Janos Starker teaching Fauré Elegy during a master class at Portland State University in 2006. The cellist was Elaina Kim, and the pianist was Eiko Nakao.
Apologies. I was trying to edit the last statement to read more succintly, and what did I do??? I hit the "Comment" button, which leaves my statement reading as if I'd suffered a brain-freeze, my only cogent words at the paragraph's end implying that the performer did not seem aware of the definition of Faure's title: Elegy. Please allow me to rectify my tangential and tangled thoughts by asking that you ignore everything written AFTER my words, "... rather than choosing the voicings that speak ...." allowing me to re-state my intended thought for clarity. Re-tracing, but with the appropriate finish to my sentence: "... rather than choosing the voicings that" -- -- wail in disbelief, then hush, steadfastly wandering to an empty room, so as to offer themselves hope of a mistake made. Too, there is a musical fabric that the 'cellist totally ignores that is available when the music bespeaks the moments of loving reminiscence wherein two souls laughed gently over shared secrets. The lyrical line is intended to be played by a heart that has suddenly turned feeble for its loss. It certainly cannot seek refuge from its searing pain if beating with the precision of Sousa-turned Faure. Further, where is the anger? Why is every single note played as if in cadenza, instead of every beat pounding its fist of fury against the pillow until the breath of the very 'cello itself has become exhausted? Where is the sobbing, great ritardando that precedes the great reiteration of the opening theme that relates that every breath now taken shall be shallow for want of understanding... shall be tattered for grief of love suddenly severed from itself...shall judder for want of at least one last, "Good-bye." Too, now played in hushed, sorrow-filled acceptance, the Elegy ends with glazed eyes that wander into only yesterday when each heart promised to love and to cherish the other's "until death do us part."
Your observations about the content of the piece are poetic. However, the student was 11 years old, and Mr. Starker was clearly touched by her hard work and sincerity.
That, he did! I have enjoyed studying, working with, practicing and performing from Starker's edition of the Bach "Six Suites." On one hand, his editions overflowed with tantalizing fingerings and bowings that excited unique phrasing. I was gratified that I had seized the opportunity to learn -- albeit indirectly -- from this foremost 'cellist and teacher. I have incorporated many of his philosophies throughout my career as a ' cellist. On the other hand, I believe that every concert and/or professional 'cellist ultimately "marries" all that they have been taught by various masterful mentors, with the end-result being the creation of a "melding" of various techniques, interpretation and mindsets. This brings forth the creation of an individual musician, who is finally secure enough in themselves and their musicianship, and thus will choose to deviate from their teachings enough, whereby they are eager to forge a new path that will prove to pay homage to the masters, while creating a musical signature of their own. If I am "reading correctly between the lines," please allow me to thank you for not fiercely rejecting my reaction to the student cellist's performance of Faure's "Elegy." I am told that the 'cellist's age is eleven years, and it is impossible to deny that she displays remarkable facility. I am not, however, a proponent of placing into abeyance the various techniques that are available that, when learned, will enable a young 'cello student to begin the art of interpretation so as to lend voice to their soul's song. I am of the belief that technique should never overwhelm the music itself; technique is a gently flowing river over which the musician and their interpretation paddle downstream; the freely flowing river supports, and it flows; but if the river becomes turbulent, then attention is turned toward surviving the rapids, and the song is forgotten. Cacophony ensues. No matter their youth, a teacher must convey the musicality, the pathos, the joy, the dance, the mass, the prayer of the "canvas of the musical painting" so that the student comes to understand that the real language of music is eloquently "painted" by the spirit, having been enabled, in fact, bolstered, by the fluid technique we have developed so clarity is not sacrificed. Only the deepest devotion pursues mastery of our chosen instrument, so why not teach the young how to allow that devotion to express itself through their instruments from the students' very first notes played? I appreciate very much your time and would be happy to hear your thoughts should you be so inclined. Wishing you well, --v--
@@vibratomolto The video was posted on the Janos Starker Tribute page on Facebook and also TH-cam as a tribute to a great artist and teacher, and lengthy discussions of the virtues/talents/shortcomings of the cellists in the class were not my aim in posting them. I think that there is a great deal of useful information in the videos despite the low recorded volume of his speaking. Starker's teaching was designed to transmit an approach to solving technical problems and guide musical development so that his students would grow and flourish after leaving his studio. He always talked about "The Cause", namely making beautiful music. I agree that we are all the product of our teachers and musical models and influences, and Starker himself was an great admirer of Heifetz, Feuermann, Fournier, Casals, Piatigorsky, etc.
Good evening, Mr. Cheifetz! (An alternate, or original of "Heifitz?) Thank you for honoring me with your response. I appreciate your time. Thank you as well for your description of my writing style. I tend to write what I see in my mind's eye in hopes that I can create through words what some of our greatest composers have accomplished: Drawing the audience, (or the Kind Reader) "in" to the scene that has been created on the canvas, the composer or poet having painted with their brushes of musical notes or with language. To be truthful, I had no idea that the student of the 'cello was so young!!! Nor, unfortunately, did I have sufficient time to watch Starker's master class. I did, however watch and listen to her entire performance before being called away. Technically, I think her technique to shine -- and brilliantly! I remember learning Popper's "Hungarian Rhapsody" when age 12. I faltered technically, because the "canvas" in my mind's eye was so compelling, this meaning that my main task was to replace my impatience with technique so that, ultimately, I could invite my audience into the camp of gypsies that I visited with each practice session. I am of the opinion that our young 'cellist and I have the reverse problem in that I had to learn to accept that my muscle-memory developed at a much slower rate than others, (perhaps to include our young lady whose speed, dexterity, intonation and clarity are faultless). But interpretation, conveying emotion, be it pathos or joy, THAT flowed out of my soul as were it Niagra Falls. I was readying myself to play a solo with a symphony and still (!) after countless hours of practice, I found myself praying as I neared a musical intersection that begged me to slow down, but the rest of the traffic was moving faster than the posted speed limit. The more I fussed, the more cantankerous I became with myself. My coach somehow guessed my frustration. At the session's end, he said to me,"You mustn't worry, Vibby. What you HAVE cannot be taught; what you have NOT -- can!" I relaxed and played flawlessly.... welllll, okay, an F# sounded a bit flat to me.... Perhaps you now better understand from whence comes my critique of our eleven year old who enchanted Starker. If you find yourself interested further in my musical philosophies, please feel free to read my comment to Mr.Dan Alcott. (Below). I would love to ask him if he is a distant relative of Louisa May.... Enchanting thought. So very good to meet you. Once again, I thank you for your time. I know that you are very busy. Your efforts are very much appreciated. Good evening. --v-- p.s. My teacher studied with Fournier and was the Principal of the San Francisco Symphony. I adored him. Happy New Year!
Given this student's total lack of musical phrasing, having utilized no bowing so as to sing out the despairing opening statement that announces the death of one who has been dearly loved, as well her having chosen to utilize technically "correct" fingering, rather than choosing the voicings that speaks so well of the full sprectrum of human emotion when love is given and returned without qualification and in total dedication to another and of oss" with such tremendous poignancy, having utilized none of these -- or others -- has no idea what an Elegy is
Amazing how quickly he managed to transform her sound in just half on hour! Others take years for such an improvement.
Thank you for posting this - she's well on her way!
Around 24:30 “Don’t play fast. Just play lots of notes.”
I only wish the mic was more on Mr. Starker so I could hear his comments clearly.
"you forgot the peanut butter!" 😂
He remember me my profesor, Yuri Skovronskyy, he was much more like patient dad than teacher. Great Man.
Why are his masterclasses so badly miked?? I would loe to hear what he is saying
1
C . S . MAGNIFIQUE .EXCUSEZ -MOI . JE REECOUTERAI . CE MORCEAU EST ENCRÉ EN MOI DEPUIS MON ENFANCE 🌹🌹🌹🌹🌹🌹🌹🌹
hello can you activate the subtitles automatic translation thank you
I am not sure how to do that, but I will look into it.
Apologies. I was trying to edit the last statement to read more succintly, and what did I do??? I hit the "Comment" button, which leaves my statement reading as if I'd suffered a brain-freeze, my only cogent words at the paragraph's end implying that the performer did not seem aware of the definition of Faure's title: Elegy.
Please allow me to rectify my tangential and tangled thoughts by asking that you ignore everything written AFTER my words, "... rather than choosing the voicings that speak ...." allowing me to re-state my intended thought for clarity. Re-tracing, but with the appropriate finish to my sentence:
"... rather than choosing the voicings that" --
-- wail in disbelief, then hush, steadfastly wandering to an empty room, so as to offer themselves hope of a mistake made. Too, there is a musical fabric that the 'cellist totally ignores that is available when the music bespeaks the moments of loving reminiscence wherein two souls laughed gently over shared secrets. The lyrical line is intended to be played by a heart that has suddenly turned feeble for its loss. It certainly cannot seek refuge from its searing pain if beating with the precision of Sousa-turned Faure. Further, where is the anger? Why is every single note played as if in cadenza, instead of every beat pounding its fist of fury against the pillow until the breath of the very 'cello itself has become exhausted? Where is the sobbing, great ritardando that precedes the great reiteration of the opening theme that relates that every breath now taken shall be shallow for want of understanding... shall be tattered for grief of love suddenly severed from itself...shall judder for want of at least one last, "Good-bye." Too, now played in hushed, sorrow-filled acceptance, the Elegy ends with glazed eyes that wander into only yesterday when each heart promised to love and to cherish the other's "until death do us part."
Your observations about the content of the piece are poetic. However, the student was 11 years old, and Mr. Starker was clearly touched by her hard work and sincerity.
Starker taught everyone well.
That, he did! I have enjoyed studying, working with, practicing and performing from Starker's edition of the Bach "Six Suites." On one hand, his editions overflowed with tantalizing fingerings and bowings that excited unique phrasing. I was gratified that I had seized the opportunity to learn -- albeit indirectly -- from this foremost 'cellist and teacher. I have incorporated many of his philosophies throughout my career as a ' cellist.
On the other hand, I believe that every concert and/or professional 'cellist ultimately "marries" all that they have been taught by various masterful mentors, with the end-result being the creation of a "melding" of various techniques, interpretation and mindsets. This brings forth the creation of an individual musician, who is finally secure enough in themselves and their musicianship, and thus will choose to deviate from their teachings enough, whereby they are eager to forge a new path that will prove to pay homage to the masters, while creating a musical signature of their own.
If I am "reading correctly between the lines," please allow me to thank you for not fiercely rejecting my reaction to the student cellist's performance of Faure's "Elegy."
I am told that the 'cellist's age is eleven years, and it is impossible to deny that she displays remarkable facility. I am not, however, a proponent of placing into abeyance the various techniques that are available that, when learned, will enable a young 'cello student to begin the art of interpretation so as to lend voice to their soul's song. I am of the belief that technique should never overwhelm the music itself; technique is a gently flowing river over which the musician and their interpretation paddle downstream; the freely flowing river supports, and it flows; but if the river becomes turbulent, then attention is turned toward surviving the rapids, and the song is forgotten. Cacophony ensues.
No matter their youth, a teacher must convey the musicality, the pathos, the joy, the dance, the mass, the prayer of the "canvas of the musical painting" so that the student comes to understand that the real language of music is eloquently "painted" by the spirit, having been enabled, in fact, bolstered, by the fluid technique we have developed so clarity is not sacrificed. Only the deepest devotion pursues mastery of our chosen instrument, so why not teach the young how to allow that devotion to express itself through their instruments from the students' very first notes played?
I appreciate very much your time and would be happy to hear your thoughts should you be so inclined.
Wishing you well,
--v--
@@vibratomolto The video was posted on the Janos Starker Tribute page on Facebook and also TH-cam as a tribute to a great artist and teacher, and lengthy discussions of the virtues/talents/shortcomings of the cellists in the class were not my aim in posting them. I think that there is a great deal of useful information in the videos despite the low recorded volume of his speaking. Starker's teaching was designed to transmit an approach to solving technical problems and guide musical development so that his students would grow and flourish after leaving his studio. He always talked about "The Cause", namely making beautiful music. I agree that we are all the product of our teachers and musical models and influences, and Starker himself was an great admirer of Heifetz, Feuermann, Fournier, Casals, Piatigorsky, etc.
Good evening, Mr. Cheifetz! (An alternate, or original of "Heifitz?)
Thank you for honoring me with your response. I appreciate your time.
Thank you as well for your description of my writing style. I tend to write what I see in my mind's eye in hopes that I can create through words what some of our greatest composers have accomplished: Drawing the audience, (or the Kind Reader) "in" to the scene that has been created on the canvas, the composer or poet having painted with their brushes of musical notes or with language.
To be truthful, I had no idea that the student of the 'cello was so young!!! Nor, unfortunately, did I have sufficient time to watch Starker's master class. I did, however watch and listen to her entire performance before being called away.
Technically, I think her technique to shine -- and brilliantly! I remember learning Popper's "Hungarian Rhapsody" when age 12. I faltered technically, because the "canvas" in my mind's eye was so compelling, this meaning that my main task was to replace my impatience with technique so that, ultimately, I could invite my audience into the camp of gypsies that I visited with each practice session.
I am of the opinion that our young 'cellist and I have the reverse problem in that I had to learn to accept that my muscle-memory developed at a much slower rate than others, (perhaps to include our young lady whose speed, dexterity, intonation and clarity are faultless). But interpretation, conveying emotion, be it pathos or joy, THAT flowed out of my soul as were it Niagra Falls.
I was readying myself to play a solo with a symphony and still (!) after countless hours of practice, I found myself praying as I neared a musical intersection that begged me to slow down, but the rest of the traffic was moving faster than the posted speed limit. The more I fussed, the more cantankerous I became with myself. My coach somehow guessed my frustration. At the session's end, he said to me,"You mustn't worry, Vibby. What you HAVE cannot be taught; what you have NOT -- can!"
I relaxed and played flawlessly.... welllll, okay, an F# sounded a bit flat to me....
Perhaps you now better understand from whence comes my critique of our eleven year old who enchanted Starker.
If you find yourself interested further in my musical philosophies, please feel free to read my comment to Mr.Dan Alcott. (Below). I would love to ask him if he is a distant relative of Louisa May.... Enchanting thought.
So very good to meet you. Once again, I thank you for your time. I know that you are very busy. Your efforts are very much appreciated.
Good evening.
--v--
p.s. My teacher studied with Fournier and was the Principal of the San Francisco Symphony. I adored him.
Happy New Year!
Given this student's total lack of musical phrasing, having utilized no bowing so as to sing out the despairing opening statement that announces the death of one who has been dearly loved, as well her having chosen to utilize technically "correct" fingering, rather than choosing the voicings that speaks so well of the full sprectrum of human emotion when love is given and returned without qualification and in total dedication to another and of oss" with such tremendous poignancy, having utilized none of these -- or others -- has no idea what an Elegy is
the cellist is eleven years old lmao, get off your high horse
@@deathhy7590 Agreed 🤣
@Jennifer Walker ...No u