The Art of Rubato

“The rubato style involves stealing time when something special is happening in the music. It’s all to do with timing, freedom, and subtlety. And that kind of elasticity and freedom is something that I try to instill in all of my players.” –Benjamin Zander

From a discussion on the art of rubato in the second movement of Mahler’s Second Symphony. Explore the concept of rubato through discussions, performances, and examples of an oft-forgotten magic trick: the delicate art of making music dance.

Cassadó: Requiebros (Interpretation Class)
A beautiful reflection on Gaspar Cassadó, Benjamin Zander's teacher. Zander and BPYO cellist Zachary Fung listen to an old Chopin recording, tackle one of Cassadó's compositions, and discuss what it means nowadays to craft musical phrases directly from the heart.
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Bach: Adagio from Partita No. 1 in G Minor (Interpretation Class)
Most of Bach's solo works are in the style of traditional dances. But sometimes the buoyancy of movement is forgotten. In this class, Zander brings the concept into reality by encouraging violinist Leo Marillier to dance around the room as he plays.
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Puccini: “Mi chiamano Mimi” from La Bohème (Interpretation Class)
Zander works with soprano Sarah Cooper on bringing one of opera's most famous arias to life.
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Schubert: Gretchen am Spinnrade (Interpretation Class)
Bethany Worrell, soprano; Dina Vainshtein, piano
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Wieniawski: Fantasie Brilliante (Interpretation Class)
BPYO violinist Mitsuru Yonezaki learns that the key to unlocking one of the hardest pieces for violin requires a specific type of freedom and movement. Dancing, to be exact!
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