Allegro Con Brio - Bernard Haitnik gibt Timothy Henty seine Analyse und sein Feedback

Bernard Haitink
Bernard Haitink

Lesson time: (19min 49sec)

Timothy Henty dirigiert das Orchester durch das Allegro con brio, während Bernard Haitink seine Analyse und sein Feedback gibt.

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This lesson is part of the course Brahms - Sinfonie Nr. 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

Mit einer internationalen Dirigentenkarriere, die sich über mehr als fünf Jahrzehnte erstreckt, zählt der in Amsterdam geborene Bernard Haitink zu den gefeiertsten Dirigenten unserer Zeit. Zu Beginn der Saison 2006/07 zum Chefdirigenten des Chicago Symphony Orchestra ernannt, hat er viele der bedeutendsten Orchester der Welt geleitet, darunter über 25 Jahre an der Spitze des Royal Concertgebouw als dessen Musikdirektor. Darüber hinaus hatte Herr Haitink zuvor die Posten des Musikdirektors der Staatskapelle Dresden, der Royal Opera, Covent Garden, der Glyndebourne Festival Opera und des London Philharmonic inne. Er ist Conductor Laureate des Royal Concertgebouw Orchestra, Conductor Emeritus des Boston Symphony Orchestra und Ehrenmitglied der Berliner Philharmoniker. Als Gastdirigent trat er häufig bei den Berliner Philharmonikern, den Wiener Philharmonikern, dem Bayerischen Rundfunk, dem London Symphony und anderen führenden Orchestern auf. Herr Haitink hat umfangreich für die Labels Phillips, Decca und EMI aufgenommen, darunter Gesamtzyklen der Sinfonien von Mahler, Bruckner und Schumann mit dem Concertgebouw sowie ein umfassendes Repertoire mit den Berliner und Wiener Philharmonikern und dem Boston Symphony Orchestra. Seine jüngsten Aufnahmen sind die Gesamteinspielungen der Sinfonien von Brahms und Beethoven mit dem London Symphony Orchestra beim Label LSO Live. Seine Diskografie umfasst zudem zahlreiche Opernaufnahmen mit der Royal Opera und Glyndebourne sowie mit dem Symphonieorchester des Bayerischen Rundfunks und der Staatskapelle Dresden. Herrn Haitinks Aufnahme von Janáčeks Jenufa mit dem Orchester, den Solisten und dem Chor des Royal Opera House, Covent Garden, wurde 2004 mit einem Grammy Award für die beste Opernaufnahme ausgezeichnet. Herr Haitink hat zahlreiche internationale Auszeichnungen in Anerkennung seiner Verdienste um die Musik erhalten, darunter sowohl einen Ehrenritterschlag als auch den Order of the Companions of Honour im Vereinigten Königreich sowie den Hausorden von Oranien-Nassau in den Niederlanden. 2007 wurde er von Musical America zum „Musiker des Jahres“ ernannt. In seinem MusicGurus-Kurs über Brahms' Sinfonie Nr. 3 schöpft Haitink aus einem Leben am Dirigentenpult, um dich tief in die Partitur zu führen — wie er ihre Phrasierung, Balance, ihr Tempo und ihre Struktur formt — und gewährt seltene Einblicke, wie einer der großen Dirigenten eine Brahms-Sinfonie liest und zum Leben erweckt, ob du nun Dirigent, Orchestermusiker oder leidenschaftlicher Zuhörer bist. read more

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