For more classes like this one, please visit the Benjamin Zander Center - www.benjaminzander.org/ Christine Lee, cello Dina Vainshtein, piano Interpretations of Music: Lessons for Life with Benjamin Zander Dave Jamrog Audio/Video
I hope that Mr. Zander will have a long and healthy life so that he can continue to bring his great philosophy to talented people, who might need these valuable information.. the difference of her playing is night and day at the end of this class
No. A. He's alive. B. Bob Ross used tricks, techniques to achieve a /visual effect/. Mr. Zander uses his /feelings/ to help someone else to help them convey feelings.
That boy the camera hones in on has been woken by the music, the musician, and the teacher. His face holds the overwhelming unfolding of understanding of the power of music played from the core
What Zander suggests to this extremely talented cellist is exactly how to play this movement, and for me music in general. I do disagree with Mr. Zander occasionally (the tempo of the first movement of the Mozart clarinet trio for example), but this is exceptionally beautiful and just the right way to play this and so many other things. This cellist is a real artist and she understands what he is doing so completely.
Dearest Benjamin Zander, you've made someone extremely happy. Reading his profound letter in public is just the miracle he couldn't have expected. We love you, Benjamin! And Schubert loves you too, no doubt.
@@camsun7326 I was calling you captain obvious! Obviously Schubert is dead and Marx knows that... pretty sure he said "Schubert loves you too" as in Schubert right now is looking down on his masterpiece being played and loving him for it
Ben is such an inspiration. I didn't much care for the Arpeggione sonata until I heard the Rostropovich/Britten recording - now it is a favourite work.
Yup. I had to listen to this again it's so beautiful. Benjamin Zander ... You could listen to music from the heavens and still give advice on how to make perfection.. more perfect!
Strange things is happening in this session. Zander said - after Christine Lees first playing - that IT FELT too slow. Actually the difference between her first and second playing is 3,1 sec or: the second playing is 1,35% faster, which is not a SIGNIFICANT difference in my opinion. But when HE accompanied on the piano himself, he actually played the first part (a little less than 2 minutes) SLOWER than the part was played in her first playing, about 4 sec - which is quite a lot, I would say!. Christine Lee claimed after having Zander at the piano, that it was MUCH EASIER to play, but I dont think that had anything to do with the slower tempo. But he then said about music that the secret was "the disappearing of the eights-notes". Maybe there is some kind of an answer to all this in that expression, I dont know. Her playing, though, was beautiful - both times!
I think Benjamin Zander means that the 8th note impulses disappear as the musician turns the slur into one impuls where the length of each included note can be freely interpreted.
I may get a lot of flack for what I'm about to say, but I partially came here, because I thought it was Rie from Tasty and just had to check. Don't regret it though.
@@TheTyme99 If you look at her facial features, her jaw is slack, and when she opens her eyes she blinks a few times as if trying to wake up. She was definitely sleeping lol
Woman has the audition of her life in a couple hours "You dont have to listen to me but nothing you did was right, good luck at your audition!". lol savage
thats absolutely not what he said. He just went straight to the point and said the tempo felt awkward and too slow. Players of that caliber can totally be flexible and adjust this kind of parameter with little effort. What requires the more time and practice are the technical aspects and the mastery of the sound but her playing is basically flawless and he really doesn't need to point that out.
She is the second cellist I've seen on these that has an unusual bow-hold, more like that of a violinist. I've tried it, and found that my control becomes terribly compromised. I am an amateur (no real talent), so is this a technique I just missed out on? Is this because the sonata was written for the arpeggione originally?
fortunately he has Dina. Most piano players would be quite annoyed if he as a cellist pushed them aside and showed them some dozed times how to play in this special instance... But he is right here because it is no concerto but a teaching situation.....
What do you mean by that? Sorry, I'm not really knowledgeable about music but I'm really interested in learning the cello so I want to know when it's good to use vibrato and when not to.
Lukasia I think qwaqwa1960 probably means to use the vibrato to accentuate certain parts more (like you see at 8:37). By using vibrato a bit more sparingly, thus increasing the "contrast" between accentuated parts, you can guide the listener emotionally and make it a more moving performance. But, as with all music, it's a matter of preference.
And praise god, the Camera work is GOOD. Except for the closeup on that confused-looking little boy. What was THAT about? The rest of the camerawork is perfect. We see just what we want to see: right hand, left hand and damn little piano.
Schubert? Is this the same chap that wrote An Die Musik and the 2cd. subject of the "Unfinished"? It's the most BORING piece I've ever heard! Well done this young lass for injecting some REAL music into it. Lovely playing. (I should know, my sister led the 'cellos in the NYO at 15, and Sadlers Wells at 22 etc. etc. etc.)
