Lo que más me gustó de la serie es el tema de la colaboración de muchach@s que provienen de pueblos antagonistas (Israel, Palestina, Siria...) para hacer música junt@s: convergen para lograr un fin específico en común, pero al mismo tiempo conservan su identidad. ¡West-Eastern Divan Orchestra es un logro de enorme valor!
The sound of a language (i.e. the relationship between consonants and vowels) is more important than the melody [in music]. At first seemed odd because Germans and Austrians both speak German, but I suppose how they interpret and speak the language is different. Akin to how New Yorkers sound different than midwesterners in the USA... or between American and British English; the same language but they sound very different. Interesting concept about how composers (subconsciously?) incorporate their innate sense of language to the composition. Also very interesting and noteworthy is the discussion on the way music can illicit greatly varying emotional responses to the listener, depending on their emotional state going into it. Great music has more than one color or emotional response; it can change and morph like a color-changing mood ring, or like an octopus changing colors to camouflage itself with the surrounding atmosphere. As such, we can hear a piece on day and be moved to tears from heartache, then listen to that same piece.a year later and smile with joy.
"It is not an orchestra for peace, it is an orchestra for human contact... Music has a unifying aspect." D.Barenboim So true, I believe peace would naturally come only if we had more human contact.
I have always had trouble sleeping. But when I got your recording of Beethoven's Moonlight Sonata, I could relax and it would hypnotise me and I did that for 2 years, listening every night!
Hi Naomi🌹 Thanks for your lovely comment, and thanks for your love and support so far. I will always try to keep that pretty face smiling. You can also reach me through my official account... officialdanielbarenbiom@gmail.com
So much talent here.. Barenboim+Waltz!!!..beside =2 poliglots !!!
3 года назад
On this one conversation. Em Português: "A música nunca expressa apenas um tipo de emoção. Estou convencido de que a música raramente ri ou chora. Geralmente é uma combinação dos dois. E esta é a diferença entre a vida com música e a vida sem música." Thank you very much for these wonderful conversations.
Both could have spoken in German, but for better understanding it was done in English. Barenboim is entirely thinking and acting inside the German culture.
I am watching your videos. My love and enthusiasm grows with every of your five minutes talk. I understand that you are recovering from a health issue. We all hope your get well soon and continue with these pieces of Art and thoughtful reflections. With the greatest Love, respect and admiration. Regards
Mr Barenboim and Mr Waltz, Classical music has certainly grown in terms of the number of players and listeners over the past 150 years. One way to measure the popularity of classical music is through concert attendance. According to the League of American Orchestras, attendance at classical music concerts in the United States has fluctuated over the past 25 years but has remained relatively stable overall. In the 2018-2019 season, approximately 25.4 million people attended classical music concerts in the United States. Another way to measure the popularity of classical music is through album sales. While album sales have declined overall in recent years due to the rise of digital streaming, classical music still commands a significant share of the market. In 2019, classical music represented 1.3% of all album sales in the United States, according to Nielsen Music/MRC Data. In terms of the number of players, the number of professional orchestras has increased over time. According to the League of American Orchestras, there were 1,224 professional orchestras in the United States in the 2018-2019 season, up from 929 in the 1987-1988 season. Additionally, the number of music conservatories and music schools has increased, providing more opportunities for aspiring musicians to receive training. All this statistic is to invite you to keep working on this RU-vid channel. Thanks again 🙏🏻
It’s a conversation between two people who are actually talking about very different subjects and in the context of this channel, it would’ve been cool if Christoph Waltz wouldn’t have been a part of the conversation at all. Someone else like, maybe Jean Yves Thibaudet would be much better suited to have this discussion I think
Destacaría el tono coloquial de ambos, introduciendo conocimientos, experiencias , interrogantes y algunas respuestas que van apareciendo a medida que se desarrolla el diálogo ...Interesante y esperando próximas propuestas.
Hi Maria🌹 Thanks for your lovely comment, and thanks for your love and support so far. I will always try to keep that pretty face smiling. You can also reach me through my official account... officialdanielbarenbiom@gmail.com
Okay, here because I went to Google and searched "world renown pianists" and Mr. Daniel Barenboim name popped-up. My real question is, what world renown pianists thought/think of Liberace. Was Liberace a good piano player to people who really appreciate piano players? Just curious...
"The sound of a language (i.e. the relationship between consonants and vowels) is more important than the melody [in music]." At first seemed odd because Germans and Austrians both speak German, but I suppose how they interpret and speak the language is different. Akin to how New Yorkers sound different than midwesterners in the USA... or between American and British English; the same language but they sound very different. Interesting concept about how composers (subconsciously?) incorporate their innate sense of language to the composition. Also very interesting and noteworthy is the discussion on the way music can illicit greatly varying emotional responses to the listener, depending on their emotional state going into it. Great music has more than one color or emotional response; it can change and morph like a color-changing mood ring, or like an octopus changing colors to camouflage itself with the surrounding atmosphere. As such, we can hear a piece on day and be moved to tears from heartache, then listen to that same piece.a year later and smile with joy.
I think when Barenboim said “German” he was thinking German-speaking, “not French-, not Italian-, not English-speaking”. But Waltz, who must be much more sensitive to the many German sounds, thought Bonn vs. Vienna etc., which is way more subtle and secondary to the broadly different sound structures of, say, “German and Italian”, setting regional variations aside for a moment.
Nice conversation, yet somewhat slow pacing, the few main points they're making didn't account for a quarter of an hour of time. (Perhaps it's due to the fact that English isn't their mother tongue.) However, the vibes were just fine.
Culture，in a larger context which language is part of the make up, may be more of a influence than the music we enjoy.... Chinese music for many thousand years are composed using five NOTES 🎶 Until this day, Minor Todaynes are common in modern Chinese music as a result.
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Qcz8OtsJ8YU.html Herr Barenboim Sie sind der Größte Musik Klassiker der Welt Sie sind mein Idol Lg Apollo Giu
I am not sure if I find Herr Waltz's contributions to be of clarity or even merit. He is saying a lot but nothing of substance. Maestro Barenboim, on the other hand, is completely lucid. It seems to me like the difference between listening and hearing, a concept that the Maestro frequently mentions. Here in Mr Waltz we have someone who speaks but who does not converse.
I honestly can't agree with the opinion that your native language will determine the way you will compose. Christoph Waltz makes a good point using the example of the difference in pronunciation of the German language in Viena and Cologne (He has a very diplomatic and polite way of disagreeing). Our native language is a very important aspect of our identity and culture, though... English as a global language, detrimental? I don't know... Yes, I totally agree, our perception of a musical piece is different for everybody and for ourselves at different times. How we feel, and many other things can, definitely, shape our perception of music (or other forms of art)... I don't know if music can be used for a purpose or not (I would probably say yes), but one thing cannot be denied, music is one of the most beautiful and influential forms of art, and one of the greatest gifts God, the Universe (whatever you want to call it) has given to us... Interesting video.
So I can't say "soeur" strongly and I can't say "Schwester" gently? This is utter nonsense. The same for the German and French words for butterfly. And I guess we should make the beginning rolled chord in Beethoven's Tempest much clearer, since Beethoven's language would impede him from being mysterious like Debussy. You're a fine musician Mr. Barenboim but I just don't buy this. At least not today.
The connections between mother language and the music Mr. Barenboim assumes here are bizarrely far fetched, backed by no reliable research that is to my knowledge and so extremely cherry-picked that they’re debunked by other pieces by the same composers alone. That “Schwester” example is simply comical. It’s much more probable that composers are born into a culture where a certain language is spoken and the music of those people, songs, folk tunes, lullabies, anthems etc. will naturally be shaped to accommodate the language they have to set music to, creating certain musical gestures and idioms, and that will be the musical surrounding a composer will be in, thus affecting his music. Maybe. Even then you’d have to make a huge wild assumption to explain the sound of a composers music only in connection to the mother language of the composer because then you also have to assume that the composers’ individual conceptions of sound were influenced by only one factor (i guess composers never herd of this weird thing called the nature for example) . Let alone the fact that it wasn’t like composers weren’t exposed to and familiar with other languages and other composers from different cultures. Also this means composers with the same mother language should sound similar - idk if anyone hears anything like Rameau in Debussy or anything like Vivaldi in Busoni (oh jee i guess time is a factor too) or how we should then explain the similarity between the sounds of composers from different countries. It’ all so complex and there are so many factors on every level. That’s why what Mr Barenboim’s statements and “theories” (i guess) are a musicological and linguistic joke. I did not expect this level of ignorance from him.
