You made some good points. I agree that perhaps I was being over fussy when I objected to the term "masterclass" in this situation.Stephen Kenyon wrote:Adrian, you and I both attended a summer school more years ago than we care to think, and like all summer schools much of the teaching was in what is popularly known in that situation as a masterclass. Many of those learners were nowhere near the players in this video. While it is probably the case that there is in the strict sense a tendency to devalue the currency of the term masterclass by using it when either the tutor or the players are not really 'masters', nobody is in a position to write laws about who gets to qualify in either role. As long as nobody is fooled and robbed of their cash or seriously misled into life-changing decisions, I'd say its harmless to use the term in this way.Adrian Allan wrote:Not impressed. A masterclass is not teaching children - it should be conservatory level pupils at least.
But I wonder would he be comfortable teaching that level; some may outshine him in ability and knowledge. That is the sad truth.
For what its worth, the players were actually well chosen for the situation, which was an event put on by a local music education provider (Bristol Plays Music ; = BPM!) and were presumably about the best they had on offer - rising Grade 7 & 8 at those ages - about 17 - is perfectly reasonable; and if it helps generate a sense of pride, commitment and engagement not just with the players but with the younger audience looking up to them to call it a masterclass, I'd do the same thing myself.
I have to say I was astonished to note that two out of the three players were playing off the right leg. Its really hard to believe that any tutor, let alone one capable of enthusing youngsters enough to get to that level, could allow that situation. Ditto the massive, unshaped nails.
While I thought Karadaglić did a good job of relating to the youngsters, making them laugh, and in fact gave some perfectly reasonable advice well said, he seemed to go off the boil towards the end. Careful here, as this was clearly rather edited down from probably about 30 mins each student. The editing also gave the impression of far too much Karadaglić talking and not enough playing, so I would hope they were able to play more rather than just sitting there like lemons.
I was disappointed that Karadaglić was unable to do more with the topic of rubato; he was a student of Michael Lewin after all, for whom shape of line and phrase, playing with time and pulse are as important as beauty and character of tone. I can't believe anybody can just say its just a personal thing you have to find. Fair enough to point out the need, to try to sing the line, to mention harmony, but it seemed simplistic and unhelpful ... the editing again perhaps.
I think my issue is more broadly about the marketing success of Milos, which, is way beyond the actual raw talent of the player. It's not nice to single out a particular player for scrutiny, but although in my opinion Milos by no means a bad player, he is not up there among the best, even in his own age group, and the level of attention and hype given to him, shows that the classical music industry has almost sunk to "Susan Boyle" level of finding a reason to hype somebody beyond their real ability, given a good story or image (story in Boyle's case, image in Milos' case).
Although I'm not the best player myself, I do think I can spot the greats from the "good" , or "very good" simply because I have spent decades being immersed/distracted by all things classical guitar related. At that particular guitar festival you mention, we both spotted that Judicial Perroy and Ana Vidovic were destined for future success. Even then, it must be said that both players were in a different league from Milos, and I presume standards have risen further still between then and now.