"For classical music, you NEED to listen to. Pop music, maybe it's enough that you hear it." Best thing I've heard all month, thank you Maestro Barenboim.
6 лет назад+5
I tend to agree, because I think there is a lot of truth in this statement. Nevertheless, there are young people hearing classical music while studying. So the statement of Daniel Barenboim does not always seem to be correct.
I totally agree with him in this respect. However, sometimes when you do actually listen to pop music it can be very good. Example, the song "You spin me right round..." Yeah sure it's annoying, but the synths in the background of the chorus (which I don't think the average person would take notice of) sound really, really good. It's just small things like that, that can make a song sound twice as good I think. But these sort of musical developments are definitely missing from modern 2000s pop music. Another example, is "You only live Twice" by Nancy Sinatra and the guitar riff.
Pop(sweet) is as valuable as classical (structure) music, just as banana(sweet) is as valuable as banana trunk (structure); Pop and classical music define one another.
Thank you very much, for taking your precious time to answer my question. I very much appreciate your thoughts on this subject. I wish you, and all who are reading this a nice day!
Maestro, I can't stop listening to you!, I feel so blessed because I can follow you when you speak English or Spanish. When you speak other languages, I watch and listen to you. Thank you, my life had changed so much. God bless you a lot of years with us!
Dear Mr. Barenboim, thank you for this oppurtunity! I wanted to ask you, what are your thoughts on the use of classical music in cinema? Are there any examples, in your mind, of brilliant uses of classical music for film? Also, (if you have time to answer) what are some of your favourite films generally? Much Love, Kasra Firouzyar
I have no problem with any particular genre. Music serves very many purposes and we should recognise the differences. Snobbery really has no place in music or for that matter in any art form. Mr Barenboim, you deal even handed and I admire your wisdom and tolerance. I also greatly admire your loyalty to classical music.
lets get the confusion out of the way You dont need to have problems with any genre of music in order to point out objective truth. Yes, different kinds of music serves different purposes, and their respective musical depths are also different. But no one should be called a snob for pointing out a Beethoven symphony is a higher art form than a modern 4 chord pop song.
@@KinkyLettuce Agreed, but the nuance is that lots of people state that given as a way to establish their own "superior" credentials. A musicologist would probably eschew such a comparison, knowing the full history of both classical and popular music and the relative value of each to human understanding.
You make me want to begin studying classical piano all over again. You are such an inspiration to fellow musicians around the globe and I love to listen to you speak and play. Not only are you a highly skilled performer and musician, but you teach us passion and mentor us about the true meaning of the works, and in a sense ourselves and life. All whilst speaking multiple languages. Bravo Maestro Barenboim.
I think this "hearing" vs. "listening" argument rests entirely on people in general. Most people do not "listen" to music, regardless of the genre. It makes us feel good when we hear it, but most don't pay much attention beyond that. This falls entirely on music lovers and/or musicians who can tell you of the details, subtleties, or intricacies of a musical piece, whether it's Jazz, blues, Metal, etc. A lot of people who enjoy "listening" to classical music (a misnomer) are in fact just hearing it. There is so much meaning behind a lot of compositions that most people ignore. And there is nothing wrong with that. In fact, a lot of pieces were considered "popular" music back in their day and were disdained for it.
Maestro Barenboim, I have only picked up piano lessons recently, and I'm mostly self-taught, but one of the things I struggle with most is knowing the line between improvisation and ignorance of the composer's writing. I'm regularly criticized by my tutor for either playing the music with either too much or too little improvisation! In one of your masterclasses, you spoke briefly about creating the illusion of a crescendo with one key on the piano. As I recall you said it had to do with the "will" to create the crescendo. How might I apply such a technique (or others) without deviating too far from the instructions and insulting the composer's music? Thank you for these videos!
Maestro, Your words are spoken with humility and deliver wisdom with great impact. Thank you for taking time to clarify questions from all levels. You never dismiss but respond that makes one dig deeper. A student may receive guidance from a teacher. Maestro, you transport Inspiration!
I wish you all the best Mr. Barenboim. Stay healthy that we can have a long exchange with you here on youtube. youtube is really a great present for all of us because it gives us the possibility to listen to you. Cheers
Vielen Dank für Ihre weisen und schlauen Antworten auf die Fragen. Aber auch ich habe eine Frage. Warum werden überhaupt CD-Einspielungen von sehr anspruchsvoller und komplizierter zeitgenössischer Musik gemacht? Glauben Sie denn wirklich, dass es viele Menschen da draußen gibt, die sich bewusst auf ihr Sofa setzen und zum Beispiel ein Cage-Konzert anhören? Lohnt es sich da überhaupt noch, solche Musik aufzunehmen und zu verkaufen? Und wie hört man diese Musik am besten, oder soll ich lieber fragen, wie hört man dieser Musik am besten zu?
Wenn "sehr anspruchsvoll und kompliziert" eine sehr gewagte Umschreibung für "Müll" ist, dann frage ich mich das auch. Selbstverständlich würde sich kein normaler Mensch auf ein Sofa setzen, um sich ein Konzert von Cage anzuhören. Wenn die Musik aber GUT ist, dann wird sie auch viele Käufer finden. Leider gibt es heutzutage keine großen Komponisten mehr.
Sehr geehrter Maestro Barenboim! Ich wünsche Ihnen auf diesem Wege alles nur erdenklich Gute zum Geburtstag! Da auch ich heute Geburtstag habe, wünsche ich mir noch viele Videos, in denen Sie mit Leidenschaft über all die Themen sprechen, die Ihnen am Herzen liegen. Porque como decía el filósofo alemán Friedrich Nietzsche: "Sin música, la vida sería un error".
Maestro Barenboim, quisiera pedirle que nos explicara brevemente cual es el proceso que usted usa al abordar una pieza nueva al piano, y que recomendaciones puede darnos, para estudiar más efectivamente. Gracias por este canal y por darnos la oportunidad de comunicarnos con usted. Saludos. Carlos.
Maestro, soy un gran admirador. Espero que mi comentario bajo este título le llegue. Hablando de música que "is just enough to hear" como dijo en el vídeo, mi pregunta es: ¿existen aún compositores que puedan estar creando música que merezca más que sólo oir? ¿Por qué cuando hablamos de música clásica (o académica) necesitamos referirnos a los grandes compositores del pasado y no a algún contemporáneo? Saludos
I sometimes hear a piece of music played or sung from their heart to my heart and it brings tears. How do you explain this is it skill or something else.
On the contrary, Mr Barenboim, of course there is a music business: a very flourishing one! What on earth is Decca if it isn't part of the music business? "Business around music-making" is just playing with words and is the same thing as the music business!
What a great answer to the question regarding classical vs. pop music. I might add that I wonder how much "pop" will be popular and listened to in 300 years. I realize that not all music is "concert music" but I do think certain types are specifically written to disappear quickly, like Hip-Hop and Disco.
just watched your ramalah concert dvd. what you did there was outstanding in so many levels. you are such a wonderful man. thank you for sharing your talent with us.
Always examine what catches the Public in the long run throughout history. No matter what genre of music it is, if it catches us in a long run until we can't forgo it in our history, that's a valuable music.
Dear Mr Barenboim, I was wondering whether you believe that classical music has self-sustaining future in this increasingly capitalist and commercially free world driven by consumerism. Do you believe that art music is something more than entertainment, and is something people have to listen to, rather than choose? And how would you suggest this should be done? Thank you so much for these wonderful videos, they are very very important to me, Ethan
Muchas gracias Maestro por su tiempo. Disfruto mucho de su manera de pensar y de su perspectiva respecto a la música. Es una inspiración en mi vida. Cuál es su motivación para esta aventura digital? Por qué desea comunicarse con nosotros a través de este medio?
Maestro podría dar una charla sobre el tango, los amantes de esta música tan emotiva para nosotros se lo agradeceríamos enormemente. Un afectuoso saludo desde las Islas Canarias.
Mr Barenboim, you said the judgment of the public is right but no public remains the same. Each new generation replaces the previous. Its the prejudice of the last generation that prevents musicians from considering an unheard composer surely. For when you play, you as a player can judge if the public was wrong to reject such composers or works.
Great großartig génial excelente Daniel: my consulting question is can you explain why the most talented musicians like Bach、Mozart、Beerthoven、Schubert along within their life live in poverty is it a part of the period or something else?
Mr Baremboin: I studied classical piano with a student of Alfredo Casella. Perhaps like her mentor, she had a very strict philosophy about the "perils" of mingling with Jazz music while one is studying Classical music. She held the notion that each discipline holds a very different technique and that trying to study both at the same time could create clashes and sabotage one's technique. There are those, such as myself, especially having left the classical studies (while still revisiting pieces by Bach, Ravel and others), and having pursued Jazz studies, who believe that there is no thing as "Classical Piano Technique" or "Jazz Piano Technique". That there's only "Piano Technique". That being said, it is unquestionable, after listening to pianists such as Art Tatum, Bill Evans and Thelonious Monk, that there are, within the style of Jazz, infinite ways to attack the instrument, and that each individual performer is in a personal quest to develop their own technique. Do you believe the same is true for Classical Piano? What do you think of performers such as Glenn Gould who became quite controversial for his unique way to both perform and interpret the music?
Dear Mr Barenboim, It would be really nice to hear you talking about Schumann's Piano Concerto in A minor op. 54. Could you please give us a comment on this piece? Thanks in advance!
Thank you Sir for your wonderful commentary! I personally do not play the piano but I really enjoy classical piano music, with Beethoven being my favourite composer. When I listen to Beethoven's pieces I try to put myself in his shoes to feel and understand the music, for example in his Appasionata sonata's (1807) first movement he uses the dark tone of the lowest F on the piano along with F-Minor since he was depressed about losing his hearing in 1803. Similarly perhaps the 3rd movement in his Hammerklavier Sonata (1818) is depressing because it was the year he lost custody of the nephew he loved. I think Beethoven wrote those sonatas for himself more than anyone else, so do you think of Beethoven's life and mood at the time of playing and interpreting his music?
music is for itself...music makes you understand...thank you... could you talk about muses, different types...and play examples of pieces with just one muse, or many..or none...
Hola Maestro Barenboim, mi nombre es Nicolás Finkelstein y soy de Argentina, me gustaría saber qué opina sobre la música de películas, tanto de orquesta tradicional así como también el uso de instrumentos no convencionales en ella, como por ejemplo los sintetizadores. Le mando un fuerte abrazo y le agradezco por sus enseñanzas.
Una pregunta incómoda: Señor Baremboim, ¿hay alguna obra o pieza que se haya visto obligado a ejecutar (tanto como director como pianista) y que deteste?
A very interesting distinction between hearing and listening. This distinction is why ABRSM e.t.c. places emphasis on aural development in their practical exams. I must say that as an adult (of sorts) approaching 60 and having taken the piano up after a 44 year hiatus, I am finding the aural aspect quite difficult and now realize how much I have been missing in music. Working on this aspect along with sight reading practice (also part of the exams) is fun and provides some relief from the challenges of training arthritic hands at the keyboard!
Maestro Barenboim, does being a conductor make you a better pianist? Does being a chamber musician help you to conduct better an opera by Wagner? Vice versa? Thank you, with my deep admiration.
Wow fearlessly going to slay the pop music dragon!! Am I correct in understanding that you imply that pop music is more about business than music? What do you think of Quincy Jones?
HI Daniel I love listening to you play. My answer to you is would you ever come to Tasmania, Australia? Why I like to, hope to have, master classes with you Ciao Allan
Maestro, il segreto per comprendere la musica è liberarsi di tutto? comprendere senza vincoli; essere nel pathos e nello stesso momento assolutamente concentrati? Oppure è un momento in cui la vita si raccoglie, si ferma a riflettere su stessa?
Hello, Mr. Barenboim! Some people say that other genres of music appear than people need emotions that earlier existing genres cannot give. For example, Beethoven's "Rage over a lost penny" cannot give you real rage - for rage you'd better listen to hard rock bands, or, even better, to heavy metal (mostly black metal) bands. What can you tell to those who claims classical music as not representing all the spectre of emotions people need?
PianoStartsAt33 there's plenty of classical pieces out there that could very easily get someone angry. Moments Musicaux No. 4 by Rachmaninov, the "Mazeppa" Etude by Liszt, and many pieces by Prokofiev just to name a few.
Muchas gracias por sus palabras, las palabras al igual que la música llenan el alma y su forma de ver la vida enriquece mi alma. Por otro lado le quería agradecer por su respuesta a los comentarios, nunca escribo en estos muros porque creo que es una perdida de tiempo, pero tener la mínima posibilidad que una persona como usted oiga las palabras de uno, genera una sensación difícil de describir. Yo estudie guitarra clásica y me dio una una enfermedad en el cerebro, distonía focal. Ame mucho la música clásica, pero el sin sabor que dejo mi enfermedad fue un odio por la academia, y subconscientemente por la música clásica. La forma como hoy en día el error, la perfección, el virtuosismo se relaciona con la música clásica me aterra. En la actualidad me dedico a componer música "popular" y fue un acercamiento maravilloso y una forma de reconciliarme con el dolor y con la música, y creo ciegamente que los músicos que logran superar esas barreras de egos y juicios (que extrañamente somos los mismos músicos los más duros a la hora de juzgar) son los grandes artistas, como usted maestro, que lograron romper las barreras de los egos. De acá me surgen dos mi preguntas¿cuál es su consejo para superar derrumbar ese miedo a la perfección? ¿si tuviera un niño que esta empezando su carrera artística en la música clásica cuál seria su consejo para el mundo de la academia no se lo coma y más bien lo pueda utilizar a su favor?y si tiene algo de tiempo cual seria su consejo para una persona las personas que como yo sufrimos esta enfermedad que es tan dura para el corazón. Muchas gracias por todo
Thank you maestro for your videos! Here is a question, why you think that society nowadays needs so much of that pop music, which you dont need to listened, just hear it as you said. And in the other hand is forgetting about classical music. Thank you in advance
Maestro, soy compositor además de percusionista. He estudiado con Pascal Dusapin. Me dedico a difundir la música contemporánea, especialmente la relacionada con la percusión, mi instrumento. Cuales son tus referencias actuales de compositores?
Vielen Dank für Ihre Antworten (und Willkommen zurück in Berlin von Ihrem Triumph mit Bruckner in NYC)! Mich beschäftigt eine Sache: Bei aller Perfektion von Orchester-Aufnahmen bleiben sie doch in einem entscheidenden Punkt stets hinter dem Live-Konzert zurück: Der Dynamik. Im Tonstudio zwingt der Kompressor das Laute und das Leise zu einem wohnzimmertauglichen Kompromiss, wo der Konzertsaal Nuancen von nahezu unhörbar bis ohrenbetäubend zulässt. Emotionale Wirkung und Dramaturgie bleiben in dieser dyn. Hinsicht selbst auf modernsten Aufnahmen skizzenhaft. Das veranlasst mich zu zwei kleinen Fragen: - Die Tonträgerindustrie vermarktet seit Jahrzehnten die Idee, das Konzerterlebnis möglichst perfekt abzubilden. Damit war sie lange sehr erfolgreich. Aber wieso wird in dieser Jagd nach dem perfekten Sound usw. die Frage der Dynamik so übergangen? Ist das vielleicht Teil des Marketings, dem Zuhörer ein authentisches Konzerterlebnis zu verkaufen, das im dynamischen Bereich nur einen Bruchteil der Interpretation darstellen kann? - Besteht dann heute, wo die Bedeutung der Tonkonserve zurückgeht, nicht für den Konzertsaal vielleicht eine Chance auch durch dieses Alleinstellungsmerkmal zu zeigen, was er kann - besser kann als jede noch so teure Audio-Anlage? Ist das nicht ein Pfund mit dem man wuchern kann? Ich wundere mich jedenfalls wie dieser für die Wirkung einer Interpretation so wichtige Punkt fast systematisch ausgespart wird.
Reaichhard Buerger - Ja, Das Live-Knonzert ist bessere als die Schallplatte - meistens - aber die Schallplatte kann viel bessere sein als ein schlechtes Konzert.
Estimado Maestro, estuve buscando sin éxito alguna grabación suya de alguna obra de Rachmaninoff. Quería preguntarle si ha grabado Rachmaninoff, y si no, por qué? Que opinión le merece la obra de Don Sergei? Muchas gracias por alegrarnos la vida con su música e iluminarnos con sus ideas y pensamientos. Un fuerte abrazo! Pato Gutiérrez (porteno en Atlanta , EE.UU.)
I've heard Barenboim use this example of music as a means of "forgetting unpleasantness" 7:28 in several different videos, and it's always the same (argument with support staff, visit to the dentist, bad news from the accountant). It makes me wonder if he's describing a bad day that he's actually had! I like the kick he gets out the name "Shivering Dreams" (1:15 and 2:10)
Mr Barenboim, what do you consider the most important element of playing piano? I.e. is it a genuine love for the music, or technique etc that makes a piece sound beautiful.
Maestro Barenboim thank you for this channel. I have a question that I hope you could answer. Growing up I always listened to classical music and I always wanted to be a composer or a pianist. But unfortunately my parents and my community did not allow that. Now, I am working as an engineer but I can't help but think about music everyday. Everyday at work I listen to classical music and imagine myself playing it or conducting. This imagination brings a very deep sense of grief in me. I think music is the only thing on my mind, the only thing I like to talk about, the only thing I'm truly passionate about. My question is, can I, a 26 year old male, have a chance in music? I know very basic music theory. Is it possible that I can have a career in music at this age. Please let me know, may be I can get some peace. Cheers!
Thank you, maestro, for taking the time and care to broaden an understanding of music through discussion. Even though an amateur pianist, I strive for fidelity to the composer's score. But which score? How do you determine which edition best represents the composer's intent? Some editions make no distinction between an editor's marks and those marks placed by the composer. In the final analysis, doesn't the performer have to revert to his/her own musical instincts to resolve conflicting scores? Under what (if any) circumstances do you depart from the score (even if you believe that score to be true and accurate) in your own performances?
Maestro, hoy en día el rol del compositor se encuentra en un momento crítico, porque, según dicen muchos, ya no hay compositores como antes, así que por eso le hago esta pregunta, ¿usted cómo cree que es (o que debería ser) el papel del compositor en nuestros días?
Maestro, how do you study polyphonic music at the piano? Do you work systematically in each individual voice and later in different combinations (which I think is not practical and almost inviable when learning a huge amount of music like the whole WTC), just when you consider it necessary or never at all? I would also like to know how do you memorise this kind of music. Thank you so much!
Dear Mr. Barenboim, I am having a great pleasure and get impressed by your videos. Each week I am waiting for the new one. You should keep doing this because its a privilege for us to learn from you. I would like to ask: why people always think that classical music is so difficult to understand and they dont tend to be interested in it? May this opinion be related to the general education system? Thank you very much. Salih
Could you discuss Scriabin's famous D sharp minor etude, op. 8 no. 12? I find it to be a very difficult and heart-breaking exercise, and I can only wonder how Scriabin could write something so tragic and deathy.
Dear Mr Baremboim: I've recently discovered your videos and I've loved them, and, above all, they made me think about things I considered uninteresting before. I have a question: Most people nowadays consider Mozart, or Beethoven, or Bach, the greatest musical geniuses ever. And I found disgusting the fact that anyone (including me), would consider Schönberg, or Schostakovich as being as talented or even more than them. Why? Well, I suppose it's because of the tonal system; within thousands of years different systems have been developed, and one of them gained popularity as the most perfec one. And I ask, is it because of the human perception of the sound itself, or it depends on ear education? For instsnce, what if we teach someone from its birth the twelve-tone system and we play for him/her Webern's music? What would he/her think about Mozart? Thank you for your attention to the people's comments.
Hola maestro, se que es una pregunta quizás difícil para alguien como usted, pero: Tiene un compositor favorito? Alguien que lo inspire o genere una admiración mayor a la de todos los demás compositores? Saludos desde Buenos Aires.
Querido Maestros Daniel Barenboim, muchas felicitaciones por el canal, tal vez algunas sugerencias y peticiones, tal vez si se pudiera una serie de vídeos sobre la interpreta del piano en los épocas barroca, clásica y romántica, otros sobre la direcciones orquestal "que es lo que a mi en los personal me interesa", y poder sugerir cuales son las mejores interpretaciones según las épocas ya mencionadas, y la ultima sugerencia que tal ves los vídeos puedan durar algo mas de 20 minutos, y mi peticiones que pueda incluir en sus canal algunas entrevistas análisis, clases magistrales, otros que anteriormente realizo, como "una escuela para el oído" o "maesterclass de Beethoven piano", sin nada mas solo eso muchas gracias.
Dear Daniel Barenboim, From a professionals opinion, what do you think about how Shostakovich changes a traditional melody that for example Beethoven or Mozart would play into his own beautiful vision.
Dear Mr.Barenboim, what is the characteristic of 21'st century classical music? Do you think the new generation of composers should create a new musical language to fit the 21'st century or continue writing music in the style of previous centuries? ( since classical music has developed to a stage full of dissonances and atonal qualities)
Hola, me llamo Gonzalo y soy guitarrista de jazz y musica popular, algunas veces me he puesto a decifrar adaptaciones de piezas clasicas de piano ou otro instrumanto para guitarra y muchas veces no estan en el tono original, pienso que para lograr que sea posible de tocarlas en la guitarra. Que piensa usted de esto? por que el compositor elige una tonalidad y no otra? las distintas tonalides suenan diferente, por que?. Gracias por su respuesta,
I am not Barenboim - but I start a new piece by playing it and finding out what is in it. I wouldn't advise studying the score first as there is nothing like feeling the notes beneath your fingers. Listen to pianists like Barenboim playing the piece if you can find a recording.
Mr. Barenboim: it is widely believed that Mozart's 18th piano sonata in D major was written for Princess Friederike of Prussia in 1789, as apart of a set of six. will we ever find the other 5? is there any hope of this?
Mr. Baremboim for the last year I've been struggling between my way of feeling and understanding music and the way academies do. I do feel music in a very inner and special way so my question is: is there some way to make my musical life and thoughts coexist with academical rules and laws without ruin my own way of playing and my own musical thougts? Thank you
Dear Mr. Barendoim: Enjoy not only your performances/conducting, but also your sincere comments . Just curious whether you are interested to comment about maturity and talent of Alma Deutscher's works in comparison of Mozart's early works. Thank you for your time and consideration. .
Buenas noches, Maestro. Aquí mi pregunta: Cuando descubrió el universo sinfónico y operístico, ¿no se sintió limitado con el piano?Baso mi pregunta en mi propia experiencia.
Maestro quisiera pedirle un consejo. empece medio grande a tocar el piano con 21 años me recibi de profesor de piano y me encataria ser director de orquesta, que consejos me podrias brindar? desde ya muchas gracias saludos! desde Argentina!
dear Daniel, I would really appreciate if you could explain your opinion on our relationship to the Music we love and enjoy to the people and friends we choose to connect with more than others? On one of your videos you explained this very shortly how we like pieces of music like we like certain types of people and personality etc... I find this very fascinating how I love my classical piano music but also are unique connection to our closest of friends and how once a good piano teacher said " you will only find a small group of people that have that mutual interest and understanding " I sometimes wonder what my teacher meant by that or could you expand your views to this important yet sensitive subject to how we Human beings like certain people in a similar way we like certain pieces of Music and that special connection. In your own time very much appreciated! lancelot. 😊
8 лет назад
Dear Mr. Barenboim, I would really like to know your thoughts about the academic music of the 21st century, and the composers you would consider that stand out. Thank you. Greetings from Argentina.
Una preguntita. Al principio del video cuando dice que si la música es un negocio deja de ser música se refiere a la "música" comercial para adolescentes y tipo así o a esta tambien la incluyen en el apartado "entorno al negocio"...????????
![Critic & Musical Career | Daniel Barenboim Replies To Comments No.3 [subtitled]](http://i.ytimg.com/vi/BBvCjWUa0YM/mqdefault.jpg)
![Critic & Musical Career | Daniel Barenboim Replies To Comments No.3 [subtitled]](/img/tr.png)
![Practice, Tempo & Bach - Daniel Barenboim | Replies To Comments No.1 [subtitulado]](http://i.ytimg.com/vi/2Nv9flAeddU/mqdefault.jpg)
![5 Minutes On... Beethoven - The Moonlight Sonata (C# minor) | Daniel Barenboim [subtitulado]](/img/1.gif)
"For classical music, you NEED to listen to. Pop music, maybe it's enough that you hear it." Best thing I've heard all month, thank you Maestro Barenboim.
I tend to agree, because I think there is a lot of truth in this statement. Nevertheless, there are young people hearing classical music while studying. So the statement of Daniel Barenboim does not always seem to be correct.
I totally agree with him in this respect. However, sometimes when you do actually listen to pop music it can be very good. Example, the song "You spin me right round..." Yeah sure it's annoying, but the synths in the background of the chorus (which I don't think the average person would take notice of) sound really, really good. It's just small things like that, that can make a song sound twice as good I think. But these sort of musical developments are definitely missing from modern 2000s pop music. Another example, is "You only live Twice" by Nancy Sinatra and the guitar riff.
Thanking Mr Barenboim for an arrogant suggestion is not good.
Pop(sweet) is as valuable as classical (structure) music, just as banana(sweet) is as valuable as banana trunk (structure); Pop and classical music define one another.
Pretentious and ignorant. Proof positive that one can be a great musician and an intellectual peewee at the same time.
shivering dream, loved the way he said that. This series is not only valuable but also so entertaining.
😄😄
@@ClaptonDennis "😳shivering dream...wow" Loved it.
Thank you very much, for taking your precious time to answer my question. I very much appreciate your thoughts on this subject.
I wish you, and all who are reading this a nice day!
Maestro, I can't stop listening to you!, I feel so blessed because I can follow you when you speak English or Spanish. When you speak other languages, I watch and listen to you.
Thank you, my life had changed so much. God bless you a lot of years with us!
Dear Mr. Barenboim,
thank you for this oppurtunity!
I wanted to ask you, what are your thoughts on the use of classical music in cinema? Are there any examples, in your mind, of brilliant uses of classical music for film?
Also, (if you have time to answer) what are some of your favourite films generally?
Much Love,
Kasra Firouzyar
Dear Maestro, hats off to you for such bold statement! ("Music can not be a business. If it is a business, it's not music any more." )
I have no problem with any particular genre. Music serves very many purposes and we should recognise the differences.
Snobbery really has no place in music or for that matter in any art form.
Mr Barenboim, you deal even handed and I admire your wisdom and tolerance. I also greatly admire your loyalty to classical music.
lets get the confusion out of the way
You dont need to have problems with any genre of music in order to point out objective truth.
Yes, different kinds of music serves different purposes, and their respective musical depths are also different.
But no one should be called a snob for pointing out a Beethoven symphony is a higher art form than a modern 4 chord pop song.
@@KinkyLettuce Agreed, but the nuance is that lots of people state that given as a way to establish their own "superior" credentials.
A musicologist would probably eschew such a comparison, knowing the full history of both classical and popular music and the relative value of each to human understanding.
Muchas Gracias!! Estaria horas escuchando sus palabras!! Cuantas cosas se pueden aprender!!!
Gracias maestro por crear este canal. El mundo lo necesitaba.
His opinion about the differencies about pop and classical music was brilliant.
Bravo maestro, que de belles leçons, quelle humilité pour un des plus grands musiciens et humanistes vivants de notre planète
You make me want to begin studying classical piano all over again. You are such an inspiration to fellow musicians around the globe and I love to listen to you speak and play. Not only are you a highly skilled performer and musician, but you teach us passion and mentor us about the true meaning of the works, and in a sense ourselves and life. All whilst speaking multiple languages. Bravo Maestro Barenboim.
I think this "hearing" vs. "listening" argument rests entirely on people in general. Most people do not "listen" to music, regardless of the genre. It makes us feel good when we hear it, but most don't pay much attention beyond that. This falls entirely on music lovers and/or musicians who can tell you of the details, subtleties, or intricacies of a musical piece, whether it's Jazz, blues, Metal, etc. A lot of people who enjoy "listening" to classical music (a misnomer) are in fact just hearing it. There is so much meaning behind a lot of compositions that most people ignore. And there is nothing wrong with that. In fact, a lot of pieces were considered "popular" music back in their day and were disdained for it.
0:00 - 0:14 That's totally true! I believe that, this quote will go down in history as one of the greatest!
Mr. Daniel You're amazing and lovely person. I❤you!!! Thank you so much your all comments to us!!! It's very important....kisses
Thank you maestro, your love to music is as big as your love to humankind!
Maestro Barenboim,
I have only picked up piano lessons recently, and I'm mostly self-taught, but one of the things I struggle with most is knowing the line between improvisation and ignorance of the composer's writing. I'm regularly criticized by my tutor for either playing the music with either too much or too little improvisation!
In one of your masterclasses, you spoke briefly about creating the illusion of a crescendo with one key on the piano. As I recall you said it had to do with the "will" to create the crescendo. How might I apply such a technique (or others) without deviating too far from the instructions and insulting the composer's music?
Thank you for these videos!
Maestro,
Your words are spoken with humility and deliver wisdom with great impact.
Thank you for taking time to clarify questions from all levels.
You never dismiss but respond that makes one dig deeper.
A student may receive guidance from a teacher.
Maestro, you transport Inspiration!
I wish you all the best Mr. Barenboim. Stay healthy that we can have a long exchange with you here on youtube. youtube is really a great present for all of us because it gives us the possibility to listen to you. Cheers
Questo è suonare con le parole. Cantare. Un vero uomo di genio
I have listened carefully to the golden words of the great composer and conductor Barenboim ! Thanks a lot
Love4All What has Barenboim ever composed?!😊
grazie maestro per aver aperto il canale, spero che il suo grande impegno musicale venga riconosciuto anche su you tube.
Te quiero maestro. Siempre gracias.
Vielen Dank für Ihre weisen und schlauen Antworten auf die Fragen.
Aber auch ich habe eine Frage.
Warum werden überhaupt CD-Einspielungen von sehr anspruchsvoller und komplizierter zeitgenössischer Musik gemacht? Glauben Sie denn wirklich, dass es viele Menschen da draußen gibt, die sich bewusst auf ihr Sofa setzen und zum Beispiel ein Cage-Konzert anhören? Lohnt es sich da überhaupt noch, solche Musik aufzunehmen und zu verkaufen?
Und wie hört man diese Musik am besten, oder soll ich lieber fragen, wie hört man dieser Musik am besten zu?
Wenn "sehr anspruchsvoll und kompliziert" eine sehr gewagte Umschreibung für "Müll" ist, dann frage ich mich das auch. Selbstverständlich würde sich kein normaler Mensch auf ein Sofa setzen, um sich ein Konzert von Cage anzuhören. Wenn die Musik aber GUT ist, dann wird sie auch viele Käufer finden. Leider gibt es heutzutage keine großen Komponisten mehr.
Moltes gràcies, Maestro.
Sehr geehrter Maestro Barenboim! Ich wünsche Ihnen auf diesem Wege alles nur erdenklich Gute zum Geburtstag! Da auch ich heute Geburtstag habe, wünsche ich mir noch viele Videos, in denen Sie mit Leidenschaft über all die Themen sprechen, die Ihnen am Herzen liegen.
Porque como decía el filósofo alemán Friedrich Nietzsche: "Sin música, la vida sería un error".
shivering dream...lol
Maestro Barenboim, quisiera pedirle que nos explicara brevemente cual es el proceso que usted usa al abordar una pieza nueva al piano, y que recomendaciones puede darnos, para estudiar más efectivamente. Gracias por este canal y por darnos la oportunidad de comunicarnos con usted. Saludos. Carlos.
Maestro, soy un gran admirador. Espero que mi comentario bajo este título le llegue. Hablando de música que "is just enough to hear" como dijo en el vídeo, mi pregunta es: ¿existen aún compositores que puedan estar creando música que merezca más que sólo oir? ¿Por qué cuando hablamos de música clásica (o académica) necesitamos referirnos a los grandes compositores del pasado y no a algún contemporáneo? Saludos
I sometimes hear a piece of music played or sung from their heart to my heart and it brings tears. How do you explain this is it skill or something else.
Music is not a business ! This man is not only a musician but also a philosopher.
On the contrary, Mr Barenboim, of course there is a music business: a very flourishing one! What on earth is Decca if it isn't part of the music business? "Business around music-making" is just playing with words and is the same thing as the music business!
What a great answer to the question regarding classical vs. pop music. I might add that I wonder how much "pop" will be popular and listened to in 300 years. I realize that not all music is "concert music" but I do think certain types are specifically written to disappear quickly, like Hip-Hop and Disco.
just watched your ramalah concert dvd. what you did there was outstanding in so many levels. you are such a wonderful man. thank you for sharing your talent with us.
Gracias maestro Baremboim
I agree, Maestro with your comment on pop and classical music, though there are exceptions to me like some Beatles and Beach Boys songs, among others
Always examine what catches the Public in the long run throughout history. No matter what genre of music it is, if it catches us in a long run until we can't forgo it in our history, that's a valuable music.
Dear Mr Barenboim,
I was wondering whether you believe that classical music has self-sustaining future in this increasingly capitalist and commercially free world driven by consumerism. Do you believe that art music is something more than entertainment, and is something people have to listen to, rather than choose? And how would you suggest this should be done?
Thank you so much for these wonderful videos, they are very very important to me,
Ethan
I remind music cannot be business. thank you for your talkings.
Gracias Maestro! Siempre te vuelvo a descubrir
Muchas gracias Maestro por su tiempo. Disfruto mucho de su manera de pensar y de su perspectiva respecto a la música. Es una inspiración en mi vida. Cuál es su motivación para esta aventura digital? Por qué desea comunicarse con nosotros a través de este medio?
Maestro podría dar una charla sobre el tango, los amantes de esta música tan emotiva para nosotros se lo agradeceríamos enormemente. Un afectuoso saludo desde las Islas Canarias.
Mr Barenboim, you said the judgment of the public is right but no public remains the same. Each new generation replaces the previous. Its the prejudice of the last generation that prevents musicians from considering an unheard composer surely. For when you play, you as a player can judge if the public was wrong to reject such composers or works.
Maestro, could you answer my question? Which composer do you consider the most innovating, and why?
Extraordinario genio de la musica. Gracias por hacerlo
Maestro, usted es una inspiración total. De los mejores canales de RUclips, mil gracias
Great großartig génial excelente Daniel: my consulting question is can you explain why the most talented musicians like Bach、Mozart、Beerthoven、Schubert along within their life live in poverty is it a part of the period or something else?
gracias por compartir su conocimiento maestro
Gracias por los Videos sr Daniel, saludos desde Argentina
Mr Baremboin: I studied classical piano with a student of Alfredo Casella. Perhaps like her mentor, she had a very strict philosophy about the "perils" of mingling with Jazz music while one is studying Classical music. She held the notion that each discipline holds a very different technique and that trying to study both at the same time could create clashes and sabotage one's technique.
There are those, such as myself, especially having left the classical studies (while still revisiting pieces by Bach, Ravel and others), and having pursued Jazz studies, who believe that there is no thing as "Classical Piano Technique" or "Jazz Piano Technique". That there's only "Piano Technique".
That being said, it is unquestionable, after listening to pianists such as Art Tatum, Bill Evans and Thelonious Monk, that there are, within the style of Jazz, infinite ways to attack the instrument, and that each individual performer is in a personal quest to develop their own technique.
Do you believe the same is true for Classical Piano? What do you think of performers such as Glenn Gould who became quite controversial for his unique way to both perform and interpret the music?
Dear Mr Barenboim,
It would be really nice to hear you talking about Schumann's Piano Concerto in A minor op. 54. Could you please give us a comment on this piece? Thanks in advance!
Thank you Sir for your wonderful commentary! I personally do not play the piano but I really enjoy classical piano music, with Beethoven being my favourite composer. When I listen to Beethoven's pieces I try to put myself in his shoes to feel and understand the music, for example in his Appasionata sonata's (1807) first movement he uses the dark tone of the lowest F on the piano along with F-Minor since he was depressed about losing his hearing in 1803. Similarly perhaps the 3rd movement in his Hammerklavier Sonata (1818) is depressing because it was the year he lost custody of the nephew he loved. I think Beethoven wrote those sonatas for himself more than anyone else, so do you think of Beethoven's life and mood at the time of playing and interpreting his music?
Merci monsieur Barenboim et bon anniversaire!
colibri cello
music is for itself...music makes you understand...thank you...
could you talk about muses, different types...and play examples of pieces with just one muse, or many..or none...
Hola Maestro Barenboim, mi nombre es Nicolás Finkelstein y soy de Argentina, me gustaría saber qué opina sobre la música de películas, tanto de orquesta tradicional así como también el uso de instrumentos no convencionales en ella, como por ejemplo los sintetizadores. Le mando un fuerte abrazo y le agradezco por sus enseñanzas.
Una pregunta incómoda: Señor Baremboim, ¿hay alguna obra o pieza que se haya visto obligado a ejecutar (tanto como director como pianista) y que deteste?
Wow! you are a really great guy, that you would take the time to read your comments and reply to the comments as well!!
A very interesting distinction between hearing and listening. This distinction is why ABRSM e.t.c. places emphasis on aural development in their practical exams. I must say that as an adult (of sorts) approaching 60 and having taken the piano up after a 44 year hiatus, I am finding the aural aspect quite difficult and now realize how much I have been missing in music. Working on this aspect along with sight reading practice (also part of the exams) is fun and provides some relief from the challenges of training arthritic hands at the keyboard!
Maestro Barenboim, does being a conductor make you a better pianist? Does being a chamber musician help you to conduct better an opera by Wagner? Vice versa? Thank you, with my deep admiration.
Wow fearlessly going to slay the pop music dragon!! Am I correct in understanding that you imply that pop music is more about business than music? What do you think of Quincy Jones?
HI Daniel I love listening to you play.
My answer to you is would you ever come to Tasmania, Australia?
Why I like to, hope to have, master classes with you
Ciao
Allan
Maestro, il segreto per comprendere la musica è liberarsi di tutto? comprendere senza vincoli; essere nel pathos e nello stesso momento assolutamente concentrati? Oppure è un momento in cui la vita si raccoglie, si ferma a riflettere su stessa?
Hello, Mr. Barenboim!
Some people say that other genres of music appear than people need emotions that earlier existing genres cannot give. For example, Beethoven's "Rage over a lost penny" cannot give you real rage - for rage you'd better listen to hard rock bands, or, even better, to heavy metal (mostly black metal) bands.
What can you tell to those who claims classical music as not representing all the spectre of emotions people need?
PianoStartsAt33 there's plenty of classical pieces out there that could very easily get someone angry. Moments Musicaux No. 4 by Rachmaninov, the "Mazeppa" Etude by Liszt, and many pieces by Prokofiev just to name a few.
Muchas gracias por sus palabras, las palabras al igual que la música llenan el alma y su forma de ver la vida enriquece mi alma. Por otro lado le quería agradecer por su respuesta a los comentarios, nunca escribo en estos muros porque creo que es una perdida de tiempo, pero tener la mínima posibilidad que una persona como usted oiga las palabras de uno, genera una sensación difícil de describir.
Yo estudie guitarra clásica y me dio una una enfermedad en el cerebro, distonía focal. Ame mucho la música clásica, pero el sin sabor que dejo mi enfermedad fue un odio por la academia, y subconscientemente por la música clásica. La forma como hoy en día el error, la perfección, el virtuosismo se relaciona con la música clásica me aterra. En la actualidad me dedico a componer música "popular" y fue un acercamiento maravilloso y una forma de reconciliarme con el dolor y con la música, y creo ciegamente que los músicos que logran superar esas barreras de egos y juicios (que extrañamente somos los mismos músicos los más duros a la hora de juzgar) son los grandes artistas, como usted maestro, que lograron romper las barreras de los egos.
De acá me surgen dos mi preguntas¿cuál es su consejo para superar derrumbar ese miedo a la perfección? ¿si tuviera un niño que esta empezando su carrera artística en la música clásica cuál seria su consejo para el mundo de la academia no se lo coma y más bien lo pueda utilizar a su favor?y si tiene algo de tiempo cual seria su consejo para una persona las personas que como yo sufrimos esta enfermedad que es tan dura para el corazón.
Muchas gracias por todo
Thank you maestro for your videos! Here is a question, why you think that society nowadays needs so much of that pop music, which you dont need to listened, just hear it as you said. And in the other hand is forgetting about classical music. Thank you in advance
Maestro, soy compositor además de percusionista. He estudiado con Pascal Dusapin. Me dedico a difundir la música contemporánea, especialmente la relacionada con la percusión, mi instrumento.
Cuales son tus referencias actuales de compositores?
Vielen Dank für Ihre Antworten
(und Willkommen zurück in Berlin von Ihrem Triumph mit Bruckner in NYC)!
Mich beschäftigt eine Sache: Bei aller Perfektion von Orchester-Aufnahmen bleiben sie doch in einem entscheidenden Punkt stets hinter dem Live-Konzert zurück: Der Dynamik. Im Tonstudio zwingt der Kompressor das Laute und das Leise zu einem wohnzimmertauglichen Kompromiss, wo der Konzertsaal Nuancen von nahezu unhörbar bis ohrenbetäubend zulässt. Emotionale Wirkung und Dramaturgie bleiben in dieser dyn. Hinsicht selbst auf modernsten Aufnahmen skizzenhaft.
Das veranlasst mich zu zwei kleinen Fragen:
- Die Tonträgerindustrie vermarktet seit Jahrzehnten die Idee, das Konzerterlebnis möglichst perfekt abzubilden. Damit war sie lange sehr erfolgreich. Aber wieso wird in dieser Jagd nach dem perfekten Sound usw. die Frage der Dynamik so übergangen? Ist das vielleicht Teil des Marketings, dem Zuhörer ein authentisches Konzerterlebnis zu verkaufen, das im dynamischen Bereich nur einen Bruchteil der Interpretation darstellen kann?
- Besteht dann heute, wo die Bedeutung der Tonkonserve zurückgeht, nicht für den Konzertsaal vielleicht eine Chance auch durch dieses Alleinstellungsmerkmal zu zeigen, was er kann - besser kann als jede noch so teure Audio-Anlage?
Ist das nicht ein Pfund mit dem man wuchern kann?
Ich wundere mich jedenfalls wie dieser für die Wirkung einer Interpretation so wichtige Punkt fast systematisch ausgespart wird.
Reaichhard Buerger - Ja, Das Live-Knonzert ist bessere als die Schallplatte - meistens - aber die Schallplatte kann viel bessere sein als ein schlechtes Konzert.
Estimado Maestro, estuve buscando sin éxito alguna grabación suya de alguna obra de Rachmaninoff.
Quería preguntarle si ha grabado Rachmaninoff, y si no, por qué? Que opinión le merece la obra de Don Sergei?
Muchas gracias por alegrarnos la vida con su música e iluminarnos con sus ideas y pensamientos. Un fuerte abrazo!
Pato Gutiérrez (porteno en Atlanta , EE.UU.)
I've heard Barenboim use this example of music as a means of "forgetting unpleasantness" 7:28 in several different videos, and it's always the same (argument with support staff, visit to the dentist, bad news from the accountant). It makes me wonder if he's describing a bad day that he's actually had! I like the kick he gets out the name "Shivering Dreams" (1:15 and 2:10)
Mr Barenboim, what do you consider the most important element of playing piano?
I.e. is it a genuine love for the music, or technique etc that makes a piece sound beautiful.
Mucho amor Maestro !
Maestro Barenboim thank you for this channel. I have a question that I hope you could answer. Growing up I always listened to classical music and I always wanted to be a composer or a pianist. But unfortunately my parents and my community did not allow that. Now, I am working as an engineer but I can't help but think about music everyday. Everyday at work I listen to classical music and imagine myself playing it or conducting. This imagination brings a very deep sense of grief in me. I think music is the only thing on my mind, the only thing I like to talk about, the only thing I'm truly passionate about. My question is, can I, a 26 year old male, have a chance in music? I know very basic music theory. Is it possible that I can have a career in music at this age. Please let me know, may be I can get some peace.
Cheers!
Thank you, maestro, for taking the time and care to broaden an understanding of music through discussion. Even though an amateur pianist, I strive for fidelity to the composer's score. But which score? How do you determine which edition best represents the composer's intent? Some editions make no distinction between an editor's marks and those marks placed by the composer. In the final analysis, doesn't the performer have to revert to his/her own musical instincts to resolve conflicting scores? Under what (if any) circumstances do you depart from the score (even if you believe that score to be true and accurate) in your own performances?
Thanks sir ,this is better than read any books!!
Thanks a LOT, Maestro!!!
Maestro, hoy en día el rol del compositor se encuentra en un momento crítico, porque, según dicen muchos, ya no hay compositores como antes, así que por eso le hago esta pregunta, ¿usted cómo cree que es (o que debería ser) el papel del compositor en nuestros días?
Your father sounds very astute and generous to you, you lucky chap!
Muchas felicidades por su cumpleaños y gracias por enseñarnos!!
Maestro, how do you study polyphonic music at the piano? Do you work systematically in each individual voice and later in different combinations (which I think is not practical and almost inviable when learning a huge amount of music like the whole WTC), just when you consider it necessary or never at all? I would also like to know how do you memorise this kind of music.
Thank you so much!
Dear Mr. Barenboim, I am having a great pleasure and get impressed by your videos. Each week I am waiting for the new one. You should keep doing this because its a privilege for us to learn from you. I would like to ask: why people always think that classical music is so difficult to understand and they dont tend to be interested in it? May this opinion be related to the general education system? Thank you very much. Salih
Could you discuss Scriabin's famous D sharp minor etude, op. 8 no. 12? I find it to be a very difficult and heart-breaking exercise, and I can only wonder how Scriabin could write something so tragic and deathy.
Happy happy birthday maestro:-) I'm very happy that I can watch your channel. Thank you thank you very much.
Dear Mr Baremboim:
I've recently discovered your videos and I've loved them, and, above all, they made me think about things I considered uninteresting before. I have a question:
Most people nowadays consider Mozart, or Beethoven, or Bach, the greatest musical geniuses ever. And I found disgusting the fact that anyone (including me), would consider Schönberg, or Schostakovich as being as talented or even more than them. Why? Well, I suppose it's because of the tonal system; within thousands of years different systems have been developed, and one of them gained popularity as the most perfec one. And I ask, is it because of the human perception of the sound itself, or it depends on ear education? For instsnce, what if we teach someone from its birth the twelve-tone system and we play for him/her Webern's music? What would he/her think about Mozart? Thank you for your attention to the people's comments.
Hola maestro, se que es una pregunta quizás difícil para alguien como usted, pero: Tiene un compositor favorito? Alguien que lo inspire o genere una admiración mayor a la de todos los demás compositores? Saludos desde Buenos Aires.
Querido Maestros Daniel Barenboim, muchas felicitaciones por el canal, tal vez algunas sugerencias y peticiones, tal vez si se pudiera una serie de vídeos sobre la interpreta del piano en los épocas barroca, clásica y romántica, otros sobre la direcciones orquestal "que es lo que a mi en los personal me interesa", y poder sugerir cuales son las mejores interpretaciones según las épocas ya mencionadas, y la ultima sugerencia que tal ves los vídeos puedan durar algo mas de 20 minutos, y mi peticiones que pueda incluir en sus canal algunas entrevistas análisis, clases magistrales, otros que anteriormente realizo, como "una escuela para el oído" o "maesterclass de Beethoven piano", sin nada mas solo eso muchas gracias.
Dear Daniel Barenboim,
From a professionals opinion, what do you think about how Shostakovich changes a traditional melody that for example Beethoven or Mozart would play into his own beautiful vision.
Dear Mr.Barenboim, what is the characteristic of 21'st century classical music? Do you think the new generation of composers should create a new musical language to fit the 21'st century or continue writing music in the style of previous centuries? ( since classical music has developed to a stage full of dissonances and atonal qualities)
Hola, me llamo Gonzalo y soy guitarrista de jazz y musica popular, algunas veces me he puesto a decifrar adaptaciones de piezas clasicas de piano ou otro instrumanto para guitarra y muchas veces no estan en el tono original, pienso que para lograr que sea posible de tocarlas en la guitarra.
Que piensa usted de esto? por que el compositor elige una tonalidad y no otra? las distintas tonalides suenan diferente, por que?. Gracias por su respuesta,
Fascinating as always!
Dear Barenboim, could you tell us about how to approach and begin studying a new piece? I would love to hear your ideas. Thank you.
I am not Barenboim - but I start a new piece by playing it and finding out what is in it. I wouldn't advise studying the score first as there is nothing like feeling the notes beneath your fingers. Listen to pianists like Barenboim playing the piece if you can find a recording.
Alemão, you need to find patterns in the song you learn. That is my version
Mr. Barenboim: it is widely believed that Mozart's 18th piano sonata in D major was written for Princess Friederike of Prussia in 1789, as apart of a set of six. will we ever find the other 5? is there any hope of this?
Mr. Baremboim for the last year I've been struggling between my way of feeling and understanding music and the way academies do. I do feel music in a very inner and special way so my question is: is there some way to make my musical life and thoughts coexist with academical rules and laws without ruin my own way of playing and my own musical thougts?
Thank you
Dear Mr. Barendoim: Enjoy not only your performances/conducting, but also your sincere comments . Just curious whether you are interested to comment about maturity and talent of Alma Deutscher's works in comparison of Mozart's early works. Thank you for your time and consideration. .
Yes Please. Add Subtitles in more languages. We can help in Hindi, Spanish, Bengali etc.
Buenas noches, Maestro. Aquí mi pregunta: Cuando descubrió el universo sinfónico y operístico, ¿no se sintió limitado con el piano?Baso mi pregunta en mi propia experiencia.
Maestro quisiera pedirle un consejo. empece medio grande a tocar el piano con 21 años me recibi de profesor de piano y me encataria ser director de orquesta, que consejos me podrias brindar? desde ya muchas gracias saludos! desde Argentina!
Thank you for sharing your thoughts with us!
Fascinating! It would be much better for these videos to be longer but I know Mr Barenboim has a lot of other interesting things to do.
dear Daniel,
I would really appreciate if you could explain your opinion on our relationship to the Music we love and enjoy to the people and friends we choose to connect with more than others? On one of your videos you explained this very shortly how we like pieces of music like we like certain types of people and personality etc...
I find this very fascinating how I love my classical piano music but also are unique connection to our closest of friends and how once a good piano teacher said " you will only find a small group of people that have that mutual interest and understanding "
I sometimes wonder what my teacher meant by that or could you expand your views to this important yet sensitive subject to how we Human beings like certain people in a similar way we like certain pieces of Music and that special connection.
In your own time very much appreciated!
lancelot.
😊
Dear Mr. Barenboim, I would really like to know your thoughts about the academic music of the 21st century, and the composers you would consider that stand out. Thank you.
Greetings from Argentina.
Una preguntita. Al principio del video cuando dice que si la música es un negocio deja de ser música se refiere a la "música" comercial para adolescentes y tipo así o a esta tambien la incluyen en el apartado "entorno al negocio"...????????