I remember listening to all 7 Bach Flute Sonatas with Elaine Shaffer as an 8-year-old. It changed my life. This is a quite different style, and this interpretation class is gorgeous.
Maestro Zander has an almost unique ability of constantly encouraging the young artists while he mentors them into a higher plain of musical understanding and performance. It's a delight to watch him at work.
So wonderful~the cellist adapted SO WELL and adjusted--it's a shame though that these students get put on the spot: that is not an easy bass line to shape and approach, and she was SIGHT reading it~I play this on piano with a flautist I work with~and I was impressed at how well she adjusted. The young man has a lovely sound and is a great player. Felt a bit bad for the pianist, because she was left out of the conversation. As a pianist I appreciated her so much!! Great adjusting and being on film, on stage and B. Zander is lovely and great. Zander has a great sense of humor and is never NASTY the way these clinicians can be.
It's always fascinating how different the pieces sound after Mr.Zanders suggestions. What an improvement in only 15 minutes! Practising 40 hours a day? Probably not the ultimate strategy ^^.
The second flute touches your consciousness where only a flute-family instrument can. It harkens back to ancient cultures, such as Native-American flutes or Indonesian bamboo flutes. Combining the sound of nature with Bach would could be wondrous.
traverso sounds very fit baroque, as it should be, but the next flute (maybe schwedler flute?) made the piece romantic instantly...😆 great presentation❤
If I might suggest something to Mr.Zander about music of this era, Bach, Telemann, Haendel I would suggest the idea of to play some notes, not all of them off course, "too late on time". Especially the last notes of sentences, and certainly the last note of the parts. Do not slow down , keep the pace going especially the very last note(s), place those as you would put a baby in his cradle. Just something to think about ... it makes an opportunity to open up cages, which if I may say so, our pour cello here is more trapped in than the flute.
This is a little funny, because I often have that thought for some of Bach...maybe not the word "boring", but more like: "neat, many voices intertwining, but I don't see the point, it doesn't move me"...
I was confused when he started talking. I didn't read the description, didn't realize this was an interpretation class type thing. I thought it was just a recital.
Brannen Brothers, Powell, Sakyo, and Yamaha all make wooden flutes. Not sure which model he is playing here. Since these masterclasses take part in Boston and Brannen Brothers is located out there, I would guess that he is playing a Brannen Brothers flute. The Yamaha wooden flute model has a lip plate and this flute does not.
@@jmathesonjr Yes it's interesting, I think Abell makes a range of foot joints. For some reason wooden flutes sound better when slightly shorter, I own a Yamaha 894W with a c foot and it plays better than the same model but with a b foot.
@@jmathesonjr From what I've worked out metal has a more constant vibration than wood. With wood there will be some impurities. Wood and metal are really different materials so the vibration is more even over the shorter distance that is a c foot compared to the b foot. My Yamaha has much better projection and control with the c foot but of course it depends upon personal preference. Whatever Yamaha did to my flute its gorgeous, has just as much projection as my silver flute and the headjoint is just a dream to play on with how its been cut. Lucky to have the inline g with a split e mechanism too. I would go and try a Yamaha if you're interested. The quality is on my opinion just as good as the likes of Sankyo, Powell, Abell etc. and Yamaha's are cheaper.
Haha his cello playing is ridiculous! I love it. It made me smile, and feel less self-confident about my own flaws as a musician. Too bad he didn't keep up with cello though.
Here, in my opinion, the problem is to play this sonata with modern piano. The sound is too much bigger than cello and flute, and the pianist is just doing the continuo
It's tough~I listen to a lot of Glenn Gould's recordings to get the idea. Did you know he had a special piano ie adjusted to make the action very much lighter and such, to address that very issue!
good as far as it goes, but benjamin does not yet understand that bach's music is NOThorizontal, going from here to there, but -vertical- harmonic progression in which, to quote casals,, 'every note is important'...
i think he meant to say that every note is important but in different way. it is like saying you love your cat and dog but they are "not equal", being different. so perhaps he was trying to convey that strong notes should be strong and soft notes should be soft, to make the musical flow alive. avoid simple mechanical repetition, make the musical flow more interesting and out of anticipation, so to say. that way, every note becomes alive in its own way.
I will also add that the "inequality" is built into not just the music, but the instrument for which it was written. 18th century 1-key Traversos physically could not play all notes with the same color: notes outside of the D-major scale used cross fingerings and therefore by nature are veiled/softer. For example I cannot play a forte 1st octave G# on my traverso even if I gave it everything I got. Bach would have accounted for the inequality of color in a Traverso in his writing. He WANTS certain harmonic progressions played unequally in strength and temperament and wrote the notes for the flute that are correspondingly strong/weak to match that intent.
For starters, they're playing this way way way too fast. Seriously. I did it this fast in front of memebers of the berlin philharmonic and .... well.... they weren't having any of it. lol
For a couple of years now, I've been happily addicted to these masterclasses. They're sublime!
"We all are in the learning process. Nobody knows what we should do, but we're having fun finding out." -Benjamin Zander
I’ve been in and out of classical music all my life but listening Ben Zander teach is a treat par excellence. Brilliant.
Chanta
I remember listening to all 7 Bach Flute Sonatas with Elaine Shaffer as an 8-year-old. It changed my life. This is a quite different style, and this interpretation class is gorgeous.
I am fascinated with the way Mr. Zander accomplishes amazing transformations with his enthusiasm.
Nice that Benjamin Zander points out to the flutist that he could and should LISTEN to the cello part!
The music, sublime; the students, inspiring; the teacher, superlative. Bravi, bravi, bravissimi.
💗
That second flute sent shivers down my spine ...... Beautiful tone ...... Great masterclass ...
The tuning was a little funky, but it was absolutely glorious.
@@Jenifer.flute20🕺indeed
Maestro Zander has an almost unique ability of constantly encouraging the young artists while he mentors them into a higher plain of musical understanding and performance. It's a delight to watch him at work.
I love that you have music in your soul Benjamin
Para tocar Bach precisamos quebrar o paradigma do metrônomo. Precisamos achar o ritmo orgânico da natureza e não das máquinas.
Isso é liberdade.
I love this piece so much
i am currently practicing this piece and the insight from maestro...just so wonderfu!
09:35 you can see the lady at the piano ready to leave the seat for the director. A huge sense of respect clearly fills the room.
So wonderful~the cellist adapted SO WELL and adjusted--it's a shame though that these students get put on the spot: that is not an easy bass line to shape and approach, and she was SIGHT reading it~I play this on piano with a flautist I work with~and I was impressed at how well she adjusted. The young man has a lovely sound and is a great player. Felt a bit bad for the pianist, because she was left out of the conversation. As a pianist I appreciated her so much!! Great adjusting and being on film, on stage and B. Zander is lovely and great. Zander has a great sense of humor and is never NASTY the way these clinicians can be.
Agreed beautiful piano
What a lovely student & teacher
It's always fascinating how different the pieces sound after Mr.Zanders suggestions. What an improvement in only 15 minutes! Practising 40 hours a day? Probably not the ultimate strategy ^^.
The second flute touches your consciousness where only a flute-family instrument can. It harkens back to ancient cultures, such as Native-American flutes or Indonesian bamboo flutes. Combining the sound of nature with Bach would could be wondrous.
What a beautiful class…
Another amazing session ! Thank you 😁
Zander: can you be in love with this cello?
Me: YES!!!
Absolutely I could
Wow he played it beautifully 😊
BRAAAAVOOOOO BENJAMIN ! ! ! !
Amanda is an awesome cellist!!
I am laughing my b*** off here. It is so funny but also inspiring! Thank you for this gem.
traverso sounds very fit baroque, as it should be, but the next flute (maybe schwedler flute?) made the piece romantic instantly...😆
great presentation❤
If I might suggest something to Mr.Zander about music of this era, Bach, Telemann, Haendel I would suggest the idea of to play some notes, not all of them off course, "too late on time". Especially the last notes of sentences, and certainly the last note of the parts. Do not slow down , keep the pace going especially the very last note(s), place those as you would put a baby in his cradle. Just something to think about ... it makes an opportunity to open up cages, which if I may say so, our pour cello here is more trapped in than the flute.
These seem so intense!
When you get married find a clean shirt - one of your truly great lines, Ben. Love, h.
Haha!!..."boring is a technical term"...he says that with a straight face...
This is a little funny, because I often have that thought for some of Bach...maybe not the word "boring", but more like: "neat, many voices intertwining, but I don't see the point, it doesn't move me"...
I mean...a lot of Bach moves me, but even more I would have a reaction like that to...
...but I know he's going to tell them it's in the interpretation, etc...
...though I'm not sure this is one of the pieces I would say that about, haha...I mean...but there is plenty from Bach I would say that about...
...or maybe it's his interpretation of the piece that is shaping the way I see it so, haha...
Barockmusik ist wie eine Perle, die wunderschön ist aber unsymmetrisch und Herr Zander versteht das.
to continue, the cello's
is a masculine line singing to the feminine flute who responds
I was confused when he started talking. I didn't read the description, didn't realize this was an interpretation class type thing. I thought it was just a recital.
What kind of flute is that? Sounds beautiful
Brannen Brothers, Powell, Sakyo, and Yamaha all make wooden flutes. Not sure which model he is playing here. Since these masterclasses take part in Boston and Brannen Brothers is located out there, I would guess that he is playing a Brannen Brothers flute. The Yamaha wooden flute model has a lip plate and this flute does not.
I think he is playing an Abell wooden flute as the Boehm flute.
It's an Abell from what I can see with the head joint and the tenon joints
@@jmathesonjr Yes it's interesting, I think Abell makes a range of foot joints. For some reason wooden flutes sound better when slightly shorter, I own a Yamaha 894W with a c foot and it plays better than the same model but with a b foot.
@@jmathesonjr From what I've worked out metal has a more constant vibration than wood. With wood there will be some impurities. Wood and metal are really different materials so the vibration is more even over the shorter distance that is a c foot compared to the b foot. My Yamaha has much better projection and control with the c foot but of course it depends upon personal preference.
Whatever Yamaha did to my flute its gorgeous, has just as much projection as my silver flute and the headjoint is just a dream to play on with how its been cut. Lucky to have the inline g with a split e mechanism too. I would go and try a Yamaha if you're interested. The quality is on my opinion just as good as the likes of Sankyo, Powell, Abell etc. and Yamaha's are cheaper.
Well we know what the high note was 😊
Für mein Gefühl etwas zu schnell. Ein Ideechen getragener.
When soloist have to said thank you at the piano
9:51 bro just used the force to get her up 😂
🤣 he's great teacher but he made me piss in my pants.
19:10
Creeps into your soul and makes love to you
He plays awfully the cello but I love it (20:52); he always brings what's needed to work!
Haha his cello playing is ridiculous! I love it. It made me smile, and feel less self-confident about my own flaws as a musician.
Too bad he didn't keep up with cello though.
@@lukasdon0007 You would like to say "more self-confident" I guess from the context.
musicians have to solve a problem...the problem is called "boring"
not all the notes are equal.
did Ben retire
Here, in my opinion, the problem is to play this sonata with modern piano. The sound is too much bigger than cello and flute, and the pianist is just doing the continuo
It's tough~I listen to a lot of Glenn Gould's recordings to get the idea. Did you know he had a special piano ie adjusted to make the action very much lighter and such, to address that very issue!
Now the students can complain about social distancing when they come back.
This was recorded half a year ago.
good as far as it goes, but benjamin does not yet understand that bach's music is NOThorizontal, going from here to there, but -vertical- harmonic progression in which, to quote casals,, 'every note is important'...
i think he meant to say that every note is important but in different way. it is like saying you love your cat and dog but they are "not equal", being different. so perhaps he was trying to convey that strong notes should be strong and soft notes should be soft, to make the musical flow alive. avoid simple mechanical repetition, make the musical flow more interesting and out of anticipation, so to say. that way, every note becomes alive in its own way.
I will also add that the "inequality" is built into not just the music, but the instrument for which it was written.
18th century 1-key Traversos physically could not play all notes with the same color: notes outside of the D-major scale used cross fingerings and therefore by nature are veiled/softer. For example I cannot play a forte 1st octave G# on my traverso even if I gave it everything I got.
Bach would have accounted for the inequality of color in a Traverso in his writing. He WANTS certain harmonic progressions played unequally in strength and temperament and wrote the notes for the flute that are correspondingly strong/weak to match that intent.
freak
?
Giustissimo ma ancora meglio sarebbe con un tempo meno veloce
For starters, they're playing this way way way too fast. Seriously. I did it this fast in front of memebers of the berlin philharmonic and .... well.... they weren't having any of it. lol
Boring to Brilliant.