This is the CSO of my years in chicago. I went 2-3 times a week. ( i was there for this one) so nostalgic to see Bud, Ray Still, Clevenger, joe di Bello in bass. It was a dark period personally but music saved me. And what great music it was. As long as Solti wasnt conducting. I saw many great Leinsdorf performances at the very end.
I've never heard a better Mahler 1, I wish Klaus did more Mahler with chicago. Absolutely incredible orchestra during those years. Also, Bud Herseth was 69 when this was recorded... 69!!!!! How in the world he could sound like this at that age is a mystery to me, that man was not human.
Spoken like a young man. I always wonder why musicians retire at all. Bud could still play when he left and for a while after. The CSO was his first and only job not counting other gigs and teaching. A remarkable run for anyone. 69 shouldn't mean you can't play. It's a favorite number of a lot of people!
I would say, there are at least 90 key changes like that on Beatles songs. Seriously. But ok. Thats a bit unfair, because the beatles were probably the best harmonists after debussy and ravel.
Such a sense of power and poetry! Tennstedt certainly got the most out of his orchestra and understood the Viennese roots of this music. One of the best performances of this groundbreaking masterpiece.
Carlos Kleiber, the great Austrian conductor, very rarely praised other conductors of his generation. When he saw a tape of this performance, he made an exception. Of Tennstedt and the orchestra he said in a letter: "He is a most sympathetic conductor, never "clever" or perfunctory, never self-conscious... nerve, lilt and grit, body language sans exhibition, it's all there, GENUINE, enough of it for other "eminences" to cut big pieces off without diminishing Tenn's funds. In short, at last someone to admire! The orch. (what this says about them!) appreciates and does wonders. It is love... Long love those Chicago musicians... Don't tell anyone I liked a conductor!" Apart from a few appearances with the Metropolitan Opera, Kleiber conducted in the United States on only two occasions, both with the Chicago Symphony.
Indeed. CK admired -- almost revered -- Tennstedt. There was in Carlos' voice when talking about him an audible awe for the man, his courage, his struggle, and his powerful frailty. Kleiber enjoyed paradox.
@@charlesbarber8166 My apologies for lifting Carlos' words from your book -- I probably should have credited you. It's one of the few books I can say I've read over 20 times, and it has helped me immeasurably in understanding CK (to the extent anybody can understand him), and in appreciating the details of his conducting, which I have been studying closely. Thanks for your wonderful success at cracking CK's shell a bit, and sharing the results with the rest of us. Greetings from Philadelphia.
@@dizzyology7514 Please. No apologies needed. I appreciate that you took the trouble to quote him so exactly, and so admiringly, in regard to Mr Tennstedt. Carlos was charmed and disarmed by Tennstedt's vulnerability and openness, first to last. I have a friend (then) in the CSO who reported the same. They all were. Add to this the fact that CK thought Mahler (I paraphrase) a bit of a neurasthenic wreck, and you find a double-admiration. Thank you for sharing this with your viewers -- and for reading the book in the first place. 20 times? I owe YOU the apology.
@@charlesbarber8166 The 20 is really an estimate -- the fact is that I am continuously studying CK's letters. I am a retired psychologist interested in how musicians communicate via gestures, so Kleiber's work is obviously an essential resource. Fortunate that a lot of it has been preserved on video. But I'm not sure but what Tennstedt is a unique case. He seems to have been able to communicate with his musicians through some additional channel -- his gestures are there, but they are almost epiphenomena -- he somehow seems to infiltrate the very souls of the players, so that they become extensions of his own conception of the music. I think CK saw this, whatever it is. The fragility of KT that you mention may have been part of it. There seems to be a change in the relationship between musicians and conductors who are visibly vulnerable -- Abbado post cancer, Jansons post heart attack, etc. Hoo nose, as CK would say.
Music2Die4 I agree fully- this performance is a GREAT moment of conducting Mahlers 1. How outstanding the presentation is,you can listen if you compare it with Kubeliks very very good performance and the awful of Dudamel-both on youtube too!!!
Vernon buried the orchestra when he felt like it, and he and Pokorny were/are a sinister combo. Not aware of any recording before this one where that F jumps out so much
HA! Yes! I was actually listening to another Mahler 1-4 and heard that note and I'm like, "hmmm, he's not giving it enough, let me jump over to the CSO recording and see." As expected, you got the bass trombone (and the whole brass) giving life and soul to that damn NOTE! Give it bitch!!! Just perfection; how anyone can hear it any other way is beyond me.
3:28 コンマスの表情。 テンシュテットと目で語り合う。その真剣な表情は印象深い。それとも戸惑いか？ 「リハとちゃうやんけー!! ま、あんたはいつものことだけど!!」 6:01 口を半開きにし音楽の世界に没入しているかのよう。 音楽家かくありき。 6:14 Great body language !! great orchestra sound !! Over sentimental? but,I love.
I must confess that I've never understood what all the fuss was about when it comes to Tennstedt as an interpreter; the pacing and approach to rhythm in this performance strikes me as utterly pedestrian. The quality of the CSO's brass section during that general period, on the other hand, was astounding.
I could not disagree more, but we all have our own preferences. There are few things more subjective than how one is moved by music. I have not heard you conduct so I don't know your style. All I know is that after more than 60 years of listening to orchestral performances by a host of great conductors, I consider Tennstedt one of the very best. Just my opinion.
@@leestamm3187 Agreed; neuroscientists say that music's power stems from its ability to stimulate the parts of our brains linked with subjectivity, instinct, etc. I guess what I missed in this performance was the sort of volatility I associate with Mahler; I think it is, at its core, Freudian, stream-of-consciousness-type music that can suffer if one applies interpretive values that would be entirely appropriate in a "pure music" context, i.e. with Beethoven, Brahms, etc. That said, I greatly admire Tennstedt and his humble dedication to music. He was very much beloved.
I saw Tennstedt conduct the CSO in this same work back in the 60s when I ushered at Orchestra Hall in Chicago. It was great then. It was obviously great this time around as the audience reacted. I believe he was an east german and his career did not blossom in the west until after the fall of the Berlin wall.
Sorry Tassos, Riccardo Muti just closed the Chicago Symphony season with this same work to great acclaim. Mahler is not one of his favorite composers, perferring Bruckner.
+Doru Ionescu From what I have researched you appear to be correct. I was certain I saw him there at one point but it might have been later on a visit to Chicago because I moved to Los Angeles in 1968 a year before Solti took over.
it is a very smart move to write Klaus Tennstedt's name before Mahler's ,or else nobody would have ever clicked on your video, being Mahler and all... )
Videos available for this live performance: 1. First Movement: youtube[DOT]com/watch?v=Lj_T-i2bZm4 2. Second Movement: youtube[DOT]com/watch?v=Oq-LUJjRO_c 3. Third Movement: youtube[DOT]com/watch?v=qWAjKDBdbPE 4. Fourth Movement: This one...
One of the greatest and oldest Symphony Orchestra of America. Founded at 10/1891 and Present Conductor is Ricardo Muti. Is one of the Big Five Orchestre of America. With New York Symphony, Saint Louis symphony, Boston Symphony, and Philadelphia. Symphony Orchestra. Great sound and great musiciasns.
Hi dear Mr. Robert. I read it from the wikipedia of The Big Five Orchestre of U.S.A. And the Vcleveland Orchestra is one of the oldest too. Is it wrong? Can you tell me pleae ? because Iread a book about the Orchestre of U.S.A. . Thank you very much.
Cleveland has always been considered among the big five along with Chicago, New York, Boston and Philadelphia. Recently, there has been some debate about the current list. Maybe it should be expanded or revised. Los Angeles and San Francisco have come up. I lived in L.A. for years and was a subscriber there and they in no way compare with the CSO that I attended for decades beginning with Reiner. St Louis is a fine orchestra but I think the consensus is that the original big five is still intact. Hope that answers your question.
philadelphia and cleveland were the top orchestras for many years under stokowksi/ormandy and szell/dohnanyi respectively. then they were badly recorded and the conductors were inferior. muti was an exception. his scriabin cycle is top notch. chicago is great too, boston and ny not so much, and los angeles has the better and almost european sound. very much like german orchestras. i dont like the thin cartonish sound of winds and brass from american orch in general, but LA is a different story.
Kosmas Lapatas I was a subscriber and usher in Chicago during the fifties and sixties in Chicago and also a subscriber to the L.A. Phil after moving there in 1968. If what you are saying is true the L.A. Phil must have improved drastically because it in no way compared to the CSO, Boston or Cleveland except briefly during the Giulini years. The CSO under Muti has the most european sound of any american orchestra today, in my opinion and is considered the finest orchestra in this country.
Robert Palmer the LA has improved dramatically, yes, the 69-97 years were the worst. salonen transformed the orchestra, I hope dudamel does the same too, and more. the orchestra under mehta is also superb. I agree the cso under muti has the most european sound, and I think philhadelphia was better under his baton. cso, cleveland, boston and phil are superb orchestras, I only wish the conductors they choose were on the caliber of vienna, berlin, concertgebouw, lso, brso, etc. its always the conductor. imagine NYPO without mitropoulos or toscanini or bernstein. the czech philharmonic is also a top orchestra, the orchestral color is dreamy. their conductors are completely mediocre. munich was a so-so orchestra but celibidache transformed it into the top 10 during his tenure. sinopoli did the same with philharmonia and dresden. solti with cso.
Kosmas Lapatas I was also a subscriber during the Mehta and Salonen years. Yes, Salonen had a good sound but NOT Mehta. It was coarse and unrefined. After leaving L.A. for NY he was not missed. When he came back to guest conduct for a couple of weeks one of the local critics said that in two weeks he had the orchestra playing just as badly as when he left. Just think: if Buffy Chandler hadn't appointed Mehta as assistant conductor without consulting him, Solti would have been the music director. But Solti said later in an interview with Charlie Rose that it all worked out well. L.A. got Mehta and he got Chicago!
When the San Francisco Symphony celebrated their 100th anniversary they invited most of the major american orchestras to come and perform there. Chicago was judged to be far and away the best under Muti. By the way, I like the european sound but I also like the sound of american orchestras. They are just different. The review by the local critic may still be online somewhere. I have read it many times.
+CLUBJAZZDEBAKEL However, the resurrection of Mahler's music happened because of Bernstein's efforts! And make no mistake the ones you mention base their interpretations mostly on Bernstein's conducting work of Mahler's music! ...
Hahaha- well, in his vanity, and desire to be identified with Mahler, at least that is Lenny's version of events. But, as Norman Lebrecht points out in his book The Maestro Myth, Mahler had rarely been out of the European repertoire since Mahler's death in 1911. In the Netherlands alone, Mengelberg had been conducting him from the very beginning.
And even before Lebrecht pointed it out, Sybille Werner had proven the point with her own research (later included in the appendix of Volume 4 of Henry-Louis de La Grange's "Mahler"). Bernstein was a master of his own narrative, but not only was Mahler performed with great frequency well before he came along, but there were conductors in Europe who programmed it more frequently than Bernstein during the 1960s (Horenstein, Haitink, Klemperer, and in the late 1960s Abbado and Maderna).
Honestly Bernstein’s approach to Mahler annoys the hell out of me. In contrast Tennstedt gets out of the way of the orchestra and delivers a far more compelling & sincere approach.
Can u explain why??????? I dont understand why would someone say that... Klaus has been my fav conductor. Have listened to many conductors ... hard to stick to anyone except him.. I just prefer him over many others... the outcome of his work is extremely favourd especiallly in beethovens wagners and mahlers..... thanks but i would like to know why u said that ❤
@@pseudopathicus2524 because his Schlagtechnik is appalling. The orc is playing beautifully but if it were a lesser orch it would sound dreadful, partly because the guy up front has about as much as no technique. If he is your favorite conductor then fine. I have no problem with that. Others I like better and if you want to better understand what I mean then look at Reiner.
![Klaus Tennstedt & Chicago Symphony Orchestra: Bruckner's Symphony No.7 [1st & 2nd Mvt.] live 1984](http://i.ytimg.com/vi/f33ji18mPBs/mqdefault.jpg)
![Klaus Tennstedt & Chicago Symphony Orchestra: Bruckner's Symphony No.7 [1st & 2nd Mvt.] live 1984](/img/tr.png)
![NLE Choppa - Or What ft. 41 (Orchestra Mix) [Official Music Video]](http://i.ytimg.com/vi/biOFASEgSOM/mqdefault.jpg)
Mahler + Tennstedt + Chicago Symphony = Heaven.
Brilliant performance one of the All Time Best Period !!!!!
これを何の気無しに聞いてこの曲の良さに気づいたのはすでに20年以上前。それ以来この曲やってみたいと思っていたがそれが叶って思うのは、テンシュテットの指揮からテンシュテットのやりたいことを読み取って確実な演奏に結びつけるこのオケも本当に素晴らしい。メトロノームとは対極と言える指揮の凄さが発揮されるのは完璧なアンサンブルを生み出すオケあってこそ。テンシュテットさん、もっと聞きたかったです。
This is the CSO of my years in chicago. I went 2-3 times a week. ( i was there for this one) so nostalgic to see Bud, Ray Still, Clevenger, joe di Bello in bass. It was a dark period personally but music saved me. And what great music it was. As long as Solti wasnt conducting. I saw many great Leinsdorf performances at the very end.
Klaus the unforgettable ❤
Those horns at the 20 minute mark. OMG! Absolutely brilliant. What a sound!
たまに、Klaus Tennstedt で探ってみたら、こんなのが..... 最終楽章の表情 これを見れるだけでも RUclips 感謝です。
I've never heard a better Mahler 1, I wish Klaus did more Mahler with chicago. Absolutely incredible orchestra during those years.
Also, Bud Herseth was 69 when this was recorded... 69!!!!! How in the world he could sound like this at that age is a mystery to me, that man was not human.
And he was a very likable no nonsense person!
@@janacek2549 if you dont like it I will delete it.
@@leonardoiglesias2394 Thank you, I just deleted my reply as well. Water under the bridge, time for more Chicago symphony recordings :)
Spoken like a young man. I always wonder why musicians retire at all. Bud could still play when he left and for a while after. The CSO was his first and only job not counting other gigs and teaching. A remarkable run for anyone. 69 shouldn't mean you can't play. It's a favorite number of a lot of people!
これ以上の完成された演奏は他に無い。感動した。
My God! The CSO and Tennestedt stand tall in this one.
At the end, Klaus knew it couldn't be played any better.
Tennstedt was an extraordinary Mahler-conductor!
10:48 the best key change in all music.
I would say, there are at least 90 key changes like that on Beatles songs. Seriously.
But ok. Thats a bit unfair, because the beatles were probably the best harmonists after debussy and ravel.
Such a sense of power and poetry! Tennstedt certainly got the most out of his orchestra and understood the Viennese roots of this music. One of the best performances of this groundbreaking masterpiece.
In all the older orchestra recording there's always this one dude who screams in the audience after the last note 😂
Jaaaaa! (from 12.31,1977 Karajan Beethoven 9) 😂
Pavarotti
Sorry, that was me.
Grande entres los grandes Klaus Tennstedt. Excelente el ultimo movimiento magistral sublime
Eleva el alma. Gracias por subirlo
Carlos Kleiber, the great Austrian conductor, very rarely praised other conductors of his generation. When he saw a tape of this performance, he made an exception. Of Tennstedt and the orchestra he said in a letter: "He is a most sympathetic conductor, never "clever" or perfunctory, never self-conscious... nerve, lilt and grit, body language sans exhibition, it's all there, GENUINE, enough of it for other "eminences" to cut big pieces off without diminishing Tenn's funds. In short, at last someone to admire! The orch. (what this says about them!) appreciates and does wonders. It is love... Long love those Chicago musicians... Don't tell anyone I liked a conductor!"
Apart from a few appearances with the Metropolitan Opera, Kleiber conducted in the United States on only two occasions, both with the Chicago Symphony.
Maestro Tennstedt was an amazing musician and even more amazing gentleman! So gracious!
Indeed. CK admired -- almost revered -- Tennstedt. There was in Carlos' voice when talking about him an audible awe for the man, his courage, his struggle, and his powerful frailty. Kleiber enjoyed paradox.
@@charlesbarber8166 My apologies for lifting Carlos' words from your book -- I probably should have credited you. It's one of the few books I can say I've read over 20 times, and it has helped me immeasurably in understanding CK (to the extent anybody can understand him), and in appreciating the details of his conducting, which I have been studying closely. Thanks for your wonderful success at cracking CK's shell a bit, and sharing the results with the rest of us. Greetings from Philadelphia.
@@dizzyology7514 Please. No apologies needed. I appreciate that you took the trouble to quote him so exactly, and so admiringly, in regard to Mr Tennstedt. Carlos was charmed and disarmed by Tennstedt's vulnerability and openness, first to last. I have a friend (then) in the CSO who reported the same. They all were. Add to this the fact that CK thought Mahler (I paraphrase) a bit of a neurasthenic wreck, and you find a double-admiration. Thank you for sharing this with your viewers -- and for reading the book in the first place. 20 times? I owe YOU the apology.
@@charlesbarber8166 The 20 is really an estimate -- the fact is that I am continuously studying CK's letters. I am a retired psychologist interested in how musicians communicate via gestures, so Kleiber's work is obviously an essential resource. Fortunate that a lot of it has been preserved on video. But I'm not sure but what Tennstedt is a unique case. He seems to have been able to communicate with his musicians through some additional channel -- his gestures are there, but they are almost epiphenomena -- he somehow seems to infiltrate the very souls of the players, so that they become extensions of his own conception of the music. I think CK saw this, whatever it is. The fragility of KT that you mention may have been part of it. There seems to be a change in the relationship between musicians and conductors who are visibly vulnerable -- Abbado post cancer, Jansons post heart attack, etc. Hoo nose, as CK would say.
An Authentic Germanic-Romantic Performance by Tennstedt in American's Lands.
that bass trombone 😳
MAHLER LIVES!
Fantástico sin duda en enorme director !!!
Bud Herseth was incomparable.....damn what a musician.
Bud LIVES!
he made me cry, smile, think and feel.
14:55 オーケストラとテンシュテットの心の交歓を感じる。
しつけえが、
マジしつけえがテンシュテットの的確な合図、高い緊張感を維持しながらの表情と身体言語が凄い!!と感じる。
指揮は一種の催眠術なのか？
15:14 テンシュテットが満足げにコンマスを見て頷く。感動的瞬間のひとつだ。と思う。
つーかオレ感激しすぎか？
ファンだから許してくれッッ!!
19:52 ホルン総立ち!!!
オレの全身の毛が逆立ち!!!!!!(マジ知ったこっちゃねえ!!!!)
21:25 トドメの打楽器ガン鳴らし!!!!!!!!!!!!!!!!!!
食らええええええええええええええええええええええええええ!!!!!!!!!!!!!!!!!!
Wanderful
Sometimes it just goes right! Unbelievable.
Along with Bruno Walter/Columbia Symphony, this was the greatest Mahler One ever performed.
Music2Die4 And so does Sir Georg Solti/Chicago Symphony Orchestra....he is the master of all Mahler symphonies.
Music2Die4 I agree fully- this performance is a GREAT moment of conducting Mahlers 1. How outstanding the presentation is,you can listen if you compare it with Kubeliks very very good performance and the awful of Dudamel-both on youtube too!!!
3:50～のロマンチックな旋律はこの上無いものがあります。感動した！
Tennstedt 鄧斯泰特 大師的指揮風格非常注重樂曲的細節和情感的詮釋~我相當喜歡他的指揮作品~謝謝上傳!
おそらく私が聴いた限りでこれ以上の演奏はないでしょう!テンシュテットは大振りではないのに、まあ壮絶な演奏ですね!
ハーセスのトランペット🎺をはじめとしてCSOも凄まじい音です!
Bud @ 20:31
Perfection
I was there
This is a real master director, a most wise genius in that ART.-
Dat Bass Trombone @ 1:38
Vernon buried the orchestra when he felt like it, and he and Pokorny were/are a sinister combo. Not aware of any recording before this one where that F jumps out so much
@@bdc1117 only Herseth can be heard LMAO, we all know herseth will pierce through everything
HA! Yes! I was actually listening to another Mahler 1-4 and heard that note and I'm like, "hmmm, he's not giving it enough, let me jump over to the CSO recording and see." As expected, you got the bass trombone (and the whole brass) giving life and soul to that damn NOTE! Give it bitch!!! Just perfection; how anyone can hear it any other way is beyond me.
3:28 コンマスの表情。
テンシュテットと目で語り合う。その真剣な表情は印象深い。それとも戸惑いか？
「リハとちゃうやんけー!!
ま、あんたはいつものことだけど!!」
6:01 口を半開きにし音楽の世界に没入しているかのよう。
音楽家かくありき。
6:14 Great body language !! great orchestra sound !!
Over sentimental? but,I love.
Thank you so much, this was taken off a while ago
0:00 his face...🙏✨
I must confess that I've never understood what all the fuss was about when it comes to Tennstedt as an interpreter; the pacing and approach to rhythm in this performance strikes me as utterly pedestrian.
The quality of the CSO's brass section during that general period, on the other hand, was astounding.
I could not disagree more, but we all have our own preferences. There are few things more subjective than how one is moved by music. I have not heard you conduct so I don't know your style. All I know is that after more than 60 years of listening to orchestral performances by a host of great conductors, I consider Tennstedt one of the very best. Just my opinion.
@@leestamm3187 Agreed; neuroscientists say that music's power stems from its ability to stimulate the parts of our brains linked with subjectivity, instinct, etc.
I guess what I missed in this performance was the sort of volatility I associate with Mahler; I think it is, at its core, Freudian, stream-of-consciousness-type music that can suffer if one applies interpretive values that would be entirely appropriate in a "pure music" context, i.e. with Beethoven, Brahms, etc.
That said, I greatly admire Tennstedt and his humble dedication to music. He was very much beloved.
🏆🏆🏆🏆🏆🏆🏆🏆🏆💯
I saw Tennstedt conduct the CSO in this same work back in the 60s when I ushered at Orchestra Hall in Chicago. It was great then. It was obviously great this time around as the audience reacted. I believe he was an east german and his career did not blossom in the west until after the fall of the Berlin wall.
Sorry Tassos, Riccardo Muti just closed the Chicago Symphony season with this same work to great acclaim. Mahler is not one of his favorite composers, perferring Bruckner.
+Robert Palmer It must be a mistake as Tennstedt's debut in US was in 1974 with Boston SO
+Doru Ionescu From what I have researched you appear to be correct. I was certain I saw him there at one point but it might have been later on a visit to Chicago because I moved to Los Angeles in 1968 a year before Solti took over.
Maybe the most exciting Mahler first on film. If people want to know something about communication; just watch Tennstedt conducting....
Gustav in the best hands.-
Beautiful said!
16:50 "alright, lets fucking do this"
1:38 bass-bone earape
Grandioso!
Ah yes. The great Dale Clevenger on Principal Horn
13:50 divine light !!
I have always loved the WYN MORRIS versions but this is equally good too
As much as I like the faster tempo in the beginning usually, I can get used to this!
Angela from the office at 1:25
pour moi, un des plus grands pour la direction de Gustav Mahler ! qu "elle que soit la symphonie
J'rn suis émerveillée
何度聞いても6:15〜6:45の部分で涙でグシャグシャになるのはテンシュテットの演奏だけ。
マーラーの第一は、ショルティ シカゴの圧倒的名盤があるが、テンシュテットのマーラーは常に緊張感がある。3:53以降、ショルティは解放感のある美しい弦の演奏で幸福感に満ちているが、テンシュテットは、ここでも緊張に満ちている。テンシュテットのマーラーはすべからく緊張感に満ちているのが、素晴らしいのであるが、それは、第６を聞くと恐るべき推進力となって心を乱される事からも理解できる。
He would have been 93 years old. Happy birthday!
i can't help imagine how good it is if tennstedt's whole circle of Mahler by chicago instead of those UK orch .
Hahaha Tennstedt's face at 0:00
World's Finest, Chicago's Own!
Incidentally, I have an LP of this piece, CSO with Carlo Maria Giulini, that won a Grammy.
it is a very smart move to write Klaus Tennstedt's name before Mahler's ,or else nobody would have ever clicked on your video, being Mahler and all... )
sorry Riccardo Muti
Tennstedt is god.
Videos available for this live performance:
1. First Movement: youtube[DOT]com/watch?v=Lj_T-i2bZm4
2. Second Movement: youtube[DOT]com/watch?v=Oq-LUJjRO_c
3. Third Movement: youtube[DOT]com/watch?v=qWAjKDBdbPE
4. Fourth Movement: This one...
Coal Nete bass trombone incredible
Thank you for documenting 1-3 ❤️❤️❤️
The trumbones completely overpower the horns in the end...
Luuk Schmitz it was just ONE trombone hahaha
@@keithrittel1408 he’s one member of section I wish I knew more about! Kinda seems like the unsung hero of the section.
3:52
Jesus, his shaping of the slow sections is unparalleled.
new york was great under mitropoulos and bernstein, but since then, noone was up to the task.
One of the greatest and oldest Symphony Orchestra of America. Founded at 10/1891 and Present Conductor is Ricardo Muti. Is one of the Big Five Orchestre of America. With New York Symphony, Saint Louis symphony, Boston Symphony, and Philadelphia. Symphony Orchestra. Great sound and great musiciasns.
The St Louis Symphony Orchestra is a great orchestra but is not considered one of the big five. The Cleveland Orchestra was the correct choice.
Hi dear Mr. Robert. I read it from the wikipedia of The Big Five Orchestre of U.S.A. And the Vcleveland Orchestra is one of the oldest too. Is it wrong? Can you tell me pleae ? because Iread a book about the Orchestre of U.S.A. .
Thank you very much.
Cleveland has always been considered among the big five along with Chicago, New York, Boston and Philadelphia. Recently, there has been some debate about the current list. Maybe it should be expanded or revised. Los Angeles and San Francisco have come up. I lived in L.A. for years and was a subscriber there and they in no way compare with the CSO that I attended for decades beginning with Reiner. St Louis is a fine orchestra but I think the consensus is that the original big five is still intact. Hope that answers your question.
This is the Chicago Symphony. Not the shit they're doing today.
who disliked it😢😢😢
The people sitting in Charlie Vernon and Bud Herseth's firing range
@@charleyhibschweiler4555 honestly, Vosburgh is sitting right next to Bud contributing in a major way to the intensity & sizzle.
This is one of the greatest play of Mahler 1.
オー エクセレンス
スーパー パースペクティブ ナンバーワン タイタン フィナーレ
1:38 19:22
3:08 🧚🏻♂️
Riccardo Muti, CSO and Mahler First this Friday September 18 at Millennium Park: FREE CONCERT for Chicago. All are invite ! 6.30 PM.
philadelphia and cleveland were the top orchestras for many years under stokowksi/ormandy and szell/dohnanyi respectively. then they were badly recorded and the conductors were inferior. muti was an exception. his scriabin cycle is top notch. chicago is great too, boston and ny not so much, and los angeles has the better and almost european sound. very much like german orchestras. i dont like the thin cartonish sound of winds and brass from american orch in general, but LA is a different story.
Kosmas Lapatas I was a subscriber and usher in Chicago during the fifties and sixties in Chicago and also a subscriber to the L.A. Phil after moving there in 1968. If what you are saying is true the L.A. Phil must have improved drastically because it in no way compared to the CSO, Boston or Cleveland except briefly during the Giulini years. The CSO under Muti has the most european sound of any american orchestra today, in my opinion and is considered the finest orchestra in this country.
Robert Palmer the LA has improved dramatically, yes, the 69-97 years were the worst. salonen transformed the orchestra, I hope dudamel does the same too, and more. the orchestra under mehta is also superb. I agree the cso under muti has the most european sound, and I think philhadelphia was better under his baton. cso, cleveland, boston and phil are superb orchestras, I only wish the conductors they choose were on the caliber of vienna, berlin, concertgebouw, lso, brso, etc. its always the conductor. imagine NYPO without mitropoulos or toscanini or bernstein. the czech philharmonic is also a top orchestra, the orchestral color is dreamy. their conductors are completely mediocre. munich was a so-so orchestra but celibidache transformed it into the top 10 during his tenure. sinopoli did the same with philharmonia and dresden. solti with cso.
Kosmas Lapatas I was also a subscriber during the Mehta and Salonen years. Yes, Salonen had a good sound but NOT Mehta. It was coarse and unrefined. After leaving L.A. for NY he was not missed. When he came back to guest conduct for a couple of weeks one of the local critics said that in two weeks he had the orchestra playing just as badly as when he left. Just think: if Buffy Chandler hadn't appointed Mehta as assistant conductor without consulting him, Solti would have been the music director. But Solti said later in an interview with Charlie Rose that it all worked out well. L.A. got Mehta and he got Chicago!
Don't know about European sound but Cleveland is better than Chicago now, though their conductor is no Muti
When the San Francisco Symphony celebrated their 100th anniversary they invited most of the major american orchestras to come and perform there. Chicago was judged to be far and away the best under Muti. By the way, I like the european sound but I also like the sound of american orchestras. They are just different. The review by the local critic may still be online somewhere. I have read it many times.
He's the Mahler guy. He. He and Mehta. And Barenboim. But before all Tennstedt!
+CLUBJAZZDEBAKEL However, the resurrection of Mahler's music happened because of Bernstein's efforts! And make no mistake the ones you mention base their interpretations mostly on Bernstein's conducting work of Mahler's music! ...
Hahaha- well, in his vanity, and desire to be identified with Mahler, at least that is Lenny's version of events. But, as Norman Lebrecht points out in his book The Maestro Myth, Mahler had rarely been out of the European repertoire since Mahler's death in 1911. In the Netherlands alone, Mengelberg had been conducting him from the very beginning.
And even before Lebrecht pointed it out, Sybille Werner had proven the point with her own research (later included in the appendix of Volume 4 of Henry-Louis de La Grange's "Mahler"). Bernstein was a master of his own narrative, but not only was Mahler performed with great frequency well before he came along, but there were conductors in Europe who programmed it more frequently than Bernstein during the 1960s (Horenstein, Haitink, Klemperer, and in the late 1960s Abbado and Maderna).
Honestly Bernstein’s approach to Mahler annoys the hell out of me. In contrast Tennstedt gets out of the way of the orchestra and delivers a far more compelling & sincere approach.
Great playing but come on, with his Schlagtechnik he would never pass a conducting audition and certainly not for Szell
Can u explain why??????? I dont understand why would someone say that... Klaus has been my fav conductor. Have listened to many conductors ... hard to stick to anyone except him.. I just prefer him over many others... the outcome of his work is extremely favourd especiallly in beethovens wagners and mahlers..... thanks but i would like to know why u said that ❤
@@pseudopathicus2524 because his Schlagtechnik is appalling. The orc is playing beautifully but if it were a lesser orch it would sound dreadful, partly because the guy up front has about as much as no technique. If he is your favorite conductor then fine. I have no problem with that. Others I like better and if you want to better understand what I mean then look at Reiner.