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