Welcome back to another episode of TwoSet Violin. Today you are watching… Basically, we’re watching a bunch of clips from different conductors. You can’t laugh, and you can’t flinch, and you can’t cringe. That is the, uh… rules. Just be. Basically, you react, you lose. Yeah, you react— You can’t react. – You can’t react.
– Just can’t. That’s it. 3 lives each. Let’s go. *coughing* Sorry, that cough…! I already laughed…! *imitates coughing* Dude, that was so obnoxious! No no no, it’s about the conductor. – Right?
– Yeah, you can’t— No reactions. *coughing* *coughing continues* Oh my god, how many coughs? I actually didn’t even notice him drop… the baton. I was too focused trying to figure out why does she have like, three mics? I wanna watch that again. When did he— – How’d he drop it?
– Oh yeah. He did one of these. And he just… Why do conductors do that? What’s this one? – The like… Speed up,
– He wants to move… – like move forward with the phrase.
– Yeah. – But then he just dropped his baton.
– Just dropped the stick. That’s not good. Dude, that happened to us once in, uh… In rehearsal, thankfully. She dropped her baton. My deskie goes, “Well there goes all respect from the musicians.” Guys, conductors have a really hard job. Yeah…! First, they need to please the crowd. They also need to make sure they have respect from the musicians. – Yeah…
– They literally have, like, a 10-minute window, or a 10-seconds window, maybe. Professional orchestra musicians can be picky. We don’t just follow anyone. Alright, next one. Oh, French horn! I think it’s the modern music. – Is there?
– Yeah. He’s just like… He’s like, “Oh, you guys failed.” We should explain to them what happened. The French horn split the note in the entry. It’s like a voice cracking. – Yeah…!
– It’s supposed to come in, *singing* – Like a ♪ bah ♪
– Yeah. And then they were like, I wonder if he remembered there was a – freaking TV camera on his face.
– Yeah. He’s like, I think it’s like, the equivalent of getting shaky bow, for a string player, is like splitting the note. Like, not starting properly. I can also imagine being that French horn player, splitting it, and then just seeing the conductor be like, – He’ll lose his breath so quickly, like,
– He’s like, “You -” Yeah like, “Oh no!” – “Keep going… Keep going…”
– “I messed it up!” – That was pretty like…
– It was funny ’cause of the like, – “boing!”
– Because it was pretty elegant. – It was like, “Boing, boing!”
– Yeah! And then his derpy face when he did that – next downbeat, it was like this.
– Yeah. – Wait.
– Like, look… (both) What is that? “Don’t worry guys, you didn’t see that!” Alright, that was funny. Brett: All your 3 lives are gone. Ling Ling potion! (both) Ling Ling insurance!! Bernstein: Wait. No, that’s not in tune, again. Bernstein: ♪ Sol ♪ Bernstein: That’s better. Bernstein: That’s better. Okay. Breathe. Now. Bernstein: All singing. Bernstein: Good. Now, if you can all have a sound in the crescendo like him. Not brassy, you see that gets, “wah.” It should be, *sings* I know it’s very low. It’s too low to achieve that. Bernstein: And I know you can do it. Don’t shake your head, you can do it. – Bernstein: Come on. The same place.
– Musician: How would you like us to change our sound? What? What different type of sound would you like us to have? Bernstein: Not “wah.” I don’t think we ever did that. – Bernstein: Pardon? That’s where it’s *inaudible*.
– Musician: We’re trying not to do that. Bernstein: He doesn’t. Musician: Uh, well, we follow him. Well, that’s strange. Doesn’t sound like *inaudible*. Try it again. Huh. Okay. – That was just, that was so like…
– Yeah. I don’t know, I was just like, “Oh…” – Ohh…
– That’s intense. This third guy was actually trying to be diplomatic. – He was just like, “What is it that you want us to do?”
– “What are you trying to say?” Yeah. Whereas the second guy was being all passive-aggressive. – Yeah, he just got pissed.
– He was just like, “Tsk, tsk.” – He took it personally.
– Yeah. And I think in orchestra, – you can’t take it personally.
– Yeah. Someone said they did sound better when they did what he asked them to do. Mmm. Bernstein: With this crescendo, open, like – Bernstein: That’s MUCH better! That sound time sounded— – When there was more bass, right?
– Depth. – Depth, and…
– Yeah, the lower parts. This is a more like, intense example, but there’s always moments like this in rehearsal. Oh, I’ve been there. – Like, so many times right?
– Oh… Obviously, Bernstein knows his stuff, but… There are also times where… What they’re saying doesn’t make sense. – Yeah. Well, and it doesn’t make sense…
– Like, if the conductor’s not good – – to the musician.
– Yeah. – And they’re not conveying it properly.
– Yeah. And the musician’s still trying, – ’cause they’re sometimes too scared to speak up.
– Yeah. But the conductor just gets so frustrated. – Yeah. It can go both ways, I can imagine.
– Mmm. Musician: ♪ Something coming, I don’t know what it is ♪ ♪ But it is going to be great ♪ ♪ With a click, with a shock ♪ – ♪ Phone’ll jingle, door’ll knock ♪
– Go. No. ♪ Open the latch… ♪ You’re ahead of me. Pepe, watch me, not the music. And if you make a mistake, we’ll go back. – That wasn’t too bad.
– Yeah. – But that was high pressure, man.
– It is. You can see he’s so nervous. – He’s like, “Don’t mess up in front of Bernstein!”
– He’s… “Fuuuu…” Oh, and it’s his West Side Story. I thought so, yeah. – So it’s like, his piece.
– His piece. So he has kinda like, the authority, you know. But that guy is so stressed out. – You can see him just like…
– He was just like… He’s trying to look up but he was like, “I don’t know my lyrics well enough…” He was like, “Screw it.” I wonder if it gets worse. Let’s watch a bit more. Recording as well! Studio… It’s time pressure… Recording is the worst! That’s the worst! In many ways, recording is worse than live performance, ’cause it’s set in stone forever. Yeah. “Something’s Coming,” take 130. Take 130! Wow…! And we die after 10 takes! – Imagine seeing that –
– That’s not possible! – Hundred and thir…
– But is that not— That’s not good, is it? – Maybe it was like, over the span of 5 days.
– Yeah. Yeah. But take 130, still, like… Give up. Did he just call double basses – wooden carts, not instruments?
– Wooden— Yeah. There’s seven of them. – He singled him out!
– Yeah. Oh, sh… – I think we get the point.
– Far out. Damn, that’s intense. This was also back in the days where you could get away with it. I mean, it’s also fair. Toscanini is one of the greatest… “conductors.” Like, he was up there. – Yeah, of course. Yes.
– So he could get away with it. Whereas, if you’re like, – a no-name conductor, you can’t.
– You can’t, you can’t. – Like, you can’t get away with it.
– You don’t have the right. Yeah, but you just don’t want to be – in that situation anyway.
– Yeah, just, just… – Practice your part.
– Play in time. – Yeah, practice your part!
– Just play in time! Use your ears! What was that? You can tell he’s conducted this piece so many times. – He’s just having fun.
– But also, the piece is easier. – Yeah.
– So he can get away with just… That type of conducting. – Yeah, it’s not like a Mahler symphony.
– ‘Cause you wouldn’t do that – on a Mahler, no way.
– Yeah. Probably providing more entertainment – for the musicians as well, they’re like,
– Actually… “I’ve played this 50 times.” Thank you, conductor. Yes, thank you for the content you’re making. Wow. Dude, that was legit! – That was legit, yeah.
– The upbeat and the… 7-year-old, there’s even conductor prodigies now. Eddy: I mean, actually I’m not a conductor, I don’t know legit it is, but… – To me, this seems very impressive.
– But even the fact the 7-year-old can stand in front of a stage and do that. And he’s only been learning for half a year! Learned violin in one year. Wow… I think we already reacted so many times. I know. The first two were a bit hard. The best one was the— Oh, my god… “You have no ears!” (both) “You have no eyes!” *yelling* *yelling continues* What? Why? Apparently, that bit in Scheherazade… The story is the pirate ship – hit like, rocks and breaks.
– But did he write it in to do that? No, I think this guy just decided it’s a… nice addition. I mean, it kind of worked. I think it’s funny ’cause – you can see how clearly uncomfortable…
– The musicians are losing it. – Look at this guy in the back, he’s yelling.
– Some of these musicians… He’s like, (both) “RAH!” The second violin’s first desk is like, – “Uh…”
– “I can’t do this anymore.” – All right.
– Anyway, guys, that’s it. Did you react? Did you lose? Conductors, also musicians, please subscribe. See you guys next time.