Hi, I'm Gianmaria Griglio, a #conductor and #composer. Welcome to my RU-vid space!
This channel is for everyone who loves #conducting in particular, and classical music in general, with tips, analysis of repertoire pieces from the point of view of a conductor, conducting technique, historical performances, and rare pieces.
Yes, sometimes I put my own pieces in it too :)
So if you're a conductor or an aspiring one and want to learn how to get more out of an orchestra, you will find tons of tips and tricks, focusing on real-life examples. If you are a classical music enthusiast who wants to dig a bit deeper into the scores, check out the conducting pills playlist, and you will certainly find something interesting.
If that sounds like something that could help grow your knowledge of music, your technique, and artistry, then make sure to join me by subscribing!
Want to learn more? Head over to www.gianmariagriglio.it/learn-conducting
Finnaly someone broke down this symphony for me, im gratefull, its one of my favourite pieces ever. I wanted to be sure wich parts of hell were present at wich moments of the composition, and im was happy to know rhat i got most of it, even though i know nothinf of music and theory. The 5 circle is my favorite because of how sad it is portrayed. Funny that im not much into Piano compositions, this ends up being my favorite work from Liszt. I usually like the symphonies that pianists compose Better than fheir own piano concertos, thats the same to Rachmaninov and Mendhelson.
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FSndEjJPeTM.html If you rightly beleive that the "Unfinished" actually is "finished" with the immortal 2 movements, then please enjoy this Scherzo which Schubert originally sketched for this symphony just on its own ... (see the description in the video)
@@ggriglio Thank you, then maybe also this unfinished 6th symphony by Mendelssohn will find you interest: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6SktTBKjV10.htmlsi=77ZIWrjlSsaxv81t
@@ggriglio And here is the Finale with a triumphant return of the main theme from the 1st movement transformed to a wonderful and most splendid B-Major: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-L3yOwZ8OEns.htmlsi=8q2SRAdr4NfdDHM2 (see the description of the video)
Do you know that also Mendelssohn left to us a marvellous unfinished symphony, his 6th? --> ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6SktTBKjV10.htmlsi=_kacR-5BouG-pr1X (read the description there)
Thank you. E sì, sono italiano 🙂 Visto che ti piace la Praga, ti potrebbe interessare anche questo video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ZaY7IOzUmYc.html È sul cromatismo nello specifico
Marvelous! But so dense, so fast; with all these wonderful insights, I would have appreciated a more leisurely pace, allow us to grasp and digest the ideas being presented.
I am just seeing this on 6/7/24, but is has been extremely helpful to me in my quest for more info on classical music, especially this piece. Thanks ever so much presenting this narrative/post.
@@ggriglio Either I guess. I'm actually conducting a reading of it tomorrow (I'm an amateur, and it is an amateur group). A reason I clicked on this particular video was to see if it helped with the 3rd mvt of the Bartók (which is in 1), and it definitely did! Thanks!
I am addicted to these analysis! Every time I study a work, I do my analysis but right after I have to come here “just to check” that I am doing it correctly 😂
I’m interested what influence you think your so-called “registration” brings to the orchestra. Can you explain how they would play differently if you didn’t do it?
I think it would prove beneficial to look at things with a bit more of curiosity rather than being condescending. I understand this is shaking your idea of conducting but trying to make a mockery out of it won't help your cause. First of all, I wish I could take the credit for it but it's not "my so-called registration". From "The Art of Conducting Technique", by H.Farberman p.92: "Pitch registration forces the conductor to examine and transform every note on the page from a musical visual experience to a technical/spatial one. A conductor who believes in it and employs pitch registration will know the external shape of every bit of ink on the page". It's another way to show the music to the players. Some conductors might be content with beating time in a pattern, some of us are not and do think we can do a tad more than that. It's a choice. Wayne Toews and I had a wonderful conversation on the subject, which, incidentally, also touches on registration. You can find it here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OrSJoRVpbS8.html As for registration per se, I've posted many other videos on the channel.
@@ggriglio Thanks for the reply, that’s very interesting. I wasn’t being condescending, it’s a genuine question: how does the orchestra play any differently with so-called “registration”? They have the notes written down, so the one element a conductor simply doesn’t need to show is pitch. Forgoing the patterns to draw the music in the air seems to me a terrible thing to do, and (forgive me) a bad thing to advise to young impressionable conductors, not least because it prevents you from showing phrasing, articulation etc. But I’d be interested to see it (you?) in action.
Thank you for your reply and for keeping up the debate, and my apologies for misinterpreting. True, they have the notes written down, and they do not "need" any extra. However, in medium to slow tempi, registration helps in showing/shaping the phrase. It's an extra tool that a conductor has to show the music. About patterns: as a full disclaimer, I'm not against them or think they are evil. On the contrary. However, I do resent the idea that they are the only way to go and cannot be challenged. They are simply a basic element of conducting technique but more often than not they are considered the only one (visible way too often in videos where professional conductors even mirror patterns endlessly). The idea that an orchestra cannot get through a piece unless the conductor beats patterns all the time is to me demeaning of the role of the conductor itself, not to mention insulting to the orchestra players. Moreover, a pattern without a pulse is completely useless as it leaves the orchestra guessing. And when the orchestra starts guessing they stop looking at the conductor (or they fall apart in the worst cases). Breaking patterns does not equal do what you want. It means first and foremost adopting a different mindset: that patterns are but one small part of conducting technique. Hence, it's better to start with the idea, especially with young conductors, that exclusively relying on them as the essence of conducting technique is very limiting, not to mention boring. Here's an old video of mine, you will pardon the crudity of the recording. Around 2:24 you can see an example of breaking patterns with some registration added (the octave jump). ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gHGMIyXjUUg.htmlsi=YHXz_1xLRQSAylzj&t=144 Also, I broke down another example from legendary George Prêtre in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Bflm_BvLUvg.html
@@ggriglio Thanks for the video, very interesting to see it in action. For me, it doesn’t add anything at all; I would much prefer to be shown which bars are more important than other bars (this is hard with a horizontal beat), so there’s some phrasing and shape. I completely agree that patterns are there to be broken or disrupted, but I do think more can be shown from within them than without. Vive la difference etc.
Vive la diversité indeed. Thank you for sharing your view, I think it's great for whoever is following to be able to read diverse and sometimes opposite opinions.
Thank you for sharing your insights! I love the Valse. I play a transcription for violin by Leopold Auer and recorded by the great Jascha Heifetz. One of my favorite all time pieces! 🙏🏻🎻
This video gives non-musicians great perspective on interpretation. THANK YOU. You are doing classical music a great favor making the intricacies available to interested listeners. I often combine your explanations of Paavo Jarvi Masterclass to better understand the nuances.
Your shorts keep appearing on my recommendations, but the videos frequently involve you demonstrating conducting techniques without showing your full torso. In this one, we don't even see your hand until the very end. These are really strange editing choices. Why are you leaving the shot on your eyes while demonstrating a "wrist technique"?
Bro this piece is not about the Mayas, it is based on a Cuban poem that comes from Yoruba tradition. I think you are mixing it up with 'La Noche de los Mayas'. Look out
1 - I never said it was about the Mayas; 2 - I mention the poem and the origin of the piece 3 - I suggest going beyond the first 5 seconds before making assumptions about the content of the video 4 - not your "bro"
@@ggriglio you mentioned Mayans and Aztecs on the intro. And yes I know the intro is not the rest of the video. However, I think it's important not to give those mixed signals in regards of both cultures. I did not make any assumptions about you or the video.
Yes, I do mention that. And, again, I never said that the piece is about the Mayas. In the same intro I also mention the snake from the poem. It is a known fact though that Revueltas immersed himself in Mayan music, which did have an influence on his compositions. Finally, you did assume I made the piece about the Mayas and that I confused it with Revueltas other major piece. All of this is in your first comment.
@@ggriglio Revueltas did involve in Mayan music. However; Sensemaya comes from the afro-cuban rhythm tradition. And quite frankly, you did say "full of mythological dances of the Mayans and The Aztecs". I think it is important to delimitate the different influences of Revueltas. Latin America is to diverse just to put every culture in the same box.
Wow! I think this was your most helpful video for me yet; so clear with detailed explanations, basic principles, and examples that I can see and follow - perfect. I can't express my gratitude for your teaching videos, it is difficult to find help with conducting. Thank you!
Por favor en español soy latina encontré este vals que hace mas de 45 años no escuchaba. Cuando lo oí. salte casi hasta el techo y mi corazón dio un vuelco de alegria. Por favor
I deeply appreciate the insight on how a conductor does the interpretation. Thank you so much for singing the music while you are interpreting, it makes is so much easier for people who don't have the skills to read music well! This gives me a chance to listen to multiple recordings and compare these passages!!! I wonder if it is possible for you to mention who among the famous conductors perfer to interpret the passage in one way and who does it differently.
Thanks for your videos, maestro. They’ve been quite valuable to me. Do you have any suggestions or resources on conducting smaller ensembles? I recently began conducting a chamber ensemble of about 12 members. I enjoyed my conducting class in college (over 20 years ago) but I haven’t had opportunities to conduct since then and the class was focused on larger ensembles anyway. So far the current group is going well but I definitely want to put some effort into improving.
Thank you for your comment. From a technical point of view, nothing really changes. However, with a small ensemble you may have to work more on the sound and its quality. Breathing together, making sure that everyone plays at the same point of the bow within the section, listening to each other: the are all things that are common to any orchestras of any size but can be heard even more in a small ensemble when not tended to carefully. Are you having issues with anything in particular?
Those were very helpful and so smart ideas for the focus of the sound and the differences between "ffz" and "sf". Thank you so much. Just a small question about the Unfinished Symphony. I have the Bärenreiter version and each of the decrescendos (bar 63) is just an accent. So I used to hear it as a sudden stop that needs a "sudden" closing with the left hand. Is it something that could confuse the ensemble or something wrong?
Thank you, I'm glad you found it useful. Good question! The problem with accents/decrescendo in Schubert is known so choosing one or the other can be a matter of interpretation (as you can see from your edition of the score itself). Technically speaking, you don't really need to close it, unless you are in a situation where you hear unwanted "tails" from the orchestra. And even then , it's something you can fix in rehearsal if needed. There's no particular harm in doing it but it's a bit of overconducting.
@@ggrigliothank you for your interest. Yes, it is available but I have to translate it into English and publish it because it was for my thesis at the Aristotle University of Thessaloniki and is in Greek. However, I could send you the link if you have no problem with the Greek version until the translation is done. (sophia.mus.auth.gr/xmlui/bitstream/handle/123456789/2286/%ce%91%ce%95%ce%9c_1943.pdf?sequence=1&isAllowed=y&fbclid=IwZXh0bgNhZW0CMTAAAR0zbyxz9r6BlW3axNTio4jZdyfX-1zbS86yYXFlhubbVSJ3-BTTrH_55Og_aem_Ae8gHyJEFfWONzewq-KgHcvgbX5nsl-GeKHdgN83RRXreK2PEIpKeAeZriHUlAvrh_5N6Q7VpTphMPvqol2HH3XU)
