a piece of art should be alive, and it can express in infinite ways to transmit its message.
yes it can of course never "be it"
increíble charla aunque me hubiese gustado mas en alemán!
"Every good gift and every perfect gift is from above, and comes down from the Father of lights, with whom is no variableness, neither shadow of turning."
Jesus is the way the truth and the life.
"whosoever calls upon the name of the Lord will be saved"
The art of Waltz is like primaria in comparision to what classical music has to offer
An orchestra can start playing the Beethovens 5th in the most gently and sweet way if they want so. Its not written IN the score, that that beginning should sound angry or violent or scary as it is always played. So…how we decide that we are going to play in the second way as it is normally played?
Can anyone tell me what plays first in this video?
Top 10 anime crossovers
en palabras de Federico Garcia Lorca "...levantar el texto.." el momento en el que el texto se vuelve acción dramática
Erratum:
At 5:47
"... G-minor symphony of Mozart"
not
"... G-minus"!
paraphrasing the Spanish writer and playwriter Federico García Lorca "the text raises from words into dramatic action"
when will the next part of the series be uploaded?
Yes, will it ever be?
For a musician, instrumentalist, the first and extremely hard thing to do is separate the music written from all the mistakes and unvoluntary wrong things you do BECAUSE of the difficulties YOUR instrument has for you.
You have to learn to be sensitive, awake, and be conscious always that probably your instrument is dictating things that you dont really musically want or mean to play. Wrong accents, wrong phrasings, etc.
Once we have accomplished a lot of that, can we FIRST start talking about text reading philosophy
No french subtitles
note: 9:20
hola
In music as in drama, to be completely faithful to the author or composer is not always the way to go, it depends in the quality of the work you are interpreting. As an example, an actor is doing Shakespeare, let say Hamlet, the quality of the text is such, that even if it can benefit a little with a great performance, it doesn’t really need it, someone can stand up and only read the words and you will appreciate a great work. But that dont´t happen with a film like, let say, “Joker”, the words are not enough, the script is not comparable with the text in Hamlet, so it certainly will benefit with a great performance, as it happened with the actor that played the "Joker". This is true in drama and in music. Sometimes there is more space for some interpreter to contribute, sometimes there is less. And in the case of a master piece perhaps is none.
did Tarantino write this dialogue?
Clearly not because it sucks
Daniel you remind me of Joseph Ratzinger whom I admire very much.
Why?!! Who thought about this?! Why do they have to discuss?
I love Christophe Waltz. He is bright, intelligent and respectful. Barenboim is skilled but a blown up macho and not modest. There is no modesty in Barenboim only pride.
What´s the name of the song at 0:16 ?
Barcarolle in F sharp, Op 60 by Chopin.
What piece is that in the intro?
chopin op 60 barcarolle :D
Subtitles pleaaase
and where are parts 2,3 and 4?
That's a very fine question. I second that motion.
📍11:11
Christoph Waltz is a good example to how to speak without saying anything.
I'm neither a musician nor an actor, so I didn't really understand the essence of the dialogue. But pleasant nonetheless
two completely different levels of thought...
I think channel is the better word for it instead of level. They didn’t get what the other was saying, not so much Waltz but more Barenboim.
Mr Baremboim you have so good questions, but Mr Waltz haven’t answered any of them. Too bad !
🎹🎹🎹🎹🎹🎹🎹🎹🎹
Dear Mr. Barenboim,
there were several interesting topics in this video. I do not agree with the fact that music is an art greater than theatre: in my personal experience, working as a pianist and composer with actors, actresses and dramatic directors, I found out that theatre is mainly made not by words.
As music can be written on the paper, theatre can too: on one side you have notes, tempos, indications by the composer, etc. On the other one you have wrods, acts, indications by the author. But in both cases you can not write the real "what it is" or the objective "how to play": every pianists plays a piece of music in their own way, as every actor/actress does with a piece of drama. It is something very subjective. (And even your personal feelings are included in your perfomance: it is something like the concept you mentioned concerning listening to a piece of music by Mozart.)
As far as words in theatre are concerned, I said theatre is not only made by words: I see that the dramatic performance is mostly made of choices about "how" the actor/actress decides to show the dramatic text on the scene, similarly to what happens in a musical performance. The difference is "what" physically they show: music is just sound. Theatre is more than sound, as a sense. Much of a dramatic performance is braught by the view: the body, the position of the performer is something that can astonish our view. To my eyes, theatre is a living portrait, which always shocks me terribly. Acts, gestures can shock us, in a different way than sound and, therefore, music do.
Actually, I think too that both "what it is and how it is played" is decided by the performer. Of course, those two matters and also which one of them becomes the main question of the performer make the performance different. And, of course, the answer to those matters makes the biggest difference. That is the reason why I think theatre is just a different art, as music is.
This is just my opinion. I hope you apprecited reading it.
A warm good bye!
I agree with you.
I think they both aboard the subject from the wrong perspective. Because this feels more than a discussion rather than a conversation. If they would've started with what are the complexities of each art this would have a different tone. I think that what Barenboim wanted to point out at the beginning is that music is way more difficult to express than a word. If you have on the script "I hate you" the audience obviously knows what that means, no matter if the actor is good or not. In music how can you transmit anger? it is more complicated in that regard. But obviously both arts have a lot of complexities and are equally difficult.
Surely music made by an artist is more than "just sound" unless your definition of musical sound includes a player's physicality and expressive intentions - in other words, beyond mere literal degrees of loud and soft, faster or slower, etc This idea of embodied musical sound is the means by which a player as an artist can communicate a sense of individuality to the audience - for example, Horowitz's sound at the piano has a different and very particular physical sense to it than say, Alfred Cortot. The successful communication of expressive intention in musical sounds may even project specific kinds of relationships between sounds and purely musical characters. And think of how combined musical sounds and the gestures and actions or even sense of narrative they convey stimulate strong physical impulses for dancers or impact audiences emotionally or even psychologically in film scores above and beyond the visual medium. Instrumental music through the player's embodied musical sound has the possibility to be dramatically charged even without a specific program or text.
I've made a german video about Christoph Waltz film tips. Here you can see the three parts:
th-cam.com/play/PL3Hp2NkfigRhZ8Qm1rZQFZKStoG1QhkJ6.html
English subs are planned!
i hate how this universe takes great people away from us
The audio quality is terrible.
I liked Christoph describe the actors world very good
I am not liking Barenboims talks of sound, again and again...., Its hisself .... I dont know ... love, objective.
Do k 414
please....
I didn't know Barenboim can also speaker German xD
I think i’m gonna throw up in my mouth
Yes, it's not the question of what it's the question of how you're gonna throw up. 😅
bothers me that the musician dude always approaches the dialogue adversarially, seeking to negate what waltz says, which is fine in essence but how he does it is annoyingly abrasive. waltz goes "i agree" and then draws an interesting distinction whereas music guy just goes "but in music its different" as though waltz doesn't know that
Sehr geehrter Maestro Barenboim,
als Mozart- und Beethoven Verehrer verstehe ich die maniziösen Frechheiten des eigentlichen an sich großen Pianisten Glenn Gould über diese beiden Meister nicht. Er meinte sogar, dass Mozart eher zu ,,früh als zu spät'' gestorben sei und die Appassionata von Beethovens mochte er auch nicht sonderbar. Daher möchte ich Ihre Meinung zu dieser Verachtung Goulds hören und wie Sie selber zu deren Musik stehen.
Danke schonmal im Vorraus :-)
SS OBERSTURMBANNFUEHRER LANDA SPEAKING TO A JEW FROM ARGENTINA????????
If only political discussions were like that.
Es lebe die englische Sprache!
Barenboim is completely wrong. Start listening to the beginning of Mathews passion and if you still feel joyful….Id say, either you havent heard any western music until that moment or…go to see a psychiatrist.
Not as interesting as I thought it would be.