Oh my Lord, you are part of cello history. Thank you for sharing this beautiful moment!

I love how you just casually say that your friend is Jacqueline du pre

这是我见过最凡尔赛的留言了

She is lying guys, she has posted numerous fake comments of being or playing with incredible players. Such as Rostropovich, Casals, DuPre and many more. It’s a shame that even a senior does this because it’s such a childish act.

@@lotus4892 she’s been the principal cellist of the London Symphonia and is well acclaimed cellist.

+Bennett Markel well said!

Bennett Markel g

Wow you have so eloquently put it bennet. I have recently realised and am putting in to practice the importance of being ready to receive knowledge. Furthermore, developing the things learnt with intense curiosity to at least fathom on how and where the techniques came from, what the master's mind set and goal was. I'm only scratching the surface right now. There are so far to go. I do not feel I'm even ready to receive knowledge from a true master as of yet. Right now is the stage for me to build my foundation; broadening my cup so to speak. In the end I'll be the master myself. Life is exciting yet scary.

I wasn’t initially aware who the student was, but you realize in the first moments she’s already an exceptional player.

I found his initial reaction to her playing annoying. He said he prefers it slower. So what? What he prefers is irrelevant. What matters is the RATIONALE behind the decision to play the piece one way or another. Look at the 2 recordings of Casals playing the Bach solo Sonatas. He plays them very differently. You can't declare one is better or worse than the other --- your preference for one or the other is based upon a rationale. Each approach he took at different times had a different rationale behind it.

Tell us more!

🧢🧢🧢🧢

That makes no sense

Sir, exactly how old do you think Casals was? He's your father's father's father's father's father?

miku resonance, i am soooo impressed! thankyou for sharing that!!!! i am a cellist. rebecca newman

Toda la razón.

Pardon to take up your time, I am dealing with a TBI in medical terms. It affects my speech, my memory, my reading ability on the right brain but my left brain is starting to take over which includes music and numbers. I cannot read music notes like I used to but if I listen to them as a group with Suzuki I can memorize it and play it that way. My left ear is taking over for my right ear and my right eye is taking over for my left eye. It’s a bit confusing and I am not able to read written notes like I used to. I wish there was someone outside of my mother who is retired from Suzuki violin music to help me learn how to recoup at my young age to read music again. No, as a child I am learning to listen to music on page. Maybe that’s why God had a plan for me to do. If anybody can offer assistance outside of taking medication which I don’t want you, I would take it. I’m 49 and young. I don’t want to lose the ability to play cello piano violin base with us. God bless all that’s enough.

This is just a masterclass, not a concert! Her intonation is good enought! But I agree, they reached an extremly perfection during the years since this recording.

@@hannesheinz720 No doubt the level of cello playing in the world has improved greatly since Casal´s times.

I would have been extremely nervous when I performed such a difficult piece!

@@hannesheinz720 I would have been too petrified to play.

Thank you bvbwv3!

Hi Derek, we agree!

Extraordinaire

+carlos felipe bernal santibañez pues a ver si aprendemos su nombre...Pau Casals...no pablo

Tienes toda la razón.

Molt be ;-)

Your welcome Gerald!

You're welcome ann indigo, thank you for watching!

Thank you Steve!

Are you saying it's easier to learn to play the cello now than it was in 1961 when Casals gave this class with Bonnie Hampton? What is your evidence? Are you saying Casals didn't know the harmonic structure of the Haydn Concerto, simply because he doesn't mention it?

yes"""

Franklin Damian Altuna Marcano If you're right, we should see in this century veritably hundreds, even thousands of cellists better than Casals, Rostropovitch, and Ma. The greater likelihood is that you are beyond ignorant or certifiable.

THANK YOU SIR NEVERTHELESS WHAT INSTRUMENT DO YOU PLAY?

THERE IS ALWAYS A MORON LIKE YOU PLAYING THE PROFESSOR

It's a masterclass not preformance.

No shit Sherlock, but why would one play any differently in a Masterclass? Point I'm making is that if anybody PLAYED portamenti like that today it'd be considered tasteless (do you understand now that I've spelled it out for you?)

TheTradge Casals is a master, and has made musical choices based on his personal experience with the music. If his choices are de facto considered tasteless today, perhaps it is because the large majority of performers do not have the courage to respond individually to the music, and follow each other in recreating mechanized, musically empty, while technically "perfect" performances. Furthermore, critics unaware of the important historical performances of this work, who would therefore dismiss a performer's musical choice simply because it's not "in style," before considering whether the choice is a musical one, aren't up to their job, and don't deserve to be in print.

TheTradge Your point, or rather question, is valid. My answer is that music is (and ought to be) a totally free world, in which there exists no absolute thruths and no absolute 'wrongs' and 'rights' - apart from the limitations you *choose* to value. If for some reason you want to allow only 'modern' interpretations (i.e. in fashion now) you are free to disregard or frown upon 'old' interpretations. And you run the risk that your preference will become outdated over time. Because all musical preferences are bound to their time and social circle. And some of them are nothing but personal choices. The romantic Bach of 1950 was frowned upon by the early 'authentic performers' of the 1970s and 1980s. Their preference, in fashion 30 years ago, for instance to play much faster and without vibrato, is now being replaced by less strict or musically orthodox preferences now. And it is going to be changed again in a number of years. Besides, the world of music would not be as interesting if all performers played a certain piece in the same way, according to some absolute 'golden standard'. Making music implies creativity, implies searching for new roads and new ways, implies choosing & developing a style of your own. This is why great performers such as Casals, Fournier, Rostropoovich, and Ma will never sound exactly same. So stop asking yourself how a piece 'should' sound and whether it 'should' include portamenti. The real questions are: how do you like such portamenti? Can you (learn to) appreciate them? Can you open your mind to more musical possibilities than what you thought 'should be'? And suddenly your perspective on music broadens, and a new world opens up. Including historical performances. The musicians of the 1950s and 1960s were not stupid, you know. They were just like us.

Hannes Minkema Do you see a question mark? I am glad that you gave your views, and you make a lot of valid points, however the nature of my post did not welcome it, all I did was state that things are very different now, and what was, as you stated, "in fashion" back then is not as common today. These days a much cleaner, more natural approach is "commonly adopted" by performers, and the types of portamenti used in this particular video aren't often used. And just to clarify, NOT ONCE did I say that that is how the piece "should" sound, just like NOT ONCE did I say that I didn't appreciate the portamenti, or that I'm musically closed-minded like you're blindly assuming that I am! How the hell are you getting all of this from ONE sentence written on a comments section of a KZfaq video?? You've basically taken what I said, and blown it WAY out of proportion, are you a journalist by any chance?

@@miaagguirre2 She is great - how would you play and sound in front of your idol?!

Ahahaha

This is Gevaert Edition...

IMSLP has a few old public domain editions online, including the original, handwritten one from 1783, though it's awfully hard to read. I can follow enough to tell that the edition they're using in this video must have some extra embellishments added that I also don't recognize. It seems like the kind of concerto that would lend itself to a variety of embellishments, though, so it's all good. :)

This is the Gavaert edition, which I think may be on IMSLP

Hi Brian, we are relatively certain that it was filmed in 1960.

entiendo lo que dices pero él es quien la instiga a tocar, yo también creo que sería mejor escucharlo y después tocar por que tocando ambos ni te escuchas bien ni lo escuchas bien.

creo que nunca has estado a una clase de música porque no es una exibicion del profesor por muy bueno que sea para eso te vas a verlo en un concierto....

ritartando?

When he born... but when he was famous he change to Pablo, search his world discography.

I'm reading a book on music profiles and it has his birth name listed as 'Pablo Casals' for these purposes. He was born in Spain. Pablo's pretty common. o3o

yeah, but where he borns in Spain? in catalonia, where there are another language that it is the catalan, and pablo its said Pau.

:I No, he was born in Vandrell. Do you know ANYTHING about this guy?

Where is el Vendrell? in Catalonia. I live in catalonia, and i study music, and the child of catalonia study this man and his live

+Xavier Traveset Casals respondía a ambas formas. En los años treinta grabó para EMI y en Londres aquel prodigio de las suites de Bach bajo el nombre de Pablo. No creo que nadie le obligara a hacerlo. saludos.

His international name was Pablo.

I am surprised by this class. Bonnie obviously has a very interesting and expressive approach. Her weaknesses was accuracy and control. And Casals seems to focus only at the first and not the latter

His international name was Pablo.

Hi Michael! You are missing the point! A master class with Pablo Casals has enormous historical value and interest. And the young cellist, Bonnie Hampton, became one of her generation's most beloved players and a major teacher at the S.F. Conservatory and Juilliard School. You are right that the Gevaert edition is terribly embellished and outdated, but this class is from 1960 - how interesting! And while we are each entitled to our own taste, the Haydn D Major has become one of our most venerated and time-honored works! - Paul Katz

You are of course right and I know that Bonnie Hampton was a world class player and teacher.