Ludwig van Beethoven: Symphony No. 5, a conducting lesson by Gerard Schwarz (1st Movement)발음듣기
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Ludwig van Beethoven: Symphony No. 5, a conducting lesson by Gerard Schwarz (1st Movement)
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(Symphony No. 5, Ludwig van Beethoven, first movement) Did you ever wonder what the conductor's doing up there?발음듣기
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I thought it'd be interesting to take a few moments in this first movement of the Beethoven Fifth Symphony and tell you what I'm doing and what I'm thinking about while I'm doing it.발음듣기
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First, I have to give you a little elementary music lesson, which, if you know it, you can skip past this.발음듣기
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If you look at the first page of the score, you'll see it says "two, four" at the beginning of the line.발음듣기
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Two four means that there are two beats in every measure and a quarter note is getting a beat.발음듣기
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A eighth note, which is a black note with a line and an extra flag, and a half note, which is a white note with one stem. They are fractions.발음듣기
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A fermata is a sign that a composer puts down for the conductor, performer, to hold a note longer than what's written, but without a specific amount of time.발음듣기
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You have a eighth note with a flag, quarter note, no flag, and a half note, which is white, not black.발음듣기
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It doesn't mean you have to do that, but if I would punch a metronome in, (rhythmic beat) that's 108. There's something important about that.발음듣기
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He says, a half note equals 108, which means that he believes that the piece should be felt per bar, one beat per bar, rather than two, even though he wrote it in two four.발음듣기
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If you look at the first measure, or the first bar, there's a eighth rest and three eighth notes.발음듣기
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The famous three notes, ba, ba, ba, and then it arrives on that half note, bam, with a fermata.발음듣기
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Great orchestras like this one, you give a sign, like that, and they know exactly how to play.발음듣기
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If you count to the third bar, there's another eighth rest, three more notes, going to another half note, this time tied to a second half note with a fermata indicating, probably should be a little bit longer.발음듣기
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My hand is strong, to just reinforce the idea to the musicians that they shouldn't get softer.발음듣기
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Then I do another wind-up, up beat, and, pht, another big down beat, to again have those four notes played fortissimo, loudly, with the fermata.발음듣기
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(First eight notes of Beethoven's 5th Symphony) The next moment is the hardest moment for the conductor.발음듣기
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So it would sound "ba, ba, ba, bom," and then "ba, ba, ba, bom," cutoff, (vocalizes melody). They add a whole bar.발음듣기
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The reason that some conductors do that is because, if you notice, the next entrance, if you count the bars, one, two, three, four, five, the sixth bar is marked with a "p."발음듣기
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The problem is that, when you play loudly and the next note, if it's soft, won't be audible.발음듣기
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(beginning of Beethoven's 5th Symphony, normal speed) What's interesting here, I never have to tell the orchestra how I do it.발음듣기
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Interesting. And when you get an orchestra of this caliber, which is maybe the greatest orchestra ever assembled, the conductor doesn't need to do much, because he's giving all the signs with his hands. Here we go.발음듣기
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Now, what happens next? There are a bunch of bars that go on, it's all soft, everybody comes in with a little figure.발음듣기
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I mean, I could actually stop conducting, and it wouldn't be a problem, because they would play together.발음듣기
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Then you notice, there's a piano sign and it says "cresc.", which means "crescendo," get louder, and then it goes to a forte.발음듣기
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Now, the key here is, very important, that the orchestra does not make any crescendo until that one bar.발음듣기
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So what the conductor does is, at that bar, he'll give an explosion, or she'll give an explosion.발음듣기
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We move on, and we see, again, the three note, three of the eighth rests and eighth notes going to a half note tied to another half note with a fermata, and it's the same routine again.발음듣기
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You watch the conductor, you'll watch me, and you can see that my motions are growing with intensity and we arrive at what we call sforzandos, and then continuous forte. Then you'll see fortissimo.발음듣기
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What I have to do here is just remind the orchestra that this spot is louder than the one before. Not a big deal.발음듣기
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If you watch my motions, I'm conducting forte, big, big motions, with intensity, and then I do something to make it louder and bigger. And you can see that.발음듣기
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(5th Symphony, rising in intensity) Then you'll see two big chords and the horns introduce the second theme.발음듣기
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So my motions are not as choppy and aggressive as they were for the whole beginning. It becomes smooth.발음듣기
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You know, we know, go to a restaurant, and the Italian restaurant says "Dolce." That's about the dessert.발음듣기
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But what Beethoven's looking for here is a sweet, beautiful quality. He doesn't indicate any dynamics.발음듣기
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Or should it be monotone? I like phrasing, so the phrasing I like, you can tell by my motions.발음듣기
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Then, if you notice, we have a little sequence which goes "la, da, di, dam, da, da, di, dam,"발음듣기
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What I do is, I do a little louder (vocalizes louder), then a little softer (vocalizes softer).발음듣기
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Then the crescendo, what I do, if you notice my motions, I do the crescendo starting softer, because it's a long crescendo.발음듣기
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I just made the gesture of long notes, and these incredible musicians just did it, the first time through.발음듣기
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You'll see we arrive at a double bar with dots, double bar meaning a little thicker bar line.발음듣기
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On a rare occasion, if a piece is too long or a concert's too long, you can on occasion eliminate a repeat and it doesn't hurt the music.발음듣기
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Once you do that whole repeat, and basically with the same motions and the same ideas, sometime maybe a little variety.발음듣기
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The development section, in this case, begins in a very dramatic way, again like the opening, but very different.발음듣기
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It gives you the impression that something unusual is going to happen, rather than, we're going to move through this same thing at the beginning.발음듣기
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I mean, you won't even notice it, but it is imperceptibly slower, but with the same kind of intensity.발음듣기
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Then, of course, with the same issue after the fermata, how to have the loud release, and with a kind of rebound, the soft begin?발음듣기
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(5th Symphony, development section) As you watch and listen to the next section of the development, you'll see little subtle changes in my motions, but basically, it's just keeping everything together, keeping it moving, reinforcing the dynamics, reinforcing the accents that Beethoven wrote, until we get to these place of these half note chords.발음듣기
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I don't believe that Beethoven intended the woodwinds to be a separate gesture from the string gesture.발음듣기
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I mean, one could say it is, but in my estimation, these repeated chords are to be connected.발음듣기
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So I give motions that indicate that the players should sustain those half notes full value.발음듣기
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And we get softer over a period of six bars and then we arrive at a piano. Now we're at a piano.발음듣기
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You've gotten from the softest moment in this symphony to the loudest moment in this symphony, from pianissimo to fortissimo.발음듣기
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We have to release the fortissimo and be able to hear the pianissimo, a dialog between the woodwinds and the strings.발음듣기
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Once again, I give a big beat to indicate the reinstatement of the fortissimo, and we arrive back at the big fermatas like the beginning.발음듣기
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(5th Symphony, repeat of first theme) It's an indication of a, what we call the recapitulation. It's all coming back.발음듣기
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But what happens here that's a little different, the oboe takes over, leading to a little oboe cadenza.발음듣기
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Since that's the new material, I want the oboe and everyone to notice that that's what we should listen for. We've heard everything else before.발음듣기
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So the oboe solo begins, I make a gesture towards the oboe, and then it arrives at the oboe cadenza.발음듣기
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He has an additional fermata on his last note, and then I come in with the same material that we heard from the beginning.발음듣기
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(5th Symphony) Again, it leads to forte and then accents, and then fortissimo, and this time, the introduction of the second theme is by the bassoon rather than by the horn.발음듣기
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Then we go back to the same second theme, the same kind of phrasing and the same crescendo, except this time, the crescendo's even longer. I think it's 14 bars.발음듣기
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Beethoven was known for, at the biggest moments, sometimes not forging ahead but holding back, and I hold the tempo slightly back to that fortissimo.발음듣기
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Then immediately I do what we call "a tempo," back in the same speed that it was going before.발음듣기
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Sometimes there are some issues with what we call ensemble, so I have to give a little clear beat to make sure everyone can jump in and find their moments.발음듣기
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(5th Symphony, entire orchestra) And then, there's this big loud note and then there's a soft "ba, ba, ba, bam" by the woodwinds.발음듣기
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This is a tricky spot for the conductor because he ends big, or she ends big, then gives a little sign for the woodwinds, and then you have to be very careful not to give any sign for that bar rest so that no one jumps in.발음듣기
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(5th Symphony, entire orchestra comes in) And then we have this great moment for the whole ending, where I love hearing this horns playing this passage and the timpani.발음듣기
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If you watch me, I give a sign for the horns and I give this big sign for the timpani, and the timpani actually, it's only marked forte, but I actually give the sign to indicate that he should play it louder, which he did.발음듣기
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As we move forward, again, and the cellos, basses, and this time with the violas, these quarter notes come back in.발음듣기
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Then we move to another dialog between the woodwinds and the strings (5th Symphony, woodwinds and strings) Again I try to connect, so you see in my motions that I'm holding that last quarter note of the woodwinds, holding the last note of the strings, so that we all connect and have one sentence, rather than a sentence that's chopped up.발음듣기
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Finally, we get to the very end, again with the same gesture like the beginning, the same fermata.발음듣기
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(5th Symphony, woodwinds playing softly) And then, immediately, we're back to the fortissimo and go to the end of the movement without any slowing down, without slowing of intensity, and in a very dramatic way.발음듣기
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So I think you've seen, in the description of what goes on, in this movement, for example, much of it can be played, the orchestra can play by themselves.발음듣기
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