Natasha Tadson - Master Class with Alfred Brendel - Schumann Fantasiestücke Op.12
Пікірлер: 89
@johnschlesinger2009 Жыл бұрын
Brendel's imagination and power of projection at his absolute best - and Natasha understands him almost at once. Hugely impressive.
@bernardleclerc10464 жыл бұрын
Alfred Brendel was indeed a genius from the beginning. Thank you to share this beautiful masterclass.
@MB-pm4xe Жыл бұрын
He is still alive, not sure why you are saying "was"!?
@Alix777. Жыл бұрын
no he's not, very mannered and shallow, viennese pianism at his worst
@user-tc7mf4mj6w Жыл бұрын
@@Alix777. ¿Alguien escuchó ejecutando Winterreise, ( Schubert) junto al barítono Goerne, por ejemplo? Superficial?
@gretareinarsson74613 жыл бұрын
I think Schumann is one of the most gratifying composer for any pianist to play once one has mastered his music.
@milosercegovac3 жыл бұрын
Natasha is superb pianist, what a blessing and synergy between her and Mr Brendel.
@Paroles_et_Musique Жыл бұрын
What is exceptional is this master class is the human and strong complicity bond created between two individuals sharing same passion. There are endless master classes available, but here is almost a love story, very touching. The immense charisma of both student and teacher play a huge role, you can see Brendel basically melting at 25:33
@FABrendel4 жыл бұрын
Thank you for sharing this amazing masterclass! Always inspiring to listen Brendel's playing and genius knowledge too.
@tiberiusioancertejan40523 жыл бұрын
This must have been late 70’s early 80´s. Brendel’s Masterclasses are always very inspiring...
@gabrielliberman8247Ай бұрын
I was wondering that as well but I think, if she were born in 1956, this had to be early to mid 70s at the latest - my guess?
@jcalli66 Жыл бұрын
Best Beethoven and Schubert interpreter there is in my humble opinion
@luczkiwzaccaroni3 жыл бұрын
She is absolutely amazing they way she plays
@Daniel_Ilyich3 жыл бұрын
I wish there was more. It's so interesting to listen to Brendel breakdown these masterworks.
@pmathew634 жыл бұрын
To think he was largely self taught after age 16....astonishing achievement
@FABrendel4 жыл бұрын
I have listened to this several times since always something new shows up. It is interesting to listen how the pianist correctly adapts to Brendel's precise and on spot suggestions which is not that easy to do. Wondering how she plays this piece today and what her thoughts on the masterclass were...
@HermannCampbells2 жыл бұрын
Wonderful masterclass! Thanks for sharing
@jeffdawson27863 жыл бұрын
Such a privilege to be with him.
@stefanufer6083 жыл бұрын
I remember the BBC showing these masterclasses in the ‘80s - I seem to remember there was one on the Tempest sonata and I think the Appassionata too. I would love to see more of these if available. Brend is an education in himself.
@stefanufer6082 жыл бұрын
Sorry, Brendel
@massimiliano54673 жыл бұрын
Simply amazing. Thanks for sharing
@robertoa.m.3984 Жыл бұрын
Amazing! Always amazing
@matteopagliari3 жыл бұрын
A true giant… great Maestro 🌹
@r.i.p.volodya Жыл бұрын
There were a couple of times when the pupil played over the top of what Brendel was trying to say; steamrollering him rather than absorbing his message and giving it its due.
@ramshenkar9675 Жыл бұрын
נגינה מלאת חיים ורוח נעורים! תודה.
@fernandoremicio84493 жыл бұрын
No entiendo el idioma que habla , pero si comprendo las explicaciones con el piano, espectacular , gracias!
@gerardbedecarter3 жыл бұрын
Most interesting and enjoyable.
@orlandodilasso23193 жыл бұрын
Hervorragend!
@firephilosopher76453 жыл бұрын
25:36 That look... lol
@ernent3 жыл бұрын
Wow - who would have believed ... I was in the audience in this masterclass (Jerusalem Music Centre, 1983) and I remember it vividly. Brendel's flight back home was due later that morning so the masterclass began at around 8:00 a.m. He was a bit nervous when he arrived but the minute the playing started everything else was forgotten. Brendel 's recording of op. 12 coupled with the great C major Fantasy op. 17 (a perfect work - even more than op. 12 and perfectly played too) is one of the few things I would take with me to a lone island ואו - מי היה מאמין ... הייתי בקהל בכיתת האמן הזו (1983) ואני זוכר אותה היטב. הטיסה של ברנדל חזרה הביתה הייתה באותו בוקר ולכן כיתת האומן התחילה בסביבות שמונה בבוקר. ברנדל היה בעליל לחוץ כשהגיע אבל הכל נשכח כשהשיעור התחיל. ההקלטה שלו לקטעי הפנטזיה יחד עם הפנטזיה אופ. 17 (עוד יותר מאופ. 12 - ביצוע מושלם ליצירה מושלמת) היא אחד מהדברים המעטים שהייתי לוקח איתי לאי בודד.
@rmorrison2843 жыл бұрын
Are you absolutely SURE Ehud? I definitely remember, Brendel, Natasha. the repertoire and the comments he made! I was studying in Jerusalem from Feb to June 1982!
@ernent3 жыл бұрын
@@rmorrison284 Not sure, I worked not far from the Centre from 1982 to 1985 and opted for 1983 based on the information given here: www2.bfi.org.uk/films-tv-people/4ce2b6ea07e67
@rmorrison2843 жыл бұрын
@@ernent 1983 is probably the BBC broadcast date? Other than that, I suppose it is possible Brendel would have given the same masterclass to the same person on the same repertoire one year later but unlikely...
@couperino3 жыл бұрын
@Ehud Liron, do you know which year ( and label ) was the coupled recording, that you are mentioning ?
@ernent3 жыл бұрын
@@couperino 1982 (as appears on the cd itself) on Philips www.discogs.com/release/2682699
@arlarl7176 Жыл бұрын
I did not know that "Fantasiestücke" have something to do with the poet E. T. A. Hoffmann. I knew that Kreisleriana was inspired by his story "Kappellmeister Kreisler". Indeed these pieces have some similarities. When I started Kreisleriana I first read "Kapellmeister Kreisler", because Prof. Hellwig once was very annoyed that a student played this piece without knowing anything of E. T. A. Hoffmann and never read something from him before starting to practise Kreisleriana. In his opinion it was complete senseless to play this piece without knowing the literature of Hoffmann, who was a kind of "fantasy poet" of this time. I never forget this. That's interesting that this is the same with Fantasiestücke op. 12 and Brendel also finds this important.
@rmorrison2843 жыл бұрын
I would love to know if there are any other sessions from this series. I think I may have seen myself briefly in the audience. Couldn't quite make it out as it's old film and rather fuzzy... (like my eyesight) 1982 in Jerusalem, right?
@saltcots89852 жыл бұрын
I too was wondering if these were the Jerusalem masterclasses in 1982. I remember making lots of notes on the Beethoven Opus 109 at the time- marvellous.
@benyaminpourmohamad43705 ай бұрын
Guys haven’t you found more of these series of Brendel’s master classes yet? I’m a big old fan I would appreciate it.
@robinthenoble63473 ай бұрын
I can confirm, I got killed by cellists many times but since I'm a violist, I always end up respawning due to viola shortage so I'm still fine... don't just accelerando whenever you want kids...
@ana-marijanujic75793 жыл бұрын
3:20
@muncangel5993 Жыл бұрын
When was that?
@danchu0517 Жыл бұрын
6:00
@devlinbearra88973 жыл бұрын
At the 10:30 mark, you can hear Brendel's semiquavers after the dotted quaver are not exactly correct rhythmically, and then, right after, you can hear Natasha playing them correctly. It's interesting. I'll bet she noticed.
@inkognito84003 жыл бұрын
I agree on almost anything he said, but the tempo in ,,Warum?‘‘ is horrendous I have to say.The tempo indication says ,,slow and delicate‘‘.
@devlinbearra88973 жыл бұрын
Yeah, I keep doing this. But with Warum, a Eusebius piece, Brendel's first comments were that the tempo was a little too slow and that more could be made of the dynamic markings. Basically, he wants to make a Florestan out of Eusebius, and a Eusebius out of Florestan.
@fredwanger93373 жыл бұрын
The date is way off-maybe 1970's?
@rmorrison2843 жыл бұрын
1982. I was there!
@devlinbearra88973 жыл бұрын
'Too nervous and agitated for comfort.' Alfred Brendel. A Florestan piece by Schumann is neither the time nor the place for nervousness and agitation.
@militaryandemergencyservic3286 Жыл бұрын
Alfred Brendel sadly misses out great chunks of Schubert's d960 and d946 numbers 1 and 2.
@devlinbearra88973 жыл бұрын
Brendel said to Natasha about a fortissimo, to reserve something for that, but if you listen to her performance, the fortissimo had been there, having its own colour. Brendel wasn't giving her her fair dues.
@thepianocornertpc3 жыл бұрын
This is the real Masterclass.Compared to the Lang lang rubbish... My God.
@amirmotahari61863 жыл бұрын
Brendel is in a completely different league, in performance and teaching. You shouldn't even compare them.
@thepianocornertpc3 жыл бұрын
@@amirmotahari6186 Yet this institute is hiring both of them.
@amirmotahari61863 жыл бұрын
@@thepianocornertpc institutions just want to get a famous name as a visiting professor, they don't care and appreciate the difference between Brendel and Langlang. The issue is the general classical music business that gives stardom to a showman like Langlang.
@thepianocornertpc3 жыл бұрын
@@amirmotahari6186 So it is.
@Paroles_et_Musique3 жыл бұрын
Don't be ridiculous, Lang Lang is young, Brendel has at least 60 here, maturity comes with. Lang Lang masterclasses are wonderful also, he has tremendous energy and enjoys human contact. Future will tell if they are in same league, you compare apples with oranges. First find a masterclass of Brendel at 30 yo and then we compare ok.
@papagen003 жыл бұрын
what's Natasha Tadson doing today?
@ediccartman72523 жыл бұрын
I guess, she's teaching in Tel-Aviv Academy of Music . She studied with my professor Viktor Derevyanko in Moscow and then moved after him in Israel.
@devlinbearra88973 жыл бұрын
Brendel's instructions contradict the famous two sides of Schumann's personality: Florestan and Eusebius. If they always combined into one, which essentially was what Brendel was advocating to do, Schumann wouldn't be famous for it.
@devlinbearra88973 жыл бұрын
With a pupil like Natasha, concentrating on the things they do well, would lead to a more informative and enriching masterclass, in my opinion.
@luciaferraro41023 жыл бұрын
O problema professor a pessoa que toca cada um tem um sentimento una maneira de expressar os sentimentos. Agora é um absurdo fazer a aluna ou o aluno se expressar de modo que não é dele.!🇧🇷
@richiebeirach3671 Жыл бұрын
wow !! brendel !!! and SHE is great TOO !! i learned so much
@forestlittke46492 жыл бұрын
I feel he is too critical of her beautiful touch of the keys.
@devlinbearra88973 жыл бұрын
Brendel talks about practical obstacles in an orchestra being the reason why Natasha shouldn't do an accelerando. Credit to him for offering a reason, but her hands are not two separate people, they belong to the one person and are perfectly combined. The first idea that comes to mind with that imitation is a river overflowing its banks. Very much a characteristic of Schumann's counterpoint. Perhaps not possible to do in an orchestra, but that is the advantage of the piano over the orchestra, and perhaps one that should be exploited. To sum it up, the reason was a weak one. How much would not have been written for piano if composers had been concerned about whether it could be done by an orchestra or not?
@MB-pm4xe Жыл бұрын
Very interesting. I don't doubt Brendel's advice and knowledge, but on this evidence am not sure he is a great teacher. He is basically just telling her to play it how he would play it. At no point does he praise or encourage anything she does. Not convinced she can develop artistically by just following orders like this.
@TB-us7el5 ай бұрын
I wonder how much time for 'personal growth' is really available in a masterclass. I suppose Brendel can only really teach how he would play it, more or less, in such a short session. The student can learn through mimicry and then choose what they want to take or leave from the class, when they next play the piece.