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I think this was meant as background music for a public space, like an art gallery.

薔薇の騎士のラストのアリアみたいな出来 シュトラウスが手本にした

The best variation forever

Bravo

Merry Christmas Ryan!

I guess Soundheim stole a trick or two from this.

oh wow, i had no idea he wrote incidental music for the oresteia! I'm writing my dissertation on it, and including chapters on Xenakis, Taneyev as well as a couple modern stage rewrites of it (like Sartre's Flies and Cixious' Ville Parjure) so this... might be an interesting addition! How did you get ahold of this? (and is there a score available? I'd love to look at it... especially since he was a serialist...)

As this symphony ends, I am reminded of the following quote from Shakespeare: "Silence is the perfectest herald of joy: I were but little happy, if I could say how much. Lady, as you are mine, I am yours: I give away myself for you and dote upon the exchange." Mahler, you guide us to death's threshold, and show us how to do it. Thank-you.

This is a really lovely performance of one of my favourite pieces.

Encore

I've always had a problem with this piece. I'd very much like to hear it live, as I find the density impenetrable in recordings. I don't know why I don't feel the same about Xenakis. Any (non-abusive) suggestions would be received with great interest.

Bravo to both. This isn't a singer with accompaniment, it's a duet between singer and orchestra and they capture that perfectly!

The part starting from 12:24, with those long sustained, non-rythimical notes and fuzzy clouds of different orchestral sections floating in slow motion, sounds unreal, as if existing outside of time.

Lucia Popp was a hottie!!

Beautiful opera!

LEVELY WORK. Thanks For Sharing This MasterPiece.

What about the Cunning Little Vixen?

I'm glad for the Czech opera revival

A few notes to make about this video: Janáček's operas, while brilliant, are pretty messy. Václav Talich was among the first to help popularise Janáček's music, and in doing so, he reorchestrated large swathes of his music to make them more conventional, as well as rewriting certain passages, which is how the operas were known until they were visited by Australian conductor and Janáček expert Charles Mackerras some decades later. Mackerras sought to present these works in their original form, which he did, however this is where the problems arise when studying the score and consequentially when making a score video for a work like Jenůfa. The Universal Edition score used in this video is of the 1904 version, however Janácek later revised the score in 1908 and 1915. I don't really know which one Mackerras would have used for his recording, but I'm assuming it would be the later 1915 version, which is why at certain points in the video, the audio and score do not line up. Where this is the case, I have left the page where it is until the recording resumes as printed, or in the case where there is missing music or the repeated/added bars come before a page turn, I have delayed the page turn. I would have liked to make some fancy edit to account for this, however I've been sitting on this video for close to 10 months now and I honestly just wanted to get it out as quickly as possible (Janácek's scores are definitely not among the most fun scores to make a video for). Another thing, unrelated: My channel has (at least temporarily) had 'advanced features removed' due to 'lack of channel history' (4.5 years of uploads, hello??), so chapters are not showing on this video, however full timestamps are listed in the description, and I will attach them to this comment too. This also marks my first upload since my very scary temporary channel termination, so I am just glad to be back and making score videos, and hope to get some more big ones out before the end of the year. Enjoy!! ACT 1 00:00 - Prelude to Act 1 01:50 - Act 1, Scene 1: 'Už Se Večer Chýli' 11:49 - Act 1, Scene 2: 'Co To Robíš, Mládku?' 16:42 - Act 1, Scene 3: 'Co Ty, Jenůfo' 17:19 - Act 1, Scene 4 19:05 - Act 1, Scene 5: 'Duša Moja, Števo, Števuško!' 22:50 - Act 1, Scene 5: 'A Tak Bychom Šli Celým Životem' 31:08 - Act 1, Scene 6: 'Števo, Števo, Já Vim' 36:35 - Act 1, Scene 7: 'Jak Rázem Všecko To Števkovo Vypínání Schlíplo' ACT 2 41:07 - Prelude to Act 2 42:26 - Act 2, Scene 1: 'Nechám Ještě Dveře Otevřeny' 49:52 - Act 2, Scene 2: 'Ba Zabedněna Ta Tvoje Okenička Už Přes Dvacet Neděl,' 52:03 - Act 2, Scene 3: 'Tetko Kostelničko, Poslala Jste Cedulku' 1:01:06 - Act 2, Scene 4: 'Ale Viděl Jsem Vcházet Šohaje' 1:04:25 - Act 2, Scene 5: 'Co Chvíla....Co Chvíla' 1:08:10 - Act 2, Scene 6: 'Mamičko, Mám Těžkou Hlavu,' 1:16:54 - Act 2, Scene 7: 'Kdo To Je?' 1:22:51 - Act 2, Scene 8: 'Tot' Zrovna Jde!' ACT 3 1:29:29 - Act 3, Scene 1: 'Není Ti Teskno, Jenůfko?' 1:32:11 - Act 3, Scene 2: 'Dej Bůh, Štěsti' 1:36:41 - Act 3, Scene 3: 'Vidíš Laco, Já To Tušila' 1:40:33 - Act 3, Scene 4: 'A Hen....Už Jsou Tu!' 1:43:25 - Act 3, Scene 5: 'To Bylo Ňákého' 1:46:51 - Act 3, Scenes 5-6: 'Chud'atko!' 1:47:03 - Act 3, Scene 7 1:47:31 - Act 3, Scene 8 1:48:15 - Act 3, Scene 9 1:48:58 - Act 3, Scene 10 1:49:43 - Act 3, Scene 10: 'Ještě Jsem Tu Já!' 1:52:47 - Act 3, Scene 11: 'Vstaňte, Pěstounko Moja!' 1:57:05 - Act 3, Scene 12: 'Odešli'

Brilliant performance

This is written after a Paraclesus title- 'The Book of Vexations Concerning the Science and Nature of Alchemy' - apparently it has the notation "If mistakes are made along the way, it is your fault, the fault is not in this work" - The same rule applied to this piece- one day I want to play it, zen tf out

This is way beyond my intelligence level, I'm too un-edjumikated to understand this stuff. Give me Ravel and Copeland any day.

1:40:39 2:48:44 turn motif from Der Abschied?

fantastic editing, showing all the different parts of the score at once ❤

알레아 음악은 슈톡하우젠의 피아노작품 11번과 불레즈의 피아노 소나타 제3번(알레아 음악: 우연성을 연주과정에 도입하기 때문에, 칠때마다 다름)

1950년대 초에, 불레즈의 구조1(1952)과 슈톡하우젠의 크로이츠슈필(1951)에 의해 ‘총렬음악’이 창시됨.

*first music theory lesson Teacher: where is Mr. Bartok, I can’t see him Class: he doesn’t feel well, couldn’t make the class now Teacher: ok, whatever, today we learn the no. 1 rule of all music theories: NO PARALLEL FIFTHS Bartok at next lesson: what did I miss? Class: not much

Missed this one for some reason great

4:00 7:40 10:41 13:20 14:10 16:45

2:08

Why leave out the most important word of the title? The whole point of the piece is that it’s an inversion canon between the basset horns!

Thank you for posting this.

why is the time signature constantly changing is that a threat

Thank you for the upload!

2:11:50

Better than 1

In effetti, ora si capisce cos'è la Nuova Complessità a cui erano dediti Ferneyhough e Finnissy! 💖💖💖💖💖

Stupendo: sembra Varese moltiplicato Stockhausen moltiplicato Penderecki moltiplicato Ligeti alla millesima potenza!! 💖💖💖💖💯

Creo que es un error decir que el dodecafonismo no tiene tonalidad, su tonalidad es la cromática. Es una ruptura con la tonalidad mayor y menor predominante en los siglos anteriores, no se repite una nota hasta que no se oyen las once restantes de los doce sonidos que conforman el cromatismo. Como sistema es muy estructurado. Aquellos que atacaban la música dodecafónica argumentando que "no se basa en la naturaleza" se equivocaron. Se basa en la naturaleza al igual que la música tonal, sólo que esta última se basa en los primeros armónicos y el dodecafonismo en los últimos. Fue un fracaso en su momento, pero a mí me gusta

Un avant goût des Vingt Regards sur l'Enfant Jésus et particulièrement le sixième "Par lui tout a été fait"

It has many late Romantic elements to it.

I honestly hope that Poppe will write a piano concerto...

😍😍😍❤❤❤

Who sang Meg?

Who sang Meg?

2:12:00

2:12:00

1:00 recitativus

Flute solo 35:39

Correct