Pablo Ferrández “ TALKING CELLO” 8, with Jean Guihen Queyras, ( SUBS EN ESPAÑOL)

Pablo Ferrández “ TALKING CELLO” 8, with Jean Guihen Queyras, ( SUBS EN ESPAÑOL)

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Hello, everyone welcome to another episode of talking channel, talking cello eight, and. Half the pleasure of bringing you today an. Incredible, Telus jung-hyun Kailas we. Are going to talk about but among, we'll, see where. The conversation will lead us young. Again thank, you so much for being here. You. And, I, was, practicing but these. Days and, I. Think one. Of the most difficult things for me at least is to, make it sound clean, I don't know why somehow, it's easier to to. Play cleaner Dwarfs a concerto than. Bath Sally with so many string. Crossings, and, I get so much noise saying how. Do you work on this do you does. This happen to you or, not really oh absolutely. And. I, also, see, I see for myself but. I also see as a teacher that. Many. Of my students, struggle. With. Sound. Much. More on that and other repertoire. I. Am. Myself still, working on it every day but. There. Is one thing which I do find. Which. I do, find. Helpful is, that. Well. Basically. We. Have to go from a music musical, point of view I think sometimes. The mistake, is that. If. You don't have the. Hierarchy, between the notes like. Which one where do you dig in and which, nodes are, in. The wave after you created an energy. Then. You, always try to be in touch and by Bach I think that doesn't work so first there will be this this. Understanding. Of the language of that like, I mean, you know it would be like if I try, to speak Spanish now in front of you Paulo and and then, you would see I would put the wrong accents, everywhere or as a French guy typically, I would not put any accent and for, this and that you know. It. Would be like this and you would barely understand what I say and I. Think. With. The music of pockets, put, it firmly to to any music here so we have to learn which language, is this music, but. It's even more true with BA because. We. Have all these layers because, we are we are by ourselves and we have to blow these different voices and. They, have, to to. Have different. Production. Of the sound different character and that's how you cut you you bring, three dimensionality. That's how you bring. Life. In. Your face and and, I come. Back to your question because I'm not trying to allude it but. I do think, that. If. At first you, you. Are not. Clear. About. Which. Notes are going to be the one. You. Know on, which you you you take the main one in exactly, and that and that and. Then technically. What does it mean and indeed, then. I think, I find very fascinating. How. We can use the. Different. Articulations. That. God. Or whatever you call it has given us you know, to. Produce the sound that, that and. It's. In a way quite simple, than the realization, I think it takes some time to find but. The. Basic, principle. I think is. That. The. Main impulses. Which are where the chords are and of course within this course there will be of course some that need. More and more you, know emphasis, and some less but where. The course are you will, produce, maybe with your whole arm and maybe, sometimes, even engage, with. The upper part of your body and. And. The smaller, the. Note. This. Smaller, the production, so. That. That. The. The you delegate, the production, of the sound to down. In within, the arm because very. Often I, see, even with my student you know fantastic player they bring me a stack items I don't like wow you know and all this thing but, then they you know they would be, you. Know doing this small note basically, with too much arm. And. Again. And then I'm sorry I speak so much but I did say. It's. A subject, I find very very, interesting. That. That. I. Think. The more we go back in, the history of music I don't know how you see it but I have the feeling that the. More this is true that when, we come of course to the you know the post in industrialization. Music. And, twentieth, century and you.

Know And of course Russian, repertoire, and things then, there is something where the music also. Resonates. To. To. To what happen in society of course and including. This the the, the glorification, of the Machine and end of the of. You, know of producing, a sound you. Know that is more you. Know like, this. You know we're aware as well you don't want. To go to -. You. Know fool around too much with, with. Different, lyrics and the more you, go back into history of music that's that's, at least to, the barrel. The. More verticality. There. Is in the bow, technique, to. Reflect, you, know this the. This. Dimension, you know the the, taking. You, know an. Emphasis and and then playing when. You are, so. To say in, out. Of in the loop when, you enter. So. There is a lot of. Inertia. That you feel not from impulses, when you play, I am, getting. From what you are saying no do. You do you look for these impulses. Mostly. Based on harmony, or, is. How. Do you look for this main. Impulses. And not that. You want to bring out. Yes. So there, will be. The. Tools that we get is. Back. Probably. Didn't. Mean this, music to be danced but, he, wanted. To. Use, the. Impulse. The, the. The. Dynamic. Dynamic in the sense of the, energy. That. The. Dance that different, types of dances, would. Give to his music so he wanted. To have that you, know after, this of course he sometimes. You know he he. Eludes he goes he. He, goes very far from the actual dancing. By making, of metaphysical. Things you know like the most famous example, is of course a bond of v where, we're. Probably. To, be very, difficult to tense anything on this but but. So. I think the first thing is this how, is these. Dance how. Does it groove what so that gives you already the first the. First approach you know if you obviously. So. There, is this sort of flow. That brings you from first. To, the second, beat and, there. Is this wonderful moment for me. These are the most the, best moments in music when we are there, you. Know we. Created an energy and now we enjoy it you know it's, tough it's not the moment where you work but it's the moment where, you enjoy, the. Liberty. Of that. Gave you the, word the energy that you created. So. That's the first thing and then exactly, as you said. The, harmonies, the harmony, is how, how. Is this friends constructed. How does he. You. Know and, let. Me go from there you know just you try to see how is constructing, his. Phrase. Is. This harmony and and, by. The way I want to say that, repeat. This to my student all the time. Analyzing. The piece I. Find. This word almost dangerous I wish I could find maybe you'll have a better word, power, for this because. Analyzing. It sometimes, has this connotation, of. Well. A very cold connotation. You know it's like you. Know completely I mentor, you know you dick on this contract right and I think we need another word for actually, what actually, a positive analysis. Is which is which. Is. Thanks. To understanding. Ending, the harmony, and everything what, is the story, what. Is the story what is the you. Know and for this and, this. Takes might, might, take some time what I recommend. To. My student is to not. Only an okay yes one, four, five one you know I don't see but, to. Listen, you know go on the piano play the cost and. What. Does this transition. Do to me you know what could it be, you know this this modulation. You. Know. And. And so, that what. You feel you, know in terms of these. These. You, know okay then, and then, how, do I translate this in the sound and this is a done. It's an endless, very. Exciting, process. Well. That's. For sure is true I love everything you say it's, so, inspiring to to hear you talk um. Do. You. Do. You ever think about Boeing's when you play well. Especially. Back I think it makes a huge impact in their pricing, there are so many possibilities. And. I'm, guessing, you use around Boeing's, or did. You. Do. You change them often do you have like one, of the new place in 20 years how, how do you, yeah. So, the Boeing's, Boyd, is a, I mentioned. It well. Can, I mention Pablo, that I actually. It's. All eyes for me now to to. Have. You as a you. Know in a dialogue, about this subject because I started. A series beginning, of May on either, job I know it's yeah all Nigel, I've. About. The Bach Suites and of course I would, love if people out there interested I.

Go, In depth about, one movement in each episode and, then. I am in dialogue, with, personalities. So. Far I was mostly. In dialogue with non. Cellists. Because I wanted I wanted to bring in this. Loop from this, you know so that because in, the first part of this episode I go. Into this Shelli stick things you know and and how do we do this man. And. So the second part is always a dialogue with somebody. Mostly. Most automata which is not who, is not a chalice but recently, Steven icily Stan came and of course it was super, fascinating, to talk with him about about. All of this so the reason I mentioned this is that I for. The first time. Last. Or second, last episode I talked, about. About. Bowing to talk, about goings and the. First thing I want. To say. Is that, is. The thing that I tell, to my students. Which. Is. When. You have. A project when you build a house. First. You put the walls. You put the roof and then. You. Decide which kind of furniture will fit nicely. In there and not the opposite, don't start by putting the furniture and then try to put their house around it well, because, and for me the, Boeing's are the, furniture, that's my is, the last thing. It's. Not the first thing let's say and very often this. Question, of the Boeing has, been. Very. Front. And dominant, for many students, they say Oh which Boeing, should I do that, exactly what Magdalena, I'm like I'm saying. Like. Like I know Benzema was suggesting. Or. Should. I do what I don't know my, I told your Yamaha, or something he's doing a try to do the same and everything so. The. The. Paradoxical, thing is that Annabelle's. Particularly. In his later, years he wrote all these books about you. Know fencing-master and, all these things where he talks about the, the the Magdalena. Manuscript. And he says. We. Go there we got you know with a microscope, and we try to see exactly, which. Where. It's going whereas sometimes, it, is subject, to you. Know one could read like this or like this and one. Does this and I think now. I take the risk or, telling, my interpretation. Of why, Annabelle's, matted this, there. Is one thing that under, couldn't, stand and, it. Was a sort of. Cactus. Yeah, logical. He. Called it musicologist. Approach. But. It was a bit mean for musicologist, because i think which i think is a wonderful job, but anyways, but of, to. The borings where let's. See what the logic, would say the boeing should be so so like i have three notes next to each other i put a slur and then if. There is a say motif coming ten. Past later it has to be the same buried so he, hated that because for him, the. Boeing, should be should. Be unexpected. Should be something, that adds. Inventive. ET that adds. Irregularity. That adds, life. And certainly. Not. Like. A police. Thing. You know. And. That's, why, probably. For him going to these Boeing's, of anna magdalena because, you know with this, all. Of us have, seen you know that it's it's very. Of. Course. Imprecise. It's not a printed, text and then you can see many different, and it. Inevitably. When you really go like a teeth and say this, I have to do exactly what it says. It. Brings, very, strange bones and that's, what he like I think he liked the strangeness, of it now, what I want to say from my experience with, Anna who was the one who. Opened the. Doors to baths for me you know who really unable. Me to. To. Find. My way you know to find my language in Impa, he. About. The bowings he was also saying, he. Was also reminding, us that. In. The borough and. Probably, not only you know that when. You put a slur. It's. An act it's something, it's because, you have a project for it it's, because you want to put an emphasis so. It's because you want to to. Give it more you. Know so instead of. Yeah. It's, never. Going to be okay I put three notes you know. Just. Abstractly. Put, three notes in one in, one book I know this is all like we, all know that nevertheless. Having. This in mind, he. Also. Suggested. Me and two, other. Students, who were there and this wonderful. Course we had with him a whole, week you know talking only about BA with. Honor that was unforgettable. And. He. Said play, a movement. Without. Any. Stress you know and and. Then say. Well, do I want, us. There, put, a slur, when, you want, us now when you want to do, something. So and and and, this can. Have, basically.

Two, Functions. Which. Is indeed. Like. To. Give an emphasis or, to, flow, to to. To. Fall, towards, the next one. When. You when you when you you. Want to let a few notes fall. Into. Into. The next into, the next note. So. My. Nod to finish on this log subject, sorry I just I get, very excited, I get very carried, away but. To. Finish on this log subject, i. I. I. Look. At Anna. Magdalena I try, to see here. She, really, wants. Something. Mustard you, know but. Whether it's going to be. 3. To, node 4 node 5, knots its defects, there EF turn she just put a little things like this one on top and then. That's going to be up to you to decide if, it's. Or. You know. You. Know how how, is your phrasing doing and this, is. Again depending. On, your. Phrase, on. The. Harmonic. Discourse. Because. This comes first and I, I, think I. Profoundly. Think that probably, anyway. In general in the Baroque times. Including. In the music, by Bach, there. Is a notion of. Gravity. Of. You. Know there is there is down there is up there. Is there, is help. There is heavy. Note light notes and all these things. And. The same with harmonies, and, in. This hierarchy. Of things I, do think, that harmony. Is like the. Hair with the air we breathe you. Know and the melodies, is. The. Comments, that we make about this environment, so, I often, think. That. It's, true also you know for hide and you know something heightened D major it's. So fascinating we, we are all fascinated, cellist how you. Know in some places the. The. Harmonic, discos it's, so slow right in the first movement and and we play a zillion notes you know. And. Then so. I. I. Tell. My. Student, very often when they when I feel that they lose, a bit a sense of oh yeah should I play more here's their plays less ability well. Remember. Remember that all. These fast notes that you play they. Will make sense, they, will tell a story, you. Are you are the poet as the sorest, you're the poet who. Is but. You are poet who is looking around at, these harmonies, and who is who, is loving, these harmonies who. Is in love with and and tells, all look and, and this one and this bird and this, and. This butterfly, you know and and you are commenting if, you, are starting, to just look at your words and making words you are point to is I'm, going to make nice words but you. Keep you, forget, about actually. Looking, at what inspired, this word then. The, danger is, that all your notes are not going to really make sense. I. Understand, I like, very much what you said about explained without any slurs and then feeling, where you need them I actually. Didn't do this I will try to. Practice. Like this I think it's a great, great. Thing to feel one thing that you do, play, so. Amazingly, and. When. You play a slur that you play like what, you said one very deep. Note and there is just super. Organically. And naturally follow, that I. Feel. That, that's quite. Difficult to. To. Understand, for for. Many students like, either they play like three, except, no so if there is a slur they play like three except, the same kind of notes dadada, you know or or the, e or, if you say like no no one is Fabian the other was kind of like for like this they overdo, it and it's like. You. Know what I mean how. How. Could. Use plain to Justin. I didn't understand, this yet how. To make it more organic. Is. There it's, very complicated question, I'm just trying to to. See what can, I get. Have. An explanation. No. It's. It's, indeed. Complicated. But fascinating things so I. Think. First. It's good yes indeed, to just state. The fact that. Equal. Notes or. Totally. Yes. Equal, note in. Time, in timing, and in. Intensity, is most. Of the time. Not. A good thing and again I. It's, it's. If, you go on the timeline backwards. The, more you go backwards. Towards, early. Romantic. Classic. Barack the, more you will need to. Differentiate. That's, that's for sure but. As you rightly said sometimes. A student, will come and we try, to play a regular you know but but. But you know so. Hmm. So, I think. What. I try. And. Exercise I've given to my students, is. Basically. That. They. Realize, that you have, to go from the, broad impulse, so if I so. If I have, my. Impulse would be to cause like. Sort. Of Canada, far. Now. Do. This but it's a few time until you have it in you and did you breathe, this, relationship. Between these two code alright. And. Then. You realize try. To make. Several. Notes but. This breathing, this line is the same. Yeah. And then, you can do three. So. That the, curve is the same it's a very simple exercise but that's a brilliant exercise. I actually never thought never. Thought of that I think that's planes it fantastically. Listening, super, important, tip for everyone at home watching this try. This this is this will do, will understand, so much what you're talking there it's.

Brilliant, Technician and Pablo, I think and and that, I just want to to. Finish. By reminding, them of. What. We said at the beginning of our conversation about, where, we produce the sound so. I leaned. On the beginning of this note with my own upper. Body with, my arm and. You. See this small. Note it's, only my arm doing this but, but. The breathing of the body. And of the main, arm here is one, one, thing and that that's, why, that's, going to be very important. To be able to do this and. You. Can reverse. This, exercise. To. Remind, because, one. Problem, that we all have I don't know about you but love it I struggle. With this again, and again it's. The. Portamento. In the book when I don't want to do it right, exactly. So make each note beautiful, so. Exaggerating. But you know I mean, again, and again and. Most. Of the time so, I'm putting this like this or so that I can hear my plane better. Most. Of the time I. Don't. Know about you but when I was, studying. And and, and I was told. That I would say okay I guess so I'm not allowed to, do this or. I. Am. NOT allowed to do something but then it was like okay. I am taking, away a tool. Of expression, when, it's very flat in that is very flat and then your phaser it cannot be that you know so and, that. Brings us back to, Annabelle's, math, Golden. Rule the. Slur, is, is. Like it's like an act, it's like a statement that you make and. Indeed. One. One. Boeing. One. Swing so. I will, take a word again a very simple example of. This. You. Cannot touch this is the breathing of the music and then if, I start to do. To. Do several note within it but I know here. It's breathing, its and then. It's not abstractly. Saying oh I'm not allowed. Doing. Anything because then you, have you are not making any statement, and then of course you feel like oh I. Love. I I. Hope people are. Really paying attention because the difference, it's. So. Small. But so huge, at, the same time one from, being like. Incredibly. Beautiful, music. To just like. Me. So. And. The difference, it's, so, small. In you know in. Physically. I don't know what to say so, I hope people are paying attention of what you're doing because it sounds absolutely incredible. I love it. It's. Interesting what you just said Pablo because the. We. Just had to talk, about this with my colleague, at the the, music for food and five-o here. Elena, Chia and, she's. Making seminars, online. At the moment. About. What. We see when we see great masters. Play. You know like. My. Generation of, course was top of age and. Already you're mad because is, I, think. 11 years older than me so when. I was 13. He started his career and immediately I was like you. Know I was like how, is that possible, you know and and. Sometimes. It's. A bit what we see your, is. A bit deceiving you, know because. Because, as you say sometimes. Very, important. Things one can barely, say a word can barely see with them you know it's like you, don't you. Don't see, them at first. So. So, this thing about the breathing of, the, bow is, not necessarily, so thing you see, you guy just being the cello you know that but, in the end you have to be.

You. You have you, you have to try and understand what's behind what you see that's basically, what I want. Yeah. Well. Amazing. That's. So. Cool, I love, it what. Do you do. You mentioned hiding before and. The. Thing is there is a lot of difference. For. You when you go from back to hiding in your plane do you the. I guess you use kind of the same. The. Same principle. Of the slurs, but a tiny bit different no maybe in, a more modern way I don't know how to say do, you adapt at all or do you do it is, there a conscious, thoughts on it or just you. Understand, the language of madness, at the literal language of Highland and they, just naturally happens or. No. I I do each. Time ask myself you, know what. What's. The universe of. This composer which time is over what's, happening at that time it and it's not about reading. Ten books about, what, was happening in the world at the time of heightened but but, so. Well. Let me answer that way what I like to do and what I encourage my students, to do is. To. Look. At the language of composers, not, from. 2020. But. From before. Like, where is this composer, coming, from. What. Did he change. What. Did he. You. Know like like, a striking. Example is of course Beethoven, you know who was looking. For a new piano. Every time and hoping that there would be a few more notes there and and and more sound and all these things so, and and. His language developing, over you know such a short period of time. That. But. So when I look at Hyden I do. Find, it certainly very healthy. To. Look, at it coming from the Baroque you know and run from this and that oh but. Then. Yes. Then, I will I will add I will. Want to you, know to stay, a bit more in the sound you know and and to rebound a bit less. Then. I start. To. Look for more. Lyrical. Lyrical. Playing. Because. I think. Definitely. Are heightened concerto, I don't know how you see it but I think well. There is of course the the instrumental. Fun. And playing and virtuosity in, the last movement and. Even. In some of the given land of the of the first movement but in, general, I would say it's pretty much a lot of it is like an area, no very singing, yes like ever see it's very exactly. Exactly, so. So. Yeah. So so we start. But by the way, singing. And this I say because I it's, also a dialogue. I have often with my students I think. Singing. I often. Recommend. To them to look at videos of official, discussion, for example you know where, there, is not a note. That. Tells the story you know that that speaks so. Singing. Never, at the cost of, speaking. I think this. Is what I would you. Know what, I would suggest. One of the questions. That I see the most in the comments, is. Are, about vibrato. Especially. In bathroom, Hyden many. Students. Or many. Young. People and have. Them miss, understanding. That vibrato may. Be completely, forbidden like, Impa like you cannot vibrate at, all I, think, of course there are many ways of many. Kinds of people at or not I think the you letter can be a beautiful tool to. Use here. And there in bath or in Hyden um I. Wanted, to know your opinion about. This. If you have any. Yes sure. The. Part you know it's a bit similar to what we discussed. Before. About. Portamento. In the book I. Think. If you only see it as all.

Bad. News and not allowed to use Roboto anymore. So oh you, know I have, lost and, lost you know, warmth. In my sound and, all this so I would love to hear what what you say pyro bodies I I see, two. Functions. And sometimes it's both at once but it, can be really like a, like. An ornament. Like the expression of the. You. Know office emotions. Oh again, going, back in reading you know to the power walk and to the early classic intent exactly's. And. Or. A. Support. Of the sound indeed, like and in. Both cases. In. Both, cases you, when. I think we. Should try to ask ourselves. Is. My, vibrato, serving. That purpose so. Let's. Start with the support of the sound I find, very interesting that, that. Basically. So. We when we create, a note we create frequency, if we create something, like this and when, we vibrate we create something like this so how do they relate so, that so. That the sound is more supported, and is going to to. Blossom one, symptom I think that we can all. Easily. Recognize. That from the moment when here's, vibrato. As, something. That stands on itself that. Has, its own frequency data yeah and, then. I think it's, indeed, in the way of, the. Musical, phrase of, the. Note, marrying. With other nodes and this, is the point I wanted also to mention. It, particularly, Ababa. That. When, we play several notes at once, and. When, we playing chamber music with friends and, we would play with orchestras away. How. Money like. We say in society, or harmonious. Society means, people. Manage, to combine. So, that creates. Something which. Is harmonious so, it's the same thing with the note how, do they combine with each other how do they you. Know, do. They do give, a feeling of harmony, do they create a harmonious, feeling and, for. This, if. You think about so, there is this I'm. Sure you. Probably talked about this in your and already and I apologize, if it's not, bliss yes but. This. Frequency, that we have let's say now I take a number. Which is, yeah but let's say this to be. Hundred, yet, and. Then. This. One would be 200 Hertz so and that's why the octor. When. It's in tune it blossoms, and it creates this beautiful thing, right and. We. Are goats meaning, that the octave, lower would be hundred fifty Hertz and so if I have 100. They, will meet very often and that's, why these fifths, give, a lot, of feeling, of harmony now, what why why do I talk about it because. When. It. End, it would be also very interesting, to talk about intonation, but. If, I find the. The right be. Natural on my G major chord which, is the natural one what they relate then, they relate together and they do like this now, if, I vibrate. Too. Much in a music that is so much. Relating. On harmony, that. Is so much based on how many. Right, not on purpose but, if I. It's.

Fine I feel beautiful dear, beautiful, be, natural then. A little break this fragrance, Fred they, exactly, they don't really, do something together they this feeling, of coming together of several notes is less, there this is why. We. Try to spare. To to, make Leslie broto I think in Baroque music and exactly because with. Leslie brought to you have much you have the. Possibility, and simply, to, have this harmonious, feeling. Now. The. Good news about it is that it. Reminds, us yes, the expression. The phrasing, that the. Speaking. In all of this will. Be on. The right side you, know we do, in the book and we do less with. With with the left hand and I think this is. Again. Something, that evolves with the story and and. And. Obviously which is very different in the 20th century that's. A. Yeah. It's it's very easy, the. Left, hand that they if. You play a lot of beer at do is kind of like. You. Put makeup on the, bow and you don't really know what you're producing with the bow it's good to practice also, not. Even I mean not only. Baraka. I mean sometimes even practice like romantic, periods a phrase without. Any, of you know just to know what I'm doing with the bow so. I like, what, you're saying it reminds me you think, let me just ask you one more question, I completely, unrelated, mmm. You. Know when you were in Madrid explain a chamber. Music I don't know how long about a few years ago maybe two or three maybe. Less my, father was in the rehearsal, and he just showed you. I'm. Going. Very deep industry, he, tell. Me maybe I got it from you. What. He mentioned that you were like playing really close to the bridge really, long notes trying. To open, up the cello is that's a true. Thing like he told me or do you usually do this. So. I, of. Course as, you can imagine I don't remember this Intel, Core stances, but. What. Imagine. If I if I go. With, a slow. Bow. And. Obviously. Looking for depth. Looking, for contact. You, know with the with. The core of the, sound you know and and. Also, it's. Getting. In touch with the body of the. Sound so I. Find. That in, our bow technique. We. Are be, confronted. With similar. Issues. Like. Humanity, is confronted. Nowadays. With, environment, that. Meaning. The, this. The. Problem of our society is, that, we are. Too. Much on top. Oh centered, souls that we think we, are comment. Of anything and we can do whatever we want and then, we realize so I. I. Feel. Again and again I have to remind myself that. In. Order, to. Create. The. Sound and the phrasing. And bowing, that, will speak. That will make sense and and the I have. To. Be. Aware. Of the, of these elements and, of their own, logic. In a way that my, the nature, that's, behind my playing is. Right. To. Remind myself oh I have a nice mass. Of. Life. Here, but that, I have to respect, that I have to to, listen to and that. Made. Me think of one. Other. Golden, rule like I give, to my, to. My student very often, and. It. Is ask. Yourself. How, much boy you need so. Very. Often, students.

I Think stand. In their own way. By, thinking that don't, boy. That. Will destroy their phrasing, because, from the moment, you. Spend. Bo that you actually, don't. Need musically. Because. Here in your phrasing, I mean for, me it's, a clear thing it goes to the to the middle of the bar right so, if I spend the, same amount of boy. First, of all I'm not helping my phrasing but also by spending more ball than, I need, I am. Artificially. Doing. An action, that. Stands of the way of the natural, breathing of the music I am, sorry maybe it was expressed a bit in complicated, works but that's no that's something that I really. Give. A lot of importance. Amazing. Well thank you so much you, junkie and for for, talking, to me it's so interesting I wish, we could speak for five hours I can't you what to do one more episode in, the future because this is I love. I love hearing, you speak you have so much to say. For. The, people at home, take. His series in Adagio, because just, playing so many beautiful things and. I saw you also. Showing. How the dances, of the of, the movements, in back were and. Its first in 89 you know some of the moves I I didn't know I know, a few and I know the basic weather, I mean you do that very well anyway, so thank you so so much furthering this with me thank. You so much problem for doing this with great pleasure anytime, again and. Yes. Dance, and sing yoga before. Thinking of what you want to how you want to play alright. So that was it thank you for watching. I'm. Actually, really. Happy that, I'm doing this. Series. Talking cello I'm I. Started. Them because I wanted to, share with you not. Only my. Knowledge. The, knowledge that I will have but also from my colleagues, and the people that I admire, but. I am. Also learning so much from doing it so thank, you guys for watching how, to practice in and see you guys in the next one.

2020-06-10 07:45

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