OMG. If this was the real Lynn Harrell this comment should be pinned. A true legend of the cello speaking the only beffiting words after such a performance.
Ive been learning piano for a few years and i do this when practicin a song and have to use just 1 finger on the hand. The wiggle helps me isolate the finger in my brain, so that the next time i play the song i have a better understanding of what finger to use. Likee okaaaaaay and index fingeeeeeer.......
@@Helpsnekgettosubspls i do it only because i try to subconsciously emphasise and draw out a note, and because i play cello, my brain says "do vibrato". lol other wise there is really no reason to do it.
✨✨✨ "Great !!" said Gautier Capuçon ! And soooo Yes you are extremely talented Margarita Balanas, and so lovely !!! Thanksfully to all of you here, magnificent teacher and guide and the pianist too !! What a passionate masterclass !!! 🥰 Astrid (Paris)
@@alex.lammayot Cello for north DFW is really competitive. Takes a lot of dedication to get somewhere in this area. A lot of kids here go on to become professional soloists, watch out for a certain Bryan Han the next few years. Kid got symphony all state all four years
In the lyrical section, I can't help hearing the famous children's song from Humperdink's Hansel und Gretel with all its simplicity and charm. I love that Capucon wants Balanas to "argue" with this.
You are great! I liked more the beggining before he asked to play closer to the bridge. However, I understand that his goal is to make everything articulated in a big hall. Here it sounds pressed. And the octaves gliss, why not? All the best.
Valerie Rodriguez If I'm not mistaken, that's a cello by Charles Adolphe Gand. Most all of his instruments have those characteristic French words on the ribs (of what these mean, I can't say). I hope I was of help!
Jon Burkart it is written on the cello "Conservatoire National Supérieur de Musique de Paris". It is the best conservatoire in France. It is very famous. Capucon studied here and a lot of very famous musicians too. Aurelien Pascal has this kind of cello.
It's so difficult and expensive to travel with a cello, and dangerous for the instrument, I guess the Conservatoire National lent her a cello for the masterclass
La técnica de Gautier es impecable, increíble como hace ver los pasajes tan fáciles. Margarita es muy buena pero no la veo del todo concentrada en la instrucción de Gautier, varias veces seguía de largo tocando sin prestar atención a nada más.
Very well played. And Gautier's suggestions are mostly very good. So I wanted to see how Gautier would play the piece himself and fortunately a recording of him playing it with an orchestra is available on the RU-vid list. What a disappointment! He didn't play it anywhere near as well as she did without the benefit of his advice. 'FWIW, her technique is awesome but always manifested in service of an understanding of the music. She always leans into it just right. Gautier's technique is also excellent, but it is showy and he does not display the musical values of the piece anywhere near as well as she does. This appears to me to be a case wherein the teacher and student ought to exchange positions.
I disagree with the point that her technique is awesome ... she really needs to work on sound production and most obviously on vibrato - she doesn’t quite have the width and strength. Fast parts are well learned, but especially in all the cantabile parts it is missing a lot. The recording and interpretation of his is of course up to taste!
@@serafin1719 Interesting comments! Thank you! I listened to it again trying to pick up the basis of your comments. I was unable to. Plus Gautier never seemed to call her on the things that you felt she falls short on. I have heard several interpretations of this piece but none of them, including Rostropovich, matched her in musicality. In my opinion. Of course, as you say, a lot of this boils down to matters of taste. Gautier's performance, like that of Brannon Cho, seems to sound like an entry in the Fast Cello Players League competition. They wanted to get it over with and didn't lean into the meaty parts, which is what I think her strong point was. Her performance as solo cello in Bruch's Kol Nidre (in another Master Class, same venue) displayed this very well. I think. Rarely have I heard performances more in synch with the musical values of a composition.
@topsquirrel5323 im sorry but her performance does not at all begin to compare to Brannon Cho's. She has little to no phrasing in the melodic parts and really just stays the same the whole performance, meanwhile brannon emphasizes the intensity of the "fast/hard" parts and digs into the emotion of the melodic parts. In my opinion, she does play extremely well, but her colors are lacking. Its really all just hard playing with droplets of softer playing to make the ELLUSION of phrasing. Im not so sure about gautier, but brannons performance is levels above this girl by miles. And it feels weird to compare such an experienced soloist to a relatively young one in such a way but what yall have been saying sounds alot like recency bias to me; seeing a younger person play it and immediately disregarding recordings from older soloists. She 100% has the potential to reach brannons level, but at the time of this performance she was not.
@@topsquirrel5323no disrespect though, I might be a bit biased as his recording is the first I listened to but since then ive heard many others and started learning it so I believe that I can share my opinion on this topic
Dino Quarleri I share the same view of his overly pressed and in my opinion beauty-less sound, however his early recording of the concertante is actually played very nicely, before this strange pressed sound taste of his took effect, definitely an intriguing listen...
