Daniel Barenboim & Christoph Waltz on interpreting a Piece | Parallels & Paradoxes Part 3/4

[@clifvage]

I'm so grateful for this discussion! 2 masters of their craft having a discourse. Thank you

[@magnacz]

Was it Rubenstein that claimed that for years as a youngster he would play the same little finger exercise over and over so his parents would say good boy he is so diligent practicing for hours. In reality he was eating bonbons and reading something to entertain himself. He would say this was totally useless and only impressed his parents who knew nothing about music. But and here is the but, it gave him a great dexterity later in life.

[@edveyer666]

Same thing with life, if you get out of the way life will become more beautiful.

[@gretareinarsson7461]

WOW this is interesting conversation😊Wish it was a lot longer.

[@cme1447]

5:21.. Barenboim listens patiently but is not overwhelmed by his talking

[@n.e.s5864]

Se agradece la calidad de la entrevista, verdaderamente da placer.

[@matiasnovillohinostroza744]

Me parece muy enriquecedor tener la oportunidad de escuchar dialogar, a dos interpretes de dos artes diferentes. Ambas interpretan, en el fondo ideas, y ambas, las transmiten a través del sonido. Me llevo muchas ideas y conceptos para seguir elaborando los míos propios y mutar sus ideas en las mías. Muchas gracias.

[@fabrimaestro]

Gracias por todo lo que nos estan enseñando en esta serie de videos es muy enriquecedor

[@diannic188]

Cuando leía la descripción de su canal, me di cuenta de que lo está logrando (al menos conmigo), muchas gracias por hacer estos vídeos, me encantan.

[@lynnhall1132]

Excellent discussion. The points taken are excellent material for self reflection and further discussion I need to forward this video to my piano instructor so we can further discuss these points ourselves. The comments by both Daniel and Christoph on interpretation and pauses are really making me think about "how" I am practicing my piano pieces for my upcoming RCM exam. I love "You only see what you know" and "You only HEAR what you know." The captions are convenient for note taking also!

[@elisabethgrc]

Thank you for showing us this video of such excellent exchange.

[@DanicaDujakovic]

I liked the part when Waltz mentioned the 'trick' pause , to get back the audience attention. I think there are many similar 'tricks', unusual, unexpected things you can do *within reason* (and style, and without disturbing the rhythm and going out of character of composition...) to get the attention of everyone back to the music . The small things that grab the listeners' attention and pull them more into music. I wouldn't say that is necessarily 'audience pleasing'- that is focusing your attention too, you are also being more in the moment. And -not always- but sometimes audience's reaction gives you actually a valid report of how well have you structured your performance- are you always 'going somewhere' or are you in that spot a bit without direction? But then again sometimes audience gets fidgety because they simply don't have a great attention span. Then just ignore the noices and focus back on music...

[@mmelloe]

8:47 wow haha

[@carlamarzagao2096]

Parabéns. O processo interpretativo está nas diferentes formas de comunicação, mas a sua estilização e institucionalização na contemporaneidade surge como resultado de um processo natural? O que realmente nos move? O desejo da superação por mera vaidade ou orgulho? Não seria menos complicado se, num ato de humildade, nos despíssemos de tantos filtros? Na minha humilde opinião, ao contrário do que é generalizado, a compreensão brota do silêncio interpretativo.

[@basstian]

Magnificent, as usual!

[@ArgoBeats]

8:48 great example

[@mediumsizedgrape]

Dude

[@Svm777]

Gran maestro! Los dos!

[@ruilopesdeoliveira]

two completely different levels of thought... some people know what I´m talking about..

[@sachaperriguey6353]

just explain to what extent ??

[@steverichardson7971]

More like two different channels of thoughts, given that both have been doing exclusively what they do for their whole life, very hard for them to get rid of the “musicianal” kinda mindset or the “actorious” thoughts.

[@javiervivanco919]

Lo que quizo decir el maestro barenboim ,y que parece no haber sido comprendido ,es que si estudias 15 o 7 horas pierdes concentración y se vuelve mecanico

[@justicegusting2476]

Seems like Waltz was struggling to try and find something to blather on about.

[@Songs_of_Sam]

no french subtitles :( it's look very interresant

[@adr9973]

strange, somehow i expect Christoph Waltz smiling and say "ah monsieur Daniel Barenboim can i get some milk"

[@lupahole]

still waiting for the cream...

[@mladigospon]

He is still Hans Landa here you know...

[@4evaFanFuruba]

waltz needs to stop rambling

[@FredHMusic-gr7nu]

He who doesn't stay faithful to the score doesn't have the right to perform classical music.

[@Brangutang]

I disagree. Music, as with all art, belongs as much to the listener and the performer as much as to the composer, if not more. If someone prefers to play a chord as arpeggiated, then why shouldn't he? It's pretentious and silly to think that the score must be strictly adhered to. It'd be just like saying one should never cover any piece of music, or try to copy any painting unless the end result is identical. What a waste of musical talent and imagination it would be.

[@FredHMusic-gr7nu]

Brangutang Perhaps I was a little too abrasive with what I was trying to say. What I meant to say was that a composer writes a piece of music and in the score he writes down everything that is suppose to happen in the music. If the performer jerks around the tempo too much or he employes the pedal where it blurs everything into a big heap of sound, then he is doing something wrong. When I want to discover a piece of classical music that I have never heard before, I want to discover it as a COMPOSER'S COMPOSITION. Not a PERFORMER'S PERFORMANCE. As Christoph Waltz said, if you disagree with something written in the score, then you are a lot better off by writing your own music rather than contradicting a composer's wishes.

[@Brangutang]

Well if someone is playing such that the music blurs into a mess of sound, then I'd just say he's not much of a musician. I wouldn't say that the act of making a composition yours makes it inherently pointless. If you want to discover a new piece of classical music, and you want it as true as possible to the composer's vision, then fine. Look for a version that follows the score robotically. Either way, I find I'll always enjoy one musician's performance over another, and much of the time it's because they put THEIR slant or passion into it, and don't just obey the score to a T. Many composers (such as Chopin or Rachmaninoff for the piano) intended for their music to be improvised by individual players. What would you say to someone not following the score then? That they don't have the right to perform it? I paraphrase, but Daniel Barenboim himself described classical music playing as "Trying to make it sound as though you are improvising the music on the spot, with help from the composer." I find that to be true for me, and wholeheartedly more beautiful than just mechanically replicating dots on a page. c:

[@FredHMusic-gr7nu]

Of course not robotic but its very easy to tell which performers don't do a piece of music justice. Take the Liszt sonata for example. There are pianists who do an amazing job at bring Liszt to life in a truly stunning way. They stay faithful to the score but add life to what they play. Okay so they do a little bit of their own thing but I don't get the feeling that they are just being showy for their own sake. Performances like this include Yundi Li and Kissin (my personal favourite). Performances that are almost a parody of the piece include those by Buniatishvili and Lisitsa. No/little control over tempo and the pedal is splashed about wherever. Finally, is it possible to be robotic if there are dynamic markings and detailed articulations in the score? In my mind, robotic means there are no dynamics or articulation markings. Just every not played exactly the same with no flow or expression.

[@passion_flora]

You're not talking about staying faithful to the score then are you? You're talking about specifically bad musicians who think they're above the composer's directions because they cannot physically abide by them. Horowitz and Lang Lang are huge names in the world of concert pianists yet according to some commit(ed) acts of sacrilege by deviating from what's written. So long as it's played "well," it's acceptable to be argumentative in your approach to playing the piece. So the real question here is where EXACTLY do we draw the line?

[@diannic188]

Cuando leía la descripción de su canal, me di cuenta de que lo está logrando (al menos conmigo), muchas gracias por hacer estos vídeos, me encantan.