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Yuchong Wu: Bach's French Suite No. 5 | Juilliard Murray Perahia Piano Master Class - Duration: 38:14.
("French Suite No. 5 in G Major")
(applauding)
- Bravo!
Very fine.
Very sensitive playing.
Really beautiful touch you have.
And beautiful way of playing the piano.
I want to discuss
the problems of playing
Bach on the piano.
And the things that one has to work out
in order to make this music convincing as piano music.
If you look, for instance,
at the third volume of the Spitter's biography of Bach,
it has all the exercises that Bach gave to his students.
Have you seen them?
Not really?
- Not really.
- Yeah.
Based around the idea of chorales.
And they're a series of chord progressions
that go somewhere, and go back to something.
They have a direction.
He is teaching them voice leading.
But at the same time, it's music.
And it's not just dry exercises.
And one should look at them.
They're full of mistakes, by the way,
because I think they were student copies,
and so he just collected them.
There's a lot of mistakes.
But there are many interesting things one hears.
And I think the concept of a chorale
is something that should guide you in the playing.
Because it'll show you where you're going,
where are the points of climax,
where are the points of tension,
and where are the relaxations, and how is it going.
You have to create what is called linear progressions,
for instance.
Hearing an interval unfold in time.
And I think you can be more aware of that.
And the other thing I would say
is to not use too many pianistic effects, like subito piano,
or for instance, in the courante, quite a strong sound.
Yes, strong sound,
but still having this rhythm of the courante.
One, two, three.
So it doesn't become too pianistic, as such.
It shouldn't be done.
Now, the question of tempo brings us.
Again, it's a matter of taste, to some extent.
But I think the allemande is flowing, but not too rushed.
Not too.
Going forward.
Let me just play a little bit the first phrase,
and show you what I mean.
Also, don't do the ornaments the first time around.
It's the second time that you can do.
So that for instance, if you do.
I wouldn't do that.
Now, you have to hear this third.
And back.
So that that's a whole phrase up to there.
It's one statement.
Then the tension gets more,
when you're getting into a harmony
that's not part of tonic-dominant.
So very often in this piece, he'll go to E Minor.
But it's a tease.
It's a tease, because he's back on the dominant.
And now you have.
This expresses the dominant.
Okay.
Now, the second half fulfills this idea of going to E Minor.
So it needs more tone.
Because one has to show the amount of tension.
That's a natural part of expressing the piece.
And so therefore it would be a little bit louder.
And then you can use things from,
I do, from the harpsichord.
Instead of.
Sorry.
Big leaps.
Then be aware of the suspensions.
Four, three, four, three, four, three.
That's the end of E Minor.
And now it has to modulate back to G Major.
We're on the dominant, pedal point on the dominant.
Back to the minor.
And now it confirms the key.
All of these structural things have to be shown.
Otherwise, the piece isn't complete.
You don't hear it as a complete thought.
Okay.
Try it now.
Relax.
I don't think.
Sorry.
I don't think it should have any tension.
You're just expressing a third.
You want to just.
Play me just that.
Now it goes to the neighbor.
Sorry.
And this is ornamented by Bach himself.
And again.
It's that third
that began the piece,
that's sort of the motive for the whole piece.
Relax.
Sorry, it has too much tension.
Yes.
Lead to the neighbor.
Good.
And then now diminuendo.
No, I wouldn't do it.
Needs more tension.
Just a little bit.
Lead to that, sorry.
Stop.
I would reduce it, when you're at home,
to the basic chords,
so that you know where things are going,
and so that it doesn't just sort of go.
It has a direction to it.
More tension.
Now relax.
Nice.
Tension.
Not too much.
Yes.
Keep in your mind the high notes,
because they don't really,
they don't disappear.
So that one hears.
You see?
So, in other words.
Keep it in your mind.
Grow.
Whenever there's a neighbor note,
a neighbor note is dissonant.
So I would play it with more tension.
And then it changes, and it goes back.
Right.
Go to the neighbor.
All right, you can go on.
You can do ornaments, if you want.
Expressive.
Pure.
Keep the G.
Expressive.
Nice.
More sound.
More sound.
It's okay, more sound.
You're in E Minor.
Four to three.
Expressive!
That's right.
7th.
Sorry.
Seven.
Go to the 7th,
to the 7th.
Yeah, what note do you expect?
And he doesn't go there,
because he wants to get back into the register.
See, this register.
So you should think of that C going to the low register.
Shhh.
Can you try just a little bit more singing in the sound?
Just a bit.
Sing.
That's good!
To this.
Crescendo.
Yes, nice, nice.
Sing, sing.
Good.
Now, try the courante.
That was very nice.
Try the courante at less of, less fast,
and less aggressive, too.
So anything in G Major,
there's a kind of lightness and blessedness.
If you think of the G Major piano concerto of his,
it has a tenderness, and,
I don't know, a purity,
that G Major alone has, for the composers.
And so, for instance.
Can I hear this linear progression
from the G?
Basically the G has to sound in your mind.
Do you see that?
And then now it's in the alto voice.
So we hear that 4th, because, coming up,
D will be the most important note for the last four bars,
but up to that,
and the second time,
to go to the key of the dominant.
Okay.
That for me is a little too aggressive.
It's forte, but it's not.
Yes!
I'm sorry.
Do you know what I mean with this 4th?
Just slowly.
This is not important, go here.
And then,
not so much the F sharp, but the D.
Yes, that's it.
Okay.
That's a good shape.
Don't worry about it.
Good, now,
with charm.
Shhh.
Yes.
A D on.
Is mainly how it's going.
For me, it's still a little bit too fast,
but it has better shape.
But now with the shape, be more subtle about it.
Everything you do is right,
but now, very subtle.
So it's very natural.
It's getting hard.
Yes.
Dance.
Yeah.
In three, what's the nature of this courante?
Which is a strong beat?
The first beat,
and the third goes to that.
Yeah.
One, two, three.
One, two, three, one, two, three, one, two, three.
Yeah, it's too much.
You see, it's too much.
Suddenly an accent.
Even that shouldn't be that soft.
One, two, three.
Very subtle and dancing.
Not subido.
Try again.
I wouldn't do subido pianos there, just natural.
Light and natural.
Not from the top, from.
Not subido.
That's nice.
Let's go on.
Don't get too fast.
Yeah.
This is tension.
This is much more dramatic, in a way.
Although it's not very dramatic.
The whole period in E Minor
has to be with more tension than in the other keys,
than the tonic and the dominant.
That's loud, that's loud.
Yes.
You remember I told you about.
But this.
Show me that.
Right.
Right.
Yes.
But it starts.
Yeah.
Starting there.
No, starting there.
That's it, that's it, you've got it.
E, E, E.
Yes, you remember?
And now higher.
Now more.
Dance, dance, dance.
Dance.
Okay.
Good, that's better.
It has more charm.
Now, the sarabande.
I think this is a fast sarabande.
Why?
Because you have 16 bars in one.
Do you know the structure of this?
- Yes.
- 16 bars in the first section,
16 bars in the second section,
but the last 8 of those bars are sort of recapping,
they go exactly to the first.
Where is this?
Compare this.
Except for that F natural, it's the same.
So it tries the recapitulation.
Play that.
Sing, sing.
Okay.
And that recapitulation doesn't really work,
because it doesn't get back to G Major.
And he tries it again.
I would move it,
at least to the second bar.
One,
two,
three.
One, two, three.
Two, three.
One.
You see, that's one thought.
If it's going,
it won't be able to encompass 16 bars, then 16 bars,
and then you have a coda of 8 bars.
That's a very long.
My math is not good, but that's many, many measures,
much longer than the usual 16 measures or 24 measures.
Two.
Is there a way you could lead it?
Sorry.
If there's a way that you can lead it to the second measure.
Relax.
No, relax after the.
One, two.
Two, three.
One, two.
It's very natural.
No, I wouldn't play.
Maybe it's that.
Lead to the next measure.
It's getting stuck.
It always has to sing.
Sorry.
Yes, it always has to sing.
If it gets too pianistic, in a way,
it doesn't, I don't think,
imagine if it was a violin or something
that you were accompanying.
Yeah, that's good.
Three, one.
You can take a breath.
Keep it moving.
Free now.
Sing, sing, sing the top voice.
Connect to the A.
The A will connect to that G.
Where are you?
And that won't be resolved 'til here.
A.
Keep the G.
Yes, you see?
The G resolves.
It goes into the bass.
That's good, you can use this as a hemiola.
One,
two,
three.
In order to change the rhythm from the three.
Okay.
Three.
One,
and two,
and three.
That's good.
Now, more tension.
Going to E Minor.
Here you're in E Minor.
Now you cadence,
in E Minor.
And now you begin a recapitulation.
It's exactly the first part.
Play it.
And that didn't work,
so now another.
No, keep it.
Now you're in G Major.
I would take a little time here,
because this is a long 8-bar phrase,
which isn't expected.
Sostenuto tempo.
Not too much.
Yes, that's extra.
Sing, sing.
This is so beautiful.
Now you have your closing cadence.
Not too loud.
Connect, connect this, the B to the E.
Connect it.
Okay.
Very good.
Thanks very much.
(applauding)
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Eat 2 Spotted Bananas Per Day For One Month & This will Happen To You - Healthy Eating || Life Care - Duration: 4:20.
If you're like most people, you enjoy eating bananas as they are ripening.
As a result, you buy a week's supply of bananas when most of them are still slightly
green.
You eat them during the week as they ripen and turn all-yellow and are still spotless.
Toward the end of the week, as they start developing brown spots, which eventually cover
the entire banana, you throw them out because you think they are rotten and no longer of
any benefit to you.
After all, you would throw out other fruits that are overripe and less tasty.
Think again!
Research tells us that an increasing number of brown patches on a banana means not only
that it is riper, but also that it contains improved qualities to strengthen your immune
system.
Those qualities are contained in Tumor Necrosis Factor, or TNF, which is found in bananas.
It is a substance that fights cancer by helping to move body cells toward infected or inflamed
areas in our bodies.
As a result, those cells are destroyed, thereby preventing tumor cells from growing and from
spreading.
Combined with high levels of antioxidants, which bananas also contain, they help to boost
white blood cells and thereby strengthen our immune system.
It makes sense, therefore, to eat those bananas rather than toss them in the garbage.
Now I will show you, all the benefits of spotted bananas.
Number one.
They lower blood pressure.
The reason bananas can help to lower your blood pressure and to protect you against
stroke or heart attacks is that they are low in sodium and high in potassium.
This means that they are a heart-healthy food.
Number two.
A source of iron.
Anemia can be reduced through the intake of dietary iron, which is present in bananas.
It helps to encourage the production of red blood cells and hemoglobin, thereby strengthening
the blood that flows through your body.
Number three.
Provide great energy.
Should you be ready for a workout at the gym, or be taking exercise in another way, munching
on a banana or two before you start your workout session, will provide you with additional
energy, that lasts for an hour or two, plenty of time to complete your session.
Your body's endurance is increased by the low glycemic carbohydrates, as well as the
minerals and vitamins that are found in bananas.
In addition, the potassium found in bananas helps to guard against cramps in your muscles.
Number four.
Safe on the stomach.
People who suffer from ulcers are often advised to avoid certain foods.
The reason is that, even though those foods might be nutritious, they can cause pain and
even damage to the ulcers.
Bananas, however, can be safely eaten by those suffering from stomach ulcers as they are
soft and smooth.
If anything, the pulpy texture of a banana protects the stomach lining from acids and
other forms of irritation.
Number five.
Helps to overcome depression.
The reason that bananas can help to overcome depression is that, they contain high levels
of tryptophan, which is changed into serotonin in our bodies.
Serotonin makes you happier, more relaxed and generally improves your mood.
Number six.
Calm the nervous system.
Many things can cause you to become stressed or moody from time to time.
Consider eating a few bananas.
They can regulate blood sugar and contain B vitamins, which help naturally to soothe
the nervous system.
The result is an improvement in your mood.
Number seven.
Control body temperature.
When the weather is hot you might want to remember that eating a banana can lower your
body temperature.
It is also true that bananas will lower your body's temperature when it is heated up
as a result of some type of fever.
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