Скачать с ютуб Piano Masterclass with Gyorgy Sebők / Einat Fabricant / Liszt: Funerailles /Jerusalem Music Centre в хорошем качестве

Piano Masterclass with Gyorgy Sebők / Einat Fabricant / Liszt: Funerailles /Jerusalem Music Centre

From the Jerusalem Music Centre's Archives: Historic Masterclass with the legendary pianist Gyorgy Sebok at the Jerusalem Music Centre (1986). JMC graduate Einat Fabrikant plays Liszt's Funerailles for the great maestro. Don’t forget to Subscribe now for more high quality Classical Music content! One time, Sebők looked back on a concert he gave at age 14, and drew a connection between that event and his teaching philosophy. "During the third movement I made some mistakes," he recalled, "but I didn't feel guilty about it because I felt I had done my best. We had a neighbor, a music lover, who said to my grandfather about my performance, 'Oh, that was wonderful, but in the third movement something went wrong.' My grandfather became very angry with him and said, 'I don't care, because the sun has spots, too.' That was a beautiful thing for my grandfather to say, I think, and sometimes I remember that: Even the sun has spots." Support a Young Musician: https://www.jmc.org.il/donation.php?t... Learn more about the Jerusalem Music Center: https://www.youtube.com/watch?v=QVrxz Visit the Jerusalem Music Centre’s Homepage: https://www.jmc.org.il/ Join our Facebook Community:   / jerusalem.music.centre   Young Israel Philharmonic Facebook Page:   / youngisraelphilharmonicorchestra   Follow us on Instagram:   / jerusalemusicenter   Contact us via Email [email protected] or Phone +972-(0)2-6241041 From Gyorgy Sebok's Obituary in The Independent, November 1999: "In Starker's view Sebok was "one of the greatest teachers of all time". David Cartledge, a student of Sebok's for the past seven years, reported his keen awareness of the role of music in the larger picture of things. He maintained a strong awareness of the world at large, informing himself thoroughly in developments in science, philosophy, art and literature. This meant that a lesson with Mr Sebok could easily range in discussions - and far from superficial discussions at that - from Einstein and Feynman, to Proust, to Fred Astaire, to Ella Fitzgerald, whilst still remaining germane to the musical point at hand. One cannot help but emerge from his studio with a larger perspective of what music means, and what it means to be a musician. There was no Sebok "method", Cartledge feels; instead, he was able to put music in its context, and truly made the student feel part of the heritage of pianism dating to Liszt. All of this teaching varied with the specific needs of each student. He had a unique ability to tailor his approach to each student, and to present ideas and concepts in a way appropriate to that student's musical development. Perhaps what makes it difficult to summarise his teaching is that there was no "one" path that each student followed: each student had an intensely personal experience. The violinist Janet Packer, a chamber-music student at Ernen in the late 1970s and early 1980s, observed how Sebok would respond with physical advice, psychological probing, historical anecdotes, back-to-the-score literalness or poetic evocation. He had an uncanny gift for sensing the obstructions blocking a student's progress, deftly revealing them for what they were, and working with a surgeon's skill to remove them. The illustrations he gave at the piano had the zen-like quality of sounding perfectly right. Piano technique was, as was everything else, holistic. One learned how to use one's whole body to assist in getting around the keyboard, whether it be to remember to keep a relaxed pelvis, or to tighten one's stomach, or to twist one way while reaching the other . . . His own playing revealed a remarkable ease and fluidity: even when teaching rather than performing, he seemed to have the bulk of the repertoire in his fingers at any given time. Cynthia Cortright, Sebok's biographer, recorded his view that "Not only is music a language, but every composer, I think, is a language in itself. It has its own grammar. One has to feel that, and understand that. And, still, there are dialects possible. If you speak English as they do in Boston, then that's fine. And if you speak it as they do in London, then that's fine, too. And if you speak it as they do in Tennessee, that's also fine. But if you speak English as I do, then it is wrong. The pronunciation is wrong; the accent is wrong. It's English spoken with a Hungarian accent. Playing Mozart with a Chopin accent is wrong, too." Sebok wasn't interested in fame (almost all his available recordings are in the chamber music he loved, not the soloist's spotlight), and his rather roly-poly, cuddly exterior seems to have saved him from the attention of the marketing men; as a result his stature is better appreciated among musicians than the wider public. But his relative celebrity is immaterial to his true worth - in the words of Janos Starker, his friend and partner of six decades, he was "a giant of music".