Music Lesson: First Movement

Location: Letter H

Instructions:

• "Okay, Michael, I would like you to do this once more. And start. Start at letter G."

Suggestions:

• This could have more suggestion. I mean H:
  • Un poco sostenuto.
  • More, more, more.
  • Pianissimo and tangent.

Feedback:

• "I find when I was standing very close to you... Yeah, by eye."

  • I wish you would open up a little bit more.
  • I know you have to baton difficult; it's the arm.
  • I felt a bit stiff.

• "Try... Even if you make bigger movements, that doesn't... I wouldn't mind that."

Practice:

• "Not here. I'm not sure what you're doing, but try once."

• "Yes. And then you go back to G and I stay in the environment."

• "I will not pester you the whole time, just this beginning."

• "Maybe a little bit more wrist would help to relax you a little bit."

  • Because that's your problem; you feel a bit tense.

• "Yeah, once. And then you go back to G. And then I disappear."

• "Yeah, yeah. Try from the wrist. Here, let it go here, let it go here to the musicians."

  • "Yes, there again, please."

Performance Focus:

• "Okay, Michael. And I'll go from letter G with special attention to H."

  • Is that Etodondo and really genic, first of all.
  • "And that regards all of you."

• "He plays that solo many times, very beautiful."

  • "And nobody of you, as far as I could judge, has sentiment, loving."
  • "It's always as if he's not there. He's there. He plays a solo, and you have to be with him."
  • "I am with you, and you play."

Key Observations:

• "Yeah, I think it's not because I was taught not to stare at the soloist."

  • "I'll look at you lovingly."

• "Okay."

• "And there's another thing here: the poco ritardando."

  • "Then give the clear one where the poco ritardando. You understand what I mean?"

Next Steps:

• "Yes. Okay."
• "Now you will not see me anymore. Well, I'm not sure. But I will try to be absent and let you play."
• "So same place now clear."

Final Instructions:

• "Oh, Michael, I would like you to do with the orchestra in any case, the last eight bars."

  • A little bit more:
    • 1, 2, 3, 4, 5, 6, 7, 8, 9.

• "In any case, start 10 bars before..."

  • 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11.
  • "The last 11 bars because the winds all come too late."
  • "So you must have authority to let them go in time."

Important Notes:

• "You have the beats of the strings."

• "Padam Tie embryonic."

• "And also the last bar, as always, is Brahms danger when it ebbs away."

• "The last chord takes endless poles."

• "There should not be too much and young."

• "I would like... Because it's difficult. I would like to try it myself."

  • "Yes. The last... what did he say? 11 bars."
  • "1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11."
  • "Yeah. Off we go."

Reflection:

• "Yeah, the last 11 bars."

• "Not perfect, but maybe you..."

  • "You know what I..."
  • "You see what I have? Yeah, once more."
  • "Yeah. Same place. Same place as before."
  • "Yes. I like that more. Good."

• "Okay. This is a difficult movement."