Allegro Con Brio - Bernard Haitnik gives his anaklysis and feedback to Timothy Henty

Bernard Haitink
Bernard Haitink

Lesson time: (19min 49sec)

Timothy Henty conducts the orchestra through the Allegro con brio while Bernard Haitink offers his analysis and feedback.

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This lesson is part of the course Brahms - Symphony No 3
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Lesson transcript:

Music Lesson: Letter E

So this is letter E. Well, it's interesting. Sometimes you do things which I think, "What is he doing?" But it's okay. At the end, it was not okay. It was really not together anymore.

And it's one of these famous difficult places in the score. But I will come to that later.

Beginning at Letter E

The first one from the beginning, from letter E. Of course, you were nervous there, and I was surprised because you gave so many upbeats, and all of a sudden, they were together.

Yes, it's like old Furtw?ngler. They always said, "How can you play?" Because he is so to the orchestra. Well, we count till 11 and a half, then we start, but give a clear beat.

So do that once more:

  • Try to be a bit more at rest in yourself.
  • Here we are conducting here, and we give it to the orchestra.

But when we add to contort, that is dangerous. Yes. So try to be a little more static in a way, and give the energy there.

Example of Carlos Kleiber

A wonderful example was Carlos Kleiber, who... the music was coming from his arms, from his fingers. It was as if he was... it's incredible.

And that sort of feeling: This should not be too cramped. Give it to them. Yes, give it to the players. They need you; they need to get the impulse from you.

Revisiting Letter E

Yes, letter E again. Okay. Yes. I'm wondering. I still miss contact here. "Hey, what shall I do?" Yes, give me once letter E.

Sorry, I find it sometimes difficult to express myself, and I must do it. Sometimes I know the answer, yes. And it was not together because I didn't concentrate enough on you.

1, 2, 3, 4, 5, 6, 7 bars before G. I will make up for your lost time. And one. Of course, now I exaggerate, but it was more together than at the beginning.

Now try. I hope I made myself clear. I hope so. Yes. So do it. Keep control from E again.

Personal Question

I have a very personal question, and don't be upset: Do you need your glasses?

Yes, this comes up a lot. I do need them. I can kind of bump into people if I don't have my glasses. Is it still...? I have tried contact lenses, but they're quite uncomfortable.

Yeah, I understand that. I'm sorry that I mentioned it, but I have a feeling that the temples run away sometimes.

There they are. Okay. Shall I try flying blind for a bit?

Blind Flying

I would ask you to do some blind flying and not look at the score because you don't need it. You know it.

So I would say, close the score. There's a first time for everything.

And try: When you give these enormous things, not to pop your head too much. You are the boss, and you have to start.

And when you do this, that's not good.

Final Thoughts

I'm sorry about this; it's a very personal thing. Last night I was thinking about it: "Can I ask him yes or no?" And I said yes. I do it.

Okay. Good luck. Here's the orchestra.

Oboe. Well, how does it feel?

Actually, it feels amazing. Yes.

Yeah, actually, for me too because maybe you don't see them, but they see you as... which is very important.

But it's amazing.

May I quote you now? It is amazing, the difference.

Well, there you are. Thank you very much. Very good.

About the instructor

Bernard Haitink
Bernard Haitink

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. read more

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14 lessons (3h 22m)
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