You are a real master! I have been following your performances for a very long time. Congratulations! Cariños desde Chile hermano, sé que me entiendes perfectamente! Viva Chile y Argentina!
This is absolutely amazing. I saw him on p.b.s. performing Tchaikovsky's first piano concerto, conducted by Zubin Mehta, back in '89. To see him talking about music in such a comfortable environment, it was if he was just an friendly neighbor that invited you over for crumb cake and coffee while he played his old,( but in tune), upright piano. The contrast is absolutely mind blowing. This is the same man that brought me to tears with his heavenly playing. Truly, an inspiring , humble and kind man
This has helped guide me in composing pieces for classical guitar. I experiment this very point towards the body of the guitar and inversely towards the head of the guitar. Very clarifying mentoring.
How wonderful to hear you puttiing into words what I´ve always felt while listening to music: sound is in a constant relation with silence. Thank you so much for your interesting videos, Maestro, I really enjoy them!
Maestro.... eneño en escuela primaria y un alumno de 8 años me mostro como entonaba un crescendo.. pues clases anteriores lo habiamos aprendido, le agradezco su magistral explicacion vinculado a la gravedad. El vinculo con el silencio gracias!
Muy pocos profesores en el Conservatorio enseñan con tanta profundidad, usando analogías y transmitiendo la dificultad de los conceptos musicales con ejemplos sencillos y prácticos. Sin duda, el profesor Barenboim es el conquistador de la pedagogía musical de nuestro tiempo. Very few professors at the Conservatory teach in such depth, using analogies and conveying the difficulty of musical concepts with simple and practical examples. Without a doubt, Professor Barenboim is the conqueror of the musical pedagogy of our time.
Thank you so much, this is so interesting and amazing, I do understand now the relation to silence you found so intelligent words to explain all this !
It's not giving energy in order to hold it. The feeling of the "energy" given is consumed by the finger muscles to hold the book above the ground.Magnificent musical approach
I'm a composer, professional flutist and self-educated pianist. Thanks very much Maestro for your comment about the sound, it's relevance with the silence and the rapport with mathematics! The tempo, the time and the dynamics are closely linked and so important !! Also, In my music, I often reference to mathematics and especially use the Fibonacci serie and it's principle with the gold number...
Dear Maestro Barenboim, I would like to add that the development in time of dynamics is a question of momentum and ballistic curve. Depending on how you start, the landing i. e. the end and volume of the crescendo has to come at one right moment, quasi when the ball reaches its aim. If in music one plays in tune with these ballistic curves we get the feeling that the music is organic and natural, just right. Thus we might even not ask that question. I think, finding this organic playing is more a question of feeling and conciousness in the moment, like in sports. Of course you have to learn about the parcours before and develop your skills. Furtwängler and Celibidache among the conductors were the greatest masters of organic and always fresh interpretations.
Muchas gracias Maestro, sigo sus lecciones con enorme interés. Nunca tendré un profesor de su categoría y que enseñe tan bien. Espero algún día disfrutar de oírlo y verlo dirigir en directo. Cuídese mucho Maestro y mil gracias por hacerme disfrutar tantísimo con su musica!,
thank you so much for the picture with the book on the floor…and to pick it up.... I think about so much It is brilliant and as we know. In the cathedral the organ sound takes time to fate out, and in a smaller church sometimes there is nothing there…..
Querido maestro, quiero agradecer por esta clase de vídeos en donde comparte su sabiduría y conocimiento, naturalmente, son enriquecedores para cualquier persona que interese en detalles que por costumbre se pasan por alto. Ahora, desearía preguntarle a que se refiere usted cuando dice que hay que entender la música para poder emocionarse con ella. Un cordial saludo.
Dear Daniel Barenboim, it was a great joy discovering today your channel on facebook. Your comments in this vídeo touch the dimension of sound and your wonderful explanation about the very nature of the phenomen of sound, above any of the so-called "romantic" and amateuristic descriptions of the real nature of sound, that means, the real material the composers use to write music. As a composer myself I was trully fascinated to hear your speach. I allow myself to send my congratulations for your wonderful channel, I am trilled by it. "The phenomenal of sound is in permanent relation with silence" and also the relations with time (duration) and volume (intensity) are interesting and stimulating questions. Also the notion of mental control of the sound to achieve the exact amount of energy to arrive to the climax. Music happens in time are stimulating questions. As a composser myself, I was delighted to hear your clear comments.
Very interesting. Barenboim is , I think, my most beloved pianist, even more than Argerich and Brendel because of the way he immerses hmself in his music.The Festival Hall can be chock full of people but he draws a kind of magic circle around himself and forgets everything around him and devotes himself entirley to the musi, which for this very reason reaches the lsitener with doubled intensity.. Three Beethoven Sonatas and every movement responds to the other, every trill has a particular significance. I have waited all my life for a recording of Bach's 48 that satisfies me entriely and found this at last in Barenboim's interpretation.which I love from first note to last. There is a complete absence of what I call "duty Bach." Iwonder if he read Adrono's essay, "Bach defended against his fans," in which he writes that Bach has more in common with Chopin than with the promoters of so-called 'authenticity.'
thank you maestro for continuosly uploading. Tho I no longer play the piano or the organ myself anymore i love your videos to stay conected to the classical music and think about the art of composing in this world where less and less people appreciate the perfection which can only be found in this genre.
Floor Inc. perfection is subjective. If all the music is played perfectly then you could make a robot to play it. I rather like music that lives, gives surprises. Changes in dynamics and speed in a controlled but more lively way. Classical music can be played like a robot or with life. And two different interpretations can be equally good but still being different.
thank you very mych - i've watched and listened to two or three of your five kinute lectures and i'd like to share this with you, if i may ... you spoke of rhythm, melidy and harmony - i am at the moment struggling to learn a 'foreign' tongue and as i listened to the language express political propositions it struck me that the intonation - music - used by these women and men (and children, in fact,) was the same as we use in anglo-saxony (england) to say these things ... and that's immense do you agree, i wonder? these are days of such strange loneliness, it is wobderful to be able to listen to you, much love, irene
Thank you Maestro for your talks and comments which are pretty beneficial. Can you tell us something about ‘memory’ in classical piano playing and how to improve it?
To me much more important is the quality of the sound: a singer can sings loudly the high notes it repels me. The quality of sounds Glenn Gould discharges are very carefully thought out particularly playing Bach who did not indicate dynamics
I dont agree Mr. Barenbohm, just playing only with instinct (like you are permanent into "the zone", like in a meditative state) gives you greater variety of colours in crescentos than dictating the energy just with your logic. I believe piano is everything about control until you get to know a piece, until you perfect it. Then you just have to forget control and just feel the play when performing, bring the piece into the present moment. The key factor that differs a great musician than a good musician is his level of conciousness, not only his skills. i play the piano trying yet to evolve, hope someday be able to play like you, greetings from Greece :)
I agree with you, Mr. Stamatopoulos. Dear Maestro Barenboim, I would like to add that the development in time of dynamics is a question of momentum and ballistic curve. Depending on how you start, the landing i. e. the end and volume of the crescendo has to come at one right moment, quasi when the ball reaches its aim. If in music one plays in tune with these ballistic curves we get the feeling that the music is organic and natural, just right. Thus we might even not ask that question. I think, finding this organic playing is more a question of feeling and conciousness in the moment, like in sports. Of course you have to learn about the parcours before and develop your skills. Furtwängler and Celibidache among the conductors were the greatest masters of organic and always fresh interpretations.
Hola Daniel. Soy un guitarrista español y estoy investigando el uso de las palabras en la enseñanza de la música. La base de mi trabajo podría ser tu frase "sound is a physical phenomenon (...) and everyting we say about sounds has to be thought about very carefully". De modo general, si el uso de las palabras está limitado, ¿qué es lo mejor para transmitir a un alumno un carácter o idea musical? Un ejemplo con el instrumento, un ejemplo con nuestra voz, metáforas, descripciones técnicas... Muchas gracias por tu atención. Y gracias por tu música y conocimientos. Saludos Miguel
I think that we can think of it more like waves. Sometimes the sea is calm the waves are small carrying very little energy and imparting very little energy to those things that they collide with. Sometimes the sea is raging the waves imparting great force that can erode or build up beaches wash away entire towns. It is in these moments we exist.
I dont agree Mr. Barenbohm, just playing only with instinct (like you are permanent into "the zone", like in a meditative state) gives you greater variety of colours in crescentos than dictating the energy just with your logic. I believe piano is everything about control until you get to know a piece, until you perfect it. Then you just have to forget control and just feel the play when performing, bring the piece into the present moment. Thats the key factor that differs a great musician than a good musician, the art of how to forget control.. Hope someday be able to play like you, greetings from Greece :)
I agree with you, Mr. Stamatopoulos. Dear Maestro Barenboim, I would like to add that the development in time of dynamics is a question of momentum and ballistic curve. Depending on how you start, the landing i. e. the end and volume of the crescendo has to come at one right moment, quasi when the ball reaches its aim. If in music one plays in tune with these ballistic curves we get the feeling that the music is organic and natural, just right. Thus we might even not ask that question. I think, finding this organic playing is more a question of feeling and conciousness in the moment, like in sports. Of course you have to learn about the parcours before and develop your skills. Furtwängler and Celibidache among the conductors were the greatest masters of organic and always fresh interpretations.
Good art has spaces for the audience to inhabit and make it their own. It would be interesting to hear a piece where some of the music is not played but rather implied, yet not necessarily strictly so, allowing the listener to create their own music that fills in the spaces. Either by their imagination when listening or else getting out an instrument and actually playing it!
This might not be the exact answer to your question but the book of Jacques Attali about music could be very helpful about understanding those terms well. en.wikipedia.org/wiki/Noise:_The_Political_Economy_of_Music
Stanislavski, the Russian acting teacher has a similar concept called tempo-rhythm where actions, emotions and movements are consciously played out over a certain number of beats. Each situation for each character has its own tempo-rhythm. It seems very calculated but it doesn't mean that intuition and emotions are ignored. In fact, the intent of tempo-rhythm is to reach truth of emotions and feelings and the unconscious by way of the conscious.
Maestro Barenboim, a propósito de que usted ha difundido y dirigido la música de, por ejemplo Pierre Boulez y Elliott Carter, ¿cual es la mejor manera para las orquestas de todo el mundo de difundir la música de nuestro tiempo y darle mayor espacio a los nuevos compositores?
Hola, con permiso del maestro te contesto yo como integrante de una orquesta. Se difunden con dinero pues muchas orquestas no pueden pagar los derechos de autor ni a los musicos extras que suelen ser necesarios. Saludos cordiales con todo cariño y respeto.
hello Maestro. I have a quetion .Who is the greatest composer of all times and nations for you and why?i'll be very glad to know answer. Thank you so much for reading
Dear Maestro Barenboim, although often a bit short your videos are very interesting, many thanks! The various subtitles are great! I only do not like at all the advertising. Is it really necessary? It is a loud and disturbing beginning, even if you click it away after some seconds. In contradiction to the subjects you talk about.
Simple . Porque si Bach existiese a día de hoy no tocaría ni haría composiciones al estilo barroco para clave. El piano a nivel sonoro tiene muchos más registros sonoros y no específicamente hay que salirse del estilo musical que se interprete. Saludos
Leightness!!!!Leightness is SOUND without much weight. You are speaking about weight and gravity. I think its better to speak about Lightness and Simplicity!! Think up! We have to speak about the body the soul and the spirit, that all is SOUND, Bodysound! How you go is Sound too. Inner hearing!! Heart Listen!
Dear Barenboim, I am Joshua Chen. I am in a group of pianists called Piano bandits. I am pleading with you. I am not the leader. The leader is Jerad Campbell. Please join our group.
“Dynamics”? Or “sound”? “Sound”, I suppose, in its simplest element, is the same thing as dynamics. But you didn’t explicitly say that. (I suspect that you were just too wise. Though I am not so wise, so maybe I am wrong.)
I shared this video with some friends. When Maestro Daniel said "subjectivity" , they replied to me: "listen! listen! There's no real masterpieces in music. Tristan is a bad work, bad music; Bach is a mediocre composer. Sonata 111 is bullshit. You see? music is subjective. Those composers are overrated" Silence. Silence. 😑.
Gravity and weight is not Sound. Simplicity is Sound/ the opposit of gravity and weight.. Very simple, very primary: He is more a conductor than a Pianist, haha! Lightness is SOUND without much weight!!
![Rhythm & Melody, Rhythm & Harmony - Daniel Barenboim | Deconstructed [subtitulado]](http://i.ytimg.com/vi/yfhd6J5asao/mqdefault.jpg)
![Evolving Music into Atonality | Daniel Barenboim - Deconstructed [subtitulado]](http://i.ytimg.com/vi/VCODCJ3dERs/mqdefault.jpg)
Nur ein paar Minuten dem Maestro Herr Barenboim folgen und es ist wie ein "aha" Effekt, ein paar wertvolle Minuten, Dankeschön!
You are a real master! I have been following your performances for a very long time. Congratulations!
Cariños desde Chile hermano, sé que me entiendes perfectamente! Viva Chile y Argentina!
blazing intelligence, sensitive soul, humble human being.
Thank you so much for sharing your wonderful expertise, knowledge and love of music ❤
Excellent video maestro 👏👏👏
Gracias Daniel!! Gracias!!
Sonido y Silencio. Y el tiempo. La tensión entre ambos. Excelente sus observaciones. Nos enseña siempre.
Gracias Maestro Daniel Barenboim.
This is absolutely amazing. I saw him on p.b.s. performing Tchaikovsky's first piano concerto, conducted by Zubin Mehta, back in '89. To see him talking about music in such a comfortable environment, it was if he was just an friendly neighbor that invited you over for crumb cake and coffee while he played his old,( but in tune), upright piano. The contrast is absolutely mind blowing. This is the same man that brought me to tears with his heavenly playing. Truly, an inspiring , humble and kind man
This has helped guide me in composing pieces for classical guitar. I experiment this very point towards the body of the guitar and inversely towards the head of the guitar. Very clarifying mentoring.
love the gravity analogy!
How wonderful to hear you puttiing into words what I´ve always felt while listening to music: sound is in a constant relation with silence. Thank you so much for your interesting videos, Maestro, I really enjoy them!
I really love: "calculate mathematically this emotional need"
kkkkk
should we mathematically calculate or feel the growth of sound in volume ?
@@silingtan8816 It is an "in-built" calculation, just as the precise jump of a cat!
Thank you for your class
Maestro.... eneño en escuela primaria y un alumno de 8 años me mostro como entonaba un crescendo.. pues clases anteriores lo habiamos aprendido, le agradezco su magistral explicacion vinculado a la
gravedad. El vinculo con el silencio gracias!
Muy pocos profesores en el Conservatorio enseñan con tanta profundidad, usando analogías y transmitiendo la dificultad de los conceptos musicales con ejemplos sencillos y prácticos. Sin duda, el profesor Barenboim es el conquistador de la pedagogía musical de nuestro tiempo.
Very few professors at the Conservatory teach in such depth, using analogies and conveying the difficulty of musical concepts with simple and practical examples. Without a doubt, Professor Barenboim is the conqueror of the musical pedagogy of our time.
Thank you so much, this is so interesting and amazing, I do understand now the relation to silence you found so intelligent words to explain all this !
Thank you Sir!
My favourite pianist ever. Such a treat to hear from him personally...
Thank you !❤
very well explained
Este magnifico ejemplo lo voy a traspasar a mis pequeños alumnos de cuatro años, gracias por llegar a los rincones mas insospechados.
It's not giving energy in order to hold it. The feeling of the "energy" given is consumed by the finger muscles to hold the book above the ground.Magnificent musical approach
A lifetime is not enough for Music. . .❤thanx,Maestro!
I'm a composer, professional flutist and self-educated pianist. Thanks very much Maestro for your comment about the sound, it's relevance with the silence and the rapport with mathematics! The tempo, the time and the dynamics are closely linked and so important !! Also, In my music, I often reference to mathematics and especially use the Fibonacci serie and it's principle with the gold number...
Dear Maestro Barenboim, I would like to add that the development in time of dynamics is a question of momentum and ballistic curve. Depending on how you start, the landing i. e. the end and volume of the crescendo has to come at one right moment, quasi when the ball reaches its aim. If in music one plays in tune with these ballistic curves we get the feeling that the music is organic and natural, just right. Thus we might even not ask that question. I think, finding this organic playing is more a question of feeling and conciousness in the moment, like in sports. Of course you have to learn about the parcours before and develop your skills. Furtwängler and Celibidache among the conductors were the greatest masters of organic and always fresh interpretations.
wowww...how did i not find this earlier?????!??!?!?!
gracias, siempre muchas gracias!
Thank you. Could listen for hours. Stay safe and sound.
Brilliant. I was immediately reminded of the critical silences within Max Bruch's "Kol Nidrei" and its palpable solemnity.
Muchas gracias Maestro, sigo sus lecciones con enorme interés. Nunca tendré un profesor de su categoría y que enseñe tan bien. Espero algún día disfrutar de oírlo y verlo dirigir en directo. Cuídese mucho Maestro y mil gracias por hacerme disfrutar tantísimo con su musica!,
thank you so much for the picture with the book on the floor…and to pick it up.... I think about so much
It is brilliant and as we know. In the cathedral the organ sound takes time to fate out, and in a smaller church sometimes there is nothing there…..
Is that piano (August Forster) yours?
Deja ir cada perla de frase que no veas. Genial y simple! 💎
so helpful and wonderful...... please keep releasing these videos maestro....... thanks
Querido maestro, quiero agradecer por esta clase de vídeos en donde comparte su sabiduría y conocimiento, naturalmente, son enriquecedores para cualquier persona que interese en detalles que por costumbre se pasan por alto. Ahora, desearía preguntarle a que se refiere usted cuando dice que hay que entender la música para poder emocionarse con ella.
Un cordial saludo.
Dear Daniel Barenboim, it was a great joy discovering today your channel on facebook. Your comments in this vídeo touch the dimension of sound and your wonderful explanation about the very nature of the phenomen of sound, above any of the so-called "romantic" and amateuristic descriptions of the real nature of sound, that means, the real material the composers use to write music. As a composer myself I was trully fascinated to hear your speach. I allow myself to send my congratulations for your wonderful channel, I am trilled by it. "The phenomenal of sound is in permanent relation with silence" and also the relations with time (duration) and volume (intensity) are interesting and stimulating questions. Also the notion of mental control of the sound to achieve the exact amount of energy to arrive to the climax. Music happens in time are stimulating questions. As a composser myself, I was delighted to hear your clear comments.
Very interesting. Barenboim is , I think, my most beloved pianist, even more than Argerich and Brendel because of the way he immerses hmself in his music.The Festival Hall can be chock full of people but he draws a kind of magic circle around himself and forgets everything around him and devotes himself entirley to the musi, which for this very reason reaches the lsitener with doubled intensity.. Three Beethoven Sonatas and every movement responds to the other, every trill has a particular significance. I have waited all my life for a recording of Bach's 48 that satisfies me entriely and found this at last in Barenboim's interpretation.which I love from first note to last. There is a complete absence of what I call "duty Bach." Iwonder if he read Adrono's essay, "Bach defended against his fans," in which he writes that Bach has more in common with Chopin than with the promoters of so-called 'authenticity.'
Gracias, Maestro. Claro, directo y conciso.
Gracias de nuevo. Es un gusto escuchar tus novedades y aprender.
thank you maestro for continuosly uploading. Tho I no longer play the piano or the organ myself anymore i love your videos to stay conected to the classical music and think about the art of composing in this world where less and less people appreciate the perfection which can only be found in this genre.
Floor Inc. perfection is subjective. If all the music is played perfectly then you could make a robot to play it. I rather like music that lives, gives surprises. Changes in dynamics and speed in a controlled but more lively way. Classical music can be played like a robot or with life. And two different interpretations can be equally good but still being different.
Sublime maestro, su visión de la música es enriquecedora.
Le estoy muy agradecido por compartirla.
Marvellous video. Thank you!!!
thank you very mych - i've watched and listened to two or three of your five kinute lectures and i'd like to share this with you, if i may ... you spoke of rhythm, melidy and harmony - i am at the moment struggling to learn a 'foreign' tongue and as i listened to the language express political propositions it struck me that the intonation - music - used by these women and men (and children, in fact,) was the same as we use in anglo-saxony (england) to say these things ... and that's immense
do you agree, i wonder?
these are days of such strange loneliness, it is wobderful to be able to listen to you, much love, irene
Muchas gracias maestro siempre me ha preocupado sacar de cada nota su interés, y emoción, estas reflexiones ayudan mucho en mi estudio. Muchas gracias
Fantástic explanation... of course!!
Thank you Maestro for your talks and comments which are pretty beneficial. Can you tell us something about ‘memory’ in classical piano playing and how to improve it?
Thank you very much for this enlightening information!
To me much more important is the quality of the sound: a singer can sings loudly the high notes it repels me. The quality of sounds Glenn Gould discharges are very carefully thought out particularly playing Bach who did not indicate dynamics
Thank you maestro for this video!
Dear Maestro, do you have perfect pitch? And is it important to have perfect pitch to be a good musician? Is relative pitch enough?
A great appreciation for this precious video!!!!! Such an important lesson for every piano player
Muy agradecida Maestro por compartir todo con todos:)
Gracias Maestro por enriquecerme!! Saludo con gran admiración y respeto
Fabuloso...muy docente lo suyo Maestro!!
Gracias por la lección tan valiosa don Daniel!
I dont agree Mr. Barenbohm, just playing only with instinct (like you are permanent into "the zone", like in a meditative state) gives you greater variety of colours in crescentos than dictating the energy just with your logic. I believe piano is everything about control until you get to know a piece, until you perfect it. Then you just have to forget control and just feel the play when performing, bring the piece into the present moment. The key factor that differs a great musician than a good musician is his level of conciousness, not only his skills. i play the piano trying yet to evolve, hope someday be able to play like you, greetings from Greece :)
I agree with you, Mr. Stamatopoulos. Dear Maestro Barenboim, I would like to add that the development in time of dynamics is a question of momentum and ballistic curve. Depending on how you start, the landing i. e. the end and volume of the crescendo has to come at one right moment, quasi when the ball reaches its aim. If in music one plays in tune with these ballistic curves we get the feeling that the music is organic and natural, just right. Thus we might even not ask that question. I think, finding this organic playing is more a question of feeling and conciousness in the moment, like in sports. Of course you have to learn about the parcours before and develop your skills. Furtwängler and Celibidache among the conductors were the greatest masters of organic and always fresh interpretations.
This (the content) is really good. It opens my eye to see another view of music.
Hola Daniel. Soy un guitarrista español y estoy investigando el uso de las palabras en la enseñanza de la música. La base de mi trabajo podría ser tu frase "sound is a physical phenomenon (...) and everyting we say about sounds has to be thought about very carefully".
De modo general, si el uso de las palabras está limitado, ¿qué es lo mejor para transmitir a un alumno un carácter o idea musical? Un ejemplo con el instrumento, un ejemplo con nuestra voz, metáforas, descripciones técnicas...
Muchas gracias por tu atención. Y gracias por tu música y conocimientos.
Saludos
Miguel
I think that we can think of it more like waves. Sometimes the sea is calm the waves are small carrying very little energy and imparting very little energy to those things that they collide with. Sometimes the sea is raging the waves imparting great force that can erode or build up beaches wash away entire towns. It is in these moments we exist.
Grande Maestro!, un gran Salud! desde Mendoza Argentina !!!
I dont agree Mr. Barenbohm, just playing only with instinct (like you are permanent into "the zone", like in a meditative state) gives you greater variety of colours in crescentos than dictating the energy just with your logic. I believe piano is everything about control until you get to know a piece, until you perfect it. Then you just have to forget control and just feel the play when performing, bring the piece into the present moment. Thats the key factor that differs a great musician than a good musician, the art of how to forget control.. Hope someday be able to play like you, greetings from Greece :)
I agree with you, Mr. Stamatopoulos. Dear Maestro Barenboim, I would like to add that the development in time of dynamics is a question of momentum and ballistic curve. Depending on how you start, the landing i. e. the end and volume of the crescendo has to come at one right moment, quasi when the ball reaches its aim. If in music one plays in tune with these ballistic curves we get the feeling that the music is organic and natural, just right. Thus we might even not ask that question. I think, finding this organic playing is more a question of feeling and conciousness in the moment, like in sports. Of course you have to learn about the parcours before and develop your skills. Furtwängler and Celibidache among the conductors were the greatest masters of organic and always fresh interpretations.
Good art has spaces for the audience to inhabit and make it their own. It would be interesting to hear a piece where some of the music is not played but rather implied, yet not necessarily strictly so, allowing the listener to create their own music that fills in the spaces. Either by their imagination when listening or else getting out an instrument and actually playing it!
MAESTRO.
nice video, more on music dynamics and elements please,
You can tell us your opinion about his pedals piano? How do you use the left(soft) and the right(sustain)
Thank you!!!!!!!
Thank you
muchas gracias
What differentiates the three terms, "noise," "sound," and "music" from each other? And in what respects are they similar?
This might not be the exact answer to your question but the book of Jacques Attali about music could be very helpful about understanding those terms well.
en.wikipedia.org/wiki/Noise:_The_Political_Economy_of_Music
what a brilliant question. I've been thinking about that myself for years but have never been able to put this question into words. Thank you so much.
Stanislavski, the Russian acting teacher has a similar concept called tempo-rhythm where actions, emotions and movements are consciously played out over a certain number of beats. Each situation for each character has its own tempo-rhythm. It seems very calculated but it doesn't mean that intuition and emotions are ignored. In fact, the intent of tempo-rhythm is to reach truth of emotions and feelings and the unconscious by way of the conscious.
Maestro, saludos desde México. Ojalá nos pueda hablar acerca de las variaciones Goldberg. Abrazo
_"But, if I calculate, mathematically, this emotional need..."_
Whoa! What a phrase!
Maestro Barenboim, a propósito de que usted ha difundido y dirigido la música de, por ejemplo Pierre Boulez y Elliott Carter, ¿cual es la mejor manera para las orquestas de todo el mundo de difundir la música de nuestro tiempo y darle mayor espacio a los nuevos compositores?
Hola, con permiso del maestro te contesto yo como integrante de una orquesta. Se difunden con dinero pues muchas orquestas no pueden pagar los derechos de autor ni a los musicos extras que suelen ser necesarios. Saludos cordiales con todo cariño y respeto.
hello Maestro. I have a quetion .Who is the greatest composer of all times and nations for you and why?i'll be very glad to know answer. Thank you so much for reading
Really interesting.
I would like you to talk about Beethoven op 111 sonata. PD: Great videos ;)
Dear Maestro Barenboim, although often a bit short your videos are very interesting, many thanks! The various subtitles are great! I only do not like at all the advertising. Is it really necessary? It is a loud and disturbing beginning, even if you click it away after some seconds. In contradiction to the subjects you talk about.
Hello, I suggest you to install an adblocker: adblockplus.org/
Por suerte Baremboing es argentino y entiendo argentinos hablando inglés! Genio!!!
Por qué muchos artistas tocan Bach en piano y no en clavicordio?
Simple . Porque si Bach existiese a día de hoy no tocaría ni haría composiciones al estilo barroco para clave. El piano a nivel sonoro tiene muchos más registros sonoros y no específicamente hay que salirse del estilo musical que se interprete. Saludos
Listen and silent have the same letters.
2:09 zero Decibel Sound Pressure Level :-)
genius
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Subtítulos?
Physics and music
Leightness!!!!Leightness is SOUND without much weight. You are speaking about weight and gravity. I think its better to speak about Lightness and Simplicity!!
Think up! We have to speak about the body the soul and the spirit, that all is SOUND, Bodysound! How you go is Sound too. Inner hearing!! Heart Listen!
Who knew Don Rickles knew so much about sonority!
Schumann Op. 3 please :D
Dear Barenboim, I am Joshua Chen. I am in a group of pianists called Piano bandits. I am pleading with you. I am not the leader. The leader is Jerad Campbell. Please join our group.
“Dynamics”? Or “sound”? “Sound”, I suppose, in its simplest element, is the same thing as dynamics. But you didn’t explicitly say that. (I suspect that you were just too wise. Though I am not so wise, so maybe I am wrong.)
Musik ist nur zum hören da.
I shared this video with some friends.
When Maestro Daniel said
"subjectivity" , they replied to me: "listen! listen! There's no real masterpieces in music. Tristan is a bad work, bad music; Bach is a mediocre composer. Sonata 111 is bullshit. You see? music is subjective. Those composers are overrated"
Silence. Silence. 😑.
Gravity and weight is not Sound. Simplicity is Sound/ the opposit of gravity and weight.. Very simple, very primary: He is more a conductor than a Pianist, haha! Lightness is SOUND without much weight!!