You're welcome!

Thank you

You're welcome!

Thank you! I was indeed too fast back then. The later videos are at a more humane pace 😅

Grazie molte!

You're welcome, thank you!

@@ggriglio ❤

Thank you!

You're very welcome. Thanks for your comment

As in a musical analysis or a technical one?

@@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!

@@turangalila1862 thanks, I'm glad it helped you. Best of luck tomorrow!

Thank you

Thank you very much!

:D

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.

@@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.

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

@@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.

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.

Hahaha Prego

???

@@ggriglio Ohhhhh! Magic flute!

😊

Thank you!

Thank you! And thanks for sharing your experience. Could you post a link to the recording?

@@ggriglio kzbin.info/www/bejne/Y2HGqqOYaNaBjqssi=ilFa9weEJWJRnmXi

Thank you!

That's definitely in 4

Thank you for your words of appreciation

Which part specifically?

The Prelude or maybe Valhalla? ​@@ggriglio

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

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"

@@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.

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.

@@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.

You're welcome, glad it helps!

You're welcome!

Thank you very much for your comment, I really appreciate it

You're welcome

Thank you!

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?

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.

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?

@@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)

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.

Why not?

Hi, where is here? Are you referring to a specific part of the video?

Be that as it may, I feel you're missing the point. I suggest watching the entire video from which this short is taken.

​@@ggriglio I watch your film and in every example the crescendo is too early which is wrong and misleading for students.

While that is debatable, it's still not the point of the video, focused on a very specific gesture of the forte.

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.

@@ggriglio with Bavarian State Opera? I know that recording and it's not so good.

My pleasure!