Marvelous! But so dense, so fast; with all these wonderful insights, I would have appreciated a more leisurely pace, allow us to grasp and digest the ideas being presented.
@ggriglio18 күн бұрын
Thank you! I was indeed too fast back then. The later videos are at a more humane pace 😅
@EnricoAymerich-rl4wf25 күн бұрын
Spiegazione straordinaria! Complimenti!
@ggriglio18 күн бұрын
Grazie molte!
@storlok192229 күн бұрын
My favorite two movements of the suite! ❤
@storlok192229 күн бұрын
Great videos, thank you!
@ggriglio18 күн бұрын
You're welcome, thank you!
@storlok192217 күн бұрын
@@ggriglio ❤
@storlok192229 күн бұрын
Great analysis!
@ggriglio18 күн бұрын
Thank you!
@fredreed7202Ай бұрын
I am just seeing this on 6/7/24, but is has been extremely helpful to me in my quest for more info on classical music, especially this piece. Thanks ever so much presenting this narrative/post.
@ggriglioАй бұрын
You're very welcome. Thanks for your comment
@turangalila1862Ай бұрын
Oh, you used the Bartók Divertimento as intro music! Any plans to do a video on that piece?
@ggriglioАй бұрын
As in a musical analysis or a technical one?
@turangalila1862Ай бұрын
@@ggriglio Either I guess. I'm actually conducting a reading of it tomorrow (I'm an amateur, and it is an amateur group). A reason I clicked on this particular video was to see if it helped with the 3rd mvt of the Bartók (which is in 1), and it definitely did! Thanks!
@ggriglioАй бұрын
@@turangalila1862 thanks, I'm glad it helped you. Best of luck tomorrow!
@kourtneylorenzoclay4017Ай бұрын
Wonderful teaching as always!! Bravo!!
@ggriglioАй бұрын
Thank you
@danielopezpiepoliАй бұрын
I am addicted to these analysis! Every time I study a work, I do my analysis but right after I have to come here “just to check” that I am doing it correctly 😂
@ggriglioАй бұрын
Thank you very much!
@JuanMariaSolareАй бұрын
And he doesn't say how he wants to do it 😅
@ggriglioАй бұрын
:D
@BenPalmerconductor2 ай бұрын
I’m interested what influence you think your so-called “registration” brings to the orchestra. Can you explain how they would play differently if you didn’t do it?
@ggriglioАй бұрын
I think it would prove beneficial to look at things with a bit more of curiosity rather than being condescending. I understand this is shaking your idea of conducting but trying to make a mockery out of it won't help your cause. First of all, I wish I could take the credit for it but it's not "my so-called registration". From "The Art of Conducting Technique", by H.Farberman p.92: "Pitch registration forces the conductor to examine and transform every note on the page from a musical visual experience to a technical/spatial one. A conductor who believes in it and employs pitch registration will know the external shape of every bit of ink on the page". It's another way to show the music to the players. Some conductors might be content with beating time in a pattern, some of us are not and do think we can do a tad more than that. It's a choice. Wayne Toews and I had a wonderful conversation on the subject, which, incidentally, also touches on registration. You can find it here: kzbin.info/www/bejne/haO2e6KIi9WViZo As for registration per se, I've posted many other videos on the channel.
@BenPalmerconductorАй бұрын
@@ggriglio Thanks for the reply, that’s very interesting. I wasn’t being condescending, it’s a genuine question: how does the orchestra play any differently with so-called “registration”? They have the notes written down, so the one element a conductor simply doesn’t need to show is pitch. Forgoing the patterns to draw the music in the air seems to me a terrible thing to do, and (forgive me) a bad thing to advise to young impressionable conductors, not least because it prevents you from showing phrasing, articulation etc. But I’d be interested to see it (you?) in action.
@ggriglioАй бұрын
Thank you for your reply and for keeping up the debate, and my apologies for misinterpreting. True, they have the notes written down, and they do not "need" any extra. However, in medium to slow tempi, registration helps in showing/shaping the phrase. It's an extra tool that a conductor has to show the music. About patterns: as a full disclaimer, I'm not against them or think they are evil. On the contrary. However, I do resent the idea that they are the only way to go and cannot be challenged. They are simply a basic element of conducting technique but more often than not they are considered the only one (visible way too often in videos where professional conductors even mirror patterns endlessly). The idea that an orchestra cannot get through a piece unless the conductor beats patterns all the time is to me demeaning of the role of the conductor itself, not to mention insulting to the orchestra players. Moreover, a pattern without a pulse is completely useless as it leaves the orchestra guessing. And when the orchestra starts guessing they stop looking at the conductor (or they fall apart in the worst cases). Breaking patterns does not equal do what you want. It means first and foremost adopting a different mindset: that patterns are but one small part of conducting technique. Hence, it's better to start with the idea, especially with young conductors, that exclusively relying on them as the essence of conducting technique is very limiting, not to mention boring. Here's an old video of mine, you will pardon the crudity of the recording. Around 2:24 you can see an example of breaking patterns with some registration added (the octave jump). kzbin.info/www/bejne/nXmqfnyvjc-Ii8ksi=YHXz_1xLRQSAylzj&t=144 Also, I broke down another example from legendary George Prêtre in this video: kzbin.info/www/bejne/eJfPnpJ4q7GIrMk
@BenPalmerconductorАй бұрын
@@ggriglio Thanks for the video, very interesting to see it in action. For me, it doesn’t add anything at all; I would much prefer to be shown which bars are more important than other bars (this is hard with a horizontal beat), so there’s some phrasing and shape. I completely agree that patterns are there to be broken or disrupted, but I do think more can be shown from within them than without. Vive la difference etc.
@ggriglioАй бұрын
Vive la diversité indeed. Thank you for sharing your view, I think it's great for whoever is following to be able to read diverse and sometimes opposite opinions.
@gaiamirabella70122 ай бұрын
Grazie mi hai salvato l'esame ti amo
@ggriglio2 ай бұрын
Hahaha Prego
@PointyTailofSatan2 ай бұрын
What the heck is magic fruit?
@ggriglio2 ай бұрын
???
@PointyTailofSatan2 ай бұрын
@@ggriglio Ohhhhh! Magic flute!
@ggriglio2 ай бұрын
😊
@ggriglio2 ай бұрын
Analysis of the movement: kzbin.info/www/bejne/nqKWeZaCnLF9a9k Learn conducting: gianmariagriglio.com/learn-conducting/
@OmarTravelAdventures2 ай бұрын
Thank you so much! I love the combination of the conducting techniques combined with the analysis of the movement!!! Perfect.
@ggriglio2 ай бұрын
Thank you!
@alexsaldarriaga83182 ай бұрын
Thank you for sharing your insights! I love the Valse. I play a transcription for violin by Leopold Auer and recorded by the great Jascha Heifetz. One of my favorite all time pieces! 🙏🏻🎻
@ggriglio2 ай бұрын
Thank you! And thanks for sharing your experience. Could you post a link to the recording?
Thank you so much for this educational video! It is so useful.
@ggriglio2 ай бұрын
Thank you!
@kjellhl19752 ай бұрын
I like this recording done by John Elliott gardiner and the English Baroque soloists
@ggriglio2 ай бұрын
That's definitely in 4
@OmarTravelAdventures2 ай бұрын
This video gives non-musicians great perspective on interpretation. THANK YOU. You are doing classical music a great favor making the intricacies available to interested listeners. I often combine your explanations of Paavo Jarvi Masterclass to better understand the nuances.
@ggriglio2 ай бұрын
Thank you for your words of appreciation
@ToxicTurtleIsMad2 ай бұрын
Could you do rheingold? 😊
@ggriglio2 ай бұрын
Which part specifically?
@ToxicTurtleIsMad2 ай бұрын
The Prelude or maybe Valhalla? @@ggriglio
@bentrapmusicteacher2 ай бұрын
Your shorts keep appearing on my recommendations, but the videos frequently involve you demonstrating conducting techniques without showing your full torso. In this one, we don't even see your hand until the very end. These are really strange editing choices. Why are you leaving the shot on your eyes while demonstrating a "wrist technique"?
@ggriglio2 ай бұрын
You're right, thanks for the feedback. It wasn't an editing choice but a very bad cut from the original video. I'll keep that in mind for future ones
@ggriglio2 ай бұрын
Technical analysis of the opening: kzbin.info/www/bejne/lZ_UloSsaM15d9E
@ggriglio2 ай бұрын
Analysis of the movement: kzbin.info/www/bejne/pnyqon9tnap_q9U
@ggriglio2 ай бұрын
Check it Out! free trial of conducting technique course: gianmariagriglio.com/membership-checkout/?pmpro_level=8
@ggriglio2 ай бұрын
Check it Out! free trial of conducting technique course: gianmariagriglio.com/membership-checkout/?pmpro_level=8
@mariamorfeoysusonidoespect21282 ай бұрын
Bro this piece is not about the Mayas, it is based on a Cuban poem that comes from Yoruba tradition. I think you are mixing it up with 'La Noche de los Mayas'. Look out
@ggriglio2 ай бұрын
1 - I never said it was about the Mayas; 2 - I mention the poem and the origin of the piece 3 - I suggest going beyond the first 5 seconds before making assumptions about the content of the video 4 - not your "bro"
@mariamorfeoysusonidoespect21282 ай бұрын
@@ggriglio you mentioned Mayans and Aztecs on the intro. And yes I know the intro is not the rest of the video. However, I think it's important not to give those mixed signals in regards of both cultures. I did not make any assumptions about you or the video.
@ggriglio2 ай бұрын
Yes, I do mention that. And, again, I never said that the piece is about the Mayas. In the same intro I also mention the snake from the poem. It is a known fact though that Revueltas immersed himself in Mayan music, which did have an influence on his compositions. Finally, you did assume I made the piece about the Mayas and that I confused it with Revueltas other major piece. All of this is in your first comment.
@mariamorfeoysusonidoespect21282 ай бұрын
@@ggriglio Revueltas did involve in Mayan music. However; Sensemaya comes from the afro-cuban rhythm tradition. And quite frankly, you did say "full of mythological dances of the Mayans and The Aztecs". I think it is important to delimitate the different influences of Revueltas. Latin America is to diverse just to put every culture in the same box.
@carolbrown87293 ай бұрын
Thank you for breaking the gestures down into slow and understandable parts. I think this is just the directions I need for a piece. Thank you!!
@ggriglio3 ай бұрын
You're welcome, glad it helps!
@ggriglio3 ай бұрын
🎁 Check it Out! free trial of conducting technique course: gianmariagriglio.com/membership-checkout/?pmpro_level=8
@WoFfan133 ай бұрын
Yay! Thanks for this video Maestro!
@ggriglio3 ай бұрын
You're welcome!
@ggriglio3 ай бұрын
gianmariagriglio.com/conducting-debussy-prelude-a-lapres-midi-dun-faune ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Check it Out! free trial of conducting technique course: www.gianmariagriglio.com/membership-checkout/?level=8 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
@carolbrown87293 ай бұрын
Wow! I think this was your most helpful video for me yet; so clear with detailed explanations, basic principles, and examples that I can see and follow - perfect. I can't express my gratitude for your teaching videos, it is difficult to find help with conducting. Thank you!
@ggriglio3 ай бұрын
Thank you very much for your comment, I really appreciate it
@ggriglio3 ай бұрын
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Check it Out! free trial of conducting technique course: www.gianmariagriglio.com/membership-checkout/?level=8 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
@romantuszynski3 ай бұрын
Thank you for your videos
@ggriglio3 ай бұрын
You're welcome
@OmarTravelAdventures3 ай бұрын
Thank you so much! Very interesting.
@ggriglio3 ай бұрын
Thank you!
@marcelacasanivilca89673 ай бұрын
Por favor en español soy latina encontré este vals que hace mas de 45 años no escuchaba. Cuando lo oí. salte casi hasta el techo y mi corazón dio un vuelco de alegria. Por favor
@OmarTravelAdventures3 ай бұрын
I deeply appreciate the insight on how a conductor does the interpretation. Thank you so much for singing the music while you are interpreting, it makes is so much easier for people who don't have the skills to read music well! This gives me a chance to listen to multiple recordings and compare these passages!!! I wonder if it is possible for you to mention who among the famous conductors perfer to interpret the passage in one way and who does it differently.
@jxpx7773 ай бұрын
Thanks for your videos, maestro. They’ve been quite valuable to me. Do you have any suggestions or resources on conducting smaller ensembles? I recently began conducting a chamber ensemble of about 12 members. I enjoyed my conducting class in college (over 20 years ago) but I haven’t had opportunities to conduct since then and the class was focused on larger ensembles anyway. So far the current group is going well but I definitely want to put some effort into improving.
@ggriglio3 ай бұрын
Thank you for your comment. From a technical point of view, nothing really changes. However, with a small ensemble you may have to work more on the sound and its quality. Breathing together, making sure that everyone plays at the same point of the bow within the section, listening to each other: the are all things that are common to any orchestras of any size but can be heard even more in a small ensemble when not tended to carefully. Are you having issues with anything in particular?
@sofia-paraskevipatsioura62233 ай бұрын
Those were very helpful and so smart ideas for the focus of the sound and the differences between "ffz" and "sf". Thank you so much. Just a small question about the Unfinished Symphony. I have the Bärenreiter version and each of the decrescendos (bar 63) is just an accent. So I used to hear it as a sudden stop that needs a "sudden" closing with the left hand. Is it something that could confuse the ensemble or something wrong?
@ggriglio3 ай бұрын
Thank you, I'm glad you found it useful. Good question! The problem with accents/decrescendo in Schubert is known so choosing one or the other can be a matter of interpretation (as you can see from your edition of the score itself). Technically speaking, you don't really need to close it, unless you are in a situation where you hear unwanted "tails" from the orchestra. And even then , it's something you can fix in rehearsal if needed. There's no particular harm in doing it but it's a bit of overconducting.
@ggriglio3 ай бұрын
I saw on your channel you wrote a thesis on the influence that the conductor has on the sound of the orchestra. Is it available anywhere?
@sofia-paraskevipatsioura62233 ай бұрын
@@ggrigliothank you for your interest. Yes, it is available but I have to translate it into English and publish it because it was for my thesis at the Aristotle University of Thessaloniki and is in Greek. However, I could send you the link if you have no problem with the Greek version until the translation is done. (sophia.mus.auth.gr/xmlui/bitstream/handle/123456789/2286/%ce%91%ce%95%ce%9c_1943.pdf?sequence=1&isAllowed=y&fbclid=IwZXh0bgNhZW0CMTAAAR0zbyxz9r6BlW3axNTio4jZdyfX-1zbS86yYXFlhubbVSJ3-BTTrH_55Og_aem_Ae8gHyJEFfWONzewq-KgHcvgbX5nsl-GeKHdgN83RRXreK2PEIpKeAeZriHUlAvrh_5N6Q7VpTphMPvqol2HH3XU)
@ggriglio3 ай бұрын
Thank you. I don't speak Greek but I'll try read through it with the help of a friend. I find, obviously, the subject very fascinating.
@carolbrown87293 ай бұрын
Even on my bluetooth I can't get the volume loud enough to hear without a struggle; will you please increase the volume? Thank you!
@nab6263 ай бұрын
I wouldn’t call it Latin.
@ggriglio3 ай бұрын
Why not?
@Yetunabwoyzm3 ай бұрын
Hello maestro, I appreciate your presentations so far but I have not understood what is happening here. Kindly help
@ggriglio3 ай бұрын
Hi, where is here? Are you referring to a specific part of the video?
@mauryq21504 ай бұрын
You did the crescendo 1,5 bar too early...
@ggriglio4 ай бұрын
Be that as it may, I feel you're missing the point. I suggest watching the entire video from which this short is taken.
@mauryq21504 ай бұрын
@@ggriglio I watch your film and in every example the crescendo is too early which is wrong and misleading for students.
@ggriglio4 ай бұрын
While that is debatable, it's still not the point of the video, focused on a very specific gesture of the forte.
@ggriglio4 ай бұрын
As I mentioned in the video, of course the orchestra would play. But we're trying to get away from the 1-2 pattern. If you want a live example of it, search for a Kleiber recording.
@mauryq21504 ай бұрын
@@ggriglio with Bavarian State Opera? I know that recording and it's not so good.
@Kin_______4 ай бұрын
If we break it down *Starts* *breakdancing* *viciously*
@ggriglio4 ай бұрын
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Check it Out! free trial of conducting technique course: www.gianmariagriglio.com/membership-checkout/?level=8 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
@ggriglio4 ай бұрын
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Check it Out! free trial of conducting technique course: www.gianmariagriglio.com/membership-checkout/?level=8 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
@ggriglio4 ай бұрын
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Check it Out! free trial of conducting technique course: www.gianmariagriglio.com/membership-checkout/?level=8 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~