I have been lucky enough to sing this amazing piece with Muti but many years ago and its tricky entries in the last movement. The quiet finale is just SO beautiful I found that I got an emotional lump in the throat, even during rehearsal and had to stop enjoying the gentle dissonant grazes as the voices and instruments come together in that lovely close harmony! Ah, the musical genius of Stravinsky!
***** I did this at college way back, and I'm always reminded of the shared euphoria - being a part of the whole, when I see/hear these great works! Glad you enjoyed Tricia! :))
This is one of the highlights of the neoclassical period of Igor Stravinsky. The religgious music has always inspired him. Hr will reach the apex of his religious inspiration during his final serial period.
The pacing of this performance evidently does not please some in the comments but is remarkably similar to the composers own in the two extant recording. Muti was always a very precise conductor and this great work requires precision, especially in the chorus. Where Muti really excels here is in his slight, subtle emphasis of woodwind near dissonance against the choir because he achieves the harmonic unity of the whole demanding work of genius. Excellent in every way.
This piece requires total precision by choirs, without which some of the delicious harmonies in this wonderful work can sound somewhat mashed. Orchestra is good.
Do doubt Stravinsky’s religious masterpiece and also among Stravinsky’s five or six greatest works (in my humble opinion these are (in no particular order) this, the Sacre, the Firebird, the Symphonies in C and Three Movements, and (if you make it six) Petrushka.)
Specifically, the psalms Stravinsky used for this symphony were these: Hear my prayer, O Lord, and with Thine ears consider my calling: hold not Thy peace at my tears. For I am a stranger with Thee: and a sojourner, as all my fathers were. O spare me a little that I may recover my strength: before I go hence and be no more. (Psalm 38) I waited patiently for the Lord: and He inclined unto me, and heard my calling. He brought me also out of the horrible pit, out of the mire and clay. and set my feet upon the rock, and ordered my goings. And He hath put a new song in my mouth: even a thanksgiving unto our God. Many shall see it and fear: and shall put their trust in the Lord. (Psalm 39) Alleluja. Praise God in His sanctuary: Praise Him in the firmament of His power. Praise Him for His mighty acts: Praise Him according to His excellent greatness. Praise Him with the sound of the trumpet: Praise Him with the timbrel and dance. Praise Him with stringed instruments and organs. Praise Him upon the high sounding cymbals, Praise Him upon the loud cymbals. Let every thing that hath breath praise the Lord. Alleluja. (Psalm 150)
I thought this was Psalm 150? Kylian just did a choreography to that one and clearly he didn't read it. This piece is breathtaking. Very Russian, reminds me of my family. We are a better world because of Stravinsky.
desadusproper "let everything that has breath praise the Lord". You are right this is just beautiful possibly one of the greatest choral Works ever composed. And hey he came to Texas and was given a cowboy hat have you seen that video clip? It's on my channel I think
This is one of the great works that I associate with my late conducting teacher Joseph Flummerfelt (at Westminster Choir College). We studied it in conducting class very intensely,, including detailed analysis and philosophical discussion, and sang it in performance as members of Westminster Symphonic Choir. I don't remember which orchestra we sang it with-- perhaps NJ Philharmonic or Juilliard Symphony. Amazing experience. I sang this in a performance conducted by the great oboist Heinz Holliger, and wondered whether the solo oboe felt a lot of pressure playing it for Holliger. Who are the performers in this video? I would have preferred a somewhat narrower vibrato throughout, closer to straight tone but with a shimmer. The choir needs to be rhythmically more precise and crisp. Use the quality of the wind instruments as a guide.
That is wrong, Ian. Stravinsky looked down on conductors and was furious when they took liberties from the text. He really wanted his pieces performed EXACTLY AS WRITTEN. This made him unique as a composer. He was a specific person, with a specific M.O. for doing things. He also hated being called "Igor." And loved honey, apparently. lol
My mother heard Stravinsky conduct this with the San Francisco Symphony. She told me that she had an out-of-body experience while listening to it. I believe that an out-of-body experience is purely psychological, not "real" ... but I'm quite sure she definitely had it ... and I think it's pretty obvious which part of the music she must have had it during.
Very good performance.... maybe it is the recording, but the choir seems too big to me, it sounds fat and wobbly, and dominates the orchestra where it should only form half of the sound mass. The tempi are very good. The last episode - Laudate - is quite strange music, because it does not express any 'laudate' at all but a tired, resigned longing. The work is a masterpiece of an imagined 'byzantine' church music - on latin texts, which is impossible of course, if byzantine it would be Greek. All in all, an incredible feat of the imagination and personal sound creation. Especially the concluding chord is a brilliant idea: everything is a doubling of one tone in octaves, topped by one single flute who plays the third. The effect is of some 'granite' wall.
I too feel the choir was too crowded, overwhelming the orchestra at critical moments. Muti's reading of the piece's dynamics didn't do much for me. I prefer Boulez's reading, by far.
Who else thinks that some conductors let their hair get long just so they can shake it when they conduct a piece of music? A good example is Gustavo Dudamel. Pretty darn funny.
It's not too fast, in fact, it's almost identical with Stravinsky's (CBO) own. You just got used to the slower one and that's why you dislike Muti's tempo, but I would say that both, Muti's and Shaw's tempi are acceptable for this music.
I have been lucky enough to sing this amazing piece with Muti but many years ago and its tricky entries in the last movement. The quiet finale is just SO beautiful I found that I got an emotional lump in the throat, even during rehearsal and had to stop enjoying the gentle dissonant grazes as the voices and instruments come together in that lovely close harmony! Ah, the musical genius of Stravinsky!
Impresionante esta obra!!! Por momentos dura y áspera, nos regala en el final una belleza que nos aleja de lo terrenal. Gracias Stravinky ❤️😢
My all time favourite choral work! Thank you so much for sharing such a fantastic performance!
All my respect to the great personality of Riccardo Muti!
***** I did this at college way back, and I'm always reminded of the shared euphoria - being a part of the whole, when I see/hear these great works! Glad you enjoyed Tricia! :))
***** Yes it is a wonderful interpretation! :))
Phil Watson and mine
@@wolverine3566 X2
This is one of the highlights of the neoclassical period of Igor Stravinsky. The religgious music has always inspired him. Hr will reach the apex of his religious inspiration during his final serial period.
Sounds more Neo-barogue to me or an overlap.
This is one of the greatest pieces of music I ever had the chance to perform in.
Were you one of the singers?
You are right! It is an extraordinary Masterpiece!!!!
It's one the greatest I've ever had a chance to hear. Absolutely magnificent.
What did you play?
Work of profound genius...especially the 3rd section!
Yes. And Yes the third section is the tops.
This is magnificent!
This music sounds like something that should be on Cuneiform Records. That’s a good thing.
He seems to be channeling stravinsky himself in his conducting style. Amazing performance. Thank you for making this available.
This is probably one of the featest scezq of the neoclassical period of Sreavinsky. The rendering by Muti is outstanding.
Fantastic!Bellissima! Bravo! Muti!
Eccellente edizione ! Sempre grande Riccardo Muti !
The pacing of this performance evidently does not please some in the comments but is remarkably similar to the composers own in the two extant recording.
Muti was always a very precise conductor and this great work requires precision, especially in the chorus. Where Muti really excels here is in his slight, subtle emphasis of woodwind near dissonance against the choir because he achieves the harmonic unity of the whole demanding work of genius. Excellent in every way.
Splendid!! How wonderful!
Spectacular! Thank you!
Magistral! Gracias
Interpretazione stupenda dei Salmi biblici.. Grazie
Magnificent!
Orchestra and chorus of Teatro alla Scala, Milan, 22 Dec 2001
Thank you
Thank you.
Peut-on pleurer d'émotion ? Oui, on peut !
This piece requires total precision by choirs, without which some of the delicious harmonies in this wonderful work can sound somewhat mashed. Orchestra is good.
Bravo!
a steel prayer. perfect today
First of all this is fantastic, second of all Hi Ms. Satterfield's class! :)
So ist es 🎼🎼🎼🎻🎻🎻
who listens to this marvelous piece for the camera direction? I've sung it years ago and I love it
Do doubt Stravinsky’s religious masterpiece and also among Stravinsky’s five or six greatest works (in my humble opinion these are (in no particular order) this, the Sacre, the Firebird, the Symphonies in C and Three Movements, and (if you make it six) Petrushka.)
Eugenio Grano
GRACIAS por STRAVINSKY
Lord you are my shepperd, nothing I will lack, in places of green meadows you make me rest.......
Specifically, the psalms Stravinsky used for this symphony were these:
Hear my prayer, O Lord, and with Thine ears consider my calling: hold not Thy peace at my tears.
For I am a stranger with Thee: and a sojourner, as all my fathers were.
O spare me a little that I may recover my strength: before I go hence and be no more. (Psalm 38)
I waited patiently for the Lord: and He inclined unto me, and heard my calling.
He brought me also out of the horrible pit, out of the mire and clay.
and set my feet upon the rock, and ordered my goings.
And He hath put a new song in my mouth: even a thanksgiving unto our God.
Many shall see it and fear: and shall put their trust in the Lord. (Psalm 39)
Alleluja.
Praise God in His sanctuary:
Praise Him in the firmament of His power.
Praise Him for His mighty acts:
Praise Him according to His excellent greatness.
Praise Him with the sound of the trumpet:
Praise Him with the timbrel and dance.
Praise Him with stringed instruments and organs.
Praise Him upon the high sounding cymbals,
Praise Him upon the loud cymbals.
Let every thing that hath breath praise the Lord.
Alleluja. (Psalm 150)
I thought this was Psalm 150? Kylian just did a choreography to that one and clearly he didn't read it. This piece is breathtaking. Very Russian, reminds me of my family. We are a better world because of Stravinsky.
Wait...this is 150. Praise God in Heaven, music, drums, alleluia. The disguise is phenomenal.
No no no. Psalm 150 in the 3rd movement is killer
desadusproper "let everything that has breath praise the Lord". You are right this is just beautiful possibly one of the greatest choral Works ever composed. And hey he came to Texas and was given a cowboy hat have you seen that video clip? It's on my channel I think
This is one of the great works that I associate with my late conducting teacher Joseph Flummerfelt (at Westminster Choir College). We studied it in conducting class very intensely,, including detailed analysis and philosophical discussion, and sang it in performance as members of Westminster Symphonic Choir. I don't remember which orchestra we sang it with-- perhaps NJ Philharmonic or Juilliard Symphony. Amazing experience.
I sang this in a performance conducted by the great oboist Heinz Holliger, and wondered whether the solo oboe felt a lot of pressure playing it for Holliger.
Who are the performers in this video? I would have preferred a somewhat narrower vibrato throughout, closer to straight tone but with a shimmer. The choir needs to be rhythmically more precise and crisp. Use the quality of the wind instruments as a guide.
wow! that tempo is the fastest I've heard this piece performed at....
Yes, for the opening.
I think it’s close to 92 to the quarter.
Grazie
Грандиозно !!!
I came from Childhood's End of Arthur C. Clarke mats! Salutes!
This was the piece that an Overlord was listening to in Clarke's 'Childhood's End'.
How interesting! I remember the book but not that part, thank you.
A rather unique interpretation of the book of Psalms from the Bible.
+P. Bundy It... isn't an interpretation of Psalms. Stravinsky used text from Psalm 150, yes, but his intention was toward voices, not toward the text.
He also used Psalms 38 and 39.
Thank you for clarifying. It truly is a beautiful piece.
I feel that the psalms tend to scream. So I like this. I had never heard it before!!
Lovely choral quality but they could have decided where to place all those final "S"'s!
Exactly
Here for the diminished scale.
3:12 Oboe / flute
2:01 , 2:13 악기전체 4:46 피콜로
3:12 2악장
9:05 3악장
What orchestra is this?
Orch. of Teatro alla Scala, Milan, 22 Dec 2001
Tempo at the beginnig is actually almost identical with Stravinsky's (CBO) own.
Which, unfortunately, doesn't make it right :)
Ian Mikyska Stravinsky wanted his pieces performed exactly as written.
Kevin Mathewson
He also liked honey, which incidentally is what Rachmaninoff gifted him the first time they met. I am not making this up.
Kevin Mathewson as written =/= how he performed them.
That is wrong, Ian. Stravinsky looked down on conductors and was furious when they took liberties from the text. He really wanted his pieces performed EXACTLY AS WRITTEN.
This made him unique as a composer. He was a specific person, with a specific M.O. for doing things.
He also hated being called "Igor." And loved honey, apparently. lol
I ч
0:25 - первая тема
0:39 - вторая тема
II ч
3:12 - первая тема
5:01 - вторая тема
III ч
11:00 - основная тема
14:34 - середина
19:11 - кода
I just wish that the first movement lasted a bit longer. The most intense shit since Verdi's requiem
I agree with this 100%
that's Mark Teplitsky on flute
Who's the soprano in the choir that thinks she's a soloist?
It reminds me of the black riders theme in The Lord of The Rings movies.
8 cellos? How could you go wrong?
My mother heard Stravinsky conduct this with the San Francisco Symphony. She told me that she had an out-of-body experience while listening to it.
I believe that an out-of-body experience is purely psychological, not "real" ... but I'm quite sure she definitely had it ... and I think it's pretty obvious which part of the music she must have had it during.
An out-of-body experience is "real" to the person who's having it.
@@55archduke Yes, of course. But not to anyone sitting next to them.
Anyway, you do know which part of the music I'm referring to, right?
@@rfyl which part? The end would be my guess
@@55archduke Yeah, that's what I think too. At least, if I were going to have an out-of-body experience, that's when I would choose to do it. 😁
18:36
09:05.
Who is the choir ? Which orchestra is Riccardo Muti conducting ? Why is this information not supplied ? Sloppy, sloppy...
Orchestra and chorus of Teatro alla Scala, 22 Dec 2001
Great piece, great performance. Disliked the video for HORRIBLE ad placement! Seriously, interrupted the last movement twice with ads!
Very good performance.... maybe it is the recording, but the choir seems too big to me, it sounds fat and wobbly, and dominates the orchestra where it should only form half of the sound mass. The tempi are very good.
The last episode - Laudate - is quite strange music, because it does not express any 'laudate' at all but a tired, resigned longing. The work is a masterpiece of an imagined 'byzantine' church music - on latin texts, which is impossible of course, if byzantine it would be Greek. All in all, an incredible feat of the imagination and personal sound creation. Especially the concluding chord is a brilliant idea: everything is a doubling of one tone in octaves, topped by one single flute who plays the third. The effect is of some 'granite' wall.
I too feel the choir was too crowded, overwhelming the orchestra at critical moments. Muti's reading of the piece's dynamics didn't do much for me. I prefer Boulez's reading, by far.
Nah.
Who else thinks that some conductors let their hair get long just so they can shake it when they conduct a piece of music? A good example is Gustavo Dudamel. Pretty darn funny.
You can conduct the wind section with your right hand, brass with your left hand and the strings with your fabulous hair.
hahahaha trueee!! thats cool!!!
+Pepe la Fritz Jeez, what would you conduct the percussion with?
+nonthere the answer is quite controversial
+walex wetchina Well, yes, because it makes a case against female conductors, not measuring up.
Such an agonizingly beautiful finale! ruclips.net/video/DqWZGUO_eoc/видео.html to end
First part much too fast in my opinion. Last part is great!
It is exactly 92, as Stravinsky ask.
1:12 😐😐😐
Music awe: no deity required.
Sure. Though the composer required it as he wrote the music.
Great thank you.
Could be nice to tell us a little bit more about the work, the lyrics...
Here you go: en.wikipedia.org/wiki/Symphony_of_Psalms
yes Stephane. Have you heard of Wikipedia and Google. They're real close by
@@55archduke nope.
Pas d'accord avec ormuz ariman, Il est trop sévère. Ne regardez ps, écoutez !
.
a lot of nuance missing for me.
This begins too fast. I will stick with my Robert Shaw version.
l agree. I immediately felt the speed.
It's not too fast, in fact, it's almost identical with Stravinsky's (CBO) own. You just got used to the slower one and that's why you dislike Muti's tempo, but I would say that both, Muti's and Shaw's tempi are acceptable for this music.
How about the Shaw version being too slow ?
So much better than Oedipus Rex.
The worst camera direction I ever see!
Not the best interpretation or performance or sound production.
Mechanical performance and really ugly choir singing. Muddy and too much vibrato.
haters gonna hate
@@addisonstudios5536 Yeah.