Andante - Bernard Haitnik gives his anaklysis and feedback to Timothy Henty

Music Lesson: The Second Movement

The second movement is purely chamber music. Totally different. Wonderful, tender, nearly Slavonic theme. Very close to Dvoř?k in a way. And they respected each other very much.

On Commitment and Atmosphere

It's hard to find the right words because it's okay. The tempo is good; it sounds okay. But I have a feeling that you don't have the commitment you had this morning.

• The first movement: is of course totally different. These slow movements or slower movements are always difficult to get the right atmosphere after an orchestra has played the first movement. And that really demands every inch of energy.

Expressing Emotion

Then... I don't know. May I try to show you what I should say, but can't?

• "Yes. Give me the beginning."
  • You know, whatever you do, if you conduct with your right hand, with your left hand, or with your big toe, it's not that interesting.

Give a certain commitment, and I miss that a little bit. I know that in your head you have that commitment, and it has nothing to do with your glasses.

• "Now don't use the trick."
  • Once more, but just make music. Chamber musicians love that tune. And you love it too. You want to give it the best you can.

You don't have to make faces or all sorts of contorted movements, but enjoy the music.

• "Yes."
  • And I found it a bit jolly.

Engaging the Ensemble

Sorry. What's up?

• "Okay, Tim."
  • You are neglecting a possibility which you have with your left hand. Here. Thanks.

Play once more.

• Letter B.

  • Yeah. Three, four. They love to be invited; they want you to be part of it, you know, and not just standing there.

• "No, no, no. Let's do the upbeat into B then."

  • It's a mixture of enjoying it and giving them hell. Yes, and a friendly face helps too.

• "Yes."

  • You were smiling, and all of a sudden the sun can show, you know.

The Art of Transitions

Once more, where are we? It talks about the art of transitions. Especially with Brahms, it has to be really unified.

• "When you start before C."
  • Caesar. 1, 2, 3, 4, 5, 6, 7, 8.

Mr. Upbeat of the basses and the celli, don't lose here the line. It should be more diminuendo, and there should be more tension in a positive way.

Then the clarinet and the bassoon once more.

• "Could you play that?"
  • Yes. That was the upbeat 3.

And piano, not pianissimo. Still piano and sound. Now the duomando starts.

• "And here, and now,"
  • so that they don't come too late, that it really has... and yum... vam. Is that...

I mean, it's the same place, please.

• "Well, very good, Tim."

  • It sounds very beautiful.

• "Okay."

  • Yeah.