Thank you very much! Especially the part with “leise leise” and parallel “zu dir wende ich…” is very well done with the tempo, not too slow, not too fast and this is the hardest part when you have no singer with you.
You're correct: It's a very delicate balance - I think about the time signature, which implies that the "big beat" in 2 is slow, and therefore the quavers have some movement to support the line. Thanks for engaging and toitoitoi!!
I haven't looked at this in 3 months, and we did very well and were even together for the most part! And the final B on three beats, I nailed it! Great fun. Thank you for always coming through!
Great fun! You actually conduct subtly while playing, and tell the singer exactly where to come in. Very helpful! Each time I run through it, I get more of a handle on the long musical lines and German language.
That’s great Eileen, that you’re finding it so useful and you’re following my (subtle) conducting so well. It’s one of the reasons I have the video of me. I love conducting “Der Freischütz” in Full too.
I looked for your accompaniments (collaborations) and you do a great deal of Wagner, which I have never sung. So I always love to sing Leise, leise with you so I was back to that. I see you are also, perhaps mainly, a conductor.
Indeed, I work predominantly as a conductor, but I do continue working as a vocal coach, and my channel was a pandemic passion project to be able to keep a collaboration through isolation, which has taken on a life of its own.
@@MatthewToogood I, too, sing alone - but it creates happiness. When I am "in" an aria, it fills me with accomplishment and yes, joy. Maybe a few friends will come over and hear me sing Leise, leise.
You played wonderfully! All that deceptively simple entrance music - then the excitement of suddenly seeing the marksman - your pianistic skills are awe-inspiring. I just have to keep up with you, and I've been working on other music and haven't seen this in a month.
Thank you again, Eileen. So glad you can keep returning to it and finding new gems in the music. I can see why Wagner admired Weber so much - he really composed in a theatrical and dramatic way, going between recitative and aria, completely influenced by the emotional state of the character rather than a predefined musical form.
@@MatthewToogood Problem with turning a trio into a duet: The pianist plays the clarinet with her right hand, and the chords with left. You are left with no real clarinet part to sing against, and the clarinet represents the echo in the mountains and the next two movements, especially spring will come.
You know what, I have never actually played it. I’ve only ever conducted the overture to Oberon. I’ll look into it - although if you need it specifically I can record it as a commission more immediately.
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Thank you very much! Especially the part with “leise leise” and parallel “zu dir wende ich…” is very well done with the tempo, not too slow, not too fast and this is the hardest part when you have no singer with you.
You're correct: It's a very delicate balance - I think about the time signature, which implies that the "big beat" in 2 is slow, and therefore the quavers have some movement to support the line. Thanks for engaging and toitoitoi!!
Hurray! I nailed it! Thanks to the pianist/conductor Matthew Toogood.
Brava! Quite an achievement for a complicated aria!
This is great and so easy to follow with the excellent rythmic flow you have ! :))
Thank you kindly. I hope there are more accompaniments of mine you also find useful. :)
I haven't looked at this in 3 months, and we did very well and were even together for the most part! And the final B on three beats, I nailed it! Great fun. Thank you for always coming through!
Brilliant. So glad it is still working so well for you. What else are you working on at the moment?
Great fun! You actually conduct subtly while playing, and tell the singer exactly where to come in. Very helpful! Each time I run through it, I get more of a handle on the long musical lines and German language.
That’s great Eileen, that you’re finding it so useful and you’re following my (subtle) conducting so well. It’s one of the reasons I have the video of me. I love conducting “Der Freischütz” in Full too.
I looked for your accompaniments (collaborations) and you do a great deal of Wagner, which I have never sung. So I always love to sing Leise, leise with you so I was back to that. I see you are also, perhaps mainly, a conductor.
Indeed, I work predominantly as a conductor, but I do continue working as a vocal coach, and my channel was a pandemic passion project to be able to keep a collaboration through isolation, which has taken on a life of its own.
@@MatthewToogood I, too, sing alone - but it creates happiness. When I am "in" an aria, it fills me with accomplishment and yes, joy. Maybe a few friends will come over and hear me sing Leise, leise.
Wonderful! You played beautifully. If only I could perform the singing as well as you played.
Very kind. I’m sure you will get there though!
You played wonderfully! All that deceptively simple entrance music - then the excitement of suddenly seeing the marksman - your pianistic skills are awe-inspiring. I just have to keep up with you, and I've been working on other music and haven't seen this in a month.
Thank you again, Eileen. So glad you can keep returning to it and finding new gems in the music. I can see why Wagner admired Weber so much - he really composed in a theatrical and dramatic way, going between recitative and aria, completely influenced by the emotional state of the character rather than a predefined musical form.
Alas! My new teacher is full up and can't see me now. I had stopped due to extraneous commitments. I'll try again in the spring.
What a shame, but you can keep singing along to my tracks as much as you like!
Now I'm reworking Der Hirt auf dem Felsen.
Brilliant. Unfortunately I've never had the chance to work on that. One day though.
@@MatthewToogood Problem with turning a trio into a duet: The pianist plays the clarinet with her right hand, and the chords with left. You are left with no real clarinet part to sing against, and the clarinet represents the echo in the mountains and the next two movements, especially spring will come.
I love this! Would you ever be interested in playing "Ozean, Du Ungeheuer"?
You know what, I have never actually played it. I’ve only ever conducted the overture to Oberon. I’ll look into it - although if you need it specifically I can record it as a commission more immediately.
@@MatthewToogood Dear Matthew I don't need it urgently. But if you ever get around to recording it I'll gladly donate something for your work!
Hello Katherine,
I’ve just released the recording of “Ozean”. Hope it’s to your satisfaction.
ruclips.net/video/rdzEz1ZFmIg/видео.html