Karajan/Schumann: uno sposalizio perfetto!!! Penso che questa Musica 🎶 possa offrire una parola di consolazione e di speranza ad ogni uomo, e guidarlo nella ricerca di ciò che è Vero, Buono e Bello. Giuseppe Perego Monza 16.2.1962
I heard Karajan conduct this piece plus the 1st symphony & Mozart's 39th symphony in Washington, DC. Heard many great conductors, but nobody did Schuman symphonies as well. The BPO musicians didn't look at their music; they all knew it by heart. I sat front row, center and had much eye contact + exchanged smiles with front row musicians throughout the performance.
@@matthewzisi300 - I agree, Matthew. Karajan did conduct with his eyes closed. Often his eyes would sort of flitter between closed to partially open. Conducting for him was a deep form of meditation. It was a profoundly intellectual process. Thanks for your replies!
Die idealste Kombination des Komponisten, des Dirigenten und des Orchesters! Der unvergleichliche Maestro leitet das weltklassige Orchester im inspirierenden Tempo mit völlig effektiver Dynamik, als wäre es ein Teil seines Körpers. Echt das Wunder Karajan!
hemorsa sinfonía, intensa como Schuman, con sutileza de los violines y la fuerza vasalladora de los bronces, especialmente los trombones de vara. mira que hermoso este solo de la viola, suave sutil, que luego es repetido por la cuerdas a modo de preludio dramático. que se vuelve a repetir y a continuación toda la fuerza de los bronces
"La sinfonía n.º 4 en re menor, op. 120, de Robert Schumann fue completada en 1841 (es la conocida como primera versión). Schumann la revisó profusamente en 1851, y esta es la versión que fue publicada. La obra está orquestada para dos flautas, dos oboes, dos clarinetes, dos fagotes, cuatro trompas, dos trompetas, tres trombones, timbales y cuerdas. La versión de 1841 tiene cuatro movimientos y usa la notación italiana de los tempos: Andante con moto - Allegro di molto (re menor ? re mayor) Romanza: Andante (la menor) Scherzo: Presto (re menor) Largo - Finale: Allegro vivace (re mayor)"
Depuis juillet 89 l'interprétation des symphonies dignes de cette appellations sont orphelines, les dirigeants qui lui ont succédé sont bons... politesse oblige seulement le perfectionnisme propre à von Karajan est parti avec lui...
Comme le dit un de mes amis: le legato universel. Ceci dit, la meilleure version de cette symphonie reste celle de Francesco Mander dans un concert public à Paris en 1974. Malheureusement, elle est introuvable...
They are both great & contributed many great landmark recordings. That is more than enough. If you have ever conducted or played in an orchestra at a high level or are a professsional musician of a good standard you would not say that. Ask the musicians like James Galway who played for him, or colleagues like Simon Rattle.
Karajan was an excellent, outstanding conductor while Furtwängler was most probably the best conductor ever. Even Karajan himself, proud as he was, knew intimately that no one could reach Furt’s level, no matter what. The story started many years before. In 1933 Nazis reached to power and many famous German musicians left the country in a few years (American musical life owe much to the Nazis in this regard). Furtwängler stayed and he was politically used as a symbol of the regime. However he was far from sharing Nazi’s political views and never joined the Party in spite of great pressures. He was troublesome and, in several occasions, he even rejected to conduct for celebrations and alike. But his reputation was enormous, and the Party needed him. Tired of his attitude, some leaders searched for an alternative. A promising, young conductor appeared, and he was promoted to the highest. This was Herbert von Karajan. After the initial surprise (das Wunder Karajan), it was clear to everyone that Karajan was a very good conductor but couldn’t reach to Furtwängler’s figure. In fact nobody could, not even Toscanini or Richard Strauss. One day it occurred that young Karajan was conducting at Bayreuth with Hitler in the theatre, as usual with no score because he always conducted by heart. Suddenly he forgot what was next, baton down and the orchestra stopped in the middle of Meistersinger much to the amazement of the public, singers and players. Hitler later demanded that Karajan was not to conduct when he attended. Years later Furt suddenly died in 1954 after getting a cold during a train trip. Karajan then left his London tenure with Legge’s Philharmonia (who, in turn, hired another German conductor: Otto Klemperer) and was appointed conductor for life in Berlin, much to Celibidache disappointment (he was the first BPO conductor after the war was over, in 1945). Karajan musically reigned all over Europe for decades and produced hundreds of recordings known to every music lover, some of them are still a reference. But many would argue that his eagerness for fame and money drove him to over-record and flood the market with abundant, dispensable recordings that somehow casted a shadow over his past achievements.
Karajan/Schumann: uno sposalizio perfetto!!! Penso che questa Musica 🎶 possa offrire una parola di consolazione e di speranza ad ogni uomo, e guidarlo nella ricerca di ciò che è Vero, Buono e Bello. Giuseppe Perego Monza 16.2.1962
Grandissimo interprete di Schumann . È proprio congeniale a Karajan. Esecuzione superlativa.
Drammatica e travolgente. Grande interprete di Schuman
I heard Karajan conduct this piece plus the 1st symphony & Mozart's 39th symphony in Washington, DC. Heard many great conductors, but nobody did Schuman symphonies as well. The BPO musicians didn't look at their music; they all knew it by heart. I sat front row, center and had much eye contact + exchanged smiles with front row musicians throughout the performance.
Wow. Thanks for sharing that.
More eye contact than you would have had with Karajan, had you been one of the musicians! :) Neat story!
@@matthewzisi300 - At the end of the concert I stood and cheered. Karajan nodded his head in recognition of my cheering.
@@johnmaxwell1750 That's awesome! My previous comment was a reference to the fact that he often conducted with his eyes closed. :)
@@matthewzisi300 - I agree, Matthew. Karajan did conduct with his eyes closed. Often his eyes would sort of flitter between closed to partially open. Conducting for him was a deep form of meditation. It was a profoundly intellectual process. Thanks for your replies!
Fabulous AND with exposition repeat!
Karajan's genius consist he never leave the music stop, leave a hole,it is always flowing
Esecuzione molto calda, il fraseggio è chiaro e mostra appieno il phatos che permea l'intera sinfonia. Bellissimo!
Die idealste Kombination des Komponisten, des Dirigenten und des Orchesters! Der unvergleichliche Maestro leitet das weltklassige Orchester im inspirierenden Tempo mit völlig effektiver Dynamik, als wäre es ein Teil seines Körpers. Echt das Wunder Karajan!
Maravilloso fino encaje musical, un gran deleite para el espiritu.
hemorsa sinfonía, intensa como Schuman, con sutileza de los violines y la fuerza vasalladora de los bronces, especialmente los trombones de vara. mira que hermoso este solo de la viola, suave sutil, que luego es repetido por la cuerdas a modo de preludio dramático. que se vuelve a repetir y a continuación toda la fuerza de los bronces
Beautiful
まだまだフルトヴェングラーの痕跡が残っているベルリンフｨルとのカラヤンの演奏は、ベルリンフｨルとカラヤンの歴史の交差する生々しさを感じる。晩年のカラヤンはどこかフルトヴェングラーと対峙しているようでも尊敬の思いがあったとかんじる、特にブラームスのシンフォニーの演奏では、深いところでフルトヴェングラーとカラヤンの交差する情熱を感じる。
"La sinfonía n.º 4 en re menor, op. 120, de Robert Schumann fue completada en 1841 (es la conocida como primera versión). Schumann la revisó profusamente en 1851, y esta es la versión que fue publicada.
La obra está orquestada para dos flautas, dos oboes, dos clarinetes, dos fagotes, cuatro trompas, dos trompetas, tres trombones, timbales y cuerdas.
La versión de 1841 tiene cuatro movimientos y usa la notación italiana de los tempos:
Andante con moto - Allegro di molto (re menor ? re mayor)
Romanza: Andante (la menor)
Scherzo: Presto (re menor)
Largo - Finale: Allegro vivace (re mayor)"
the master!!!!
Depuis juillet 89 l'interprétation des symphonies dignes de cette appellations sont orphelines, les dirigeants qui lui ont succédé sont bons... politesse oblige seulement le perfectionnisme propre à von Karajan est parti avec lui...
Grande interpretação!
from PERSIA with Passion
es musica del cielo !!!!
Perfect
MARAVILLOSA
Love it, but prefer his later renditions of this piece, circa 1965
Wizzard of the soul.
A great symphony indeed specialy the 3rd movement 22:33
In questa egli tesse il costrutto sonoro per il tempo in cui ottenne la immarcescibile Bellezza della sua Arte Musica.
⭐️⭐️⭐️⭐️⭐️
Comme le dit un de mes amis: le legato universel.
Ceci dit, la meilleure version de cette symphonie reste celle de Francesco Mander dans un concert public à Paris en 1974. Malheureusement, elle est introuvable...
24:05-25:20
For me 1st Movement is somewhat unstable. Not comfortable.
Sim, é como deve ser no espírito de Schumann: instável, perturbada.
lafamsuswan!
Strepitoso
Ce n'est pas le Philharmonique de Berlin.
Poor, poor Karajan... He could not ever hold a candle to Furtwangler....
I profoundly disagree.
They are both great & contributed many great landmark recordings. That is more than enough. If you have ever conducted or played in an orchestra at a high level or are a professsional musician of a good standard you would not say that. Ask the musicians like James Galway who played for him, or colleagues like Simon Rattle.
Karajan was an excellent, outstanding conductor while Furtwängler was most probably the best conductor ever. Even Karajan himself, proud as he was, knew intimately that no one could reach Furt’s level, no matter what.
The story started many years before. In 1933 Nazis reached to power and many famous German musicians left the country in a few years (American musical life owe much to the Nazis in this regard). Furtwängler stayed and he was politically used as a symbol of the regime. However he was far from sharing Nazi’s political views and never joined the Party in spite of great pressures. He was troublesome and, in several occasions, he even rejected to conduct for celebrations and alike. But his reputation was enormous, and the Party needed him. Tired of his attitude, some leaders searched for an alternative. A promising, young conductor appeared, and he was promoted to the highest. This was Herbert von Karajan. After the initial surprise (das Wunder Karajan), it was clear to everyone that Karajan was a very good conductor but couldn’t reach to Furtwängler’s figure. In fact nobody could, not even Toscanini or Richard Strauss. One day it occurred that young Karajan was conducting at Bayreuth with Hitler in the theatre, as usual with no score because he always conducted by heart. Suddenly he forgot what was next, baton down and the orchestra stopped in the middle of Meistersinger much to the amazement of the public, singers and players. Hitler later demanded that Karajan was not to conduct when he attended. Years later Furt suddenly died in 1954 after getting a cold during a train trip. Karajan then left his London tenure with Legge’s Philharmonia (who, in turn, hired another German conductor: Otto Klemperer) and was appointed conductor for life in Berlin, much to Celibidache disappointment (he was the first BPO conductor after the war was over, in 1945).
Karajan musically reigned all over Europe for decades and produced hundreds of recordings known to every music lover, some of them are still a reference. But many would argue that his eagerness for fame and money drove him to over-record and flood the market with abundant, dispensable recordings that somehow casted a shadow over his past achievements.