Music Lesson

Introduction

"So number one. This crescendo is again too early. It's only on one note. This other thing..."

Discussion Points

1. Crescendo Timing

   • "This crescendo is again too early. It's only on one note."

2. Tone and Dynamics

   • "The other thing is very light."
   • "Your beginning is... Look, I spoke with you about this kind of psalmodine, the Catholic Church."
   • If the priest goes in front of 1,000 people, even less:
     • "Father, help me. Father, help me. I'm already hopeless. I don't believe anymore. I give up."

3. Praying through Music

   • "You are the first. And now comes such a prayer where even Godfather is melting the whole bow and the lot of vibrato."

Instructions and Feedback

• "Okay, now you have tried. Celli and bassi from the second bar, please."

  • "Tiny bit longer notes, please. Not that short."

• Practicing Tempo and Dynamics

  • "One, two. And piano. That's nice. Thank you very much."
  • "Beginning, please. It's much better."
  • "Yeah, I'm sorry, I'm sorry."

• Accent and Rhythm

  • "Your upbeat is so slappy. I even wouldn't like to play with you."
  • "Slappy means... Ah. What do you want? I don't want an accent on the first day."

Corrections

• "An accent that's 40. Is it 40? It's 40, yes. Yeah, it's 40. I said party."

• Effort and Improvement

  • "Okay, if you want to help me, do it. If you don't do it, what shall I do?"
  • "Once more, please. Be not good, not good. Your appetite is not good."

Performance Notes

• "Here and there and not. I'm in doubt. Not good, not good."

• "To the blood without hands, breathing. Much better, much better."

• Using Arms and Expression

  • "Once more. Now just do it with your arms."
  • "Friends, I'm sorry, I'm sorry. This is for me. For you for a lifetime."

Reflection and Advice

• "I want to give you something to take it home."

  • "If you do that, you will your whole lifetime be a boring conductor."

• "Because nobody exactly died. Or would you like to have da di? Or you have like ba da da."

• Different Languages in Music

  • "This is such a difference of our language, of our hands, of our meaning, our eyes."
  • "Look, if this stamina prays just before she is killed. What a prayer. God, let me live, let me alive."

Encouragement and Correction

• "All the time, the same notes. All the time, the same for them."
  • "For God's sake, do it. Pray for your life."
  • "It's better, it's better, it's better."

Group Instruction

• "Your three is nothing worse. And all play in the middle."

  • "In the cello in the middle. Passion, passion."

• Short Break

  • "Friends, a mistake. It's a short, Happy short break."
  • "35, please. 35 SA. Yes, please. Thank you very much."

Sound and Texture

• "In contrast, at letter E, it would be nice to have a little richer sound after this long, very seco spicato phrase."

  • "So sing a little bit more with the legato."

• "Let's do one Bar before A, it's one before the key change."

  • "One before the A, there is the piano."

Tempo and Crescendo

• "But your tempo is slower and slower. Yeah, yeah, yeah, yeah, yeah. Go, go, go."

• "We are doing everything crescendo here."

• Mindset and Execution

  • "You cannot make a crescendo or something which is not in the mind of Mendelssohn."
  • "Look, you do it so beautifully, and the pianissimo at the beginning is beautiful."

Call for Responsibility

• "But in the middle time, you don't know what to do. Just go, Just go."

• "And then they will play automatically in the right way. You keep it going."

  • "Then you have to be more and more responsible."

Reiteration

• "Instead of going, going, singing. Okay, just do the beginning."
  • "Same place, same place. Go, go, go."

Final Thoughts

• "No, no, Rita Tano, please. Possibly not. Keep them going, keep them going."

• "Four before letter B, please. 53. Friends, may I? May I ask you once more?"

  • "It's a little bit louder than what? What's the first time?"

Closing Reflection

• "It's for the first time. And now is it what it's for? TC1 with an accent."

• "Yeah, sure. Because it's desperate. I pray and I pray without result."

• Thoughts on Prayer

  • "And now. I thought it got here. Finally hear me."

• "And this is all one source. This is so what is divine movement?"

• "You can do it, but you have to make the difference."

• "If you have for this mod, just do it. Do too much, but do more."

• Final Instructions

  • "Yeah, because you make them sleep. Me too. 55, please do before letter B."

Encouragement

• "Go. SA violins. Why don't you get them? 1 and 2 and 1. Go dance."

• "Look, you have by yourself. I can only advise you. Your tendency is a little bit sentimental."

Conclusion

• "Look, the most hopeful thing is. This is very good."

  • "And then if the scherzo comes in, you have done the beginning beautifully."

• "Everybody played beautifully. But if you don't keep it excitingly beautiful."

• "It's not sleep, it's not a lullaby."

• "It's not a prayer. Where I go each Sunday to church and say, God, please help me to survive the next week or tomorrow or something like that."

• "Look, it's small. It's small and it's a pilgrimage. So it is sometimes who has to pray necessary."

Last Requests

• "And that's the point. I just would like you to do the very beginning once more."

• "And then once more the fortissimo. Bam. Ba da ba ba ba da."

• Final Adjustments

  • "So just the very beginning and then the fortissimo second time."

• "Just one small thing for the very end. Cello and double bass has piano."

• "And you have pianissimo so don't go under the violas. You have the pianissimo only later."

• "So it's an interesting different case."

Final Thoughts

• "Beginning, please. No, no, no, no, no. I'm sorry."

• "I'm sorry. This is in the church. Have you prayed? Sometimes."

• "Are you a Christian now? Officially, yes. Officially, yes."

• "It's a pity. Look, as I was a soldier with 17 and there were a lot of killed people around me, I prayed."

• "But I know since that time what it means."

• "I don't want you to have the same faith, but to try to find out."

Personal Connection

• "Mendelssohn had such a difficult life and he died in the age of 37."

• "As you know, you are now one year older. I think nine years older. That's okay."

• "No, but this is not the point. The point for me is your tendency is to be calm, beautiful, nice, and so on."

• "I would say if I start to pray, I don't go to church to pray, but sometimes I pray."

• "If I fear for someone, or I fear to lose someone. But then I do it. I pray."

Encouragement to Action

• "You help me. Okay, do the beginning. Yeah."

• "Okay, Once more. Do it once more. Do it once. For this."

• "More. Do more than you ever would expect from yourself. Yeah, More. Once more, once more."

Conclusion

• "Light and softly passionate. Yeah. No, no. You know why? You know why?"

• "Come here. Better, better, better. Yeah, yeah."

• "And you shouldn't imitate me. You are yourself."

• "You have long, slower arms and that's different."

• "But come here. That nobody can say. You were not clear."

• Final Directions

  • "Let them go, Let them go, Let them go, Let them go."

• "You don't inspire them to take the bow. If you don't have the highest speed of the bow, you'll never get this sound."

• "So Sudastu and pit bow. Yeah, but soft that they feel that they are right to do that."

• "I would play if I see your movement."

Final Remarks

• "Bar 11, please. 11. You do the beginning once more, for God's sake. With character. Come on."

• "That's it. Go, go. Yes. Thank you very much. Wonderful. You play beautifully."

• "Thank you very much. Let's do the fortissimo."

• "Now it's letter B. 57. Yeah. Again, again, please, please."

• "Once more. What do you feel with this?"

• Emotional Response

  • "Subito's fault says it's like getting nervous and nervous."

• "Why look for me? If the prayer doesn't work, I could be desperate."

• "Just do it, please. Help, help, please."

Reflection and Clarity

• "Because at the moment I get an accent, but without meaning. It is not clear what you think."

• "This is kind of even overshadowed at the moment. Of course, the beginning was wonderful."

• "Now, now do the same. Once more letter beat, please. Once more."

• "Good. Up. Go. Contrabass SA. And 1 and 3. And 1 and 2 and 3."

Questions to Consider

• "Why do you go down there sentimentally? You got such a slower tempo."

• "You are the conductor, not the flouter. Why? Why? Why? Why?"

• "I pray all the time. Tarari Baba, you're making tari."

• "And again. Late. I see. Okay. Just to the very ending. It's. It's fine. 92 please. 92. Fine. Thank you very much."

Conclusion

"Thank you."