What stuck with me most was seeing Leornard Bernstein's approach to conducting in the final few minutes of the video. There is so much emotion in his face. His actions mirror the band's performance. It's as if he is an audience member himself with the best seat in the house.
Talgam's explanation of the partnership between the communicator and the listener gets at the essence of the creative process whether it's between the author and the reader, the filmmaker and the audience, the conductor, orchestra and the audience or the teacher and the student. It's a profound observation, well worth understanding.
Very absorbing, very penetrating. The central, essential comment may be missed by many, as it is only reached at the end, briefly. It is that we must work with every orchestra in the way that best reaches the musicians and brings them deeply into the character of the music -- not the technique, not the phrasing, and NOT the bowing -- the emotional and stylistic character. Bravo, Itay.
Robert Rÿker I agree with you M.Rÿker. I'd love to see you in rehearsal as well, I already saw one of your concert and absolutly loved it. I wish you all the best, D
Dear Itay, you really cant stand Muti, don't you? Are you that sure? Accordantly to what you say about Muti, his priority is the composer, not the players and what they might experience, think and feel about the music. It's the composer, his message, his music that matters the most, and Muti wants to deliver the music as closer as possible to the source. As a spectator, personally i want to be taken as closer as possible to the original music, not the orchestra's interpretation. Of course it depends also on the composer's goal and Muti ability and knowledge of it, but as a basic principle, what's so bad about Muti's approach?
What stuck with me most was seeing Leornard Bernstein's approach to conducting in the final few minutes of the video. There is so much emotion in his face. His actions mirror the band's performance. It's as if he is an audience member himself with the best seat in the house.
Wow, he had me from the first sentence, so riveting! And so to the point! I enjoyed every second of his presentation. Bravo and thank you! Well done!
Talgam's explanation of the partnership between the communicator and the listener gets at the essence of the creative process whether it's between the author and the reader, the filmmaker and the audience, the conductor, orchestra and the audience or the teacher and the student. It's a profound observation, well worth understanding.
Very absorbing, very penetrating. The central, essential comment may be missed by many, as it is only reached at the end, briefly. It is that we must work with every orchestra in the way that best reaches the musicians and brings them deeply into the character of the music -- not the technique, not the phrasing, and NOT the bowing -- the emotional and stylistic character. Bravo, Itay.
Robert Rÿker I agree with you M.Rÿker. I'd love to see you in rehearsal as well, I already saw one of your concert and absolutly loved it.
I wish you all the best,
D
Ricardo Muti is what I imagine Snape should look like
Terrific!
Ricardo Muti is what I imagine Snape should look like. Ricardo Muti is what I imagine Snape should look like.
Dear Itay, you really cant stand Muti, don't you? Are you that sure? Accordantly to what you say about Muti, his priority is the composer, not the players and what they might experience, think and feel about the music. It's the composer, his message, his music that matters the most, and Muti wants to deliver the music as closer as possible to the source. As a spectator, personally i want to be taken as closer as possible to the original music, not the orchestra's interpretation. Of course it depends also on the composer's goal and Muti ability and knowledge of it, but as a basic principle, what's so bad about Muti's approach?
You misunderstand him - listen again at 10'30"