Sergei Nakariakov Masterclass (in Russian)

DavesTrumpet

Just posted to YouTube this morning, Sergei Nakariakov conducting a masterclass at Gnesin School of Music, Moscow.

http://youtu.be/jkNlWq2LtEI
_________________
Dave M

www.electrotheremin.com/bach.html
www.soundcloud.com/davestrumpet
www.facebook.com/DavesTrumpet
www.youtube.com/DavesTrumpet

bspickler · Posted: Mon Mar 16, 2015 9:44 am Post subject:

Well, I don't get much out of the Russian language but there is a very nice fugel duet at 23 min.
_________________
Bill

oj · Posted: Mon Mar 16, 2015 11:22 am Post subject:

Dave,
Thanks for posting!

What did you think of Sergie´s teaching in the masterclass, even if you don´t understand Russian?
(The last part, duet and talk about his Courtois 4 valve Flugelhorn is not important in regards to his teaching)

Ole

DavesTrumpet · Posted: Mon Mar 16, 2015 11:52 am Post subject:

oj · Posted: Mon Mar 16, 2015 11:59 am Post subject:

Sergei sure seems like a nice guy. He is probably the big hero for the kids, like Timofei Dokshizer was for himself.

What surprised me a bit, was why he did not play for the youngest kids? They would have taken a playing example quicker than his pointing into the music.

As we know from Nakariakovs own background, he never attended regular teaching at a conservatory. (See the documentary "No more Wunderkind")

Ole

Big Dave88 · Veteran Member Joined: 31 Mar 2011 Posts: 479

Holy crap that's huge flugel bell!!!!1!!!!
_________________
"Bud didn't worry about this..."
-Barenboim

oj · Posted: Mon Mar 16, 2015 10:09 pm Post subject:

chuck in ny · Posted: Fri Mar 20, 2015 11:16 am Post subject:

i wonder about him in particular. he has always had the amazing proficiency and incredible ease of playing. it's a personal thing- and just because he can do it doesn't mean he can teach it. a lot of top level players have an immediate reputation for being great teachers and it may or may not be so. i would expect there are more fine players than fine teachers. teaching is its own little niche.
now if sergei winds up with a school of players that closely replicate his technique and style, he has the gift of teaching. my guess is that he can only teach what he knows, and what he does automatically can't be related.
like anything else. it's only a masterclass if they tell you a series of things that you don't already know.
i can only dream of playing with that ease, however, my goal is to play with ease, and i think it's readily obtainable.

Big Dave88 · Veteran Member Joined: 31 Mar 2011 Posts: 479

etc-etc · Heavyweight Member Joined: 19 Jan 2008 Posts: 6177

tomena

razeontherock · Posted: Sat Apr 11, 2015 11:42 am Post subject:

Anybody care to create English sub-titles, or voice-over?

DavesTrumpet · Posted: Sat Apr 11, 2015 12:15 pm Post subject:

KoryMajor · New Member Joined: 15 Apr 2015 Posts: 5 Location: Canada

Super cooL!

noamiller · Posted: Thu Jul 06, 2017 4:39 pm Post subject:

He does do some demonstrations on his horn in this masterclass with the last two students.

General translation:
(Note that next to each student is also indicated where/with whom they are studying with and the piece- so if you'd like to know, I can go back and get that info).

For the first kid (Alexander Rubliv):
Basically he tells him not to dwell on each note and to think of a bigger phrase (avoiding the wah effect). At times he tells him to play quieter, and makes phrasing suggestions.

Second one, the girl (Elise Nevredinov):
He stops her because she didn't hold on to the half note a full value, and that she needs to have constant pulse going on in her head like a metronome, same tempo as the beginning.. she sings, and he counts the pulse (1,2,3,4)... then he says she should probably work it out with a metronome.

Third, older guy (Vladimir Pankov) Desenclos:
Asks the guy where the phrase ends, he tells him the phrase is much bigger than he thinks it is, always have motion going on/ keep the motion going. Otherwise it was sounding choppy.
He then apologizes for stopping and says there isn't much difference between forte and piano. Tells Vladimir where he would do the crescendo. Need to have contrast.. More specific indications with Sfz, then mezzo, then cresc. He wasn't able to get powerful/forte enough sound in the high register, trying to center it in lower register (Sergei then demonstrates the sound he's going for). Then decided to go on to not use up the chops.
last stop- he can tell that he's getting tired, he tells him it's better to underplay than overplay (as in play too much, meaning might get injured). Side note: the first part of that stop was hard to hear what he was saying, so I can't translate that.

Kid #4, Gleb Fedorov, Arban Fantasie Brilliant
Stops: let's try this spot piano
Gleb stops and asks: everything piano? Sergei says the entire phrase needs to be softer.
next stop: be careful, don't make bubbles- (like keep the notes going)
midplaying: he reminds him to play piano
stop: asks him if he is tired, Gleb says no really, Sergei then says that's good, and tells him to pay attention more to not make small mistakes? (inaudible) if he knows what he means , Gleb says yes, let's go on.
Stops: good, now pay attention to the lower notes in the intervals. listen before you play.
stops: says great. Gleb says how he has trouble with a specific note, Sergei tells him he probably didn't have enough air, try to have a bigger breath, it's okay if it doesn't work [go for it].

The other Flugel player is Kiril Soldatov
After the piece:

Sergei: You notice that we have really big flugelhorns with 4 pistons and bigger/wider bell, which let us play lower than a standard flugel.

The host: is it a special custom?
Sergei: The Courtois Model 156 has already been in existence for a while, but nobody has been using it. The only change that has been made is the widening of the bell. And I have been playing on it for many years. At some point the factory started getting many calls, people wanted to play on the same thing.
the host: after you started playing on it?
Sergei: yeah, it got a demand and now it is its own model, that has slightly bigger bell [than his own flugel]. (he goes ahead and compares his bell to Kiril's)
the host: Did you come up with the idea of widening the bell? or did they..
Sergei: It was my dad's idea
the host: how did the idea come about?
Sergei: So I play a lot of pieces that have been written for other instruments, like French horn, cello, and I often use the lower register, so with a wider bell, it's not really about comfort, but it's more [helpful] with the sound. It gets a fuller sound.
He goes ahead and demonstrates the difference of lower octave range with using only three valve and with then with four valve. He then talks about that before he didn't have trouble with lower octave with other four valved flugels, but they didn't quite have the sound. They go on to talk about how he uses a very deep mouthpiece, it's practically like a french horn mouthpiece. He says that the downside is that it restricts the easiness of the high register, but the flugel isn't really meant to play to play ridiculous high notes.