when I was a child in the early 70s, Leister was my inspiration. I later studied clarinet at the music college. Frustrated, I stopped because I was convinced I would never reach Leister. So I became an engineer. Till now I‘m following his sound.
Mr. Leister gave some very useful insights into how to play Brahms. But first of all, Henle is not wrong at bar 37 as all sources including Brahms' autograph have a very clear decrescendo here (also in the new edition published by Bärenbeiter). Second, it is really not appropriate to say Brahms' own dynamic marking is nonsense.
He’s absolutely correct about how we need to approach that “piano-dim-piano” in practice. Brahms was being ‘classical’ and intentionally economical with his dynamic indications in these late chamber works - there’s no mp or mf at all, just p, f and sometimes ‘poco f’ or sotto voce, so he’s often counting on the performers to supply the middle dynamics - just like Mozart and a great many other composers did and still do. In other words some pianos or fortes have to be louder or softer than others, and so yes: it means Brahms got himself into a bit of a bind notating this particular phrase, if you want to look at it literally. I think Leister was just trying to say it’s ‘nonsense’ to try to play exactly what Brahms wrote.
when I was a child in the early 70s, Leister was my inspiration. I later studied clarinet at the music college.
Frustrated, I stopped because I was convinced I would never reach Leister. So I became an engineer.
Till now I‘m following his sound.
Hai voglia di corsi, di Leister ce ne sarà sempre uno solo
“When I made ze recording with Karajan” Great opening remark!
Mr. Leister gave some very useful insights into how to play Brahms. But first of all, Henle is not wrong at bar 37 as all sources including Brahms' autograph have a very clear decrescendo here (also in the new edition published by Bärenbeiter). Second, it is really not appropriate to say Brahms' own dynamic marking is nonsense.
composers can be wrong about their own music... :) I'm a composer...
He’s absolutely correct about how we need to approach that “piano-dim-piano” in practice. Brahms was being ‘classical’ and intentionally economical with his dynamic indications in these late chamber works - there’s no mp or mf at all, just p, f and sometimes ‘poco f’ or sotto voce, so he’s often counting on the performers to supply the middle dynamics - just like Mozart and a great many other composers did and still do. In other words some pianos or fortes have to be louder or softer than others, and so yes: it means Brahms got himself into a bit of a bind notating this particular phrase, if you want to look at it literally. I think Leister was just trying to say it’s ‘nonsense’ to try to play exactly what Brahms wrote.
He understand soul of composer's,.. love you Man
03:44 So far the BEST legato I have heard in that part.
should hear Frost and Baldeyrou, they're in another level
This guy tryna fly with those elbows 😂
So you can get a masterclass by the great Leister and you decide to show up in plaid shorts...
He could have buttoned his shirt
@@HelloooThere You are right. The maestro could have dressed better, too
@@markokassenaar4387 lol I thought it was pajamas!
Magistral.
La Belle et la Bête ...
😂😂
Why are there always Asian girls doing the piano part these days?
As asian boys are doing violin or becoming Piano masters like Lang Lang
😅
I’m aghast