If you look closely at Garrick's hands, he's doing exactly what Seymour says to do, in terms of how he achieves legato and articulation. ! He just doesn't start with talking about that, the way Seymour does--he already does it as a matter of course. Not a movement wasted, and the technique comes organically from thinking and feeling the music out while learning it.
I love listening to both of these guys! However, listening to Seymour is like attending a master class every time. His knowledge and insight and instinct are unmatched.
The content on this channel just keeps getting better and better. This video is not just for pianists but a must watch for every musician that cares about phrasing.
5:22 Garrick loves the use of the second inversion of the IV chord more than he wants to admit. He doesn't want learners to give too much value to the technical aspects, but the inversions in this piece really give it a special sound compared to the music from a few decades earlier.
Seymoyrs natural sense of direction as it appears when he's playing, is unrivaled. He is playing like he knows why nothing else would come next, other than what's in the score. Truly like if he had composed it himself.
Thank you so much. I just realized that my teachers never gave me this piece to play, although it is technically not difficult. I played some of Brahms's intermezzi, but never got to this one. I just sat down and played it, and it is indeed so terribly beautiful... 🥲 Looking back (from my 62 years of age) I can understand that some teachers would ‘save’ such a piece for the riper student, Well here I am. 👵
What a coincidence! I am playing this piece this evening. Mr. Seymour has really helped me to understand the piece especially hairpins. They both shared most important aspects of making music. Anyways I will play according to my interpretation and feeling since there is no right answer. Another credit to Mr. Rosenbaum for this piece. Thanks tonebase!
I haven't even started to watch the video but I'm learning another intermezzo and have recently been feeling inadequate as a pianist because of my sound and composition issues but I'm so excited to understand Brahms better. Thank you for this help.
Seymore manages to hold a particular mood throughout without onve letting it go slack. At that tempo,a remarkable achievment. Only Pogorelich plays it slower, but he lacks the throughline. Slow for the purpose of being different. Unsupported. I love Bernstein's playing of this!
Beautiful playing by masters. I find these kinds of slow teaching rather slow, but the joy the two find in the music is peering through their words. Reminds me that music education must be a great part of the joy of music
These are two wonderful presentations in a highly musical sense that compliment each-other. I feel delighted to be able to follow. I feel I really understand both and appreciate. There is no comparison between one, or the other, but both are delightful, emphasizng different aspects, but talking about the same.
Thank you Tonebase. Absolutely one of my top favorite pieces of all time. I could listen to it over and over and never get tired of it. What an amazing interview of the 2 talented musicians sharing their thoughts and dissecting the music and techniques. Great work. Great video! Thank you for featuring this piece, one of the most beautiful and expressive pieces ever existed. ❤
This is a piece that is much more satisfying to play for yourself than to listen to other people's playing. Having said that, I liked Bernstein's sincerity very much even though I thought the rit is too much. My all-time favourite recording is Heinrich Neuhaus'. But although Ohlsson encapsulated his tempo much more than Bernstein, I liked Bernstein's more. Isn't music just beautiful?!
I ve loved Garrick ‘s playing for a long time, but it is my first exposure to Seymour.I’m not a musician (my parents were!), but without modesty I’ll say I’ve listened tons of music of all types and that I’m good at it. Seymour explanations, technique and sentiment shoots the listener straight to heaven!!😊
It’s not a two note phrase at the beginning. It’s a three note slur. The piece plays with the various uses of both three and two note slurs. Also, thank you Seymour Bernstein for teaching me a master class on this piece at St John’s College in Santa Fe. I have kept it with me ever since.
1:35, Major obvious difference in playing the first 8 bars is that Ohlsohn takes 21 secs to Bernsteins 29. Eight secs is 38% quicker which is really a lot - like playing a Symphony in 21 mins instead of 29. But they both sound good to me!
It's almost intimidating that Mr. Bernstein is 96 and sharp as a needle tip when he talks and conveys ideas about Brahms. I can only hope I'm as sharp when I'm at his age.
NOTE: In the 3rd bar, Brahms writes an A whole note which tells us the note is played at the BEGINNING of the bar. If he had wanted it to be delayed, he would have written a rest whose duration lasted between 1/8th rest up to 3 beats of a rest. So, Seymour's version does not portray what Brahms wrote. Whereas, Ohlsson's version plays the A, right at the beggining of the measure as written in the score. So, I'm on board with Ohlsson on this one.
This is because of the hand span surely? Both notes need to caught in the pedal. So if you can’t reach then it needs to come on the beat with the pedal.
Wonderful analysis from two masters. This piece reminds me a little of Vincent Youman's 'Through The years'. I'm sure Broadway composers borrowed from the classics.
I'm sorry, but I completely disagree with Bernstein -- with his tempo and with his persistent backing away from the downbeat in the first full bar and then the rolled downbeat in the second full bar and the time he takes in each case. And I completely agree with Ohlsson's far more straight-forward approach, which I find much more beautiful and consistent with what Brahms wrote. Tempo first: Brahms tells us "Andante teneramente". So this is a walking tempo in 3. Bernstein is much too slow. "Teneramente" to me is Brahms giving us an indication of the character of the piece and is not so much a tempo marking. It's still a walk in 3. As for backing away from the downbeats, Bernstein justifies this by talking about the difficulty of achieving legato on the piano because notes decay after being struck. He says they "disappear immediately", which is simply untrue. I think he meant "*begins* to disappear or decay immediately", which is the obvious truth. So he is trying to match the dynamic of each tone in the "phrase" c#-b-d to the decayed state of the previous tone, here talking about the soprano voice of the first four beats of the piece. But notice that Brahms wrote a slur over the first two notes, not the first three; he did not intend c#-b-d to be heard as one phrase, but rather the downbeat, the half-note d, is separate from the previous legato c#-b. Furthermore, the first 8 bar phrase is marked 'p', piano. It is then repeated, with important harmonic variation, but 'pp', pianissimo. If you play those downbeats as quietly and taking as much time as Bernstein does the first time, how can they be different, quieter, the second time, as Brahms requests of the whole 8 bar phrase? If you listen to great pianists, and we have Garrick Ohlsson here as an example, but listen further to Andras Schiff, Radu Lupu and Artur Rubinstein, you will hear nothing like what Bernstein advocates, either as far as tempo or dynamics.
Very helpful. I had just played this piece and came across this video. The various dynamics applied to the leap to A helps. I’ve been doing it too much the same way.
I wonder if anyone knows what piano is Mr. Ohlsson's piano. The light in the video is too dim over the keyboard, I cannot see. It does not sound to me as typical Steinway piano , though it is beautiful sound, it sounds to me richer and more "round" than what I normally hear from a Steinway. (forgive my lack of words, English is not my first language). Is is perhaps a Boesendorfer? I am asking as I havent seen a lot of Boesendorfers here in the States over the years, so my ears are really curious now 🙂. Thank you Tonebase Piano for sharing this videos, wonderful as all your videos; though I no longer play, not in many years, I love to learn deeper aspects of the music I so much love.
Yeah Mr Seymour is wow!!!! However I like Mr.Ohlsson too!!! Both men have their own interpretation of this piece. I just started working on this piece,,,Pray for me!!😎😎
I prefer Glenn Gould’s approach to these Brahms pieces. Not overly busy and thus more flowing. All of this Twisting and turning on each and every note becomes too syrupy very quickly.
This is what a lot of interpreters don't understand. It sounds good maybe to the performer but the constant rubato doesn't always add emotions, it can detract from it.
Listen to Grieg’s playing if you want to hear an example of rubato that doesn’t detract from the music but instead adds to it in the most wonderful way. I got videos on my channel.
When you start playing a piece, the first thing you should take into account is the choice of the tempo, here 'Andante', walking not resting nor running. Personnally Seymour's tempo seems too slow to me and Garrick's too fast. Radu Lupu's version is still my favourite one.
That was so informative and reassuring. I taught myself this piece a few years ago, and am preparing to play it in a concert in the autumn. I made a recording some time ago (ruclips.net/video/lsEi71KwW40/видео.html), but as usual after watching Seymour I feel that I need to rethink everything... and that's actually a really nice feeling! Thank you.
No offence but I don't like Brahms much. Not enough sustained melodies for my liking. I love Bernstein's inimitable and MAGNIFICENT Chopin Nocturne number 1 (on youtube - it sounds like Rachmaninoff himself or Hoffman or some such golden age pianist is playing the piece). My theory is that the only people who like Brahms have some personal romantic memory that link to it.
Taste is not really something to argue about. But I would still disagree for the quality of what Brahms wrote, starting from beautiful children songs, and extending romantic music above the standard. Just the concerto no. 1 is a revelation. I think Brahms is highly underestimated in some circles. Never mind... many things I only started to appreciate after really going into depth. With Brahms you will find depth. It is worthwhile.
BERNSTEIN's pedaling is ALWAYS, ALWAYS, ALWAYS muddy with left-overs of sonorities (in the new chord change) that absolutely DO NOT belong there. ...always ,always. and always is the playing as passionate-less as is the poor man's verbal speech, elocution and delivery.
What a privileged time we live in, where these great thoughts of great minds can be shared instantly to all corners of the globe:)
I love how Bernstein makes it so soft and tender, and Ohlsson makes it so moving and expressive. It's beautiful.
If you look closely at Garrick's hands, he's doing exactly what Seymour says to do, in terms of how he achieves legato and articulation. ! He just doesn't start with talking about that, the way Seymour does--he already does it as a matter of course. Not a movement wasted, and the technique comes organically from thinking and feeling the music out while learning it.
Seymour really helps you “see more” of the composer’s intentions.
I love Bernstein's tempo. You'd have to be a really great musician to pull off that tempo
That a funny little man can have so much passion in his playing is truly amazing. Bernstein’s playing is stunning.
I love listening to both of these guys! However, listening to Seymour is like attending a master class every time. His knowledge and insight and instinct are unmatched.
The content on this channel just keeps getting better and better. This video is not just for pianists but a must watch for every musician that cares about phrasing.
5:22 Garrick loves the use of the second inversion of the IV chord more than he wants to admit. He doesn't want learners to give too much value to the technical aspects, but the inversions in this piece really give it a special sound compared to the music from a few decades earlier.
A great lesson! Thanks Seymour and Mr. Garrick 😮
Sir Bernstein really makes the music alive in our deepest part of heart.
Seymoyrs natural sense of direction as it appears when he's playing, is unrivaled. He is playing like he knows why nothing else would come next, other than what's in the score. Truly like if he had composed it himself.
Thank you so much. I just realized that my teachers never gave me this piece to play, although it is technically not difficult. I played some of Brahms's intermezzi, but never got to this one. I just sat down and played it, and it is indeed so terribly beautiful... 🥲
Looking back (from my 62 years of age) I can understand that some teachers would ‘save’ such a piece for the riper student, Well here I am. 👵
Sir Seymour is the best teacher ever
YES MORE SEYMOUR AND BRAHMS
So wonderful! I would love to hear them discuss the rest of the piece.
I had the pleasure of meeting Garrick recently after one of his concerts. Lovely man.
Love this discussion. I have been playing this piece since 1977, and I'm learning new things!
I love your tempo Seymour!
Immensely grateful for this video.
What a coincidence! I am playing this piece this evening. Mr. Seymour has really helped me to understand the piece especially hairpins. They both shared most important aspects of making music. Anyways I will play according to my interpretation and feeling since there is no right answer. Another credit to Mr. Rosenbaum for this piece. Thanks tonebase!
We were born exactly 1 year apart
Both great masters. Seymour is magic
My God. Best video I’ve seen in the last few months. So valuable. 🙏🏻
I haven't even started to watch the video but I'm learning another intermezzo and have recently been feeling inadequate as a pianist because of my sound and composition issues but I'm so excited to understand Brahms better. Thank you for this help.
I love listening to seymour teaching
This is fantastic - two SUPERSTARS cutting it up!
Great editing, excellent content from two masters. Awesome job Tonebase.
Seymore manages to hold a particular mood throughout without onve letting it go slack. At that tempo,a remarkable achievment. Only Pogorelich plays it slower, but he lacks the throughline. Slow for the purpose of being different. Unsupported. I love Bernstein's playing of this!
Great idea of both speaking about the same piece! That is a marvelous video! Thank's a lot, Tonebase!
Oh My god ! SO Fantastic. I;ve been studying it for two years. SO great! Thanks! Bravo~
Beautiful playing by masters. I find these kinds of slow teaching rather slow, but the joy the two find in the music is peering through their words. Reminds me that music education must be a great part of the joy of music
Maravilloso❤❤❤❤
Muchas gracias a ambos
Grandes músicos❤❤❤
These are two wonderful presentations in a highly musical sense that compliment each-other. I feel delighted to be able to follow. I feel I really understand both and appreciate. There is no comparison between one, or the other, but both are delightful, emphasizng different aspects, but talking about the same.
Thank you Tonebase. Absolutely one of my top favorite pieces of all time. I could listen to it over and over and never get tired of it.
What an amazing interview of the 2 talented musicians sharing their thoughts and dissecting the music and techniques. Great work. Great video! Thank you for featuring this piece, one of the most beautiful and expressive pieces ever existed. ❤
This is a piece that is much more satisfying to play for yourself than to listen to other people's playing.
Having said that, I liked Bernstein's sincerity very much even though I thought the rit is too much.
My all-time favourite recording is Heinrich Neuhaus'. But although Ohlsson encapsulated his tempo much more than Bernstein, I liked Bernstein's more.
Isn't music just beautiful?!
What amazing teachers!!! Thank you!!!
i love listening to seymour
I just started learning this piece. This is like finding a gem. 💎
Brilliantly explained
Thanks!
I ve loved Garrick ‘s playing for a long time, but it is my first exposure to Seymour.I’m not a musician (my parents were!), but without modesty I’ll say I’ve listened tons of music of all types and that I’m good at it. Seymour explanations, technique and sentiment shoots the listener straight to heaven!!😊
garrick and seymour are quickly becoming my favourite pianists, maybe even humans!
Love this beautiful piece!
Seymours style makes me fall asleep... I'm even afraid he'll stop suddenly on any moment
It’s not a two note phrase at the beginning. It’s a three note slur. The piece plays with the various uses of both three and two note slurs.
Also, thank you Seymour Bernstein for teaching me a master class on this piece at St John’s College in Santa Fe. I have kept it with me ever since.
1:35, Major obvious difference in playing the first 8 bars is that Ohlsohn takes 21 secs to Bernsteins 29. Eight secs is 38% quicker which is really a lot - like playing a Symphony in 21 mins instead of 29. But they both sound good to me!
Yes, I really noticed that but preferred Bernstein.
Seymour for the win!👏🏽👏🏽
is this a competition? no
Brilliant and inspirational! Thank you! 😊
Thank you !
It's almost intimidating that Mr. Bernstein is 96 and sharp as a needle tip when he talks and conveys ideas about Brahms. I can only hope I'm as sharp when I'm at his age.
Thanks tonebase for this precious share
Love this
NOTE: In the 3rd bar, Brahms writes an A whole note which tells us the note is played at the BEGINNING of the bar. If he had wanted it to be delayed, he would have written a rest whose duration lasted between 1/8th rest up to 3 beats of a rest. So, Seymour's version does not portray what Brahms wrote. Whereas, Ohlsson's version plays the A, right at the beggining of the measure as written in the score. So, I'm on board with Ohlsson on this one.
This is because of the hand span surely? Both notes need to caught in the pedal. So if you can’t reach then it needs to come on the beat with the pedal.
Thank you kindly🤍
Capital idea…more of this, please!
Wonderful!
Wonderful analysis from two masters. This piece reminds me a little of Vincent Youman's 'Through The years'. I'm sure Broadway composers borrowed from the classics.
Thanks amazing videos
I'm sorry, but I completely disagree with Bernstein -- with his tempo and with his persistent backing away from the downbeat in the first full bar and then the rolled downbeat in the second full bar and the time he takes in each case. And I completely agree with Ohlsson's far more straight-forward approach, which I find much more beautiful and consistent with what Brahms wrote.
Tempo first: Brahms tells us "Andante teneramente". So this is a walking tempo in 3. Bernstein is much too slow. "Teneramente" to me is Brahms giving us an indication of the character of the piece and is not so much a tempo marking. It's still a walk in 3.
As for backing away from the downbeats, Bernstein justifies this by talking about the difficulty of achieving legato on the piano because notes decay after being struck. He says they "disappear immediately", which is simply untrue. I think he meant "*begins* to disappear or decay immediately", which is the obvious truth. So he is trying to match the dynamic of each tone in the "phrase" c#-b-d to the decayed state of the previous tone, here talking about the soprano voice of the first four beats of the piece. But notice that Brahms wrote a slur over the first two notes, not the first three; he did not intend c#-b-d to be heard as one phrase, but rather the downbeat, the half-note d, is separate from the previous legato c#-b. Furthermore, the first 8 bar phrase is marked 'p', piano. It is then repeated, with important harmonic variation, but 'pp', pianissimo. If you play those downbeats as quietly and taking as much time as Bernstein does the first time, how can they be different, quieter, the second time, as Brahms requests of the whole 8 bar phrase?
If you listen to great pianists, and we have Garrick Ohlsson here as an example, but listen further to Andras Schiff, Radu Lupu and Artur Rubinstein, you will hear nothing like what Bernstein advocates, either as far as tempo or dynamics.
Very helpful. I had just played this piece and came across this video. The various dynamics applied to the leap to A helps. I’ve been doing it too much the same way.
I much prefer Seymour Bernstein’s version 🎹🎶✨
It seems more Dreamy to me
@@Asi1939 yes! I think it could be used as a soundtrack for a movie.
Music is jot wherever is written, is the magic is been done with it
Appreciate interpretations by younger pianists like George Harliono as well
I play by my feelings. Thanks for this video which proved me right❤
great
The kawai piano wins, hands down!!
I wonder if anyone knows what piano is Mr. Ohlsson's piano. The light in the video is too dim over the keyboard, I cannot see. It does not sound to me as typical Steinway piano , though it is beautiful sound, it sounds to me richer and more "round" than what I normally hear from a Steinway. (forgive my lack of words, English is not my first language). Is is perhaps a Boesendorfer? I am asking as I havent seen a lot of Boesendorfers here in the States over the years, so my ears are really curious now 🙂. Thank you Tonebase Piano for sharing this videos, wonderful as all your videos; though I no longer play, not in many years, I love to learn deeper aspects of the music I so much love.
@alessandralombardini-parks1936 It`s a Bösendorfer. There is a moment when some of the golden letters shine enough to conclude it. 🎹
Yeah Mr Seymour is wow!!!! However I like Mr.Ohlsson too!!! Both men have their own interpretation of this piece. I just started working on this piece,,,Pray for me!!😎😎
What is the most beautiful piece of music youve heard this month, or hell even this year (you can name more then one)
What do we know about Garrick Ohlsson's chair?
I would guess most know very little.
I do wish you would have a technician fix the blocking hammer strike mid range, Seymour. Fixable in 10 seconds.
Not even a hairdresser and dealing with all these hairpins
anyone know the recording for that horrowitz mazurka garrick mentioned?
Can someone tell me where to find the documents Seymour was referring too?
Question and Answer
Seymour Bernstein is economical in his technique. His hands do not leave the keyboard, but they glide as he repositions.
I think it’s ok to say 6-4 to an audience that knows basic musicianship; it’s the language we use.
I prefer Glenn Gould’s approach to these Brahms pieces. Not overly busy and thus more flowing. All of this Twisting and turning on each and every note becomes too syrupy very quickly.
This is what a lot of interpreters don't understand. It sounds good maybe to the performer but the constant rubato doesn't always add emotions, it can detract from it.
Listen to Grieg’s playing if you want to hear an example of rubato that doesn’t detract from the music but instead adds to it in the most wonderful way. I got videos on my channel.
fight fight fight ✊🏻
The miking and piano was brighter on Bernstein
Caviar.
When you start playing a piece, the first thing you should take into account is the choice of the tempo, here 'Andante', walking not resting nor running. Personnally Seymour's tempo seems too slow to me and Garrick's too fast. Radu Lupu's version is still my favourite one.
i love life
That was so informative and reassuring. I taught myself this piece a few years ago, and am preparing to play it in a concert in the autumn. I made a recording some time ago (ruclips.net/video/lsEi71KwW40/видео.html), but as usual after watching Seymour I feel that I need to rethink everything... and that's actually a really nice feeling! Thank you.
I like Ohlsson's interpretation more.
Both of them play the F# - A arpeggiation differently. I play the way Garrick plays.
Brahms il primo uomo moderno
Seymour is 95 and much sharper than Joe Biden.
No offence but I don't like Brahms much. Not enough sustained melodies for my liking. I love Bernstein's inimitable and MAGNIFICENT Chopin Nocturne number 1 (on youtube - it sounds like Rachmaninoff himself or Hoffman or some such golden age pianist is playing the piece).
My theory is that the only people who like Brahms have some personal romantic memory that link to it.
They simply have different musical tastes.
Taste is not really something to argue about. But I would still disagree for the quality of what Brahms wrote, starting from beautiful children songs, and extending romantic music above the standard. Just the concerto no. 1 is a revelation. I think Brahms is highly underestimated in some circles. Never mind... many things I only started to appreciate after really going into depth. With Brahms you will find depth. It is worthwhile.
Why do u have to make “theories” about why someone likes their music lol. I think they just like the music
@@RolandHuettmann de gustibus non disputandem est.
@@militaryandemergencyservic3286 yep. I totally understand. i love brahms' music, but I feel very much the same way as you do when it comes to alkan.
BERNSTEIN's pedaling is ALWAYS, ALWAYS, ALWAYS muddy with left-overs of sonorities (in the new chord change) that absolutely DO NOT belong there. ...always ,always. and always is the playing as passionate-less as is the poor man's verbal speech, elocution and delivery.