Allegro - Bernard Haitnik gives his anaklysis and feedback to Leo McFall
With
Bernard HaitinkLeo McFall conducts the Allegro finale of Brahms's Third Symphony while Bernard Haitink gives feedback on its dark opening, keeping control through the big crescendos and balancing the lower strings.
What's in the course
14 lessons (3h 22m) · 1 free
01. Bernard Haitnik introduction
Free lesson1:28
02. Allegro Con Brio - Bernard Haitnik gives his anaklysis and feedback to Thomas Blunt
5:54
03. Allegro Con Brio - Bernard Haitnik gives his anaklysis and feedback to Leo McFall
9:35
04. Allegro Con Brio - Bernard Haitnik gives his anaklysis and feedback to Timothy Henty
19:49
05. Allegro Con Brio - Bernard Haitnik gives his anaklysis and feedback to Karim Said
10:54
06. Allegro Con Brio - Bernard Haitnik gives his anaklysis and feedback to Michael Young
15:03
07. Andante - Bernard Haitnik gives his anaklysis and feedback to Timothy Henty
18:49
08. Andante - Bernard Haitnik gives his anaklysis and feedback to Michael Young
20:20
09. Poco Allegretto - Bernard Haitnik gives his anaklysis and feedback to Anne-Marie Granau
21:37
10. Poco Allegretto - Bernard Haitnik gives his anaklysis and feedback to Leo McFall
7:02
11. Allegro - Bernard Haitnik gives his anaklysis and feedback to Leo McFall
You are here10:10
12. Allegro - Bernard Haitnik gives his anaklysis and feedback to Karim Said
7:52
13. Allegro - Bernard Haitnik gives his anaklysis and feedback to Thomas Blunt
24:02
14. Allegro - Bernard Haitnik gives his anaklysis and feedback to Anne-Marie hGranau
29:48
Lesson transcript
Music Lesson: Finale Analysis
The Finale is again a huge symphonic structure. It starts extremely softly ? very foggy, and I would say very dark, with an enormous outburst in the orchestra. Then, the whole symphonic argument goes on and on.
It's fascinating! A wonderful development where he takes bits of the first themes he uses, much like Beethoven often did in his symphonies.
Dialogue and Drama
- Dialogue: It's like people arguing, not allowing each other to speak out, but interfering continuously.
- Dramatic Conclusion: This piece culminates in a very dramatic conclusion. The real conclusion is a farewell.
What he seldom does is quote the beginning of the symphony, but in a very hidden way.
"If you're not listening carefully, it will bypass you even."
I would suggest doing it just once more. I think that is in your realm.
Suggestions for Improvement
- Initial Strength: Maybe you could get a more distinct sound from the orchestra at the beginning.
- Control During Crescendo: When it gets wild, keep the control.
"Papa, always keep an eye on the horns."
With all due respect, she didn't hear it.
Specific Adjustments
-
Beginning Adjustments:
- If we can have slightly more double bass and slightly less from everybody else, that is the main color.
-
Leo's Direction:
- I'm sure you can find a way to let them play even more.
- Just a bit less ? it's so simple, yet so difficult.
"Do it once more."
Awareness of Volume
- Danger of Volume Increase: There's a danger here. Orchestras tend to get louder and louder, and there is a lot of fog and mist in this section.
- Try to give that to them. "God knows" how you can manage it.
Key Areas to Watch
- From Letter A:
- Let them not get louder in the last few bars before the crescendo. They are already much louder, so you have to watch them a little bit.
Thank you!
Considerations at Letter B
-
I found it very dangerous that you were concentrating entirely on the basses in that section.
- Pay attention, as it can easily get out of hand.
-
Forward Movement:
- Advancement from Letter A, and focus on the horns with "pa, pa, pa, pa, pa."
- If you can make it even shorter and just a little bit louder, that would help.
"I just can't quite hear T. Pa, pa."
Very good!
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Meet your guru
Meet your guru
With an international conducting career that has spanned more than five decades, Amsterdam-born Bernard Haitink is one of today's most celebrated conductors.
Appointed Principal Conductor of the Chicago Symphony Orchestra from the beginning of the 2006-7 season, he has led many of the world's major orchestras, including more than 25 years at the helm of the Royal Concertgebouw as its music director. In addition, Mr Haitink has previously held posts as music director of the Dresden Staatskapelle, the Royal Opera, Covent Garden, Glyndebourne Festival Opera, and the London Philharmonic. He is Conductor Laureate of the Royal Concertgebouw Orchestra, Conductor Emeritus of the Boston Symphony Orchestra, and an honorary member of the Berlin Philharmonic. He has made frequent guest appearances with the Berlin Philharmonic, Vienna Philharmonic, Bavarian Radio, London Symphony and other leading orchestras.
Mr Haitink has recorded widely for the Phillips, Decca and EMI labels, including complete cycles of Mahler, Bruckner, and Schumann symphonies with the Concertgebouw and extensive repertoire with the Berlin and Vienna Philharmonic orchestras and the Boston Symphony Orchestra. His most recent recordings are the complete Brahms and Beethoven symphonies with the London Symphony Orchestra on the LSO Live label. His discography also includes many opera recordings with the Royal Opera and Glyndebourne, as well as with the Bavarian Radio Orchestra and Dresden Staatskapelle. Mr Haitink's recording of Janacek's Jenufa with the orchestra, soloists, and chorus of the Royal Opera House, Covent Garden received a Grammy Award for best opera recording in 2004.
Mr Haitink has received many international awards in recognition of his services to music, including both an honorary Knighthood and the Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands. He was named Musical America's "Musician of the Year" for 2007.
In his MusicGurus course on Brahms' Symphony No. 3, Haitink draws on that lifetime at the podium to take you deep inside the score - how he shapes its phrasing, balance, tempo and structure - offering rare insight into how one of the great conductors reads and brings a Brahms symphony to life, whether you are a conductor, an orchestral player or a passionate listener.
