John O’Conor Teaches You Character And Technique In Haydn’s C Major Sonata, Hob.XVI:50
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- čas přidán 18. 02. 2022
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In this lesson, Irish pianist John O'Conor shows how to shape phrases in Haydn’s famous “London Sonata” by imitating a dialogue between different characters.
In more technically challenging passagework, O'Conor describes precisely how to hold the hand and arm and how to shape the fingers to achieve Haydn’s dazzling special effects with facility.
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i seriously love the dialogue he puts to call and response
Thank you John O'Conor, for this delightful rendition of Haydn's Sonata in C Major. It was full of character. This tutorial did what it said on the tin. A very competent pianist kind regards Worrell Robinson.
Si pudieran poner subtítulos en español sería genia!!es como los comentarios de otras personas y no entendemos nada porque no están traducidos al español. TRADUZACAN!!!!!!
Such an amazing pianist. Beautiful description and presentation.
What a fantastic teacher
It’s the earlier composers Mozart Haydn early Beethoven. Those are the toughest composers to play well because everything is exposed and every note and it’s expression and articulation has a meaning. This guy is brilliant
I must admit, I love Haydn more than Mozart. Thanks for the lesson, John O'Connor. Shows me how fascinating Haydn's composition is.
Fabulous lesson 👏🏼👏🏼👏🏼👏🏼 👏🏼. I loved it!!
Thank you very much!
How fabulous he ist!👏
¡Genial! Si esta maravillosa clase no ayuda a los pianistas a tocar Haydn con sentido, nada podrá. ¡Muchas gracias!
Thank you ; absolutely beautiful 🙏😊🎶explained
Fabulous!
I learned much from listening to this - you cannot ask for any more.
(Check-out the full version).
Many thanks, an outstanding lesson.
I also studied classical piano in Dublin, although not with John. I do remember seeing him at some of the piano competitions I was in, though (within the Feis Ceoil). This would have been in the mid to late 90s. At the time I was studying with Mabel Swainson, who was also a legendary Irish piano teacher. Watching this reminds me very much of Mabel's teaching. The pure joy for the music, the characterful ways in which to interpret the music, the desire to be faithful (and knowledgeable) to the composer, and the completely engaging style which made many an hour feel as if it were but only a minute. I wish Mabel had lived long enough to leave some of these online masterclasses behind. She was one in a million. You can catch some of her thoughts about the piano in this Irish TV programme aired in the 90s (John also appears in it too!) czcams.com/video/rOXmjvWA7gM/video.html
Superb presentation!
Love this! Thank you
brava for everything really. outstanding
Beautiful and fun.
Effin’ loved that!
Really impressed! Thank you so much! Share an other movement.(2, 3rd mov.) plz.
Great! 😀👍♥️
I hope that there will be a tutorial talking about the Eb major sonata, it’s really hard.
First comment !! And amazing technique insight
Delightful. If I am not mistaken, the term "wrist" was used more than once...))))
Yay. I heard John O'Conor play at the University of Illinois along with pianist and piano professor there, Ian Hobson. I loved it. There was a difference between these two Brits! John played with a lot of passion and personality, while Ian much less so. But together they were outstanding.
Of course, John is Irish while Ian is English. I think John was the first to record all the John Field piano concertos.
@@saltburner2 Yes, that was my point. I didn't want to commit to Ian being English!
I had teachers like this: there is no difference in his (their) demonstrations. It for him (and my teachers) sounded like their lives only had” sound” for meaning.
Haaa!!! I got a lesson from John O'Conor himself. I was terrified.
A very insightful video!
What do folk think about the accompaniment in eg bars 10-14. Do we attempt to play full length quavers or is the standard performance practice to shorten the quavers so they alternate with the semiquaver Gs?
The winking parr got to me
I've always loved this Sonata . many of them I don't care for prefer Boulez and Carl Vine . But there is a lot to early to mid18th century . Especially Hadyn and Marcello and Galuppi . It can be so hard to find the key to this very , very old music . How to see what it CAN mean in our age of cars, airplanes, telecommunications . It IS relevant I know ...the b minor Sonata is great fun. I hope fun has no chronology or time deathdate !
Funny he should mention the many "sfortzandi". Because, right now I'm trying to make up my own mind about what they mean in some Beethoven Sonatas I'm working on right now. And it's clear, they mean different things, in different contexts. It's sort of breaking my brain.
Alaster Moody giving piano lessons...
“How ‘ur’ is Ur? Editions can add such a level of stress on you (and your purse).
The Vienna editions are, for the most part, public domain and available in imslp.
@@aaronclaus7261 Yes, IMSLP is a fantastic resource👍🏿
Dang that was well put but i did not understand why he had to look so hansome
"You have to try and get as close to what the composer actually wrote as possible" - that's why you should play this sonata on a fortepiano.
This is a typical HIP-fanatic statement. What he means with getting as close to what the composer wrote as possible is the interpretation and phrasing. You’re only worried about the instrument and that it should be a fortepiano. I’d much rather listen to him on a modern piano and him understanding the piece than someone on a fortepiano not understanding the piece. Interpretation is way more important than historical accuracy, and if the interpretation is good than if it is HIP or not is just preference. so no, he shouldn’t play it on a fortepiano per se
@@joekbaron1205 Please read my comment a second time, especially the "that's why" part.
@@lauterunvollkommenheit4344 I always hate when people ignore playing on historical instruments simply because they don't like it. I fully agree with you sir.
0:04 Hmmmm...I don't think it's a good analogy because I don't hear any conflict in the music. If anything, the lower voice is strongly agreeing with the upper voice.
thumps up for imagination