Bottesini: Bolero - Mikyung Sung (2017 master class)
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- čas přidán 31. 01. 2022
- My album is out now on CD and download! mikyungbass.com/music
From 2017 master class with Peter Lloyd:
www.naxosvideolibrary.com/tit...
Giovanni Bottesini (1821-1889) - Bolero for double bass and piano
Double bass : Mikyung Sung (성미경)
Piano : Albert Cano Smit
Mikyung Sung:
Website: mikyungsung.com/
Instagram: / mikyungbass
Facebook: / mikyungbas
Albert Cano Smit:
Website: www.albertcanosmit.com/
Instagram: / canosmit
Facebook: albert.canos...
CZcams: / abcsmit
Performance copyright 2017
Musical composition in the public domain - Hudba
*If I was the teacher, for sure I would say: “can you teach me?!”*
Such an amazing performance.
Bravo, Sung!
Bravo! Sung can play so greatful and so peaceful! I realy apreciate that she moves like she's dancing and jumping with thr notes in the partiture. One more observation: her ability with the german bow, that, in my opinion, is harder than the french in playing some larger and faster pieces.
Vejo quase todos os videos da Mikyung Sung, mais quando ouço o som deste contrabaixo do inicio de sua carreira é maravilhoso.
Of course the "beginning" of her career was more like 10 years earlier! czcams.com/video/DU6R--VWIPA/video.html Indeed, in 2010 (at age 17) she had already won grand prize, audience prize, and special jury prize at the JM Sperger Competition in Germany.
With her incredible range of tone, her boundless energy and her virtuosity, I thought at first that Mikyung Sung was teaching this masterclass. Just watching her fingers flying up and down the full range of the fingerboard is cool, and she makes lovely high tones with fingers below the board entirely. She captures such a range of emotions too, from excited to happy to more solemn, and the emotions show in her face. Such a lovely performance. 🤩😍
It is kind of funny having a master class where the “student” might well be giving one of the best interpretations of a work that anyone’s ever heard. Indeed its often difficult to come up with constructive suggestions that actually make it noticeably better. I once asked him what he could teach a student like her, and he said “try not to get in her way”.
@@matthewv789 that's good teaching, recognize when you have nothing to add and move on. Easier said than done though lol
素晴らしい…
天才ですね。
凡人がいくら努力しても辿り着けない領域にいます。
Wooooow!!! Genial!!! Bravo!! 👏👏👏👏🌹♥️
This is masterful : Musicality, expression, accuracy in articulation and pitch.
5:53 impeccable.. Queen.. beautiful.. bravo..
Incredible. Kind of leaves me speechless. Would certainly make Botttesini proud.
Magic!
Today is a good day. I discovered a so amazing bass player. Wow!!!!!
초 저음에서 전율을 느껴보긴 처음이네요, 그것도 시작 30초만에.. 더블베이스는 날렵하지 않을줄 알았는데 속주에 다시 한번 놀랐습니다.
곡 해석도 멋져서 더블베이스 매력에 빠질것 같네요.
마스터 클라스를 가르치셔야 할 듯 ㅎㅎ
Pardon my French but, "Holy Crap" @mikyungbass you are amazing!!! Musicianship, technique...unbelievable!!!
Yowza!!! This is fantastic! Nobody else plays it with this level of tenderness, excitement, expression, or virtuosity. Mikyung is just on a whole different plane of musicality from any other bassist I've heard.
I agree this is one of the best versions, i think I prefer Joel Quarrington’s, which is weird, because he plays in fifths which kinda ruins bottesini pieces imo, but he definitely has some really good recordings, other than him I don’t know anyone else that can play this piece like this.
@@gregoryf4186 Joel's is very good too. He plays the notes beautifully (a 4th higher than here), though the emotional gestures behind the notes less so. His performance doesn't excite me much or cause me to feel much in the way of emotions, but it's at least quite pleasant to listen to, which many double bass performances are not, and is technically impressive. What I love about Mikyung's performance, though, is how it makes me FEEL - exultant, exhilarated, comforted, warm, humanly connected, joyous.
@@ModusVivendiMedia that’s a solid point, music is subjective
@@gregoryf4186 Yes, I sometimes wonder if Mikyung's way of feeling music just happens to coincide with my way of feeling music, but maybe other people feel it differently and wouldn't think she's so great. (I mean I know lots of other people agree with me, but it's not universal.) It's like harmony: some people react to it more than others. Those people might appreciate, say, Brahms a lot more than the people who are unmoved by rich harmonies.
@@ModusVivendiMedia exactly, not to say I don’t agree with her musicality, only thing that I dislike about Mikyung is watching her, it might just be me but the posture of her Bach and hand make me uncomfortable, it may be just because she’s small and has to do things that look uncomfortable to me.
Makes the bass sing!! Beautiful tone in al registers.
Amazing
She is amazing that she is a bass player and so cute! I love it 🥰🥰 👏🏻👏🏻 🤗🤗 bravo
Allways inspiring
Veramente INCREDIBILE!!! ...
👏👏👏👏👏
👍👍👍👍👍
💖💖💖💖💖
Amazing 🤩😍👏👏
Great Mikyung!!!
Hermosooooo!!!
Wonderful..
Firee
즐감하고 갑니다😮
🔥
I think today's Garry Karr, in terms of uprising the musicality expected from the bass and re-introducing bass to more people, is a girl from Korea.
근데 로이드 샘은
모라세여?
하산 하라구
안그러셨나요?
우짜든 세계 1 등
확실하세요!
잘들었습니다.
Lol can u imagine being the instructor here. He's probably thinking he should go practice
He’s not there to play better, regardless he has more knowledge about the piece and could give tips, he should anyways lol.
@@gregoryf4186 Yes, even if he isn't a better musician (though he is actually very very good), can't play the piece better, or doesn't even know more about it, he can still give feedback, offer suggestions, alternative ideas to try, etc. If you see the complete master class (actually you can't unless you're a "legacy" subscriber to DakApp, since they redid their whole service with all new master classes), I would say his suggestions were about 1/3 to the pianist (mostly "play quieter"), about 1/3 ideas that, after hearing her try them, he admitted her first way was better, and about 1/3 ended up being constructive and led to improvement. But even that little bit is welcome, since anyone can benefit from feedback, and feedback can come from people just from what they hear, not necessarily what they can do. Mikyung came to Colburn already a brilliant musician and one of the world's best double bass soloists, yet she appreciated his teaching the entire time.
By the way, the master class also covered Bottesini's Allegretto Capriccio and Gliere's Intermezzo and Tarantella.
@@ModusVivendiMedia that’s cool, I applied to Colburn as well
@@gregoryf4186 You went to Texas Tech instead? (I saw your channel and was like... that pianist looks just like Mark Morton...oh, it is Mark Morton!) I think you're in good hands there.
@@ModusVivendiMediawell I actually had already been learning from Mark previously, I am going to Texas Tech although I enjoyed Colburn and definitely enjoyed talking with Peter Lloyd and learning from him.
Ich würde mich interessieren, was dann der Professor dazu gesagt hat... es gibt doch nichts mehr zu verbessern !!😂
czcams.com/video/hB2381bmVjo/video.html&pp=iAQB8AUB
Sorry but who is that guy over there supervising you? I think you don’t need supervisor 🤔
That is Peter Lloyd, her teacher at The Colburn School. This was from a masterclass while she was a graduate student, and the video was produced for an app that features music masterclasses.
A supervision can be seen as a sharing, a meeting of talents not judging level. It's a chance ! Don't take its supervision as a critic. It's only 2 musicians playing and talking together with the hearts of notes !
Is it me or there is a total disconnection between her and the piano player. Masterful interpretation by them don’t get me wrong
There’s a good chance they’d never played together before, or since. (I have no evidence they ever played together at any other time, or that he was particularly familiar with the music.) Master classes are often like that.
And actually having listened agin, I am not hearing whatever you’re hearing. There are no timing or synchronization issues that I can detect, it seems dynamically appropriate, he follows her precisely and fairly sensitively, and even when she’s not playing his phrasing, articulation, and dynamics seem fairly consistent with what she does. Maybe I just have an unsophisticated ear for such things, though I never thought so.
@@matthewv789 Maybe it’s just me but I can hear more piano accompany more than the bass on the bass phrases and the bass player constantly looking back, like giving cues to the piano. If you see other videos of her. She rarely gives cues or engage with the accompaniment artist