Allegro Con Brio - Bernard Haitnik donne son analyse et ses retours à Timothy Henty
Lesson time: (19min 49sec)
Timothy Henty dirige l'orchestre à travers l'Allegro con brio pendant que Bernard Haitink propose son analyse et ses retours.
Course preview
This lesson is part of the course Brahms - Symphonie n° 3
Watch a preview of the full course below.
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

Avec une carrière internationale de chef d'orchestre qui s'étend sur plus de cinq décennies, Bernard Haitink, né à Amsterdam, est l'un des chefs les plus célébrés de notre époque. Nommé chef principal du Chicago Symphony Orchestra dès le début de la saison 2006-7, il a dirigé nombre des plus grands orchestres du monde, dont plus de 25 ans à la tête du Royal Concertgebouw en tant que directeur musical. En outre, M. Haitink a auparavant occupé les postes de directeur musical de la Staatskapelle de Dresde, du Royal Opera, Covent Garden, du Glyndebourne Festival Opera et du London Philharmonic. Il est chef lauréat du Royal Concertgebouw Orchestra, chef émérite du Boston Symphony Orchestra et membre honoraire de la Philharmonie de Berlin. Il s'est produit fréquemment comme chef invité avec la Philharmonie de Berlin, la Philharmonie de Vienne, la Radio bavaroise, le London Symphony et d'autres orchestres de premier plan. M. Haitink a beaucoup enregistré pour les labels Phillips, Decca et EMI, notamment des cycles complets des symphonies de Mahler, Bruckner et Schumann avec le Concertgebouw et un vaste répertoire avec les Philharmonies de Berlin et de Vienne et le Boston Symphony Orchestra. Ses enregistrements les plus récents sont les intégrales des symphonies de Brahms et de Beethoven avec le London Symphony Orchestra sur le label LSO Live. Sa discographie comprend également de nombreux enregistrements d'opéra avec le Royal Opera et Glyndebourne, ainsi qu'avec l'Orchestre de la Radio bavaroise et la Staatskapelle de Dresde. L'enregistrement par M. Haitink de Jenufa de Janáček, avec l'orchestre, les solistes et le chœur du Royal Opera House, Covent Garden, a reçu un Grammy Award du meilleur enregistrement d'opéra en 2004. M. Haitink a reçu de nombreuses distinctions internationales en reconnaissance de ses services rendus à la musique, dont un titre honorifique de chevalier et l'Ordre des Compagnons d'honneur au Royaume-Uni, ainsi que l'Ordre de la Maison d'Orange-Nassau aux Pays-Bas. Il a été nommé « Musicien de l'année » par Musical America en 2007. Dans son cours MusicGurus sur la Symphonie n° 3 de Brahms, Haitink puise dans toute une vie passée au pupitre pour t'emmener au cœur de la partition — comment il en façonne le phrasé, l'équilibre, le tempo et la structure — offrant un aperçu rare de la façon dont l'un des grands chefs lit une symphonie de Brahms et lui donne vie, que tu sois chef d'orchestre, musicien d'orchestre ou auditeur passionné. read more




