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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514354 | [S1] Yeah, they're such basic things, you really can find them in, in every single one of them. But, uh, coming back to the, this deep prelude, you know, once again, uh, I just wanted to show you, um, how it's laid out, uh, that bell passage, yeah, that, at the very end. [S2] Yeah, that's the one feeling. [S1] Why is it laid out on two staves? Uh, or, or, or like, as if there are two people and they need to play it. Yeah, so why is this? | 25.72 | 3.213346 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514354.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514355 | [S1] Um, so, uh, you know, basically saying that this piece is not that difficult, yeah, if you compare it with others. And so a lot of amateurs were able to play it and, uh, it, it gave them sort of this feeling of grandeur. But it's again, you know, taking a shorter track mind. [S2] Yes. I, I don't understand it. So boring of these people to be like that. [S1] Yeah. Well, I wanted to- [S2] So easy to do, isn't it? | 23.8 | 2.877439 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514355.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514358 | [S1] I'm a great lover of Schoenberg, by the way, just to be sure about that. But I can see why that would not be a big hit with the particular performers we just listened to. [S2] Yeah. [S1] [LAUGHS] [S2] So this is just to remind you how the 24 are constructed, but you already explained this, yeah? So it's actually three separate lots. | 19 | 2.967254 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514358.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514359 | [S1] Yeah, so, uh, this point, you know, sometimes, uh, arrives quite early in the piece, yeah? And then you have a very, very long descent and think this, this, the descent is probably even more typical of Rachmaninoff's music. [S2] Yeah. [S1] Yeah, because nobody quite does it and, and the fact that you have such a long descent, his harmony avoiding the tonic for as long as possible. [S2] Yeah. [S1] Yeah, creates a sense of nostalgia, doesn't it? [S2] And | 24.44 | 3.094679 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514359.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514360 | [S1] And a fortissima in bar 51 and then a diminuendo. Yeah, Rachmaninoff was a very, very precise about how he actually prepared his course for publication, so we have no reason to trust this. [S2] Mm-hmm. [S1] Uh, to not trust it. [S2] Mm-hmm. [S1] Yeah, but this is the Zillotti edition. [S2] Mm-hmm. [S1] And can you see what he does? Yeah, he actually places the climax in, in bar 50. [S2] Yeah. [S1] And then he gives you a diminuendo to a forte. | 26.76 | 3.102172 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514360.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514361 | [S1] Hmm. Well, he was in the family, you know, families, really. [S2] [LAUGHS] [S1] Basically, that's completely wrong. I'm sorry, Chilotti, that's, this is what Rachmaninoff wanted. And it sounds fabulous like that, and it sounds weak like that. [S2] But is that before possi- um, p- possibly because they were kind of, uh, trying to make it more subtle? Yeah, because everyone was complaining- [S1] Mm-hmm. [S2] ... that the music wasn't subtle. You know, euphemistically again, talking about it in these terms. | 29.28 | 2.828848 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514361.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514362 | [S1] Maybe. That's a very nice way of looking at it. [S2] [LAUGHS] [S1] I just think that lets it down. [S2] Mm-hmm. [S1] And I've heard many, many things said about the climaxes in, well, generally in Russian composers music. I've heard something described as the Russian crescendo, which apparently gets quieter. There's one. [S2] Mm-hmm. [S1] And it, it, it's not a Russian crescendo at all. It's just something that weakens the climax. Simple as that. But that's just an opinion- [S2] Mm-hmm. [S1] ... of which I've probably got too many. | 27.48 | 3.075237 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514362.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514363 | [S1] Well, after the point, well, let's discuss the counterpoint. [S2] Yes. [S1] So, um, what I mean is that even if we take something like a D major prelude, which on the, on the, you know, on, on the surface of it, just has a melody and an accompaniment, | 17.4 | 2.944638 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514363.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514365 | [S1] And, and, and use, use your two hands. It, it reminds me sometimes, you know, of painting some, something like that, that, you know, Rachmaninoff's favorite painter, Leviathan, created, where there is something very simple, you know, just birch trees, but the complexity of it is, is extraordinary. [S2] Yeah. [S1] And, uh, one sort of silly thing that I wanted to, to remind you of, that there was this study at the beginning of this year which, uh, said that Rachmaninoff is the most innovative composer in 20- | 29.8 | 3.33845 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514365.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514366 | [S1] He, he got on top, yeah, of this because he, he turned out that they, they, these transitions, they're just huge number of, of huge variety. Yeah, so of course it's, it's kind of a silly experiment which doesn't really tell us very much, but it's something that it, it gets you somewhere to an understanding of complexity that we maybe don't notice necessarily. [S2] I would have preferred it to have said one of the most, but other than that, I can go with it. [S1] [LAUGHS] | 26.08 | 3.146058 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514366.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514367 | [S1] Yes, Ravel was the other one. [S2] Wow. Yeah. [S1] Right. Well, very quickly, we'll, we'll talk about the gloom because that's another thing that everyone talks about with Rachmaninoff, yeah, how he emigrated, um, to, uh, to the West, yeah, from Russia and this nostalgia that really, um, defines him, uh, as a character. Uh, | 21.72 | 2.977851 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514367.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514369 | which Rimsky-Korsakov, sorry, Rimsky-Korsakov, Rachmaninoff, yeah, set, set, so to speak, as a symphonic poem. So it's likely that, uh, that painting he also associated with death. He was quite obsessed with death, wasn't he? [S1] Mm-hmm. [S2] Um, and, uh, you know, he described it as a fear not of death itself, but of what's beyond. [S1] Yeah. [S2] Uh, of, of basically visions of hell. You can find them in his first symphony and also, I think, in his last piece, which is the Symphonic Dance. [S1] Mm-hmm, very much the | 29.8 | 3.214766 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514369.mp3 | [
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bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514371 | [S1] Well, yeah, we'll, we'll, we'll do the B minor first maybe. [S2] Okay. [S1] Yeah. [S2] That's a long one. [S1] So we'll do the B minor, uh, prelude, which I've just talked about. [S2] Yeah. [S1] Very gloomy one. Then, uh, it will be the complete opposite. Yeah, the kind of Easter bells B-flat major one. [S2] Oh, right. Yeah. [S1] Uh, then the extra bonus one, uh, that Peter suggested is the, the minuet, quite a dark sort of sinister, uh, prelude. And then the D major that we discussed in, uh, in detail. [S2] Yes. And they are | 29 | 2.950747 | 24,000 | audio/en/bilibili_data_16724507_BV1Pa41177SZ_p1_BV1Pa41177SZ_p1_m4-dialogue_0514371.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006083 | [S1] ... as an orchestral, uh, percussionist. [S2] Yes, he seems to be completely central to my- [S1] Yes. [S2] ... place in my- [S1] Um, and you conducted it as well. [S2] Yeah. [S1] So basically in, uh, Jack of all trades. [S2] Yeah. [S1] [LAUGHS] | 11.16 | 3.002586 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006083.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006084 | [S1] ... Idiocency as a teacher was in forbidding me all use of pedals. I had to sustain with my fingers. [S2] Mm-hmm. [S1] Like an organist. An omen, perhaps, as I have never been a pedal composer. [S2] [LAUGHS] | 13 | 3.174303 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006084.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006085 | [S1] Yes, indeed. [S2] Yeah. [S1] Yeah. Well, I, I wouldn't really know how much he practiced in any other decade- [S2] Mm-hmm. [S1] ... as opposed to the- [S2] Yes. [S1] ... 20s, but it, it feel, it, it sounds to me, when I hear him play, that it, that it is a composer playing his own music. [S2] Well, let's hear a little bit. [S1] Which isn't quite the same as, as playing someone else's music or being actually a pianist playing a composer's music. [S2] Let's hear a little bit. This is Capriccio. | 24.72 | 3.099401 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006085.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006086 | [S1] It's a lovely piece. [S2] [LAUGHS] Yes, very. [S1] The Caprice here for piano and, and large orchestra. Very good piece, indeed. In fact, both the wor- the, the main works for piano and orchestra are amongst my favorite 20th century pieces. Uh, the piano concerto for piano and wind instruments, and this Caprice here are just utterly glorious. I, I did record th- [S2] Mm-hmm. [S1] ... all these pieces and, and some of them | 21.96 | 2.877654 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006086.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006087 | [S1] And, uh, Diaghilov, when he just heard, I mean, Stravinsky was a rising star of the Diaghilov Company, of course, and when he heard these pieces, he said to Benoit, um, Alexander Benoit, his designer and librettist, "Yesterday I heard the music of the Russian dance and Petrushka's shrieks," which he had just composed. "It's a work of such genius that one cannot contemplate anything beyond it." So Diaghilov knew immediately that this was something, and you had to make a, a ballet out of it. [S2] Mm-hmm. [S1] And Benoit, | 29.88 | 3.27812 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006087.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006088 | [S1] Is it not that it's polytonal or bitonal rather? [S2] Just hold on a moment. Let's talk about the... [S1] I'm sorry. | 5.2 | 3.016558 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006088.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006089 | [S1] from children's album, uh, which is basically supposed to imitate, uh, a peasant playing a concertina. Yeah. And so it has only two, uh, two chords. Maybe you could, you could read that a little bit. [S2] Hmm. [S1] Yeah. | 16.04 | 3.296447 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006089.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006090 | [S1] Oh, really? [S2] Yeah. So, so basically, yeah, when, when Stravinsky uses something like a muted trumpet or this, uh, this harmony, he wants to imitate that quality of it. Of course, later they, they made him much more thri- three-dimensional character, yeah, and he's actually a suffering, romantic artist as well. But that's the initial in, impulse, I think. [S1] So he is the, the Russian equivalent of Punch and Judy, basically. [S2] Yes. [S1] Yes. [S2] And Pierrot also. [S1] And Pierrot as well, at the same time, yeah. [S2] Yeah. | 29.36 | 3.021432 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006090.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006092 | [S1] Oh, thank you. That, that was wonderful. And, and it, it, I, I just keep thinking, kept thinking, you know, this is the piano completely different from Skryabin, for example. [S2] Oh, yeah. [S1] Yeah, because he started with Tchaikovsky and Skryabin, uh, yeah, he wrote, uh, Etudes Op. 7, which are still quite Skryabinesque and a bit Brimsky-Korsakovian. Um, and this is just completely different instrument. [S2] Mm, absolutely. [S1] Uh, so where does that come from? | 25.8 | 3.228665 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006092.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006093 | [S1] So where does that come from? I mean, I, I can never understand where things come from with Stravinsky. [S2] No. Well, the, the piece immediately before it, was it not the King of the Stars for chorus and orchestra? [S1] Mm-hmm. [S2] And then prior to that was the Firebird, the famous Firebird Ballet, which is so gloriously romantic and very virtuoso for the orchestra. Um, and very tonal. And this is like a completely different language altogether. And then almost immediately, again, he wrote the Rite of Spring, Le Sacre du Pantone. [S1] Okay. | 29.88 | 2.949119 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006093.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006094 | [S1] Okay. Well, The Rite of Spring. [S2] Incredibly, incredibly different. [S1] We're going to talk a little bit about The Rite of Spring, even though it's not for piano. Uh, because there as well, yeah, he, he basically composed it at the piano. The most famous chord, uh, of the Rite of Spring is also very pianistic, isn't it? The, the August of Spring. | 20 | 3.145228 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006094.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006096 | [S1] One of the most wonderful eight bar- [S2] Incredible. [S1] ... phrases I've ever written. [S2] Yeah. [S1] I think that's what my friend, the bassoonist, was talking about when he said, "You should hear this piece." | 9.24 | 3.069474 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006096.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006097 | [S1] That really is rather lyrical by comparison with most of the rest of the ballet, isn't it? But then it becomes, later on, there's a massive version of the same theme. [S2] Yeah. [S1] The same, I should play the. | 11.36 | 3.131882 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006097.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006098 | [S1] Which is the main theme of that movement. I'm sorry, it disappeared. [S2] Yeah. [S1] But the, the second example. Um, and it comes back in a massive fortissimo version. [S2] Mm-hmm. [S1] This is so horrifically dissonant, that it, it still sounds incredibly shocking, despite all the dissonance we've heard since 1913. [S2] Yes. Yes, so I wanted to mention that, uh, the, very important composers played, uh, the Rite of Spring with Stravinsky. One of them was Debussy. [S1] Mm-hmm. [S2] And, um, | 26.96 | 3.190933 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006098.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006099 | [S1] And, uh, uh, there, there was the, the, they played it at the, at the hou- house of Louis Lallois, and Lall- Louis Lallois, uh, wrote that after that, after they did that, and Debussy basically sight-read the thing, although it's so complicated, but he did it wonderfully. [S2] Mm-hmm. [S1] And he said there was no question of embracing, not even of compliments. We were silent, overwhelmed by this hurricane that had come from the depth of the ages and torn up our life by the roots. [S2] Absolutely. [S1] It's very powerful, isn't it? | 28.12 | 3.215505 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006099.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006100 | [S1] And here again, a little bit tongue in cheek. Stravinsky, normally small and bloodless as he was, became engorged with blood while playing. [S2] [LAUGHS] [S1] Sweated, sang, or rather croaked. [S2] [LAUGHS] [S1] And laid down such a strong, good rhythm that we played the Le Sacre to stunning effect. To my total and unexpected amazement, because he didn't expect it, I saw that Le Sacre is a magnificent work with its incredible colors, its clarity, and mastery. So he was a convert. [S2] But he can't play without. | 29.36 | 3.107407 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006100.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006103 | [S1] Um, I wanted to say that th- there is something also at the bottom of- of Stravinsky's style that has to do with a musical joke, yeah? Of- of actually laughing at the wrong notes. [S2] Mm-hmm. [S1] Uh, one example is in "Pietruszko". It's a barrel organ with a missing pin. [S2] Mm-hmm. [S1] Yeah, I'm- I'm going to play with it. Basically, it's two clarinets and one suddenly just stops, yeah? It- it doesn't have a note, yeah? So you have a rest there. It's- it's a kind of funny moment. You can almost not | 29.76 | 3.272658 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006103.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006104 | [S1] For Cazella, however, a new path has been indicated and he was not slow to follow it. So-called neoclassicism of a sort was born at that moment. Very cheeky comment, I thought. [S2] Absolutely. [S1] But, yeah. [S2] I'm just trying, trying to work out which hotel it was. I've never managed to play any Stravinsky in a hotel and get away with it. [S1] Well, there you go. [S2] [LAUGHS] | 19.92 | 2.981868 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006104.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006106 | [S1] ... sketch, um, of, of the first movement of the piano sonata. And you can see that he actually puts fingerings in, which, which is very rare for sketches. Yeah, people usually wouldn't do that. Although to me, it tells you how pianistic the, the design of this piece was. And also probably that he was writing it for himself and wanted to work out things- [S2] Mm-hmm. [S1] ... so that from the fingers- [S2] Mm-hmm. [S1] ... into the score. [S2] He wasn't very good at straight lines, was he? [S1] [LAUGHS] | 26.84 | 2.816447 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006106.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006108 | [S1] Just to show you how other things, yeah, sort of, uh, uh, came from classical composers into Stravinsky. For example, these little Mozartian, uh, sort of little rhythmic things. [S2] Mm-hmm. [S1] Uh, I don't even know what to call them, so little size or something like that. [S2] Mm-hmm. [S1] You can see them in Stravinsky as well. [S2] Mm-hmm. [S1] Yeah, the texture is sort of almost the same, but the melody is kind of perverse. Yeah, the melody would never go down a seventh, for example, in a classical piece. Yeah, or up a ninth. [S2] Mm-hmm. | 29.84 | 3.15087 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006108.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006109 | [S1] ... you know, for the second movement, which you're going to play, uh, which I think was, was taken from, from Bach, uh, Bach's organ piece, uh, which he probably knew in, actually in Busoni's version. [S2] Yeah. [S1] Uh, and it's interesting because usually people say, "Oh, Busoni is ne- neoclassicist, but it's not the right kind of neoclassicist because it's not ironic because Busoni loves Bach, yeah, and he does it with piety and so on." [S2] Yeah. [S1] And Stravinsky does it with irony. But interestingly, you know, I found, uh, | 29.88 | 2.942467 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006109.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006110 | [S1] Yes. Um, so you can see that, you know, I also put some, some Bach examples there of, of how he takes just various parts of the figuration and then plays with them. Yeah. So it's as if he sort of looked at the, the, the few things. He actually also used, uh, piano exercises as inspiration for, for this near classical music. And it's, uh, that's one of the, the, the guys that he took lessons from in the 20s- [S2] Yeah. [S1] ... that he used as well. | 26.56 | 3.077071 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006110.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006111 | [S1] Yes, I think it, it comes from admiration, but he also had this, he had to present a different kind of aesthetic stance, yeah? That he's very cool about it. This is what he says, you know, the sonata is like dry, extra dry champagne. [S2] [LAUGHS] [S1] It does not give a sense of sweetness. [S2] No. [S1] It does not relax like other forms of this drink. Instead, it burns. [S2] Well, look at his face. It's exactly the same kind of attitude. [S1] Well, that's why I put it there next to the... [S2] [LAUGHS] Yeah. [S1] I think, um, yeah, shall we have the sonata? [S2] This is... | 28.92 | 2.900075 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006111.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006112 | [S1] Um- [S2] Sonata, 1924 it was written, yes? [S1] Yes. [S2] Uh, which places it 11 years after the right of spring and in a totally different world, really. So this is the second and third movements of, of that sonata, which is, in fact, the piece that you can hear Stravinsky himself play on YouTube. | 17.08 | 2.829979 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006112.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006115 | [S1] Yes, we need to be culturally immersed in, in this. [S2] Yeah. [S1] And then it means something and it expresses lots of things. But anyway, he was fascinated with this idea of non-expression and he didn't like pianists playing rubato or in an expressive way. So actually he wanted to use a pianola. So that was his next trick. [S2] And that piece sounds like a pianola, doesn't it? [S1] Right. [S2] It sounds like you're going there with the, with the pedals. | 26.04 | 2.905819 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006115.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006116 | [S1] So he- [S2] Is it not the case though? I'm sorry to interrupt, but I mean- [S1] Yeah. [S2] ... it always strikes me when I, when I read the things that people, not just Stravinsky, but people from that era tended to say. [S1] Mm-hmm. [S2] They were reacting negatively against a, a, a sort of excess that was going on at the time. [S1] Mm-hmm. [S2] Uh, Bartok certainly did, and, and, uh, Prokofiev very famously said things like, "The time has come to do without shopping on Mozart." [S1] Mm-hmm. [S2] And, and all these kind of things, which, which sounds like a teenager, uh, the sort of thing I'd have said in 1967. | 29.88 | 3.170883 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006116.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006117 | [S1] And, you know, um, when they got older, they completely changed their minds and absolutely revealed their admiration for this. But there was definitely around about the time that these composers were, were, were writing, there was definitely a tendency towards excess, excess expressiveness. [S2] Mm-hmm. [S1] Uh, which was almost like quiche. Well, it was quiche in many cases. [S2] Mm-hmm. [S1] Just over the top. And I can, I can quite easily imagine in that situation wanting to say something very contrary- [S2] Mm-hmm. [S1] ... to stop it. [S2] Mm-hmm. [S1] But if you, | 28.88 | 3.177261 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006117.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006118 | [S1] If you then, uh, look back from several decades later, it's a very different matter. [S2] Mm-hmm. So, um, eventually, yeah, so he gave up on the idea of pianos and Lennox and he replaced them with four pianos and percussion. [S1] Mm-hmm. | 12.88 | 2.835074 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006118.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006119 | [S1] And, yeah. [S2] [LAUGHS] [S1] And he says that these four pianos created the perfectly homogeneous, perfectly impersonal, and perfectly mechanical sound. So again, he thinks of the piano as being this non-expressive percussion mechanical instrument. But if you listen to the end of Lennox and look at how it's presented in the original ballet, you realize how beautiful it is. [S2] Yeah. [S1] Yeah. [S2] Incredibly so. | 26.64 | 2.871115 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006119.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006120 | [S1] ... redolent of a, of a, of a, a Russian ... Well, it's what it is. It's a Russian ceremony, a wedding. Uh, and it is so Russian, of course. And, and Stravinsky perhaps didn't realize just how Russian he was. I'm not really sure. [S2] Mm-hmm. [S1] As he was an immigrant into France and then America. [S2] Well, I th- I think he was, at that point, he was wri- writing a lot of Russian pieces precisely because he realized that he's immigrated now f- forever. He couldn't come back. [S1] Mm-hmm. [S2] Yeah, because the revolution happened while he was abroad. [S1] Yeah. [S2] So, um, | 28.8 | 3.059648 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006120.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006121 | [S1] ... Yeah, the umpa pattern, which is always keep steady. It has to be steady. So look at this perversity that he does there. Yeah, so he uses the same rhythms, but he changes the meter all the time. Yeah, he even uses that, that same pattern on the left hand. [S2] Yeah. [S1] But it stops making sense because he actually changes it from two to three, yeah, to four and so on. | 23.72 | 3.210797 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006121.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006122 | [S1] Yeah. [S2] I'd like to ask him, in fact, why that happens sometimes. [S1] [LAUGHS] [S2] Because you can't actually hear it. In the right of spring, you can hear the rhythmic patterns very strongly. Um, the, the, the piano rag music, I think, um, is anticipating the soldier's tale. [S1] It's actually later. [S2] It's the other way around. [S1] The soldier's tales was first. Uh-huh. [S2] So | 21.24 | 2.997105 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006122.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006123 | [S1] And it's a very strange feeling. I can't even do it. It's like doing this. Um, where, where you conducting something that keeps on changing meter, but it actually sounds like it doesn't change at all. [S2] [LAUGHS] [S1] And it's a very odd thing. [S2] Well- [S1] I want to know from him why. [LAUGHS] [S2] [LAUGHS] Well, this is why Koussevitzky, yeah, well, he was conducting the right, the spring, he re-barred it or something. [S1] Yeah. [S2] He, he put, put it all in four, four and just- [S1] Bernstein did that. Bernstein. [S2] Did he do that as well? [S1] Yes, he did. | 24.88 | 3.004828 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006123.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006126 | [S1] That kind of chord, yeah. It is almost jazzy, not quite. [S2] So just before- [S1] There's definitely an influence. [S2] Yeah, just before we end with Peter playing piano rag music, I just wanted to show you this wonderful cartoon. Yeah, a punch cartoon from 1927. [S1] [LAUGHS] | 16.48 | 2.999213 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006126.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006128 | [S1] Yeah, mouth, organ, concertina, bells, percussion, cimbalom. Uh, it, it's connected to all of that. And, and all these other things that I mentioned. Yeah, cores that lie under fingers, fingerings and sketches, piano exercises as a source of material, piano sound and piano mechanism. Yeah, as a sort of inspiration. [S2] Yeah. [S1] So, this is just a little recap slide. [S2] Mm-hmm. [S1] And, um, uh, then I think we can... | 25.68 | 3.305106 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_BV1xB4y1X7Fx_m4-dialogue_1006128.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170474 | [S1] ... as an orchestral, uh, percussionist. [S2] Yes, he seems to be completely central to my- [S1] Yes. [S2] ... place in my- [S1] Um, and you conducted it as well. [S2] Yeah. [S1] So basically in, uh, Jack of all trades. [S2] Yeah. [S1] [LAUGHS] | 11.16 | 3.002586 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170474.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170475 | [S1] ... Idiocency as a teacher was in forbidding me all use of pedals. I had to sustain with my fingers. [S2] Mm-hmm. [S1] Like an organist. An omen, perhaps, as I have never been a pedal composer. [S2] [LAUGHS] | 13 | 3.174303 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170475.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170476 | [S1] Yes, indeed. [S2] Yeah. [S1] Yeah. Well, I, I wouldn't really know how much he practiced in any other decade- [S2] Mm-hmm. [S1] ... as opposed to the- [S2] Yes. [S1] ... 20s, but it, it feel, it, it sounds to me, when I hear him play, that it, that it is a composer playing his own music. [S2] Well, let's hear a little bit. [S1] Which isn't quite the same as, as playing someone else's music or being actually a pianist playing a composer's music. [S2] Let's hear a little bit. This is Capriccio. | 24.72 | 3.099401 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170476.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170477 | [S1] It's a lovely piece. [S2] [LAUGHS] Yes, very. [S1] The Caprice here for piano and, and large orchestra. Very good piece, indeed. In fact, both the wor- the, the main works for piano and orchestra are amongst my favorite 20th century pieces. Uh, the piano concerto for piano and wind instruments, and this Caprice here are just utterly glorious. I, I did record th- [S2] Mm-hmm. [S1] ... all these pieces and, and some of them | 21.96 | 2.877654 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170477.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170478 | [S1] And, uh, Diaghilov, when he just heard, I mean, Stravinsky was a rising star of the Diaghilov Company, of course, and when he heard these pieces, he said to Benoit, um, Alexander Benoit, his designer and librettist, "Yesterday I heard the music of the Russian dance and Petrushka's shrieks," which he had just composed. "It's a work of such genius that one cannot contemplate anything beyond it." So Diaghilov knew immediately that this was something, and you had to make a, a ballet out of it. [S2] Mm-hmm. [S1] And Benoit, | 29.88 | 3.27812 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170478.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170479 | [S1] Is it not that it's polytonal or bitonal rather? [S2] Just hold on a moment. Let's talk about the... [S1] I'm sorry. | 5.2 | 3.016558 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170479.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170480 | [S1] from children's album, uh, which is basically supposed to imitate, uh, a peasant playing a concertina. Yeah. And so it has only two, uh, two chords. Maybe you could, you could read that a little bit. [S2] Hmm. [S1] Yeah. | 16.04 | 3.296447 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170480.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170481 | [S1] Oh, really? [S2] Yeah. So, so basically, yeah, when, when Stravinsky uses something like a muted trumpet or this, uh, this harmony, he wants to imitate that quality of it. Of course, later they, they made him much more thri- three-dimensional character, yeah, and he's actually a suffering, romantic artist as well. But that's the initial in, impulse, I think. [S1] So he is the, the Russian equivalent of Punch and Judy, basically. [S2] Yes. [S1] Yes. [S2] And Pierrot also. [S1] And Pierrot as well, at the same time, yeah. [S2] Yeah. | 29.36 | 3.021432 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170481.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170483 | [S1] Oh, thank you. That, that was wonderful. And, and it, it, I, I just keep thinking, kept thinking, you know, this is the piano completely different from Skryabin, for example. [S2] Oh, yeah. [S1] Yeah, because he started with Tchaikovsky and Skryabin, uh, yeah, he wrote, uh, Etudes Op. 7, which are still quite Skryabinesque and a bit Brimsky-Korsakovian. Um, and this is just completely different instrument. [S2] Mm, absolutely. [S1] Uh, so where does that come from? | 25.8 | 3.228665 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170483.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170484 | [S1] So where does that come from? I mean, I, I can never understand where things come from with Stravinsky. [S2] No. Well, the, the piece immediately before it, was it not the King of the Stars for chorus and orchestra? [S1] Mm-hmm. [S2] And then prior to that was the Firebird, the famous Firebird Ballet, which is so gloriously romantic and very virtuoso for the orchestra. Um, and very tonal. And this is like a completely different language altogether. And then almost immediately, again, he wrote the Rite of Spring, Le Sacre du Pantone. [S1] Okay. | 29.76 | 2.949119 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170484.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170485 | [S1] Okay. Well, The Rite of Spring. [S2] Incredibly, incredibly different. [S1] We're going to talk a little bit about The Rite of Spring, even though it's not for piano. Uh, because there as well, yeah, he, he basically composed it at the piano. The most famous chord, uh, of the Rite of Spring is also very pianistic, isn't it? The, the August of Spring. | 20 | 3.145228 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170485.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170487 | [S1] One of the most wonderful eight bar- [S2] Incredible. [S1] ... phrases I've ever written. [S2] Yeah. [S1] I think that's what my friend, the bassoonist, was talking about when he said, "You should hear this piece." | 9.24 | 3.069474 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170487.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170488 | [S1] That really is rather lyrical by comparison with most of the rest of the ballet, isn't it? But then it becomes, later on, there's a massive version of the same theme. [S2] Yeah. [S1] The same, I should play the. | 11.36 | 3.131882 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170488.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170489 | [S1] Which is the main theme of that movement. I'm sorry, it disappeared. [S2] Yeah. [S1] But the, the second example. Um, and it comes back in a massive fortissimo version. [S2] Mm-hmm. [S1] This is so horrifically dissonant, that it, it still sounds incredibly shocking, despite all the dissonance we've heard since 1913. [S2] Yes. Yes, so I wanted to mention that, uh, the, very important composers played, uh, the Rite of Spring with Stravinsky. One of them was Debussy. [S1] Mm-hmm. [S2] And, um, | 26.96 | 3.190933 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170489.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170490 | [S1] And, uh, uh, there, there was the, the, they played it at the, at the hou- house of Louis Lallois, and Lall- Louis Lallois, uh, wrote that after that, after they did that, and Debussy basically sight-read the thing, although it's so complicated, but he did it wonderfully. [S2] Mm-hmm. [S1] And he said there was no question of embracing, not even of compliments. We were silent, overwhelmed by this hurricane that had come from the depth of the ages and torn up our life by the roots. [S2] Absolutely. [S1] It's very powerful, isn't it? | 28.12 | 3.215505 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170490.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170491 | [S1] And here again, a little bit tongue in cheek. Stravinsky, normally small and bloodless as he was, became engorged with blood while playing. [S2] [LAUGHS] [S1] Sweated, sang, or rather croaked. [S2] [LAUGHS] [S1] And laid down such a strong, good rhythm that we played the Le Sacre to stunning effect. To my total and unexpected amazement, because he didn't expect it, I saw that Le Sacre is a magnificent work with its incredible colors, its clarity, and mastery. So he was a convert. [S2] But he can't play without. | 29.36 | 3.107407 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170491.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170494 | [S1] Um, I wanted to say that th- there is something also at the bottom of- of Stravinsky's style that has to do with a musical joke, yeah? Of- of actually laughing at the wrong notes. [S2] Mm-hmm. [S1] Uh, one example is in "Pietruszko". It's a barrel organ with a missing pin. [S2] Mm-hmm. [S1] Yeah, I'm- I'm going to play with it. Basically, it's two clarinets and one suddenly just stops, yeah? It- it doesn't have a note, yeah? So you have a rest there. It's- it's a kind of funny moment. You can almost not | 29.88 | 3.272658 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170494.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170495 | [S1] For Cazella, however, a new path has been indicated and he was not slow to follow it. So-called neoclassicism of a sort was born at that moment. Very cheeky comment, I thought. [S2] Absolutely. [S1] But, yeah. [S2] I'm just trying, trying to work out which hotel it was. I've never managed to play any Stravinsky in a hotel and get away with it. [S1] Well, there you go. [S2] [LAUGHS] | 19.92 | 2.981868 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170495.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170497 | [S1] ... sketch, um, of, of the first movement of the piano sonata. And you can see that he actually puts fingerings in, which, which is very rare for sketches. Yeah, people usually wouldn't do that. Although to me, it tells you how pianistic the, the design of this piece was. And also probably that he was writing it for himself and wanted to work out things- [S2] Mm-hmm. [S1] ... so that from the fingers- [S2] Mm-hmm. [S1] ... into the score. [S2] He wasn't very good at straight lines, was he? [S1] [LAUGHS] | 26.84 | 2.816447 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170497.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170499 | [S1] Just to show you how other things, yeah, sort of, uh, uh, came from classical composers into Stravinsky. For example, these little Mozartian, uh, sort of little rhythmic things. [S2] Mm-hmm. [S1] Uh, I don't even know what to call them, so little size or something like that. [S2] Mm-hmm. [S1] You can see them in Stravinsky as well. [S2] Mm-hmm. [S1] Yeah, the texture is sort of almost the same, but the melody is kind of perverse. Yeah, the melody would never go down a seventh, for example, in a classical piece. Yeah, or up a ninth. [S2] Mm-hmm. | 29.84 | 3.15087 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170499.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170500 | [S1] ... you know, for the second movement, which you're going to play, uh, which I think was, was taken from, from Bach, uh, Bach's organ piece, uh, which he probably knew in, actually in Busoni's version. [S2] Yeah. [S1] Uh, and it's interesting because usually people say, "Oh, Busoni is ne- neoclassicist, but it's not the right kind of neoclassicist because it's not ironic because Busoni loves Bach, yeah, and he does it with piety and so on." [S2] Yeah. [S1] And Stravinsky does it with irony. But interestingly, you know, I found, uh, | 29.88 | 2.942467 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170500.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170501 | [S1] Yes. Um, so you can see that, you know, I also put some, some Bach examples there of, of how he takes just various parts of the figuration and then plays with them. Yeah. So it's as if he sort of looked at the, the, the few things. He actually also used, uh, piano exercises as inspiration for, for this near classical music. And it's, uh, that's one of the, the, the guys that he took lessons from in the 20s- [S2] Yeah. [S1] ... that he used as well. | 26.56 | 3.077071 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170501.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170502 | [S1] Yes, I think it, it comes from admiration, but he also had this, he had to present a different kind of aesthetic stance, yeah? That he's very cool about it. This is what he says, you know, the sonata is like dry, extra dry champagne. [S2] [LAUGHS] [S1] It does not give a sense of sweetness. [S2] No. [S1] It does not relax like other forms of this drink. Instead, it burns. [S2] Well, look at his face. It's exactly the same kind of attitude. [S1] Well, that's why I put it there next to the... [S2] [LAUGHS] Yeah. [S1] I think, um, yeah, shall we have the sonata? [S2] This is... | 28.92 | 2.900075 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170502.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170503 | [S1] Um- [S2] Sonata, 1924 it was written, yes? [S1] Yes. [S2] Uh, which places it 11 years after the right of spring and in a totally different world, really. So this is the second and third movements of, of that sonata, which is, in fact, the piece that you can hear Stravinsky himself play on YouTube. | 17.08 | 2.829979 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170503.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170506 | [S1] Yes, we need to be culturally immersed in, in this. [S2] Yeah. [S1] And then it means something and it expresses lots of things. But anyway, he was fascinated with this idea of non-expression and he didn't like pianists playing rubato or in an expressive way. So actually he wanted to use a pianola. So that was his next trick. [S2] And that piece sounds like a pianola, doesn't it? [S1] Right. [S2] It sounds like you're going there with the, with the pedals. | 26.04 | 2.905819 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170506.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170507 | [S1] So he- [S2] Is it not the case though? I'm sorry to interrupt, but I mean- [S1] Yeah. [S2] ... it always strikes me when I, when I read the things that people, not just Stravinsky, but people from that era tended to say. [S1] Mm-hmm. [S2] They were reacting negatively against a, a, a sort of excess that was going on at the time. [S1] Mm-hmm. [S2] Uh, Bartok certainly did, and, and, uh, Prokofiev very famously said things like, "The time has come to do without shopping on Mozart." [S1] Mm-hmm. [S2] And, and all these kind of things, which, which sounds like a teenager, uh, the sort of thing I'd have said in 1967. | 29.8 | 3.170883 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170507.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170508 | [S1] And, you know, um, when they got older, they completely changed their minds and absolutely revealed their admiration for this. But there was definitely around about the time that these composers were, were, were writing, there was definitely a tendency towards excess, excess expressiveness. [S2] Mm-hmm. [S1] Uh, which was almost like quiche. Well, it was quiche in many cases. [S2] Mm-hmm. [S1] Just over the top. And I can, I can quite easily imagine in that situation wanting to say something very contrary- [S2] Mm-hmm. [S1] ... to stop it. [S2] Mm-hmm. [S1] But if you, | 28.88 | 3.177261 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170508.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170509 | [S1] If you then, uh, look back from several decades later, it's a very different matter. [S2] Mm-hmm. So, um, eventually, yeah, so he gave up on the idea of pianos and Lennox and he replaced them with four pianos and percussion. [S1] Mm-hmm. | 12.88 | 2.835074 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170509.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170510 | [S1] And, yeah. [S2] [LAUGHS] [S1] And he says that these four pianos created the perfectly homogeneous, perfectly impersonal, and perfectly mechanical sound. So again, he thinks of the piano as being this non-expressive percussion mechanical instrument. But if you listen to the end of Lennox and look at how it's presented in the original ballet, you realize how beautiful it is. [S2] Yeah. [S1] Yeah. [S2] Incredibly so. | 26.64 | 2.871115 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170510.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170511 | [S1] ... redolent of a, of a, of a, a Russian ... Well, it's what it is. It's a Russian ceremony, a wedding. Uh, and it is so Russian, of course. And, and Stravinsky perhaps didn't realize just how Russian he was. I'm not really sure. [S2] Mm-hmm. [S1] As he was an immigrant into France and then America. [S2] Well, I th- I think he was, at that point, he was wri- writing a lot of Russian pieces precisely because he realized that he's immigrated now f- forever. He couldn't come back. [S1] Mm-hmm. [S2] Yeah, because the revolution happened while he was abroad. [S1] Yeah. [S2] So, um, | 29.08 | 3.059648 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170511.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170512 | [S1] ... Yeah, the umpa pattern, which is always keep steady. It has to be steady. So look at this perversity that he does there. Yeah, so he uses the same rhythms, but he changes the meter all the time. Yeah, he even uses that, that same pattern on the left hand. [S2] Yeah. [S1] But it stops making sense because he actually changes it from two to three, yeah, to four and so on. | 23.72 | 3.210797 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170512.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170513 | [S1] Yeah. [S2] I'd like to ask him, in fact, why that happens sometimes. [S1] [LAUGHS] [S2] Because you can't actually hear it. In the right of spring, you can hear the rhythmic patterns very strongly. Um, the, the, the piano rag music, I think, um, is anticipating the soldier's tale. [S1] It's actually later. [S2] It's the other way around. [S1] The soldier's tales was first. Uh-huh. [S2] So | 21.24 | 2.997105 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170513.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170514 | [S1] And it's a very strange feeling. I can't even do it. It's like doing this. Um, where, where you conducting something that keeps on changing meter, but it actually sounds like it doesn't change at all. [S2] [LAUGHS] [S1] And it's a very odd thing. [S2] Well- [S1] I want to know from him why. [LAUGHS] [S2] [LAUGHS] Well, this is why Koussevitzky, yeah, well, he was conducting the right, the spring, he re-barred it or something. [S1] Yeah. [S2] He, he put, put it all in four, four and just- [S1] Bernstein did that. Bernstein. [S2] Did he do that as well? [S1] Yes, he did. | 24.88 | 3.004828 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170514.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170517 | [S1] That kind of chord, yeah. It is almost jazzy, not quite. [S2] So just before- [S1] There's definitely an influence. [S2] Yeah, just before we end with Peter playing piano rag music, I just wanted to show you this wonderful cartoon. Yeah, a punch cartoon from 1927. [S1] [LAUGHS] | 16.48 | 2.999213 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170517.mp3 | [
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bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170519 | [S1] Yeah, mouth, organ, concertina, bells, percussion, cimbalom. Uh, it, it's connected to all of that. And, and all these other things that I mentioned. Yeah, cores that lie under fingers, fingerings and sketches, piano exercises as a source of material, piano sound and piano mechanism. Yeah, as a sort of inspiration. [S2] Yeah. [S1] So, this is just a little recap slide. [S2] Mm-hmm. [S1] And, um, uh, then I think we can... | 25.68 | 3.305106 | 24,000 | audio/en/bilibili_data_16724507_BV1xB4y1X7Fx_p1_BV1xB4y1X7Fx_p1_m4-dialogue_0170519.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513580 | [S1] Okay, so now, hi Trevor, hi. [S2] Hi. Long time, no talk. [S1] Yeah, I know, right? How are you? [S2] Good, I'm okay. Um, life's been, I mean, I don't know, just busy, I guess. I started my first, like, full-time job, um, I work in New York as, like, a media planner. [S1] Oh, my God, congrats, New York. Wow. | 25.16 | 3.162216 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513580.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513581 | [S1] After going to New York and, 'cause I don't live there, right? I, I commute there from Pennsylvania, so it's about a two hour commute. [S2] Every day? [S1] So I go two days a week. [S2] Oh, okay. [S1] But it's, it's still a lot, 'cause sometimes, like, for example, this week I worked 'till 8:30 at night. | 17.4 | 3.189908 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513581.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513582 | [S1] and then I take the 9 o'clock bus home. So I get home at like 1130 and then I have to go to bed and get up at 530 to come back. So it's- [S2] Oh God. [S1] It's- yeah. [S2] That's rough. [S1] It- it is rough, but it's okay. Um, but after, like, commuting there for so long, I- I see, like, a lot of charm in, like, New York, so I figured, I'm like, "Oh, I could- I could stay there a year or so and then maybe look at China." 'Cause I was still looking at flights. There's still | 27.44 | 3.363449 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513582.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513583 | [S1] really expensive. And they're like 30 hour journeys. And if you take a flight, so some of them aren't that expensive. They're like $1,000, $1,000 US one way. But- [S2] Wow, that's pretty- [S1] But it's like a, but it's a 30 hour journey. So you're gonna have to take a layover in wherever for like 12 hours or something. [S2] Yeah. [S1] I, yeah, it's good. It's, it's rough, so. And also I like started seeing a girl here. [S2] Right. [S1] So that's another, yeah, so that's another thing that's like top. [S2] Yeah, yeah, exactly. Like a person keeps you here kind of. | 28.88 | 3.198005 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513583.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513584 | [S1] Yeah, exactly. 'Cause I, I still wanna go, but at the same time, I, like, don't wanna, like, leave her, so. [S2] Yeah, and go long distance. Yeah, it's hard. [S1] Exactly. So it's, like, a lot of different things going on, so. [S2] Oh, my God. [S1] Yeah, my life's kinda crazy, but... [S2] So you're living in Pennsylvania right now, and then, like, are you gonna relocate to New York anytime soon, or... | 21.36 | 3.262511 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513584.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513585 | [S1] I've been looking at apartments, like, online for, like, six months or so. I finally started, like, going and looking at the places. [S2] Mm-hmm. [S1] Um, I think I found a couple places I liked. Uh, | 12.2 | 3.51532 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513585.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513586 | [S1] So I just have to find a roommate. That's like the hardest thing. [S2] [LAUGHS] [S1] 'Cause I don't know anybody who's moving there. So I literally have to use like Facebook. [S2] Mm-hmm. [S1] And find random people and, and vet them and see if they're gonna be good. So we'll see- [S2] You're not serial killers. [S1] Exactly. Yeah. [LAUGHS] So we'll see, we'll see if, um... | 19.24 | 3.302084 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513586.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513587 | [S1] There's one guy who I'm talking to, he seems nice. He's a, he's a graduate student. Um, I'm looking at like not a great area in New York, though. But the thing is- [S2] Oh, God. [S1] ... the va- like, the value you get for your apartment- [S2] Mm-hmm. [S1] ... is really, really good. I don't know, the, the apartment's nice. I've walked around the area, like, a couple times. It does seem like a little rundown, but- [S2] Mm-hmm. [S1] ... it doesn't seem that bad. | 24.08 | 3.392843 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513587.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513588 | [S1] It feels like you're trying to justify, like, you know, you're like- [S2] Yeah. [S1] ... trying to convince yourself that it's worth it. [S2] Yeah. [S1] But, like, danger versus, I mean, like, safety versus nice apartment, I don't know. [S2] Yeah. | 12.32 | 3.124426 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513588.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513589 | [S1] Yeah, yeah. I, I get what you're saying. [S2] Yeah. [S1] I, I am justifying it to myself, but I, I just think the, I think the whole city's dangerous. I don't think that one area- [S2] Okay. Yeah, I agree. [S1] I, I think New York's not an especially safe place, so. But I think it's not, this apartment has, like, it's really, really nice and it has all, like, these amenities, so it has, like, a shuttle that takes you to the subway, so you don't actually have to walk there. So that's nice. [S2] Yeah. | 28.68 | 3.20997 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513589.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513590 | [S1] and it's, um, they have all kinds of stuff. The building has, it has like a cafe, like, right next to the building. [S2] Wow. [S1] It has like a salon in the building. It has all kinds of stuff. It is like absolutely, it's really cool. [S2] Like everything you want is there, kind of thing. [S1] Yeah. | 17.36 | 3.472693 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513590.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513591 | [S1] Yeah, I guess that, so you don't have to leave. 'Cause if you leave, maybe it's dangerous. I don't know. So it's, it's expensive. Like, it's not cheap, but it'll be like $1,500 US dollars a month per person. [S2] Oh. [S1] So for the two better- [S2] Wow. [S1] Yeah, it's a lot, but if you compare it to other areas, like- [S2] Right. | 20.32 | 3.333622 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513591.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513592 | [S1] Both, yeah, exactly. So the grandparents, the parents, the kid, like, all live in, in the same house. [S2] Right. [S1] Like, getting the independence and the, that isn't something I feel like that is pushed a lot in Chinese society. Like- [S2] Yeah. [S1] Like, they'll just see it as like a waste of money that- [S2] [LAUGHS] Yeah. [S1] ... you're, it, that you're renting a house somewhere, you know. [S2] Yeah, I know. My, my parents see it that way too, which is why I'm still at home. They're like, "Yeah, you don't really need to go out," and like, you know, it's- [S1] Yeah, it's- [S2] 'Cause everything's right here, right? [S1] Exactly. | 29.24 | 3.256733 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513592.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513593 | [S1] I think they're, I, I see like the positives of both. [S2] Mm-hmm. [S1] So I'll, I'll, I think it's good to stay at home for a while, and then I think it's good to get some experience on your own and go, you know, go to new places, even if it's not the most cost-effective, like, method. [S2] Yeah, I agree. Yeah. I feel the same way. I feel like it's, it's just like, you gain more experiences when you move out, but also, like, if you stay, you, um, save up money. But at the same time, it's like you win some and you lose some, right? Like, | 27.56 | 3.10186 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513593.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513594 | [S1] Have to find out what's more important to you. [S2] Yeah, exactly. It's weird, on the weekends, I don't know. It's not that I don't have friends in the area, but like it's, once you start working, it's like, I don't know. Only, only have a couple. I don't, I'm not sure if you noticed that, but like when you graduated like high school and- [S1] Mm-hmm. [S2] ... and college, like you have friends at school, but once they kinda go away, you only have a few- [S1] Yeah. [S2] ... that you stay close to. | 26.56 | 3.283068 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513594.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513595 | [S1] Yeah, I agree. Like, some of my friends, they get married, they have kids. Like, some of my friends right now from university have babies. [S2] Yeah. [S1] And, like, they just can't relate to their life anymore. [S2] [LAUGHS] Yeah. [S1] Like, like, I'm, like- [S2] I can't- [S1] ... talking about, like, going to do fun stuff, and they're like, "Oh, like, actually I have to stay at home and take care of my kid." And I'm just like, "Oh, okay." [LAUGHS] [S2] Yeah, it's- [S1] No, okay. [S2] There are a lot of kids from high school who- [S1] Yeah. [S2] ... that they're married and they have kids and it, that's crazy. I can't even imagine that. I don't think | 28.08 | 3.067666 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513595.mp3 | [
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bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513596 | [S1] I don't think I'm gonna be ready for kids until I'm like 30, I think. [S2] I know, right? Same here, same here. I'm a kid myself right now, so I can't handle that, you know? [S1] Yeah, I know, it's funny. I say I'm like a big, a big kid. That's like just my personality. What are your plans for today? What are you, what are you doing? [S2] Um, actually, since it's 10:00 after this, I would be helping with, like, the preparation for Chinese New Year, 'cause it's actually tomorrow, right? | 27.4 | 3.044974 | 24,000 | audio/en/bilibili_data_1704715009_BV1G24y1q7ZA_BV1G24y1q7ZA_m4-dialogue_0513596.mp3 | [
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