Tchaikovsky "Romeo and Juliet" - Stokowski conducts
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- Опубликовано: 8 сен 2024
- In 1968, during one of his European tours, Stokowski visited Lugano and recorded a studio concert for Swiss-Italian Television. One of the items was Tchaikovsky's "Romeo and Juliet" Overture. This had run to three different editions, the second and third of which were published, due to the composer's many revisions. In 'The Life and Letters of Tchaikovsky' by his brother Modest, it was revealed that Balakirev objected to the loud accentuated chords at the end of the work on the grounds that they "contradicted the meaning of the play" and were "inartistic." According to Modest, Tchaikovsky then supplied a quiet ending at Balakirev's suggestion, though it was never published. Stokowski clearly knew of Balakirev's comments and agreed with them, since he supplied an ending of his own which omitted those loud "inartistic" chords. It is that version we hear in this Swiss-Italian Radio Orchestra performance.
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I played this piece under Maestro Stokowski -- I was principal trombonist -- in 1969 at the International Festival of Youth Orchestras in St. Moritz. We played this ending. It was hand-written in Stokowski's hand and passed out as single strips of manuscript paper to each player. I only knew the original bombastic ending, and was intrigued that this conductor could so second-guess the great composer. I was only 19 years old. But I came to respect the new ending and the courage to incorporate it, as it fit the narrative of the Shakespeare tragedy and the mood of the piece. I've carried that memory with me through my life. I also respected his rejection of the baton. He said to us, "The baton is an extension of the arm. Can you all see my arm? Yes? Then I will eliminate the baton in favor of my fingers -- watch them to discover the expression." And he was right. Since then, I have always preferred to conduct without a baton. This is the experience that launched my musical career.
What a coincidence! I have the recording (vinyl) of the International Youth Orchestra that was put together with the best from all the attending orchestras in order to play under Stokowski. I participated in the festival with the symphony from Boston, but not in the prestigious "all-star" orchestra. Kudo's to you! Always great to hear that so many musical careers were launched there.
This is one of the most interesting comments I have ever read. Thank you very, very much for sharing. All the best!😊
@@rogerkimball8659 When you say "I have the recording (vinyl)" I assume you mean the one that I have, with two of the pieces we performed, but missing the Romeo & Juliet. I don't know why it was not included on that or even a second vinyl, but I don't believe it exists. If by some remote chance you have the Tchaikovsky recording, I would dearly love to get a copy. Just reply here.
@@StanEby1 How nice! Thanks.
@@EIGdesign Hi Bruce. I wish the Tchaikovsky was on a recording from the Festival. I'm sorry to agree that I don't think it exists, either. I don't remember the performance, but that was such a great orchestra, I'm sure the piece was moving. I've always liked the piece, great orchestration. Just a few years ago I decided to study it by entering the parts into Finale 26. It also gave me a chance to see how the Garritan handles the dynamics and articulations, and generally how the instruments really sound.. I got so involved in it, I spent a year entering it into Finale in my spare time. Still never finished (got about 13 minutes in), but I progressed far enough to get a good idea what he was doing. Here it is: ruclips.net/video/mhtd8SPGJys/видео.html
I've used Finale since the mid 80s, and it has come a long way. A great tool for arranging.
What a MASTER is STOKOWSKI!!!! After watching him many, many times, and watching him in rehearsals, all I can say is those ten fingers do not need any baton! He is THE CONDUCTOR of ALL! Thanks YOU TUBE and adam!
YES!!!!!!
Stokowski's interpretations are always imaginative and unique and never routine. I do miss the furious roar of the timpani that usually end the work.
I love these old recordings.It is so great to see them recorded live. Thank you.
His hands are like magical batons.
Those graceful hands,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Magnificent.
sublime, bewitching, supernal and touching version. Thanks for sharing !
Egads, I forgot how much I loved Tchaikovsky, Stokowski and this piece. If anyone is looking for me direct them to the puddle of complete and utter bliss under my computer chair.
Шедевр, Петр Ильич как и Пушкин. Наше. Все Спасибо
How can anyone press the Dislike button? This man was a genious! The sound is allways fantastic! The emotion thrills everyone in the audience. Conductors like him doesn`t exist in our times.
How are you doing today
Tchaikovsky's play of light and dark, violent and tender plumbs the creative power of great art
I love these old recordings.It is so great to see them recorded live. Thank you.
He was a true master and it is a wonderful rendition; one I am glad the composer appreciated. Thank you for making this available to us.
No doubt one of the best conductors of the 20th. century. No doubt Walt Disney picked him for his masterpiece "FANTASIA". The BEST animated movie ever made!!!
何という貴重な映像記録だろうか。それも私の大好きな「ロメオとジュリエット幻想序曲」というおまけ付き。ストコフスキーのスケールの大きな演奏はより悲劇性を高めて素晴らしい。ありがとうございます😊😭
The conducting is so good. Stokowski was one of the best, if not THE best.
Steady...
Stowkowski. The greatest conductor of all time IMO. He always got what he wanted from his orchestras. In his case, no baton needed. His hands “spoke”. I’m biased will admit. Would love to own EVERY piece he conducted. He can do no wrong!!!!!
My father saw Stokowski on tour in Chicago with Rachmaninoff and Philadelphia Orchestra in the 1920's or so. Stokowski would come running out to the podium and immediately give the downbeat. Electrifying.
He is just amazing, interesting interpretation with no dramatic timpani at the end like I hear in other orchestrations.
I have to admit that I like this ending. The part that always makes this piece for me is the part before the ending after the thunderous tympani.
Guardando Stokowsky dirigere,si capisce come i
corsi di direzione d orchestra
servono a ben poco.
Per poter dirigere e trasmettere qualsiasi musica,
bisogna possederla in tutte
le sue articolazioni,e per poter fare questo bisogna essere innanzi tutto dei VERI
MUSICISTI!!!
Incroyable , incisif et intelligent ce Stokowski dans ses choix et mode de direction d'orchestre . Un grand maître qui donne le vrai relief nécessaire aux choses que seuls les esprits inspirés savent traduire complètement .
Although the strings anf the orchestra is not in tune and one of the best orchestras, this is a strange and original version of Romeo and Juliet. Stokovski had a vision, and an original aproach to this version , which is actually great when you look away from the playing sometimes. he was one of thre great conductors in the 20th century.
I love you, Leopold...
And the ending it's simply out of this world.
Wow, fantastic, i always hated the ending of this piece, and now i hear that timpani crescendo that grows louder and suddenly a decrescendo to quietness, meaning that the two lovers are not here anymore. Much better than that cliche thing Ba Ba Baaa.. That´s just what Tchaikovsky should had published.
Composer your own ouverture and you'll get to decide, hahaha
No one moves me like him with this piece.
Musica sublime in connubio col Sommo Maestro direttore ed orchestra magnifica.
The biggest alternation noted was the Coda, where not only did Stokowski play the Funeral March slowly, almost half the rhythm of usual, but he also cut the brass and percussion session, and replaced that with prolonged chords on the Strings. That appears after the rising of the lovers' souls on violins' highest notes, and in my opinion, compliments the Funeral March very well.
I am on all fours for Stokowski's talent and taste. Really.
Thanks ... As you will see from my comments under the video, Stokowski took the idea of the "quiet ending" from Balakirev's criticisms of the loud chords at the end. If the work hadn't already been published and in print, it's possible that Tchaikovsky himself would have provided a similar quiet ending of his own.
Leopold Leopold un mito della musica e direzione.Grandioso..
O maestro monstro!. Bravíssimo!!!!
I don't know exactly what I was watching but I know it was bravissimo
Lovely
Perfection
Leopold !!!!!
Leopold !!!!
Leopold !!!!
A true collectors item.
Balakirev, Modest, and Pyotr were right. The soft ending is so much better. Now the loud concert ending chords sound totally out of place. It's apothéoses in Heaven, not a football game. What was Pyotr thinking?
the best!
Maestro di maestri. Say what you may about his orchestrations, yet there is no finest way to lead an orchestra.
Genial !!
♥️
Grandiosi Paradisiaci..
Nice 👍
I keep expecting the film and sound to be out of sync. and then realised why: the sound is good for 1968, but the film looks as if it came from at least twenty years before that. But they do match!
Its live
@@sommerwood2920 From 2011? And there was me thinking Stokey had passed over in '77
@@mrinman7407 I presume you're being droll. But in case you're not- the date beneath a video refers to the time it was uploaded. It has nothing to do with the date of the material.
Leopold !!!
Leopold?!
@@iamme2404 L-L-L-Leopold!!
Да, шикарно😂
I'm not a big fan of this overture, but gotta agree with Stokowski's interventions, they make the piece much pleasable.
I totally respect and understand Stokowski's interpretation but for me, I prefer the loud ending, reminding everyone that the damage is done.
Holy Smokes was that fantastic.
Although I love the published by Tchaikovsky ending, this alternative ending was also magnificent.
And Stokowski's conducting????
Simply amazing. As a player in his orchestra, how can you miss?
Adam28.... I have a question: this was a version that Stokowski wrote?
Or was it one of the two original versions of Tchaikovsky?
Other than the ending, there are other differences, for example in the intro with the large timpani rolls.
Your description is a little unclear.
KP
KP ... Tchaikovsky's original version was unpublished but has been recorded, as per the first link down below. However, Balakirev didn't like it, so Tchaikovsky considerably revised it and it was this 2nd version that was published. Balakirev didn't like that much either, so Tchaikovsky rewrote the ending and this version - his 3rd - was also published and is the one we are all familiar with. Balakirev still complained and said that the loud chords at the end were "inartistic"!
Tchaikovsky's brother Modest later wrote a biography which said that Peter Ilyich did indeed provide a quiet ending without the loud chords, as suggested by Balakirev. However, no manuscript seems to have survived, nor has it ever been discovered. Consequently, Stokowski provided a quiet ending of his own. He also made a few other changes of his own to the scoring, such as the ones you've noticed.
Meanwhile, here is the 1st Version complete ...
ruclips.net/video/nRn2kG3uHEE/видео.html
The 2nd version is the same as the one we all know (the 3rd version) apart from the last few minutes, which are heard here ...
ruclips.net/video/D9dZ7SsBiv4/видео.html
In short there are 4 versions of this Overture, the one with the "quiet ending" having been originally suggested by Tchaikovsky's biographer and realised by Leopold Stokowski!
holy stokes
The man was crazy!!
Says who you? Who the hell are you to make such a statement? Get lost
It is a strange cut, but very beautiful and nice performance!!!
Oh, Is this a original version?
I don't know how he could stand such inaudible harp solos.
Interesting seating plan. Stokie always bucking tradition and willing to try something different...
What happened to the dramatic ending,,,he is my favorite conductor, but so disappointed,I love drama :-)
Please read the information under the video. There are three versions by Tchaikovsky, all ending differently, and it was Balakirev who told the composer that the loud ending with those staggered chords was "inartistic." Tchaikovsky's brother Modest stated that as a result, the composer wrote a quiet ending, though unlike the other three endings, it has never been published. Stokowski took Modest at his word and provided a quiet ending of his own. If you click this link you'll hear the "first version" which has many differences to the final published score we're all familiar with ...
ruclips.net/video/ybgV6kcWWjE/видео.html
@@adam28xx Thank you for the explanation.
@@qasion how are you doing today my name is Eric
@@ericmoorev956 I am fine,,how may I help you?
@@qasion I'm good thank you
I'm sorry, this is interesting, but, by no means, is P. I. Tchaikovsky. There's no doubt that L. Stokowski was one of the most significant conductors of the past. Regardless of his fame and talent in J. S.Bach arrangements, he completely changed the original coda of the definite, 3rd version of 'Romeo & Juliet' by the composer. Not inadvertently but deliberately.The same did Art. Toscanini, with his 'arbitrary' cuts of numerous magnificently composed bars from the 4th part, (finale)of the original version of 'Manfred' symphony.
About half a century before them, the pianist Alexander Siloti, literally "butchered" the 2nd part of Tchaikovsky's 2nd piano concerto, although he knew that,the composer himself had strictly prohibited any changes,whatsoever.
Y P Do you have any other compliments?
Listen to Willem Mengelberg's 1930 recording instead! MUCH BETTER!
it is interesting, Stokowski version seems better to me..I like it more. but my favourite is Svetlanov USSR SO..and also Paavo Jarvi live recording.
Mengelberg is superb from every point of view. He and Stokowski are two of the greatest interpreters in the history of conducting.
Mengelberg is hard to beat.
@@AfroPoli Mahler's best disciple.
Las manos de leopold
Weak ending. The 3rd version is the best with the tragic chords reminding everyone that the damage is done in the tragic story. Sorry
totally agree mate
Thanks for this video...jzpatelut..
finale senza rullo del timpano no
lee la descripcion
Ending is no good. I had never heard this piece with this ending. How can this be right?!
Didn't you bother to read the text under the video? ... Balakirev objected to the loud chords at the end, so Tchaikovsky wrote a quiet ending instead, This was spelt out in "The Life and Letters of Tchaikovsky" by his brother Modest. However, it was never published, not least because there were already two versions of the work. Stokowski therefore provided a quiet ending himself, based on what Balakirev had said. Here's a link to the first version of the score which is quite different to the third one ...
ruclips.net/video/oYEWPxZMliE/видео.html&start_radio=1
Yep, Tchaikovski knew better, this ending is just boring. No one else could paint with music like Tchaikovski. I wonder what would Mozart tell to Balakirev if he would comment on his writing :)
Tchaikovsky’s ending was just a cliche ending in fourths like that of a Beethoven symphony. It is out of touch with the romantic feeling of this piece. I think he would have removed it had he revised the piece in later years, just as Wagner changed the same cliche ending in fourths to the Flying Dutchman, many years later, and turned it into the sublime ending that the opera deserved.
@@Dan474834 "ending in fourths"? What is this?
@@pnocella Fourth intervals. Think last couple bars of Beethoven 3.
Too many batons
Un artista pero con mano de hierro en los ensayos era terrible
Great interpretation, unfortunately very mediocre orchestra
Not mediocre in the slightest! There may be better renditions out there, but this is still superb.
Leopold!!