I'm going to start learning to play the cello after I recovered from my hip surgery ! This woman made me fall in love with the instrument in particular (and a bit with the woman herself too (: )
I liked Hanna Chang's analogy of the seagull flying over the glacier when describing the A minor concerto - she's right; what an accurate assessment. Not only can she play this magnificent music but she can articulate it in words.
@hyeinee probably on the international circuit, hanging out with a lot of musicians whose second language is also English - it's a common "atlantic" accent
Baroque music is generally characterized by a large emphasis on the bass parts, on the low-pitched instruments such as the double bass and the cello, hence Bach. So Bach's music sounds very dark. Even though Vivaldi was a contemporary of Bach, his music sounds very different because it's well-balanced between the high and low pitches. That's one of the reasons why Antonio Vivaldi is my favorite composer. His music sounds so refreshing and light-hearted.
Think about Bach's Goldberg Variation, for example, it has been played by many different systems other than harpsicord or piano forte: violin solo, guiter duo, lute quartet, or piano, many other cultural instruments. Are they all spoiled performances because they are not played by "the right system" like harpsicord? I can not agree because, in certain extent, they give us different kind of taste, joy of various sound and feeling from different systems.
in my opinion this is a fresh version of an old song.
in the classicle music people are very stiff. in popmusic interpreters often make new versions from old songs and most people like it, ther´s no way of "right" playing, everything depends on the taste.
If you want to make our own virsion of a song, you have to forget a bit from the thinks you learned.(whow to play a composer like vivaldi oder bach).
If you prefere a "baroque-style" interpretation listen to Sol Gabettas Verison of RV 418
appreciate, like or not like, let's not hold grudges to the artist =) it's always the job of artist to find the balance between emotion and knowledge, ones degrees of emotion varies according to ones' knowledge. like to do it certain way sometimes conflicts with "should do it in certain way. how big is the room for inventiveness/playfulness in interpretations? it's individual preferences.
individual preferences are manifold, even within the Historically Informed sphere. Yet, I would like to point out, that the harmonics (intonation) work in a different way in the Baroque setting (just google this subject if you like). To put it bluntly: these recordings are out of tune. Not just a subjective observation but it pains your ears if you have a normal musical hearing. If you can't hear it, then there's no point in arguing about "grudges". It's simply not a professional approach. M.
lol, intonation is relative, what do you mean by a normal musical hearing? are you judging by cents? which intonation systems?pythagorean/just/equal/unequal temperedwelltemperament/meantone/irrgular good temp etc. can you be more specific if it pained your ear? it had to deal with the instruments and their tunnings, &blending. was she out of tune by inconsistency? or she simply employed a different system? many theoreticians still disagree on intonation systems. what's ur pro approach?
as a musician you should know which system is applicable to Vivaldi's (italian baroque) period and which is inappropriate. If you consider it all relative and suggest some of the aforementioned then I would suggest some more studies.
I want to point out that you are again giving a limitation on music in your image of Italian Baroque. I know the instrumental limitations in that age resulting limited phrasing, bowing, bibrato, and so forth. Vivaldi would have be exquisitely happy about
the end of those limitations with modern instruments, meaning he would delightedly try them out.
I understand what you say, but is a different (hypothetical) question. It would be indeed interesting to know what Vivaldi would have said "if". But we deal with a piece, which Vivaldi wrote in his time. That's what he wrote like. If he wanted something revolutionary, he was a skilled enough composer to invent (or prescribe) such. The aesthetics of Vivaldi are different from our 20th/21th century practice, and it is too simplistic to assume, that he would like ours (maybe to the contrary?!).
It is especially that the modern approach limits/distorts a lot from the original meaning of the music. When digging deeper, and finding the essence, it reveals more hidden beauty of the harmonies and ornamentation, etc., instead of making it a fast-food humpty-dumpty mash. This is like a paint-brush Leonardo da Vinci replica. Someone perhaps likes it (better), but it would definitively not be a LdV. That's the difference.
As you know, if you play a note just now. it's gone right after that moment Music has different artistry from paintings! Music is not a still cut like a picture. You might think that Italian Baroque pieces are polluted by experimental approaches. But music is not the thing that you should preserve from pollution. and you should not worried about its woeful extinction. Even Italian Baroque music evolves even now, and it will be in the future. That's a beauty of art of music and its eternity.
I think you mean "influences"; pollution has a bad connotation, and should always be avoided (or you prefer e.g. to live in a polluted environment?),
Would you add an electric guitar, drums and saxophones here too? ... a vibraphone perhaps? Making a rendition is a totally different issue. When justifying limitless modernistic renditions, then we run the risk to lose the essence of the composer. Do we want that? A musician has indeed many freedoms but also reverence for the maker of the score.
and Italian Baroque does not evolve now, it has ceased to exist a long time ago; our understanding of Italian Baroque is perhaps still evolving - but not into this direction.
It is not a mere point of view (of mine), it is a historical fact. We roughly put an end to the Baroque period in 1750 (more or less). Perhaps you slightly misunderstand my explanation of "Baroque period" and "our understanding" of it (which does still evolve, as I confirmed).
From an artistic (not entertaining) point of view, it can be questioned, whether a modernistic approach is faithful enough to a composer. Chang is definitively a good cellist, but here she appears a bit presumptuous
"ceased to exist a long time ago" this comment shows your view point. So you're saying that you find a whole new world like peeling onion the more you appreciate it, right? that's one way. Which is looking back to the past. And what Chang did is looking forward to the future. trying a new style for the new possibility. I don't judge which one is better. I think we need both. What's your opinion about that?
exactly, if our understanding evolves, it suggest we're not sure, history is interpretative, not historical fact as you suggested. the score is mere representation of idea, it's notes does not evolve, but performances over time does. so in a sense italian baroque is evolving as long as there're people performing and turning those papers into art. the question is authenticity. ppl still not sure of bach composed his suites, and we assume we know exactly the right way to play this? we do not.
Not sure if I correctly understand your statement here, but would seems even less an authentic Vivaldi.
Just to comfort you; when I was still a young music student (looong time ago) I was too, admittedly, opposing the HIP trends. Until I had to attend compulsory Baroque ensemble hours. After a certain time I felt myself what it was like, and began to reconsider my opposition-views (and I am critical enough not to be brainwashed).
In the meantime, I perform both early AND romantic music as well
I agree with you on this one, but that's the way we like it, we can advocate and support its uniqueness, we can't say it's The absolute only way to do it, it is very ambiguous and arbitrarily defined issue, it's like asking why do ppl like beautiful things? why ppl like organized sound in certain way. let's embrace and share aesthetic values, and help ourselves to attain the common goal and sounds, an informed/inspired/individualized organismic work of art.
you said it's out of tune, yet u have not mentioned in which way it was particularly. I think it's a mixture of few systems. do you think the aesthetic were driven by their system adopted at that time? or their system limited their aesthetic value? how much subjectivity are there? even human aural perception evolves over time, may I ask how experienced are you as you assume you had a lot of experiences. maybe cuz you're older, so you're hearing sharper? or sum kind of psychoacoustic issue ?
Boomgungun, your questions imply that you are not completely realising the depth of your argumentation (or even the definition you use). These text boxes are too short to expand.
My birthday cake has a bit more candles than yours (I have even a daughter your age) so my experience is a bit more weighing. You base your case on just one book. If you cannot hear the out-of-tune passages, then clearly you have no experience in early music practice. Let us stop this endless thread. Time will teach. M
I think you don't want to admit your subjectiveness cannot be the only "right one". I didn't base my case on just 1 book, i've read other texts, but just chose to use it as reference. I don't think ones amount of candles is the right measurement of one's intellectual understanding or attitude towards interpretations. well, I hear out of tune in every performances, no one is perfect, but I disagree to think that this performance is so out of tune that pain my ear. hope time will open ur mind!
Utterly fantastic music -- and it's very enlightening to hear Han-Na Chang speak about Vivaldi and what she and the LCO were trying to (and did) achieve.
I must fully agree with Mickeycz. For intrepretation of Vivaldi´s music you must know more...... Maybe somebody likes this interpretation, but VIvaldi is modern not because "I think I should play it so", but because just in the correct interpretation based on the historical search and knowledge you can push the correct emotion and deep sense from it. Follow the good baroque ensembles and interprets and sooner or later you will find it very strong and pure
And (in addition for those who don't know what we're talking about), the ensembles are Europa Galante, Il Giardino Armonico, Venice Baroque Orchestra, Musica Antiqua Koln, Academy of Ancient Music, Les Musiciens du Lourve (though they never recorded/or performed Vivaldi), Akademie der Alte Musik-Berlin, and Les Arts Florrissants just to name a few.
I think Viahandel06 wrote it very clear....maybe it is a bit surprising that the interpreteurs are mostly the members of these ensembles, but they are so good, they can play this solo parts with ease. The best for VIvaldi are for sure Europa Galante and then Il Giardino Armonico, Ensemble 415... You can find plenty of great music played by them here on YT, search in channel of BaroqueFever, OedipusColoneus, Harmonieuniverselle and simillar. I am sure that you will find how different it is.
For the concertos: definetly Cristophe Coin with Academy of Ancient Music, or with Il Giardino Armonico, Jaap ter Linden for the sonatas, Anner Bylsma... On youtube you can find also Jonathan Cohen, who is "historically ok" but a level below the previous, I´d say.
For the concertos: definetly Cristophe Coin with Academy of Ancient Music, or with Il Giardino Armonico, Jaap ter Linden for the sonatas, Anner Bylsma... On youtube you can find also Jonathan Cohen, who is "historically ok" but a level below the previous, I´d say.
I think the historically informed performance is a slightly old term, judging history is interpreting interpretations of the past, I personally found it is hard a lot time to see a "correct" interpretation/emotion projection as you claimed, music doesn't exist until the point of perception. I think historically inspired performance practice is a better term than mickeycz stated, there's no right one, even we go back in time and use same setting and kinds of instrument, there's no correct sound!
I am afraid you are mixing up two different things: If you claim Historically INSPIRED performances should suffice to play well, this has little to do with Historically INFORMED performances. One may be perhaps inspired, yet might be (or stay) completely ignorant about the historicity. It is the INFORMED person who knows (and shows/performs) how to play - and not the way it is performed here. This recording sounds very superficial and even presumptuous. Michael
I would like to add one more example to illustrate: since Han-Na Chang is Korean, how would it be, if I would recite Kim So-Wol in English, saying it is the true way of reflecting the poet's intention and subtlety of the language. If I would not care to see behind the (original) Korean language, then I would be considered an impostor, who is obviously showing no interest in the context of Kim So-Wol's works. The same for Historically INFORMED music: Being inspired is just not enough.... Michael
I'm not mixing them up, I understand the hipp from the book "the end of early music", yet I'm just saying how much do we really know for sure? how much of those information informed are true or simply believe/faith? to what extent should we consider emulate/recreate it? can you define more of what you mean by superficial and presumptuous? still I like the term inspired better, artists can make choices inspired by period performance practice. hip is in the mind and not in the hardware.
I know the book you are talking about, yet it is not a dogmatic prophecy and although it has some interesting discussion points, I am afraid that I cannot agree with it. As a musician (seems you are one, and so am I) you have certain strong opinions. Perhaps you wait a few more years until you have the same experiences as I have before you judge early music simply based on one book. As an artist you must be faithful to the composer, and this becomes a too simplistic excuse to play it romantic.
maybe you should consider reread its essence, cuz if you disagree with it, you're disagreeing with a lot of well educated musicians. I do not have strong absolute opinions like you, I didn't say it pain my ear, I appreciate its artistic value, I didn't say it's very superficial or presumptuous. perhaps you need few years to let go of ur mind, but not ur understanding of music. I do not think she is being/trying to not be faithful to the composer, it's ethical, philosophical and attitude mater.
Han-Na definitively has excellent playing techniques, but I feel sad, that despite all the extensive effort put into this recording/clip; this is NOT Vivaldi (not a baroque performance). Nowadays, this should be known already. The music is clearly not understood by the musicians if performed like this. Sorry.
hmmm. such "clear and new" is what you can buy 600x in the regular CD store, and what would be considered an "uptodate" Vivaldi sound(???). Up to date, I would expect a historicall informed performance, not another post-romantic Karajan-ish commercial borscht. She discusses Vivaldi's music, if she wants it something special, you don't modernise it; it's like selling a fake watch. Michael
Do you REALLY think that there is the only way to play Vivaldi? I wonder what gives you the right to say "Well, this is Vivaldi" or "This isn't Vivaldi?" It is a great insult to the piece and the composer for you to think as though there is a certain way to sound like Vivaldi. If there is a piece that can only be played in one way, that piece is not an art anymore.
There are many ways to play the piece well and also many ways how to spoil it. Your question can be asked also in the other way. Unfortunately these comment boxes are too short for long discussions. It is not only that I am "just thinking" this; as a professional musician I know what I am talking about. Playing on modern instruments is no crime of course, but this presentation and performance is not showing a good understanding of baroque music. Some basics which are lacking should be respected.
You and I never know what Vivaldi could have say about modern instruments, and what is really fullfilling the purpose of the piece. You and I are not Vivaldi. You could be right. But You could also be wrong, meaning you could missing the true message in the music while you are hung up with "what would have the playing like back then in Vivaldi's age?" it is why you can not judge whether the performance is "authentic" or just one of those spoiled one, with such a high decisiveness.
Indeed, we do not know what Vivaldi could have said... but the fact is, that he did not have modern instruments as we have them now. That is a completely different discussion, and fairly academic. We know about Vivaldi's period instruments, with their limitations and possibilities. We will perhaps never know 100% sure, but you can deduct many things and come close (materials, tuning, phrasing...). Unfortunately, this recording is - in all objectiveness - far away from that.
phrasing, materials, tuning they're interdependent, I think it's the artist's choice still to decide if he wants to only mimic the ideas of the past or play with the old instruments.. sacrifice is necessary for diff interpretations. may I ask what instrument do you play?
She is so brilliant! and so well-spoken! And now playing Vivaldi's baroque music, which she and the London Chamber Orchestra, under conductor Christopher Warren-Green, totally nailed. Vivaldi's cello concertos have a fresh energy from someone who totally understands him and his music.
The fulness of sound is absolutely etherial. I love these perfomances, they whet your appetite for the complete recording. The minor just floats. Glorious
Comment removed
poby5005 4 months ago
Comment removed
poby5005 4 months ago
An amazing album by Han-na is:
Han-Na Chang Plays Tchaikovsky, Camille Saint-Saëns, Gabriel Fauré & Max Bruch Songs.
Forever etched in my memory.
NovaScotiaChick 5 months ago
Que muchacha más inteligente! ama lo que hace y hace lo que ama
GINOSPAZIANI 5 months ago
Han-na, I am a big fan of your cello. I bought all of your CDs!! your play has power that rocks soul~~~
blue95136 6 months ago
Antonio Chung Vivaldi.....very bad.
brube1000 7 months ago
@brube1000 Hi you racist piece of s
waistoi 7 months ago
This has been flagged as spam show
@waistoi Racist..?me...?
....shut up and give me an other Fxxx cup of rice........
I'm so sorry for Vivaldi, brutally raped from this species of Chinese with that face that seems it gives birth...
brube1000 5 months ago
Vivalicious... she definately got swagg...expressing vivaldi's music.
coolbunnyred 8 months ago
I'm going to start learning to play the cello after I recovered from my hip surgery ! This woman made me fall in love with the instrument in particular (and a bit with the woman herself too (: )
hietsefriets 8 months ago
I'm just starting the cello, as an adult. This is amazing.
Stupidracoon 9 months ago
whoa....what's that instrument with the huuggge neck??
Cellolife97 9 months ago
Han-Na, you are a so great musician.
I am a big fan of you.
pianolover1004 10 months ago
was den fürn charakter
alekx58 10 months ago
한나양 보조개가 예뻐요
solidclassic 1 year ago
Did they take the CD recording and play it over the video? Cause the sync isn't messed up but it's funny to hear a vibrato before you see it haha.
jjFife 1 year ago
This has been flagged as spam show
I liked Hanna Chang's analogy of the seagull flying over the glacier when describing the A minor concerto - she's right; what an accurate assessment. Not only can she play this magnificent music but she can articulate it in words.
intormentis 1 year ago
Comment removed
intormentis 1 year ago
Wow... just 28 years old, and this level of performance. Absolutely stunning.
xyrial 1 year ago
i luv her cd i just don't want to pay for it ;_; no torrents...
Hitlerrrchan 1 year ago
shes so beautiful when she plays with so much PASSION
hihowareyou22 1 year ago 3
Vivalids Cello Concerto in A-minor .. awesome ;o)
ANDYYxoxo 1 year ago
Povero vecioToni...no statea ciapar ea se bituada a magnar coi stecheti... figuremose sonar!!
VeniceToDance 2 years ago
damn you emi - now I've gotta buy this! thanks for the interview.
bbbartolo 2 years ago 4
She's such a well-rounded person<3
I wonder where she picked up her kinda-British accent... cuz far as I know she grew up in Korea and the U.S.....not Britain.
hyeinee 2 years ago 2
@hyeinee probably on the international circuit, hanging out with a lot of musicians whose second language is also English - it's a common "atlantic" accent
bbbartolo 2 years ago 2
Does anybody know what is the name of this big instrument (similar to mandolin??) 3:35
Pethrael 2 years ago
That's a Teorbe or Archlute, for continuo.
dalcrose 2 years ago
I think it's a theorbo... a daddy lute.
matthewanisfeld 2 years ago
It looks like some type of sitar but I'm not sure
Beanersaurusrexx 1 year ago
@Beanersaurusrexx are you referring to the theorbo?
metalcello 1 year ago
Wow, what an amazing talent and spirit, she's inspiring on many levels, thanks for this video.
broakland2 2 years ago 4
luv this piece
0810195869 2 years ago 2
She is funny!
HiRoTuBeCa 2 years ago 25
does anybody know what will be her next record?
abcdnike 2 years ago
Goodness I love all Baroque Music. I wish I could listen to it all
blackkoizumi 2 years ago 3
ella es sexy
bionicle72 2 years ago
err, i'm not sure if i hear correctly, but it seems like she has a bit of british accent there.... why?...
cipher0413 2 years ago 3
Baroque music is generally characterized by a large emphasis on the bass parts, on the low-pitched instruments such as the double bass and the cello, hence Bach. So Bach's music sounds very dark. Even though Vivaldi was a contemporary of Bach, his music sounds very different because it's well-balanced between the high and low pitches. That's one of the reasons why Antonio Vivaldi is my favorite composer. His music sounds so refreshing and light-hearted.
zucchini2007 2 years ago 16
@zucchini2007 uh okay
lanlandidi 1 year ago
@lanlandidi yes.
StradAmatiViolin 1 year ago
This has been flagged as spam show
Think about Bach's Goldberg Variation, for example, it has been played by many different systems other than harpsicord or piano forte: violin solo, guiter duo, lute quartet, or piano, many other cultural instruments. Are they all spoiled performances because they are not played by "the right system" like harpsicord? I can not agree because, in certain extent, they give us different kind of taste, joy of various sound and feeling from different systems.
jo1063 2 years ago
Comment removed
jo1063 2 years ago
what is that that sound like someone hitting somtihng
zaokoyechatma 2 years ago
in my opinion this is a fresh version of an old song.
in the classicle music people are very stiff. in popmusic interpreters often make new versions from old songs and most people like it, ther´s no way of "right" playing, everything depends on the taste.
If you want to make our own virsion of a song, you have to forget a bit from the thinks you learned.(whow to play a composer like vivaldi oder bach).
If you prefere a "baroque-style" interpretation listen to Sol Gabettas Verison of RV 418
abcdnike 2 years ago
appreciate, like or not like, let's not hold grudges to the artist =) it's always the job of artist to find the balance between emotion and knowledge, ones degrees of emotion varies according to ones' knowledge. like to do it certain way sometimes conflicts with "should do it in certain way. how big is the room for inventiveness/playfulness in interpretations? it's individual preferences.
boomgungun 2 years ago
individual preferences are manifold, even within the Historically Informed sphere. Yet, I would like to point out, that the harmonics (intonation) work in a different way in the Baroque setting (just google this subject if you like). To put it bluntly: these recordings are out of tune. Not just a subjective observation but it pains your ears if you have a normal musical hearing. If you can't hear it, then there's no point in arguing about "grudges". It's simply not a professional approach. M.
mickeycz 2 years ago
lol, intonation is relative, what do you mean by a normal musical hearing? are you judging by cents? which intonation systems?pythagorean/just/equal/unequal temperedwelltemperament/meantone/irrgular good temp etc. can you be more specific if it pained your ear? it had to deal with the instruments and their tunnings, &blending. was she out of tune by inconsistency? or she simply employed a different system? many theoreticians still disagree on intonation systems. what's ur pro approach?
boomgungun 2 years ago
as a musician you should know which system is applicable to Vivaldi's (italian baroque) period and which is inappropriate. If you consider it all relative and suggest some of the aforementioned then I would suggest some more studies.
mickeycz 2 years ago
I want to point out that you are again giving a limitation on music in your image of Italian Baroque. I know the instrumental limitations in that age resulting limited phrasing, bowing, bibrato, and so forth. Vivaldi would have be exquisitely happy about
the end of those limitations with modern instruments, meaning he would delightedly try them out.
jo1063 2 years ago
I understand what you say, but is a different (hypothetical) question. It would be indeed interesting to know what Vivaldi would have said "if". But we deal with a piece, which Vivaldi wrote in his time. That's what he wrote like. If he wanted something revolutionary, he was a skilled enough composer to invent (or prescribe) such. The aesthetics of Vivaldi are different from our 20th/21th century practice, and it is too simplistic to assume, that he would like ours (maybe to the contrary?!).
mickeycz 2 years ago
(the text boxes are too short)
It is especially that the modern approach limits/distorts a lot from the original meaning of the music. When digging deeper, and finding the essence, it reveals more hidden beauty of the harmonies and ornamentation, etc., instead of making it a fast-food humpty-dumpty mash. This is like a paint-brush Leonardo da Vinci replica. Someone perhaps likes it (better), but it would definitively not be a LdV. That's the difference.
mickeycz 2 years ago
As you know, if you play a note just now. it's gone right after that moment Music has different artistry from paintings! Music is not a still cut like a picture. You might think that Italian Baroque pieces are polluted by experimental approaches. But music is not the thing that you should preserve from pollution. and you should not worried about its woeful extinction. Even Italian Baroque music evolves even now, and it will be in the future. That's a beauty of art of music and its eternity.
jo1063 2 years ago
I think you mean "influences"; pollution has a bad connotation, and should always be avoided (or you prefer e.g. to live in a polluted environment?),
Would you add an electric guitar, drums and saxophones here too? ... a vibraphone perhaps? Making a rendition is a totally different issue. When justifying limitless modernistic renditions, then we run the risk to lose the essence of the composer. Do we want that? A musician has indeed many freedoms but also reverence for the maker of the score.
mickeycz 2 years ago
and Italian Baroque does not evolve now, it has ceased to exist a long time ago; our understanding of Italian Baroque is perhaps still evolving - but not into this direction.
mickeycz 2 years ago
Comment removed
jo1063 2 years ago
It is not a mere point of view (of mine), it is a historical fact. We roughly put an end to the Baroque period in 1750 (more or less). Perhaps you slightly misunderstand my explanation of "Baroque period" and "our understanding" of it (which does still evolve, as I confirmed).
From an artistic (not entertaining) point of view, it can be questioned, whether a modernistic approach is faithful enough to a composer. Chang is definitively a good cellist, but here she appears a bit presumptuous
mickeycz 2 years ago
"ceased to exist a long time ago" this comment shows your view point. So you're saying that you find a whole new world like peeling onion the more you appreciate it, right? that's one way. Which is looking back to the past. And what Chang did is looking forward to the future. trying a new style for the new possibility. I don't judge which one is better. I think we need both. What's your opinion about that?
jo1063 2 years ago
exactly, if our understanding evolves, it suggest we're not sure, history is interpretative, not historical fact as you suggested. the score is mere representation of idea, it's notes does not evolve, but performances over time does. so in a sense italian baroque is evolving as long as there're people performing and turning those papers into art. the question is authenticity. ppl still not sure of bach composed his suites, and we assume we know exactly the right way to play this? we do not.
boomgungun 2 years ago
I was talking about renditions through different instruments that has different system from the composer initially assumed.
jo1063 2 years ago
Comment removed
mickeycz 2 years ago
This has been flagged as spam show
Not sure if I correctly understand your statement here, but would seems even less an authentic Vivaldi.
Just to comfort you; when I was still a young music student (looong time ago) I was too, admittedly, opposing the HIP trends. Until I had to attend compulsory Baroque ensemble hours. After a certain time I felt myself what it was like, and began to reconsider my opposition-views (and I am critical enough not to be brainwashed).
In the meantime, I perform both early AND romantic music as well
mickeycz 2 years ago
I agree with you on this one, but that's the way we like it, we can advocate and support its uniqueness, we can't say it's The absolute only way to do it, it is very ambiguous and arbitrarily defined issue, it's like asking why do ppl like beautiful things? why ppl like organized sound in certain way. let's embrace and share aesthetic values, and help ourselves to attain the common goal and sounds, an informed/inspired/individualized organismic work of art.
boomgungun 2 years ago
you said it's out of tune, yet u have not mentioned in which way it was particularly. I think it's a mixture of few systems. do you think the aesthetic were driven by their system adopted at that time? or their system limited their aesthetic value? how much subjectivity are there? even human aural perception evolves over time, may I ask how experienced are you as you assume you had a lot of experiences. maybe cuz you're older, so you're hearing sharper? or sum kind of psychoacoustic issue ?
boomgungun 2 years ago
Boomgungun, your questions imply that you are not completely realising the depth of your argumentation (or even the definition you use). These text boxes are too short to expand.
My birthday cake has a bit more candles than yours (I have even a daughter your age) so my experience is a bit more weighing. You base your case on just one book. If you cannot hear the out-of-tune passages, then clearly you have no experience in early music practice. Let us stop this endless thread. Time will teach. M
mickeycz 2 years ago
I think you don't want to admit your subjectiveness cannot be the only "right one". I didn't base my case on just 1 book, i've read other texts, but just chose to use it as reference. I don't think ones amount of candles is the right measurement of one's intellectual understanding or attitude towards interpretations. well, I hear out of tune in every performances, no one is perfect, but I disagree to think that this performance is so out of tune that pain my ear. hope time will open ur mind!
boomgungun 2 years ago
She said, "I like the Baroque repertoire, especially the chunky ones by Bach". LOL @ chunky!! XD
zucchini2007 2 years ago
와 역시 장한나씨 정말 잘하시네요
parksosom 2 years ago
Utterly fantastic music -- and it's very enlightening to hear Han-Na Chang speak about Vivaldi and what she and the LCO were trying to (and did) achieve.
1Brian11 2 years ago
I must fully agree with Mickeycz. For intrepretation of Vivaldi´s music you must know more...... Maybe somebody likes this interpretation, but VIvaldi is modern not because "I think I should play it so", but because just in the correct interpretation based on the historical search and knowledge you can push the correct emotion and deep sense from it. Follow the good baroque ensembles and interprets and sooner or later you will find it very strong and pure
kubinko444 3 years ago
And (in addition for those who don't know what we're talking about), the ensembles are Europa Galante, Il Giardino Armonico, Venice Baroque Orchestra, Musica Antiqua Koln, Academy of Ancient Music, Les Musiciens du Lourve (though they never recorded/or performed Vivaldi), Akademie der Alte Musik-Berlin, and Les Arts Florrissants just to name a few.
Viahandel06 3 years ago
Who's a good cellist that you'd recommend that interpreted Vivaldi's music the right way? You know, so I can compare.
nicknsharonfan 2 years ago
I think Viahandel06 wrote it very clear....maybe it is a bit surprising that the interpreteurs are mostly the members of these ensembles, but they are so good, they can play this solo parts with ease. The best for VIvaldi are for sure Europa Galante and then Il Giardino Armonico, Ensemble 415... You can find plenty of great music played by them here on YT, search in channel of BaroqueFever, OedipusColoneus, Harmonieuniverselle and simillar. I am sure that you will find how different it is.
kubinko444 2 years ago
and you don´t need to like it for the first hear. but be sure, that it is much more better in knowledge of this kind of music....
kubinko444 2 years ago
For the concertos: definetly Cristophe Coin with Academy of Ancient Music, or with Il Giardino Armonico, Jaap ter Linden for the sonatas, Anner Bylsma... On youtube you can find also Jonathan Cohen, who is "historically ok" but a level below the previous, I´d say.
Nopunto 2 years ago
This has been flagged as spam show
For the concertos: definetly Cristophe Coin with Academy of Ancient Music, or with Il Giardino Armonico, Jaap ter Linden for the sonatas, Anner Bylsma... On youtube you can find also Jonathan Cohen, who is "historically ok" but a level below the previous, I´d say.
Nopunto 2 years ago
I think the historically informed performance is a slightly old term, judging history is interpreting interpretations of the past, I personally found it is hard a lot time to see a "correct" interpretation/emotion projection as you claimed, music doesn't exist until the point of perception. I think historically inspired performance practice is a better term than mickeycz stated, there's no right one, even we go back in time and use same setting and kinds of instrument, there's no correct sound!
boomgungun 2 years ago
I am afraid you are mixing up two different things: If you claim Historically INSPIRED performances should suffice to play well, this has little to do with Historically INFORMED performances. One may be perhaps inspired, yet might be (or stay) completely ignorant about the historicity. It is the INFORMED person who knows (and shows/performs) how to play - and not the way it is performed here. This recording sounds very superficial and even presumptuous. Michael
mickeycz 2 years ago
I would like to add one more example to illustrate: since Han-Na Chang is Korean, how would it be, if I would recite Kim So-Wol in English, saying it is the true way of reflecting the poet's intention and subtlety of the language. If I would not care to see behind the (original) Korean language, then I would be considered an impostor, who is obviously showing no interest in the context of Kim So-Wol's works. The same for Historically INFORMED music: Being inspired is just not enough.... Michael
mickeycz 2 years ago
I'm not mixing them up, I understand the hipp from the book "the end of early music", yet I'm just saying how much do we really know for sure? how much of those information informed are true or simply believe/faith? to what extent should we consider emulate/recreate it? can you define more of what you mean by superficial and presumptuous? still I like the term inspired better, artists can make choices inspired by period performance practice. hip is in the mind and not in the hardware.
boomgungun 2 years ago
I know the book you are talking about, yet it is not a dogmatic prophecy and although it has some interesting discussion points, I am afraid that I cannot agree with it. As a musician (seems you are one, and so am I) you have certain strong opinions. Perhaps you wait a few more years until you have the same experiences as I have before you judge early music simply based on one book. As an artist you must be faithful to the composer, and this becomes a too simplistic excuse to play it romantic.
mickeycz 2 years ago
maybe you should consider reread its essence, cuz if you disagree with it, you're disagreeing with a lot of well educated musicians. I do not have strong absolute opinions like you, I didn't say it pain my ear, I appreciate its artistic value, I didn't say it's very superficial or presumptuous. perhaps you need few years to let go of ur mind, but not ur understanding of music. I do not think she is being/trying to not be faithful to the composer, it's ethical, philosophical and attitude mater.
boomgungun 2 years ago
Han-Na definitively has excellent playing techniques, but I feel sad, that despite all the extensive effort put into this recording/clip; this is NOT Vivaldi (not a baroque performance). Nowadays, this should be known already. The music is clearly not understood by the musicians if performed like this. Sorry.
Michael
mickeycz 3 years ago
This is ivaldi, its the modern vivaldi.
It sounds clear und new, that´s why her interpretation has something special.
But she sad in this video that she WANT this new sound which is "totaly uptudate"
abcdnike 3 years ago
hmmm. such "clear and new" is what you can buy 600x in the regular CD store, and what would be considered an "uptodate" Vivaldi sound(???). Up to date, I would expect a historicall informed performance, not another post-romantic Karajan-ish commercial borscht. She discusses Vivaldi's music, if she wants it something special, you don't modernise it; it's like selling a fake watch. Michael
mickeycz 3 years ago
Do you REALLY think that there is the only way to play Vivaldi? I wonder what gives you the right to say "Well, this is Vivaldi" or "This isn't Vivaldi?" It is a great insult to the piece and the composer for you to think as though there is a certain way to sound like Vivaldi. If there is a piece that can only be played in one way, that piece is not an art anymore.
jo1063 2 years ago
There are many ways to play the piece well and also many ways how to spoil it. Your question can be asked also in the other way. Unfortunately these comment boxes are too short for long discussions. It is not only that I am "just thinking" this; as a professional musician I know what I am talking about. Playing on modern instruments is no crime of course, but this presentation and performance is not showing a good understanding of baroque music. Some basics which are lacking should be respected.
mickeycz 2 years ago
You and I never know what Vivaldi could have say about modern instruments, and what is really fullfilling the purpose of the piece. You and I are not Vivaldi. You could be right. But You could also be wrong, meaning you could missing the true message in the music while you are hung up with "what would have the playing like back then in Vivaldi's age?" it is why you can not judge whether the performance is "authentic" or just one of those spoiled one, with such a high decisiveness.
jo1063 2 years ago
Indeed, we do not know what Vivaldi could have said... but the fact is, that he did not have modern instruments as we have them now. That is a completely different discussion, and fairly academic. We know about Vivaldi's period instruments, with their limitations and possibilities. We will perhaps never know 100% sure, but you can deduct many things and come close (materials, tuning, phrasing...). Unfortunately, this recording is - in all objectiveness - far away from that.
mickeycz 2 years ago
phrasing, materials, tuning they're interdependent, I think it's the artist's choice still to decide if he wants to only mimic the ideas of the past or play with the old instruments.. sacrifice is necessary for diff interpretations. may I ask what instrument do you play?
boomgungun 2 years ago
PS - why not playing it on electric instruments, then?
mickeycz 3 years ago
Comment removed
boomgungun 2 years ago
Fantastico!!! 5*****
nobisdatus 3 years ago
I loved this video. I liked watching the lady lute player in the background.
gifu1960 3 years ago
I agree! It's an abso"lute"ly ginormous lute. LOL. I had to make the pun.
redrover8199 2 years ago 2
I bought this CD. I love it!
shy0351 3 years ago
Why is this not on itunes yet?!?!
CelloRosin 3 years ago 4
This title is on iTunes - search "han-na chang vivaldi"
emiclassics 3 years ago 3
Thank you so much! I was only looking at her artist page, and it was not showing up there.
CelloRosin 3 years ago
She is so brilliant! and so well-spoken! And now playing Vivaldi's baroque music, which she and the London Chamber Orchestra, under conductor Christopher Warren-Green, totally nailed. Vivaldi's cello concertos have a fresh energy from someone who totally understands him and his music.
RaiderEleven 3 years ago
The fulness of sound is absolutely etherial. I love these perfomances, they whet your appetite for the complete recording. The minor just floats. Glorious
mstuartg 3 years ago
does anyone know where i can find the sheet music to vivaldi cello concerto in a minor allegro?
lovejammy 3 years ago
i love her talent
PinKiisHIM 3 years ago
absolutely beautiful
pydbl 3 years ago
Han-Na Chang is the best!
abcdnike 3 years ago
Nan-Na Chang is an artist.
Bravo!
AlamoCityCello 3 years ago 2
very well playing on modern instrument!
koushirou 3 years ago