Seymour Bernstein On Bach: Invention No. 1 (ft. Ben Laude)
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- čas přidán 30. 05. 2024
- 0:00 If Bach had a piano
0:38 Bach's Preface to the Inventions
3:15 Articulation, fingering, phrasing, and charm
6:53 Consistency, ornamentation, and climax
9:28 Slurring 8th-note leaps
11:49 Did Bach apply the Golden Ratio to this Invention?
See More Seymour: tonebase.co/piano
Join 96-year-old Seymour Bernstein and Ben Laude at Seymour’s cottage on the Atlantic Coast in Maine for three intimate lessons on popular intermediate works from the piano repertoire. In this lesson, Seymour shares his secrets on Bach’s First Invention.
Beginning with Bach’s Preface to his Two- and Three-Part Inventions, Seymour cites Bach’s emphasis on cultivating a “cantabile” touch at the keyboard, and shares a schema for articulation and phrasing with Ben, who seeks to integrate them into his own interpretation.
Recorded March 2023
Producer/Director: Ben Laude
Video/Audio: Daniel Kurganov
Production assistant: Jack Desrosier
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Seymour is still an ambitious pianist and dedicated teacher at 95. I'm speechless.
He's actually 96, born 24th of April 1927
Unbelievable ❤ Music keeps you young
wow 96???
he seems like he still got some smack left.
He is a beautiful man! I believe we all do love and respect him!❤❤❤
Man do you realise how lucky we all are that cameras and internet exsists so we can have one little masterclass with this genious every day!
Is it every day??
Yes truly!
Yes please... These videos are a true gift to us all! ❤🎶
Agree. What we ought to do is find treasures like this in the internet instead of getting occupied with a lot of nonsense which we are also given free access.
I don't , nor will I ever just take it for granted . I have learned so much being in this mega-library . Personally I think that Bach would never touch a fizz-box harpsichord if he could play a piano instead .
Could listen to Seymour talk for 10 hours straight. Even when I don't agree with him. His passion, conviction, and insight is a treasure to the world of classical music.
Im a Broadway Pop composer but i get so much inspiration from him. Mostly ..his passion and childlike entbusiasm for music.
"I think you're going to love it. And if you don't love it, pretend you love it." Love this part. We're so lucky to have this video, both of you are amazing!
I really love how Prof. Bernstein motivates other piano players. He knows how to let others realize the “Ah-hah!!” moment.
Clearly you listen to a lot of Bernstein
What a wonderful teacher Seymour is that even Ben can learn from him.
🤣 I spit out my coffee :)
Sense . And doesn't the harpsichord beg bigger rubato all over the place to explore structure ? ❤
His book With Your Own Two Hands changed my life. I'm 75 and still studying. Bless his heart.
Yes. It is magnificent.
Prof. Seymour has a sharper mind than most of us half his age...
Ikr, insane attention to detail, accurate fact recounts, as well as the propensity towards understanding Vague Conceps; Rare amongst Musicians in particular as a Personality and Teacher. :)
"I guess consistency matters." It's amazing how intricate this piece is when using detached vs connected lines. It was interesting how when asked to play something differently how it takes a few times to do that. Muscle memory is our friend and our enemy at times.
Exactly! Kinesthetic motions are hard coded in Our Brains, no matter what skill level; always trips us up.
These masterclasses are pure gold.
Regarding the Golden Ratio, I don't think listeners necessarily "notice" it, but when the performer notices it and treats it as a special moment listeners will especially be moved by it. Very nice playing!
Agreed
It's subconsciously noticed as much as intervals are to the average listener.
Bach was a musician not as far as l know a mathametician or had any real interest in maths he did however apply the principle of symettery to just about all his work😊😊
Yes, I couldn’t agree more.
The chemistry between them is amazingly amiable. While Master Bernstein is been an remarkable mentor, Mr. Laude is such a humble pianist taking the advice and changing his habit right away.
I love after Master Bernstein suggested something, then he said, “I think you’re going to love that. If you don’t, pretend you loved it….” The comment tickled me.
So agree! Watching them work together is pure joy.
Brilliant. Seymour is an outstanding teacher and it is a such huge privilege to still be able to learn from his insights at 95. Please Tonebase keep making as many lessons as possible with Seymour while you still can!
I am not a musician. As far as a musical instrument goes, I can hardly pat my head and rub my belly at the same time. But I am fascinated listening to him explaining and teaching this already trained musician about the concepts of this piece. “You see how charming it is?” Love it.
Every one of these lessons is fascinating!
My favorite Tonebase Piano videos involve Seymour.
Seymour's observations can apply to any art form . I'm a visual artist and get so much inspiration from his critiques
With Seymour you can see more...
Me too.
Yes, love him. All the arts are one.
This video brightens my Saturday morning. I also should play this wonderful piece later today. The existence of Mr. Seymour in the same planet is already a blessing! May God bless him with good health and long life.
He already has!
How beautiful to see a piano music professor accept a lesson from a 95 year old Maestro
Seymour Bernstein is a National Treasure. Thankfully, some of his observations and insights are preserved here for future generations. I love his passion and love for music-and the integrity he tries to apply to these historic compositions. What a great teacher.
Love their friendly banter! They have such great chemistry.
I' d like so much that Seymour Bernstein could make one video per day... Not only for his extreme intelligence, competence, but also for his charismatic presence and his spicy humor. The entire planet watches him. He inspires us to put knowledge subservient to beauty and not the other way around. All tonbase pianists bring wonderful information, however, Seymour is the the greatest and most beloved artist. ps. The golden ratio was actually a very clever find.
Mr. Bernstein is a bit incorrect about one thing - Bach did know and did try an early version of pianoforte and did not care very much for it. I am sure the early pianoforte action was far heavier (and thus more clumsy to a new user) than any keyboard Bach had used up to that time. So it's easy to understand why Bach would not like early piano.
Bach also had clavichord, lautenwerk, organ, orchestras, chamber ensembles, and choirs all of which no doubt naturally employed dynamics and vibrato to a lesser or greater degree. As we all know, "cantabile" is an Italian word that means "singing" or "melodic," which indicates a kind of supple, seductive, vocal, birdlike, connected quality to the phrasing. Yes even birds, whose brains weigh less than a penny, have a far wider range of piano and forte in their music than the harpsichord. Harpsichord, despite it's very lovely shimmering metallic sustain, was just about the only instrument Bach had with practically no dynamics. I see in this no implied mandate to let the harpsichord - the flattest instrument - dominate centuries of performance practice of dozens of other instruments that were more supple to the Baroque restrained-cantabile style that Bach nearly always demanded in the forward to most of his collections.
Apparently, Bach's favorite expressive keyboard instruments were (especially) the moderate 3 course Lautenwerk, the quieter and most expressive clavichord (perfect for not waking up multiple children while composing at home), and of course the very loud organ. Bach almost certainly spent more time on these three more cantabile keyboards put together than on the harpsichord. Some recent research is indicating that Lautenwerk or (less likely) clavichord may have been Bach's favorite keyboard instrument.
Damn, you know your stuff.
Tonebase, these videos are my favorites. Love the complicity between mr. Laude and mr. Bernstein. My favorite moments are always when seymour recognizes the genius of other pianists, especially Ben here that is wonderful. Love on both of you! You guys rock!
It's crazy to me how good you have to be for Seymour to be able to make you better. 😮
HE IS BACK, MORE SEYMOUR VIDEOS
Wow. Thanks, Seymour. At 10:30, it's a matter of "where is this going?". So, here we are, grown men, getting the first Invention sorted out. I love it.
I absolutely love the rapport Ben and Seymour have together! I have learned so much by watching these two, and they always make me laugh. Please clad this whimsical old man in bubble wrap; he must be protected at all costs!
my parents used to pay real good money for me to have lessons like this. To be able to sit through this instruction with such a master is priceless.
Actually, Bach did know the pianoforte:
[…] Silbermann had the necessary know-how as well as the financial means to develop his own model, based on Cristofori's mechanics, which he was able to present in 1726. He subsequently built another fortepiano. "One of them had been seen and played by the blessed Kapelmeister Herr Johann Sebastian Bach. He had praised, even admired the sound of it: But he criticized it for being too weak in the treble and too difficult to play. Mr. Silbermann, who could not stand any reproach to his elaborations, had taken this very badly. He was angry with Mr. Bach for a long time because of this." Nevertheless, Silbermann worked for almost ten years on improving his instruments and finally earned Bach's recognition. After King Frederick II of Prussia came to power, the Freiberg instrument maker was able to deliver 15 instruments to the court in Potsdam. In 1747, Johann Sebastian Bach improvised his three-part ricercare in front of the king on one of these fortepianos. This instrument, which is now kept in the New Palace in Potsdam, is reproduced by the Neupert company. (translated from the German Wikipedia)
That's a fun piece of history, thanks for sharing
The old fortepianos were of course much closer to the harpsichord than the modern Steinway, in terms of transparency and beauty of tone. This is, of course, a matter of taste.
@@danielwaitzman2118 I for one get triggered when someone who _personally prefers_ the piano over the harpsichord (taste!) claims that the piano is somehow _better_ than the harpsichord, and that Bach and his contemporaries would never have touched a harpsichord again _if_ they'd only had a Steinway at their disposal already! - as Seymour does here.
My _personal_ opinion is that anyone who has heard Jean Rondeau's (or any other good harpsichordist's) version of, say, the Goldberg Variations or the Well-Tempered Clavier _must_ be weaned off the piano for the rest of his life! But would I ever say that out loud in a CZcams commentary? Never! Ever! 🤪
Here I have a bonus video for you of the Invention No. 1 on the harpsichord: czcams.com/video/eVkNc3LSgOo/video.html
Yeah, all due respect to him for his age and whatnot, Bernstein is wildly unprofessional and ignorant in saying that...
@@hape3862 I doubt Bach would prefer the modern pianoforte to the harpsichord, I agree. That said, Bach's compositions transcend musical instruments. I personally prefer the pianoforte in terms of tone quality and expressiveness. The greatness of Bach's music is that it can be interpreted in really wonderful ways whether it's a harpsichord or a pianoforte. Purists and heterodox may strongly disagree with many things but agree on the profundity of his compositions. Cheers!
I love this lessons. Ben Laude, who is already a far better pianist than I am, learns from someone even better with decades of knowladge that dedicated his life to teaching piano and music. It helps me see how much I am still lacking and how much I could improve
God bless my piano teacher and mentor, Marion DeJesu of Baldwin, NY. She was the one who gave me this same exact instruction that Seymour gives here. When Seymour pointed out the Baroque articulations of the eighth notes ("the long valued notes," as Mrs. DeJesu would say), I actually got teary eyed, because it instantly reconnected me to when I studied with my teacher who gave me so much. I am now the same age that Mrs. DeJesu was when she taught me, and now I share this same musical knowledge with my private students, and in doing so, I keep her spirit alive!
Also, Ben really played this so FLAWLESSLY. I absolutely LOVED his choices! It was authentic Baroque style, but even BETTER.
And of course, Seymour Bernstein is such a treasure and a gift to us all! I love his direct honesty and approach. Thank you!
Seymour Bernstein, a real treasure to humanity
I wish I could find a teacher like Seymour.
Such a beautiful lesson. How many students just play it mindlessly? I did too as a young student. One should train the ear much more carefully. This lesson should be essential for every piano teacher. Let each student watch it.
The secret of Bach lies in the phrasing leading to purity of sound that's beyond pure articulation. Seymour just synthesises the essence of Bel Canto. Amazing to watch! A masterclass in humanity!
Amen
Bach was an instrument designer and an enthusiast of modern instrument design and played pianos when they were shown to him, but he said the action was too heavy and slow, and that the bass was not strong, so he preferred the harpsichord, which requires great skill and dexterity to play well but also has a much lighter and gentle action, allowing for strings of notes to be played quickly and requiring great precision to play with dynamics of any kind.
Mr. Bernstein is a wonderful pianist and teacher, but the harpsichord also has merit in Bach interpretation and enjoyment.
Mr. Bernstein is a real life Yoda.
I was thinking Yogurt.
Thank you for another great episode. I agree with Mr. Bernstein’s suggestions about dynamics and articulation. However, harpsichord is not inferior than piano. They are two different instruments by mechanism. One can’t compare apples and oranges. I played both harpsichord and piano professionally. Every thing Bach wrote made sense on harpsichord. It is not until I started playing the harpsichord that I understood Bach more. All the sequences, polyphony, and articulations are there. Pianists take advantage of the instrument’s ability to make dynamics and legato, but we forget that timing is the most important thing. Because you can’t make dynamics on the harpsichord, you have to find other ways to make a piece musical. You have to do more articulations to make the harpsichord “speak”. And that is when you start to realize that Bach is a genius! I hope there are more people playing the harpsichord. It will even make your piano playing better because you become more creative.
Thank you!
Harpsichord has its own color entirely. It has its place for sure.
What an amazingly sharp mind, and at 96 years old! So wonderful
Piano Master teaches Piano Expert... And it's Glorious! :D
It's wonderful to see these phrases being teased apart and reassembled with improvements. As a non-musician, but avid listener, such presentations bring the music into focus, and help me appreciate a pianist's artistry. Bravo to you both, and thank you.
The idea of connecting the last note to the first note in each bar is brilliant.😳
Seymour is absolute Yoda!❤
Great Uncle Seymour is a Treasure, undoubtedly.
What a masterclass in nuance. Shows you knowing the notes and the basic rhythm is just the start
The man is an absolute treasure, full of wit , eloquence and humour. ( Oh, and Seymour is great too)
I never would have paid attention to these details, it sounded so much better after Seymour’s advice!
What a privilege for us to listen to this !
I don't know why these piano lessons feel like they're helping my jazz/rock electric guitar playing, but they are. Articulation, not just notes!
Subtitles are hilarious! Cantabile becomes "Can Toby Lace" 🤣
The Bach Intentions.
Well, I learned something.
"SEQUENCE!!" Hopefully I'll hear that next time I'm making chop suey out of a phrase.
I could watch Seymour Bernstein on tonebase piano for hours. I only watch when he is in a video as i know it will be worth it 😀
What an incredible lesson!
Have been playing this piece for three years, still discovering new things. Thank you!
Can't get enough of Seymour. This old cat has a million dollar smile! 💯
And million dollar passion
In the last 2 years I've fallen in love with Piano. This is really cool to see ❤🎶🎵
"If Bach had a piano...", J S Bach did play Gottfried Silbermann's Fortepiano. Johann Friedrich Agricola (J S Bach's student) quote published in 1768, "Herr Gottfried Silbermann had first made two of these instruments, one of which had been seen and tested by the late Capellmeister Giovanni Sebastiano Bach. He was favourably impressed by the sound, but at the same time complained that it was too weak in the treble and too heavy to play..." This occurred in the 1730's," J S Bach criticized the heavy action (compared to the harpsichord and clavichord) and being an organists who played Tracker action organs (which require the strength and stamina of a blacksmith).
"...These criticisms were taken very badly by Silbermann, who did not accept that there were flaws in the instruments he built... He therefore decided that for the time being it would be better not to sell this instrument, and this to his credit; in the meantime he did not stop thinking about how to remedy the defects that Bach had detected. He worked on it for many years. And that this was the cause of this hesitation I do not doubt, for it was confided in me by Mr Silbermann himself. Finally Silbermann, having made these improvements in the mechanics (action) in particular, sold an instrument to the princely court in Rudolstadt (…). Shortly afterwards, the King of Prussia ordered one of these instruments, and finding it to his liking, ordered several more. Seeing and hearing these instruments, those who, like me, had been able to see one of the first, could see how diligently Mr Silbermann had worked on the improvements. Herr Silbermann also had the commendable pride of showing one of the newly made instruments to the late Cappelmeister Bach and letting him examine it, receiving his full approval’. One can conclude from Agricola's quote that Silbermann did this previous to J S Bach's trip to Dresden which resulted in the Musical Offering. Nowhere in the Musical Offering is the fortepiano mentioned.
The trip to Frederick the Great is well known. A few Silbermann Fortepianos purchased by the King survive and their key-dip (how the key travels far before the note sounds) and key-fall weight are nowhere near as much or as heavy as a Steinway. The only document that concerns Silbermann fortepianos directly with J S Bach dates from 1749 in which J S Bach acted as an agent in the sale for his friend who was away building an organ (and Silbermann's former student and plaintiff in a lawsuit Zachariah Hildebrandt, also a friend of JSB).
Bach's first biographer, Johann Nikolaus Forkel, "on the strength of interviews with the composer's sons, reported that the clavichord was Bach's favorite keyboard instrument." J S Bach never once used the term Clavichord in the manuscripts of his works. J N Forkel waxed poetically about the clavichord being J S Bach's favorite instrument (and somewhat chauvinistically (for a German State), however), in his 1801 biography (the first for a Musician), and was along with Sarah Levy (Great Aunt to Felix Mendelssohn-Bartholdy) was a student of W F Bach. However, from what I can find, Forkel might have committed (he's one of the earliest musicologists as well as performance practice) a bit of confirmation bias. J S Bach preferred students who first began their lessons on the clavichord and then transitioned to the harpsichord to beginners that had began on the harpsichord.
J S Bach had given this pedal clavichord (for practicing organ works) to his youngest (and favorite) son (at the time a minor) before his death as a present which engender some ill feelings with his two oldest half brothers. In the tax documents (J S Bach died without a Will, ergo his estate was taxed rather than going tax free to A M Bach) there wasn't another clavichord mentioned in his possession.
What was in J S Bach's instruments list? Six harpsichords (4 normal size, one smaller, and one small spinet, there are documents that state J S Bach did rent harpsichord(s)) and two Lute Harpsichords (said to be his favorite instrument) of which he wrote some keyboard works for, both built by Z. Hildebrandt (Agricola), although Johann Christoph Fleischer of Hamburg, and Johann Nicolaus Bach also produced. Some claim this was J S Bach's favorite instrument.
As to the keyboard works of J S Bach, besides the manuscripts (for the Lute Harpsichord), only organ and harpsichord receive mention in his publications; the English and French Suites have in their titles for the Harpsichord. Clavichordio or Clavichordium, mentioned in the Walter's Musical Lexicon (which J S Bach was an agent for sales in Leipzig) in 1731.
Johann Christoph Fleischer produced two unfretted Clavichords, the earliest surviving one is in Stade FF-d3, adapted from fretted clavichord (C-c3) in 1723. The C-c3 range is found in the WTC Pt 1 (and exceeded in Pt 2).
W F Bach's Keyboard Booklet 19 pieces before the first Praeambulum (Invention as it would become known later) contains three minuets in G major. Of the third one descends to GG in bass (13th piece) J S Bach in the English Suites also descends to AA. The English suites are the oldest set. It might be argued that W F Bach was already playing the harpsichord.
J S Bach was also quoted as preferring short natural keys (for organs), a narrower keyboard to the octave, and not playing with outstretched (flat) fingers. On the other hand (pardon the pun), he may have liked the tone of the modern piano, it's bloom and longer sustain, and still disliked the cross strung muddying the bass and homogenous tonal properties except at the extremes of compass, as well as the long key fall before the sound at the bottom instead of 2 mm of the harpsichord, or the shorter distance of the clavichord. The pedal, Silbermann's damper stop was pulled on and off by hand.
For over 50 plus years, I've heard, "J S Bach would have preferred the modern piano, the damper pedal, etc., ad nauseum without much to go on factually. He did approve of Silberman's fortepiano (if eventually), but these had more in common with the harpsichord (most likely built in a Silbermann harpsichord case with Cristofori's action) than a modern piano. He didn't buy one (Cristofori's and Silberman's pianos were expensive and not suited for playing in ensembles), he had opportunity, and frankly two Lute Harpsichords built for a man who owned six harpsichords besides doesn't give much for a total of 8 plucked instruments seems indicate he didn't have the inclination to sell them and his Stainer Violin to buy a Fortepiano. Of course the above is my subjective opinion, and your opinion is equally valid.
Well said 🎉
"Is this going to be seperated? Say 'no'." LOL What a charming teacher.
This must be priceless information for Ben or any other student pianist watching this...in how to aproach the music of Bach!!
This has helped me immensely learning that piece.
As a pianist with plodding fingers, way beyond whatever I can do. As a video, time well spent. Thanks.
I literally never have these moments of "wow ... this is absolute true" - but when Seymour proposes his advices ... my brain says: "Oh yes - this is the answer and there will be no discussion. Go for it".
I could not wait until the end to comment: what a simply fantastic video. Such charm, such good guidance and understanding, such warmth.
What a wonderful teacher.
One of the neatest videos I have seen by you. Sometimes it seems that in Masters classes the teacher just teaches play it like I play it, and indeed Seymour outright told you how to play some parts but it seemed it was more at a foundational level and each of his suggestions were objectively better not stylisitically better. Really fascinating watch.
Great point. It’s incredible how his suggestions were “objectively better.” They just seemed to convey the essence of the piece much more naturally
I learned just by seeing the way you guys are discussing the piece. I never think about music in that way
I agree ☝️
Mr Seymour feel the music in such a wonderful way
I was a pleasure to listen to both of you. Thank you.
I love this duo
Amazing video, thanks for sharing it!
I asked for more Seymour in their recent post, and they delivered
I wonder does the golden measure apply to all pieces?
I loved the detached parts of the invention. I feel like I've played it wrong my whole piano life. I love this!
I'd happily buy your next CD after these lessons.
10:01 "I think you're going to love it, and if you don't pretend you love it " 😂
Sounds like my dad 😂
There are endless possibilities in terms of phrasing, each player has to find their own
I watch Mr. Bernstein explaining a piece, and feel like I have to drop everything and sit behind the piano. Also, Ben and Tonebase you guys make fantastic videos. Some of them can be referenced in schools TBH.
You guys are such an amazing duo truly
Wonderful video, thank you both!!! The ‘Golden Moment’ insight is fantastic!
i got a kick out of it, too!
Bernstein is so inspiring...!❤
Ich denke an mein eigenes Studium zurück, erstes Stück im ersten Semester. Ich liebe es und dieses Video.
I was taught that there is a standard articulation technique used commonly in Baroque harpsichord playing called "overholding," implying that not everything was played in a detached manner on the harpsichord during that period.
Did it really change the sound much? I thought harpsichord plucked the string, I’m not sure how holding down longer would help sound. But I have no personal experience with the instrument.
@@nickcarroll8565 Overholding can give the illusion of legato, because releasing a key at the same time the next key (which ) is pressed creates a staccato-like sound, since a damper quiets the string when a key is released.
@@dbadagna ah thanks. How cool.
They are both so charming with great chemistry and provide wonderful insights. I love peaking behind the curtain and seeing the wizard (Seymour) in action
That was great! Cant wait to see more!
The two of you together is really a joy to watch. Giving great advice, and having from what it looks like a great friendship. Thank you :)
This is so beautiful to observe, the loving care of a wise teacher with receptive student. It's so personal. Blessings to Seymour and Ben, and warm wishes from Michigan.
Seymour is incredible. He's 95! I love this man, he's mesmerizing.
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I'm learning Inventio 4 and my teacher has me do this as well: detach the 8th notes and legato the 16th. I like the way it sounds.
Also it's amazing to see this much opinionated passion.
What an extraordinary human being and also an extraordinary appreciation for music
Is a lesson of art and life
This was amazing.
Priceless ❤
I am so grateful to have the opportunity to watch this great music making, their discussion and the thought behind it.
Always good to hear the wisdom from Prof. Seymour Bernstein.
It’s always a delight to watch Seymour. Thank you for uploading all these amazing videos!
Absolutely wonderful. Thank you!!❤
Thank you for these videos, and your expert musical ideas and suggestions.
This is amazing!!!! I'm so grateful to have found this video
Beautiful playing! Thank you!
Blessings!
Thank you for uploading this. Very heartwarming and insightful at the same time.
5:50 is so clean, man, just when you kinda forget about Bach you just hear something new
This “lesson” reminds me so much of my early training on trumpet, and how every year, every piece, you learned something new about the instrument, the pieces, the artists, yourself. At some point you begin to want to impose yourself upon the artists work, which is fine, once you’ve first learned what the artist intended and why. I’ve long since left off playing trumpet after many fun and frustrating years, but this video brought the teacher/student relationship back to me with my favorite music instructor, Louis Oliverio AT Lincoln High School in Shinnston, WV from 1992-1995. He wasn’t as tender as Seymour 😂 But he was passionate and knowledgeable. And nearly thirty years since I still think often - quite often - of all I learned through him not only about music, but about myself, and life.