Seymour Bernstein On Bach: Invention No. 1 (ft. Ben Laude) 

Seymour is still an ambitious pianist and dedicated teacher at 95. I'm speechless.

Man do you realise how lucky we all are that cameras and internet exsists so we can have one little masterclass with this genious every day!

Could listen to Seymour talk for 10 hours straight. Even when I don't agree with him. His passion, conviction, and insight is a treasure to the world of classical music.

"I think you're going to love it. And if you don't love it, pretend you love it." Love this part. We're so lucky to have this video, both of you are amazing!

I really love how Prof. Bernstein motivates other piano players. He knows how to let others realize the “Ah-hah!!” moment.

His book With Your Own Two Hands changed my life. I'm 75 and still studying. Bless his heart.

Prof. Seymour has a sharper mind than most of us half his age...

What a wonderful teacher Seymour is that even Ben can learn from him.

"I guess consistency matters." It's amazing how intricate this piece is when using detached vs connected lines. It was interesting how when asked to play something differently how it takes a few times to do that. Muscle memory is our friend and our enemy at times.

Regarding the Golden Ratio, I don't think listeners necessarily "notice" it, but when the performer notices it and treats it as a special moment listeners will especially be moved by it. Very nice playing!

The chemistry between them is amazingly amiable. While Master Bernstein is been an remarkable mentor, Mr. Laude is such a humble pianist taking the advice and changing his habit right away. I love after Master Bernstein suggested something, then he said, “I think you’re going to love that. If you don’t, pretend you loved it….” The comment tickled me.

I am not a musician. As far as a musical instrument goes, I can hardly pat my head and rub my belly at the same time. But I am fascinated listening to him explaining and teaching this already trained musician about the concepts of this piece. “You see how charming it is?” Love it.

Seymour's observations can apply to any art form . I'm a visual artist and get so much inspiration from his critiques

This video brightens my Saturday morning. I also should play this wonderful piece later today. The existence of Mr. Seymour in the same planet is already a blessing! May God bless him with good health and long life.

Brilliant. Seymour is an outstanding teacher and it is a such huge privilege to still be able to learn from his insights at 95. Please Tonebase keep making as many lessons as possible with Seymour while you still can!

My favorite Tonebase Piano videos involve Seymour.

Seymour Bernstein is a National Treasure. Thankfully, some of his observations and insights are preserved here for future generations. I love his passion and love for music-and the integrity he tries to apply to these historic compositions. What a great teacher.

These masterclasses are pure gold.

I' d like so much that Seymour Bernstein could make one video per day... Not only for his extreme intelligence, competence, but also for his charismatic presence and his spicy humor. The entire planet watches him. He inspires us to put knowledge subservient to beauty and not the other way around. All tonbase pianists bring wonderful information, however, Seymour is the the greatest and most beloved artist. ps. The golden ratio was actually a very clever find.

How beautiful to see a piano music professor accept a lesson from a 95 year old Maestro

Tonebase, these videos are my favorites. Love the complicity between mr. Laude and mr. Bernstein. My favorite moments are always when seymour recognizes the genius of other pianists, especially Ben here that is wonderful. Love on both of you! You guys rock!

Love their friendly banter! They have such great chemistry.

I love this lessons. Ben Laude, who is already a far better pianist than I am, learns from someone even better with decades of knowladge that dedicated his life to teaching piano and music. It helps me see how much I am still lacking and how much I could improve

my parents used to pay real good money for me to have lessons like this. To be able to sit through this instruction with such a master is priceless.

Seymour Bernstein, a real treasure to humanity

God bless my piano teacher and mentor, Marion DeJesu of Baldwin, NY. She was the one who gave me this same exact instruction that Seymour gives here. When Seymour pointed out the Baroque articulations of the eighth notes ("the long valued notes," as Mrs. DeJesu would say), I actually got teary eyed, because it instantly reconnected me to when I studied with my teacher who gave me so much. I am now the same age that Mrs. DeJesu was when she taught me, and now I share this same musical knowledge with my private students, and in doing so, I keep her spirit alive! Also, Ben really played this so FLAWLESSLY. I absolutely LOVED his choices! It was authentic Baroque style, but even BETTER. And of course, Seymour Bernstein is such a treasure and a gift to us all! I love his direct honesty and approach. Thank you!

It's crazy to me how good you have to be for Seymour to be able to make you better. 😮

What a masterclass in nuance. Shows you knowing the notes and the basic rhythm is just the start

Mr. Bernstein is a bit incorrect about one thing - Bach did know and did try an early version of pianoforte and did not care very much for it. I am sure the early pianoforte action was far heavier (and thus more clumsy to a new user) than any keyboard Bach had used up to that time. So it's easy to understand why Bach would not like early piano. Bach also had clavichord, lautenwerk, organ, orchestras, chamber ensembles, and choirs all of which no doubt naturally employed dynamics and vibrato to a lesser or greater degree. As we all know, "cantabile" is an Italian word that means "singing" or "melodic," which indicates a kind of supple, seductive, vocal, birdlike, connected quality to the phrasing. Yes even birds, whose brains weigh less than a penny, have a far wider range of piano and forte in their music than the harpsichord. Harpsichord, despite it's very lovely shimmering metallic sustain, was just about the only instrument Bach had with practically no dynamics. I see in this no implied mandate to let the harpsichord - the flattest instrument - dominate centuries of performance practice of dozens of other instruments that were more supple to the Baroque restrained-cantabile style that Bach nearly always demanded in the forward to most of his collections. Apparently, Bach's favorite expressive keyboard instruments were (especially) the moderate 3 course Lautenwerk, the quieter and most expressive clavichord (perfect for not waking up multiple children while composing at home), and of course the very loud organ. Bach almost certainly spent more time on these three more cantabile keyboards put together than on the harpsichord. Some recent research is indicating that Lautenwerk or (less likely) clavichord may have been Bach's favorite keyboard instrument.

Such a beautiful lesson. How many students just play it mindlessly? I did too as a young student. One should train the ear much more carefully. This lesson should be essential for every piano teacher. Let each student watch it.

I absolutely love the rapport Ben and Seymour have together! I have learned so much by watching these two, and they always make me laugh. Please clad this whimsical old man in bubble wrap; he must be protected at all costs!

The idea of connecting the last note to the first note in each bar is brilliant.😳

What an amazingly sharp mind, and at 96 years old! So wonderful

Thank you for another great episode. I agree with Mr. Bernstein’s suggestions about dynamics and articulation. However, harpsichord is not inferior than piano. They are two different instruments by mechanism. One can’t compare apples and oranges. I played both harpsichord and piano professionally. Every thing Bach wrote made sense on harpsichord. It is not until I started playing the harpsichord that I understood Bach more. All the sequences, polyphony, and articulations are there. Pianists take advantage of the instrument’s ability to make dynamics and legato, but we forget that timing is the most important thing. Because you can’t make dynamics on the harpsichord, you have to find other ways to make a piece musical. You have to do more articulations to make the harpsichord “speak”. And that is when you start to realize that Bach is a genius! I hope there are more people playing the harpsichord. It will even make your piano playing better because you become more creative.

The secret of Bach lies in the phrasing leading to purity of sound that's beyond pure articulation. Seymour just synthesises the essence of Bel Canto. Amazing to watch! A masterclass in humanity!

Actually, Bach did know the pianoforte: […] Silbermann had the necessary know-how as well as the financial means to develop his own model, based on Cristofori's mechanics, which he was able to present in 1726. He subsequently built another fortepiano. "One of them had been seen and played by the blessed Kapelmeister Herr Johann Sebastian Bach. He had praised, even admired the sound of it: But he criticized it for being too weak in the treble and too difficult to play. Mr. Silbermann, who could not stand any reproach to his elaborations, had taken this very badly. He was angry with Mr. Bach for a long time because of this." Nevertheless, Silbermann worked for almost ten years on improving his instruments and finally earned Bach's recognition. After King Frederick II of Prussia came to power, the Freiberg instrument maker was able to deliver 15 instruments to the court in Potsdam. In 1747, Johann Sebastian Bach improvised his three-part ricercare in front of the king on one of these fortepianos. This instrument, which is now kept in the New Palace in Potsdam, is reproduced by the Neupert company. (translated from the German Wikipedia)

It's wonderful to see these phrases being teased apart and reassembled with improvements. As a non-musician, but avid listener, such presentations bring the music into focus, and help me appreciate a pianist's artistry. Bravo to you both, and thank you.

Great Uncle Seymour is a Treasure, undoubtedly.

Bach was an instrument designer and an enthusiast of modern instrument design and played pianos when they were shown to him, but he said the action was too heavy and slow, and that the bass was not strong, so he preferred the harpsichord, which requires great skill and dexterity to play well but also has a much lighter and gentle action, allowing for strings of notes to be played quickly and requiring great precision to play with dynamics of any kind. Mr. Bernstein is a wonderful pianist and teacher, but the harpsichord also has merit in Bach interpretation and enjoyment.

I never would have paid attention to these details, it sounded so much better after Seymour’s advice!

Can't get enough of Seymour. This old cat has a million dollar smile! 💯

HE IS BACK, MORE SEYMOUR VIDEOS

I could watch Seymour Bernstein on tonebase piano for hours. I only watch when he is in a video as i know it will be worth it 😀

One of the neatest videos I have seen by you. Sometimes it seems that in Masters classes the teacher just teaches play it like I play it, and indeed Seymour outright told you how to play some parts but it seemed it was more at a foundational level and each of his suggestions were objectively better not stylisitically better. Really fascinating watch.

Have been playing this piece for three years, still discovering new things. Thank you!

In the last 2 years I've fallen in love with Piano. This is really cool to see ❤🎶🎵

Wow. Thanks, Seymour. At 10:30, it's a matter of "where is this going?". So, here we are, grown men, getting the first Invention sorted out. I love it.

"If Bach had a piano...", J S Bach did play Gottfried Silbermann's Fortepiano. Johann Friedrich Agricola (J S Bach's student) quote published in 1768, "Herr Gottfried Silbermann had first made two of these instruments, one of which had been seen and tested by the late Capellmeister Giovanni Sebastiano Bach. He was favourably impressed by the sound, but at the same time complained that it was too weak in the treble and too heavy to play..." This occurred in the 1730's," J S Bach criticized the heavy action (compared to the harpsichord and clavichord) and being an organists who played Tracker action organs (which require the strength and stamina of a blacksmith). "...These criticisms were taken very badly by Silbermann, who did not accept that there were flaws in the instruments he built... He therefore decided that for the time being it would be better not to sell this instrument, and this to his credit; in the meantime he did not stop thinking about how to remedy the defects that Bach had detected. He worked on it for many years. And that this was the cause of this hesitation I do not doubt, for it was confided in me by Mr Silbermann himself. Finally Silbermann, having made these improvements in the mechanics (action) in particular, sold an instrument to the princely court in Rudolstadt (…). Shortly afterwards, the King of Prussia ordered one of these instruments, and finding it to his liking, ordered several more. Seeing and hearing these instruments, those who, like me, had been able to see one of the first, could see how diligently Mr Silbermann had worked on the improvements. Herr Silbermann also had the commendable pride of showing one of the newly made instruments to the late Cappelmeister Bach and letting him examine it, receiving his full approval’. One can conclude from Agricola's quote that Silbermann did this previous to J S Bach's trip to Dresden which resulted in the Musical Offering. Nowhere in the Musical Offering is the fortepiano mentioned. The trip to Frederick the Great is well known. A few Silbermann Fortepianos purchased by the King survive and their key-dip (how the key travels far before the note sounds) and key-fall weight are nowhere near as much or as heavy as a Steinway. The only document that concerns Silbermann fortepianos directly with J S Bach dates from 1749 in which J S Bach acted as an agent in the sale for his friend who was away building an organ (and Silbermann's former student and plaintiff in a lawsuit Zachariah Hildebrandt, also a friend of JSB). Bach's first biographer, Johann Nikolaus Forkel, "on the strength of interviews with the composer's sons, reported that the clavichord was Bach's favorite keyboard instrument." J S Bach never once used the term Clavichord in the manuscripts of his works. J N Forkel waxed poetically about the clavichord being J S Bach's favorite instrument (and somewhat chauvinistically (for a German State), however), in his 1801 biography (the first for a Musician), and was along with Sarah Levy (Great Aunt to Felix Mendelssohn-Bartholdy) was a student of W F Bach. However, from what I can find, Forkel might have committed (he's one of the earliest musicologists as well as performance practice) a bit of confirmation bias. J S Bach preferred students who first began their lessons on the clavichord and then transitioned to the harpsichord to beginners that had began on the harpsichord. J S Bach had given this pedal clavichord (for practicing organ works) to his youngest (and favorite) son (at the time a minor) before his death as a present which engender some ill feelings with his two oldest half brothers. In the tax documents (J S Bach died without a Will, ergo his estate was taxed rather than going tax free to A M Bach) there wasn't another clavichord mentioned in his possession. What was in J S Bach's instruments list? Six harpsichords (4 normal size, one smaller, and one small spinet, there are documents that state J S Bach did rent harpsichord(s)) and two Lute Harpsichords (said to be his favorite instrument) of which he wrote some keyboard works for, both built by Z. Hildebrandt (Agricola), although Johann Christoph Fleischer of Hamburg, and Johann Nicolaus Bach also produced. Some claim this was J S Bach's favorite instrument. As to the keyboard works of J S Bach, besides the manuscripts (for the Lute Harpsichord), only organ and harpsichord receive mention in his publications; the English and French Suites have in their titles for the Harpsichord. Clavichordio or Clavichordium, mentioned in the Walter's Musical Lexicon (which J S Bach was an agent for sales in Leipzig) in 1731. Johann Christoph Fleischer produced two unfretted Clavichords, the earliest surviving one is in Stade FF-d3, adapted from fretted clavichord (C-c3) in 1723. The C-c3 range is found in the WTC Pt 1 (and exceeded in Pt 2). W F Bach's Keyboard Booklet 19 pieces before the first Praeambulum (Invention as it would become known later) contains three minuets in G major. Of the third one descends to GG in bass (13th piece) J S Bach in the English Suites also descends to AA. The English suites are the oldest set. It might be argued that W F Bach was already playing the harpsichord. J S Bach was also quoted as preferring short natural keys (for organs), a narrower keyboard to the octave, and not playing with outstretched (flat) fingers. On the other hand (pardon the pun), he may have liked the tone of the modern piano, it's bloom and longer sustain, and still disliked the cross strung muddying the bass and homogenous tonal properties except at the extremes of compass, as well as the long key fall before the sound at the bottom instead of 2 mm of the harpsichord, or the shorter distance of the clavichord. The pedal, Silbermann's damper stop was pulled on and off by hand. For over 50 plus years, I've heard, "J S Bach would have preferred the modern piano, the damper pedal, etc., ad nauseum without much to go on factually. He did approve of Silberman's fortepiano (if eventually), but these had more in common with the harpsichord (most likely built in a Silbermann harpsichord case with Cristofori's action) than a modern piano. He didn't buy one (Cristofori's and Silberman's pianos were expensive and not suited for playing in ensembles), he had opportunity, and frankly two Lute Harpsichords built for a man who owned six harpsichords besides doesn't give much for a total of 8 plucked instruments seems indicate he didn't have the inclination to sell them and his Stainer Violin to buy a Fortepiano. Of course the above is my subjective opinion, and your opinion is equally valid.

Mr. Bernstein is a real life Yoda.

The man is an absolute treasure, full of wit , eloquence and humour. ( Oh, and Seymour is great too)

This must be priceless information for Ben or any other student pianist watching this...in how to aproach the music of Bach!!

Piano Master teaches Piano Expert... And it's Glorious! :D

What a privilege for us to listen to this !

This “lesson” reminds me so much of my early training on trumpet, and how every year, every piece, you learned something new about the instrument, the pieces, the artists, yourself. At some point you begin to want to impose yourself upon the artists work, which is fine, once you’ve first learned what the artist intended and why. I’ve long since left off playing trumpet after many fun and frustrating years, but this video brought the teacher/student relationship back to me with my favorite music instructor, Louis Oliverio AT Lincoln High School in Shinnston, WV from 1992-1995. He wasn’t as tender as Seymour 😂 But he was passionate and knowledgeable. And nearly thirty years since I still think often - quite often - of all I learned through him not only about music, but about myself, and life.

I watch Mr. Bernstein explaining a piece, and feel like I have to drop everything and sit behind the piano. Also, Ben and Tonebase you guys make fantastic videos. Some of them can be referenced in schools TBH.

Wonderful video, thank you both!!! The ‘Golden Moment’ insight is fantastic!

Subtitles are hilarious! Cantabile becomes "Can Toby Lace" 🤣

Seymour is absolute Yoda!❤

I was taught that there is a standard articulation technique used commonly in Baroque harpsichord playing called "overholding," implying that not everything was played in a detached manner on the harpsichord during that period.

"Is this going to be seperated? Say 'no'." LOL What a charming teacher.

Mr Seymour feel the music in such a wonderful way

I'd happily buy your next CD after these lessons.

I wish I could find a teacher like Seymour.

The two of you together is really a joy to watch. Giving great advice, and having from what it looks like a great friendship. Thank you :)

Watching Seymour teach is so inspiring. It’s enough to make anyone want to become a musician!

As a pianist with plodding fingers, way beyond whatever I can do. As a video, time well spent. Thanks.

The videos with Seymour are among my favourites on Tonebase. Definitely the most entertaining!

It’s always a delight to watch Seymour. Thank you for uploading all these amazing videos!

Witnessing/Being so intellectually intimate over the performance of Bach with someone who ‘gets it’ is one of the most fulfilling experiences I think I’ve ever experienced in my life… that and discovering a well-curated ambient jungle playlist. This video is a treasure. Peace ✌🏼

I could not wait until the end to comment: what a simply fantastic video. Such charm, such good guidance and understanding, such warmth.

The Bach Intentions. Well, I learned something. "SEQUENCE!!" Hopefully I'll hear that next time I'm making chop suey out of a phrase.

I wonder does the golden measure apply to all pieces? I loved the detached parts of the invention. I feel like I've played it wrong my whole piano life. I love this!

Bernstein is so inspiring...!❤

I don't know why these piano lessons feel like they're helping my jazz/rock electric guitar playing, but they are. Articulation, not just notes!

Wow! Seymour is a marvelous treasure of teaching and communicating musical ideas into concrete actions. That we have RU-vid to capture his teaching is also marvelous.

There are endless possibilities in terms of phrasing, each player has to find their own

I learned just by seeing the way you guys are discussing the piece. I never think about music in that way

I am so grateful to have the opportunity to watch this great music making, their discussion and the thought behind it.

5:50 is so clean, man, just when you kinda forget about Bach you just hear something new

I'm learning Inventio 4 and my teacher has me do this as well: detach the 8th notes and legato the 16th. I like the way it sounds.

Wow…..terrific insight into what certainly is a master class. I’ve sat in on jazz master classes and this is right up there. Amazing.

10:01 "I think you're going to love it, and if you don't pretend you love it " 😂

That was great! Cant wait to see more!

I literally never have these moments of "wow ... this is absolute true" - but when Seymour proposes his advices ... my brain says: "Oh yes - this is the answer and there will be no discussion. Go for it".

This has helped me immensely learning that piece.

I love this duo

You guys are such an amazing duo truly

I asked for more Seymour in their recent post, and they delivered

Ben Laude, you play beautifully even under all the pressure of having instruction from "Herr Professor Dr. Bernstein", as he might have been known in another place, and time, as in Bach's world and certainly 19th century Europe, but also the pressure of doing it in front of an audience of tens of thousands, and who knows -- in a year or two, perhaps millions of us out in RU-vid Land. Seymour is right, isn't he? I mean about the energy of beginning the descending eigth note phrases on 4, and the juxtaposition of the legato hand with a staccato-ish bass line. Is he still with us? I sincerely hope so. I don't play the piano very well anymore, but he's someone who I would like to meet for and hour and listen to whatever he had to say about life, teaching, students, musicians, or whatever was on his mind. I agree with him maybe 90% about Glen Gould. Years ago, I bought the CBS/Sony remastered Gould playing all the Mozart Sonatas for Piano, and it was a waste of $30-something. But I also have a collection of him playing Brahms works for Solo Piano containing many great readings of the shy old man, especially his work on those three penultimate works, Ops. 117, 118, and 119, as well as his dark and dour Ballades Op. 10, befitting to Edward, who is to be hanged for stealing a chicken, or some equally appropriate 18th century British crime. I've written enough, already. Thank you so much for presenting more than a nibble of these great sessions with a national treasure, the remarkable Seymour Bernstein. 😊

Thank you for uploading this. Very heartwarming and insightful at the same time.

It's very similar to how my piano teacher has taught me this invention in the 1980s. She was strict but very gifted. Rest in peace, dear Erika

These interactions are so interesting, beautiful and full of poetry! Thanks a lot for producing and sharing such beautiful moments of musical construction!

What a brilliant teacher. A joy to see this video!

Such a delight watching and listening to this duo!! I am totally in love with Seymour!❤❤

Thank you so much Ben and Seymour, pure gold!

Beautiful playing! Thank you! Blessings!

Seymour is a genius. I learn so much. Amazing..

They are both so charming with great chemistry and provide wonderful insights. I love peaking behind the curtain and seeing the wizard (Seymour) in action

Amazing video, thanks for sharing it!

Beautiful piece, beautiful playing, and beautiful insights.