Pau (Pablo) Casals Master Class: Haydn D Major Concerto 1st movement
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- Опубліковано 23 чер 2013
- Haydn: Concerto in D Major, Opus 101 (1st Movement)
Pau (Pablo) Casals, often called the foremost cellist of the 20th Century, shares his great artistry with young student Bonnie Hampton as she plays the first movement of the Haydn D Major Cello Concerto (the now outdated Gevaert Edition). From the legendary Master Class Series filmed at the University of California, Berkeley in 1960.
Performing: Bonnie Hampton
Accompanist: Janet Goodman & Roy Bogas
Producer: Nathan Kroll
Director: Alexander Hammid
Editor: Miriam Arsham
(c) 1961, National Educational Television and Radio Center. Used with permission.
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So wonderful!!! I met Casals at a concert he conducted when I was in my teens. I ran up on to the stage after the concert in the hopes of meeting him. As I was trying to get my teacher David Soyer's attention in the dressing room, I looked behind me and there sat Casals in a big armchair looking at me. I ran into his arms and burst into tears. He held my face in his hands and smiled and shook his head for me not to cry. I was too overwhelmed to speak and ran out as quickly as I had run in. It was an very emotional experience for me. Many years later, my friend Jackie Du Pre told me her husband Danny had been with Casals and apparently Casals spoke of the encounter. Jackie said "Was that you Christine?" I was amazed, laughed and said yes, it was. I had always wondered if the experience was emotional for him too. Thanks for posting! :)
Oh my Lord, you are part of cello history. Thank you for sharing this beautiful moment!
I love how you just casually say that your friend is Jacqueline du pre
这是我见过最凡尔赛的留言了
She is lying guys, she has posted numerous fake comments of being or playing with incredible players. Such as Rostropovich, Casals, DuPre and many more. It’s a shame that even a senior does this because it’s such a childish act.
@@lotus4892 she’s been the principal cellist of the London Symphonia and is well acclaimed cellist.
At 7:13, Casals says something that I wish all the modern cellists/violinists/string players/singers could hear...
Actually quite a privilege to be able to watch this ... Thank You!
Right, what a privilege, the legendary Casals and the young Bonnie Hampton, herself now a living legend. How well she takes instruction, a lesson to all of us, no matter what our field. It's not so easy to learn how to learn.
+Bennett Markel well said!
Bennett Markel g
Wow you have so eloquently put it bennet. I have recently realised and am putting in to practice the importance of being ready to receive knowledge. Furthermore, developing the things learnt with intense curiosity to at least fathom on how and where the techniques came from, what the master's mind set and goal was. I'm only scratching the surface right now. There are so far to go. I do not feel I'm even ready to receive knowledge from a true master as of yet. Right now is the stage for me to build my foundation; broadening my cup so to speak.
In the end I'll be the master myself. Life is exciting yet scary.
I wasn’t initially aware who the student was, but you realize in the first moments she’s already an exceptional player.
I found his initial reaction to her playing annoying. He said he prefers it slower. So what? What he prefers is irrelevant. What matters is the RATIONALE behind the decision to play the piece one way or another. Look at the 2 recordings of Casals playing the Bach solo Sonatas. He plays them very differently. You can't declare one is better or worse than the other --- your preference for one or the other is based upon a rationale. Each approach he took at different times had a different rationale behind it.
Had a long sit down with my grandmother to only just realize this man is my great great great grandfather. 😊 Boy am I proud of the great musicians belonging to my family.
Tell us more!
🧢🧢🧢🧢
That makes no sense
Sir, exactly how old do you think Casals was? He's your father's father's father's father's father?
miku resonance, i am soooo impressed! thankyou for sharing that!!!! i am a cellist. rebecca newman
La palabra "master" hoy está pervertida. Hoy en día cualquier crio te ofrece una master class de cryptomonedas o de lo que sea para ganarse un dinero. Una master class es una clase que ofrece un verdadero master como puede ser el gran Pau Casals, Alicia de Larrocha, Paco de Lucia. Personas que han dedicado su vida a una disciplina. Excelente vídeo este del enorme Pau Casals. Gracias por subirlo.
Toda la razón.
Incredible! To play like this with Casals----and no fright!
I would have been extremely nervous when I performed such a difficult piece!
@@hannesheinz720 I would have been too petrified to play.
There is so much more than the notes that make music art.
It is the same difference that makes the great master painters the great master painters. The passion flows through the brush melded with the paints and colors. You can learn the notes. You may have the talented passion within but must develop it through use and practice under a gifted teacher.
Casals is a spirit of truthful humanity and a teacher of intuition.
Great video! Thank you for uploading.
I am pretty sure he was playing his beloved Goffriller.
I had the blessing of attending to several early Casals Festivals here in San Juan at the University Theater.
The prices were, (true) $4,3,2 and 1 dollar (standing room).
I was a university student and paid $1.00!
Can you imagine watching Don Pablo, Menuhin, Rubinstein, Bernstein, Stern, Du Pré, Barenboim, Mehta, etc, etc
Of course not all on the same night....
P.S. Bonus back then, they let us students go to the rehearsals.
I remember Don Pablo spoke (in several languages) to the individual musicians during the rehearsals, he would stop the music, and say: “Maestro Tuba, this and that...” he was such a genius.
You just can’t place a fretless board like that unless you have a brain that Is a gift from above. I’m so glad that he shared this with so many beautiful people just because.
Pardon to take up your time, I am dealing with a TBI in medical terms. It affects my speech, my memory, my reading ability on the right brain but my left brain is starting to take over which includes music and numbers. I cannot read music notes like I used to but if I listen to them as a group with Suzuki I can memorize it and play it that way. My left ear is taking over for my right ear and my right eye is taking over for my left eye. It’s a bit confusing and I am not able to read written notes like I used to. I wish there was someone outside of my mother who is retired from Suzuki violin music to help me learn how to recoup at my young age to read music again. No, as a child I am learning to listen to music on page. Maybe that’s why God had a plan for me to do. If anybody can offer assistance outside of taking medication which I don’t want you, I would take it. I’m 49 and young. I don’t want to lose the ability to play cello piano violin base with us. God bless all that’s enough.
The standard for clean playing was lower in 1960 than now. Despite that, I do think the real value of this masterclass is to show how to create a phrase out of music and bring it to life.
This is just a masterclass, not a concert!
Her intonation is good enought!
But I agree, they reached an extremly perfection during the years since this recording.
@@hannesheinz720 No doubt the level of cello playing in the world has improved greatly since Casal´s times.
This video is legendary! Wow! Incredible! To see Ms Hampton one greatest player and pedagogues of our time play as a young player to one of the greatest that ever lived! What a pleasure to see!
"Natural". "Play naturally"! With great appreciation for this moving uploading, CelloBello.
Thank you bvbwv3!
wondefull video. Regards from EL Vendrell town of birth of Pau Casals
Worth watching all the way to the end. Surely one of the most worthy of students of the master, and just as extraordinary is the work itself.
Hi Derek, we agree!
tears of joy
Para mí estuvo genial.
Si él le permitió tocar junto a ella, es un gran profesor. Habla de la humildad de Casals y de la desenvoltura que generaba en sus alumnos, en vez de acomplejarlos. No es necesario solemnizar la figura de EL MAESTRO. Está bueno ver su parte humana que es la que, en definitiva, lo destaca como un maestro de verdad
Extraordinaire
..i am sorry, i just realized Ms. Bonnie Hampton is making a history performance here on this video, i checked and Ms. Hampton is still cellist playing today, (i am an amateur horn player, a lot of interest in Mozart and Haydn concertos..)
Merry Christmas, and wow. The mind of musicians! You amaze a casual admirer, it's a special (gift), painting on an aural canvas with horsehair & string.
Thanks for uploading this!
I Like that Pablo can sing the music.
For sure! He was amazing celist
EXCELENTE DOCUMENTO DEL MAESTRO CASALS, DANDO CATEDRA!!!!
gracies mestre
this is maginificent the composition of this process
The student plays excellently. She doesn't need lessons from Mr. Casals.
Impressive, thank you.
Pau Casals."Enseñar es aprender".
+carlos felipe bernal santibañez pues a ver si aprendemos su nombre...Pau Casals...no pablo
Tienes toda la razón.
Molt be ;-)
Takes you with it...... moves you with it.
Has anybody ever noticed that
Casals still uses gut strings?
C to d were silver wounded, the a string was plain.
THAT would be crazy, sitting right across from Pablo Casals...
music is the closest human beings come to magic
beautifull and natural , wonderfull Pablo Casals.!
It's amazing how much thing have changed, anyone doing these types of slides in a performance today would get slated by critics!
It's a masterclass not preformance.
No shit Sherlock, but why would one play any differently in a Masterclass? Point I'm making is that if anybody PLAYED portamenti like that today it'd be considered tasteless (do you understand now that I've spelled it out for you?)
TheTradge Casals is a master, and has made musical choices based on his personal experience with the music. If his choices are de facto considered tasteless today, perhaps it is because the large majority of performers do not have the courage to respond individually to the music, and follow each other in recreating mechanized, musically empty, while technically "perfect" performances. Furthermore, critics unaware of the important historical performances of this work, who would therefore dismiss a performer's musical choice simply because it's not "in style," before considering whether the choice is a musical one, aren't up to their job, and don't deserve to be in print.
TheTradge Your point, or rather question, is valid. My answer is that music is (and ought to be) a totally free world, in which there exists no absolute thruths and no absolute 'wrongs' and 'rights' - apart from the limitations you *choose* to value. If for some reason you want to allow only 'modern' interpretations (i.e. in fashion now) you are free to disregard or frown upon 'old' interpretations. And you run the risk that your preference will become outdated over time. Because all musical preferences are bound to their time and social circle. And some of them are nothing but personal choices.
The romantic Bach of 1950 was frowned upon by the early 'authentic performers' of the 1970s and 1980s. Their preference, in fashion 30 years ago, for instance to play much faster and without vibrato, is now being replaced by less strict or musically orthodox preferences now. And it is going to be changed again in a number of years.
Besides, the world of music would not be as interesting if all performers played a certain piece in the same way, according to some absolute 'golden standard'. Making music implies creativity, implies searching for new roads and new ways, implies choosing & developing a style of your own. This is why great performers such as Casals, Fournier, Rostropoovich, and Ma will never sound exactly same.
So stop asking yourself how a piece 'should' sound and whether it 'should' include portamenti. The real questions are: how do you like such portamenti? Can you (learn to) appreciate them? Can you open your mind to more musical possibilities than what you thought 'should be'? And suddenly your perspective on music broadens, and a new world opens up. Including historical performances.
The musicians of the 1950s and 1960s were not stupid, you know. They were just like us.
Hannes Minkema Do you see a question mark? I am glad that you gave your views, and you make a lot of valid points, however the nature of my post did not welcome it, all I did was state that things are very different now, and what was, as you stated, "in fashion" back then is not as common today. These days a much cleaner, more natural approach is "commonly adopted" by performers, and the types of portamenti used in this particular video aren't often used. And just to clarify, NOT ONCE did I say that that is how the piece "should" sound, just like NOT ONCE did I say that I didn't appreciate the portamenti, or that I'm musically closed-minded like you're blindly assuming that I am! How the hell are you getting all of this from ONE sentence written on a comments section of a UA-cam video?? You've basically taken what I said, and blown it WAY out of proportion, are you a journalist by any chance?
Wonderful!
귀한영상 감사합니다.
You're welcome ann indigo, thank you for watching!
Thank you for this gift.
Your welcome Gerald!
Tienes toda la razon cayo255,saludos desde chile.
thank you so much for this....awesome !!I'm going to learn it during winter :-)
fantástico.
So precious
감사합니다.
Its so funny how she sounds absolutely incredible but Pablo Casals just looks so traumatized!
@@miaagguirre2
She is great -
how would you play and sound in front of your idol?!
You can find The coral part of 9th symphony of Beethoven in the 26th minute of this Hayn Concerto.
Without any doubt to learn to play an instrument like the violoncello nowadays it is much more easy than around that times in which is taking place this wonderful master class with Pau Casals and Mis Bonnie Hampton. I say that because through the video technology we can learn just analysing and understanding what is going on in any of these events
I could appreciate that from the three learning ways that I know; cognitive, constructivism and conductsim I see that when we are aproaching a masterpiece any of them we have to start from the very beginning of understanding the piece we are playing, I meant if is in Dmajor we need to KNOW where we are all the time. where is the secondary dominants, precadential spots it is not enough to know when we are in the 1st first theme, 2nd theme...also we need to becareful with the tone and the pitching problems it is very annoying to listen two cellos out of tune. Music is energy expressed in rythm, melody or harmony sometimes rhytm prevail, or harmony prevail or melody prevail. Otherwise we could get in a point of behaviorism/conductism that is not recommended in my humble point of view. I am grateful with the Pau Casals and with Educational Series Television. Thank you very much
Are you saying it's easier to learn to play the cello now than it was in 1961 when Casals gave this class with Bonnie Hampton? What is your evidence? Are you saying Casals didn't know the harmonic structure of the Haydn Concerto, simply because he doesn't mention it?
yes"""
Franklin Damian Altuna Marcano If you're right, we should see in this century veritably hundreds, even thousands of cellists better than Casals, Rostropovitch, and Ma. The greater likelihood is that you are beyond ignorant or certifiable.
THANK YOU SIR NEVERTHELESS WHAT INSTRUMENT DO YOU PLAY?
THERE IS ALWAYS A MORON LIKE YOU PLAYING THE PROFESSOR
Beautiful
Thank you Steve!
He’s brilliant
Demais!
Lejos el mejor cello de todos los tiempos.
Ahahaha
superbe
what cadenza were they playing.
Wow💕👏👏🎶
❤
What edition is she playing? There are a lot notes I'm not used to hearing...
And I enjoy those glissandi.
This is Gevaert Edition...
Hala que vien tocan!!!!!!:-)
WIth RESPECT.
I wonder if Bonnie was married to English cellist Colin Hampton when this was taped in 1960. It is probably before she was playing at Marlboro.
Gigante del violoncello
1:03, 4:13
カザルスの音綺麗ですね。
Интересно а как сложилась судьба ученицы
Why is this so different to our editions today? and where can I get me a copy. :)
IMSLP has a few old public domain editions online, including the original, handwritten one from 1783, though it's awfully hard to read. I can follow enough to tell that the edition they're using in this video must have some extra embellishments added that I also don't recognize. It seems like the kind of concerto that would lend itself to a variety of embellishments, though, so it's all good. :)
This is the Gavaert edition, which I think may be on IMSLP
Who wrote these cadenza?!
Anyone know what year this was filmed?
Hi Brian, we are relatively certain that it was filmed in 1960.
A great deal of playing takes place here, most of it quite enjoyable, but rather little teaching! In addition, Casals sometimes suggests rallentandi that induce the student to play out of tempo. Moreover, in the comments of viewers (below), the music itself is barely discussed, while there is much discussion of the Catalan cellist’s first name..
ritartando?
1:28
Visca Catalunya Lliure! Pau Casals, a true patriot who loved his people and country. What a great man!
This is copyrighted video no?
He's name is not Pablo Casals, is Pau Casals
If you could change the videos title i would be agree
When he born... but when he was famous he change to Pablo, search his world discography.
I'm reading a book on music profiles and it has his birth name listed as 'Pablo Casals' for these purposes. He was born in Spain. Pablo's pretty common. o3o
yeah, but where he borns in Spain? in catalonia, where there are another language that it is the catalan, and pablo its said Pau.
:I No, he was born in Vandrell. Do you know ANYTHING about this guy?
Where is el Vendrell? in Catalonia. I live in catalonia, and i study music, and the child of catalonia study this man and his live
Pésimo que ella,interrumpa al maestro tocando prácticamente a dúo sin oír la sutileza ,el ritmo y la fuerza que el maestro le dà a la obra,debería oír primero y luego tocar después de el.pero por lo que he visto los años le dieron lo que el maestro trataba de enseñarle good Bonnie Hampton.
entiendo lo que dices pero él es quien la instiga a tocar, yo también creo que sería mejor escucharlo y después tocar por que tocando ambos ni te escuchas bien ni lo escuchas bien.
creo que nunca has estado a una clase de música porque no es una exibicion del profesor por muy bueno que sea para eso te vas a verlo en un concierto....
Pablo? PA BLO? Ya me disculpareis por la corrección, pero su nombre era Pau, Pau Casals.
+Xavier Traveset Casals respondía a ambas formas. En los años treinta grabó para EMI y en Londres aquel prodigio de las suites de Bach bajo el nombre de Pablo. No creo que nadie le obligara a hacerlo. saludos.
I CAN NOT UNDERSTAND the MEANING of the RULES ABOVE . I AM VER SORRY . ALL THIS ' S , to SHARE , is to SPREAD BEAUTY ... WHAT the WORLD NEEDS the MOST . THAT ' S WHY ALL SOCIAL MEDIA ' LOGOS ' ARE BELLOW the VIDEOS ...
Actuación en la casa blanca de Pau Casals
its like my master you hold the brush this way..no no this way...slap..slap..ouch..learn.
Ela não sabe escutar o professor.... fica tocando junto....
Pau no Pablo…. Porque no Paul entonces! Es Pau!
Unfortunately both Celli are not in tune, so it is not so funny to listen to them playing simultaneousely -however Pablo and his student are great
Love himself so much!! Such a peacock…. Shame
Actualmente se toca mucho mejor el violonchelo. Acabo de escuchar aquí en youtube por ej. la versión de Heinrich Schiff; respetando la personalidad de Pau Casals y su gran influencia en el s.XX, creo que esos "glissandi", etc. están ya fuera de lugar.
Rushed!!!,,, FU ole white dada, she played it perfecto, but to ask for it differently, is our pleasure as musicians to alter it for your wishes..but DAMN her vibrato is flawless we try ti GET oeep to be as profoundly passionate about strings today and his pkaying is mechanical and unemotional. switch!!!!!
Kindergartens school 😅
Change that pelase, he was called Pau, not Pablo.
His international name was Pablo.
I am surprised by this class. Bonnie obviously has a very interesting and expressive approach. Her weaknesses was accuracy and control. And Casals seems to focus only at the first and not the latter
NOT pablo!!!! is PAU Casals!!
His international name was Pablo.
PORQUÉ ESPAÑOLIZAR UN NOMBRE EN CATALAN Y NO HACERLO CON EL RESTO?.LOS NOMBRES PROPIOS NO SE CAMBIAN.ES DE UNA IGNORANCIA SUPINA.Y UNA FALTA DE SENSIBILIDAD MAS QUE EVIDENTE.
not very accurate pitch el senor Casals ....
Today this is hellpless for any cellist who wants to win an audition.
Nobody plays the Gevaert-Version anymore and takes this freedom of playing.
This is overall terrible sounding Cello playing of a mediocre version of this shit-concerto.
Hi Michael!
You are missing the point! A master class with Pablo Casals has enormous historical value and interest. And the young cellist, Bonnie Hampton, became one of her generation's most beloved players and a major teacher at the S.F. Conservatory and Juilliard School. You are right that the Gevaert edition is terribly embellished and outdated, but this class is from 1960 - how interesting! And while we are each entitled to our own taste, the Haydn D Major has become one of our most venerated and time-honored works! - Paul Katz
You are of course right and I know that Bonnie Hampton was a world class player and teacher.