这节课请来了Saybrook Orchestra的首席指挥家 Bradley Naylor, the principal violist Katie Dryden 和 the principal flutist Elana Kagan。
整节课是为了周六晚上的一场Saybrook Orchestra的音乐会做准备。
【挺好玩的一节课，哈哈，喜欢教授对自己的那段调侃。】
Introduction
当我们去评价一场古典音乐会的时候，哪些该做哪些不该做？
You do the following:
- How well did the performance go?
- How did the players do?
You don’t do the following:
- who the composer is.
- when the piece was written.
- the history of the piece, the historical context.
- the meaning of the piece.
Writing a Concert Review
Beethoven’s Pastoral Symphony:
sort of an introduction, then an introduction to the birds of the forest in the second movement, a peasant romp in the third movement, a storm gathers in the fourth movement. That — we have an extra movement in this particular symphony because we’ve got Beethoven writing a bit of pictorial music here in the form of a fourth movement that’s a storm — and then a hymn of thanksgiving that plays out in, basically, a rondo-variation form there at the end.
听贝多芬的作品时，需要知道什么呢？了解贝多芬本人。
在音乐会之前，你可以将要演奏的所有曲目都听一遍。
在听音乐会的间隙，可以记录下你的感受。
在结束后，写下你的review。
教授的建议是：the sooner you write your review after a performance the better.
Rehearsing and Leading an Orchestra
Bradley Naylor 和教授的互动。
Bradley Naylor 自小加入合唱团choirs，现在是一名conductor，很早开始学钢琴。
这段教授和Bradley Naylor的一问一答还挺有意思的。有一段提到了Helmuth Rilling，德国指挥家，指挥三小时，不看曲谱，牛！
Last year Helmuth Rilling, who is a famous German conductor, came and worked with some of the ensembles and did Mendelssohn’s Elijah, which is a huge romantic oratorio about two and a half hours long. The dress rehearsal — He came to the dress rehearsal, put his score down on the music stand, conducted for three hours, never opened it, and we were like, “Wow, this guy knows the score.”
随后一群人玩了一个辨音的小游戏。
Viola Excerpts from the Concert Program
一场小型的音乐会，演奏 The Marriage of Figaro。
Balancing Solos in the Performance and Conclusion
the principal flutist Elana Kagan 表演了一段solo，Beethoven Pastoral Symphony second movement.【贝多芬田园交响乐第二乐章】
one more question from professor Wright:
Where should we sit?【去音乐会，我们坐哪里好呢？哈哈】
Well, my favorite place to sit in concerts is somewhere where I can see that interaction between the different, I guess, gears in the machine, as you put it. So I would sit somewhere not directly behind the conductor, so somewhere where you can see the players ‘cause they’re the ones actually making the music. — Bradley Naylor