Wunderschöne und detaillierte Aufführung dieses neoklassischen und perfekt komponierten Konzerts mit seidigem doch gut phrasiertem Ton der technisch perfekten Solovioline sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders lebhaft und echt beweglich. Im Kontrast klingt der dritte Satz echt melodisch und auch bezaubernd. Der intelligente und geniale Dirigent leitet das ausgzeichnete Orchester im veränderlichen Tempo und mit perfekt kontrollierter Dynamik. Wunderbar vom Anfang bis zum Ende!
Ich kann Ihren ewig gleich formulierten nichtssagenden Schrott echt nicht mehr hören. Unter JEDEM Konzert immer die gleichen völlig sinnfreien Satzbausteine. Wenn ich nur wüsste, was Sie damit bezwecken.
Das Publikum reagiert so kalt! Unverständlich bei so einer unglaublich leidenschaftlichen Interpretation. Man ist so verwöhnt, dass man so eine hervorragende Qualität und die Hingabe von Carolin Widmann nicht schätzen kann. Einfach traurig
The slowest rendition ever and messes up the orchestra at times but the soul and tone, apart from an occasional glitch, are there. the Cadenza is wonderful.
That comment, with all due respect, dear GA, is misguided rubbish. BB is a genius of chamber ensembles, with all sorts of string combinations. May I courteously suggest you listen to "The Turn of the Screw", and the "Serenade for Tenor Horn and Strings". Regards, andrea
@@andreapandypetrapan Well it puts an unusually emotional strain on the performer. The original version as played by Ida Ida Haendel was deemed unplayable so it was revised to make it a bit simpeler and even so many violinists struggle with it.
@@homeofcreation Fair enough, and indeed this is the work that earned BB his reputation as a smarty-pants "wunderkind" of advanced British music, writing for an audience of 1000 (if lucky, and all in Hampstead) listeners to the BBC Third Programme. One which he clearly relished. Hand in hand with his outré love affair with PP. But high art should often be both inventive, extremely expressive, yet also taxing, and shocking. Consider a great deal of Wagner's writing for sopranos in "The Ring", especially the part of Brunhild - how many singers can even attempt that? Or the part of Salome in Strauss's opera. More up to date, the Duchess in Thomas Ades' wickedly satirical opera "Powder Her Face", which I saw in a semi staged performance at the Barbican: en.wikipedia.org/wiki/Powder_Her_Face Schoenberg's Pelleas und Melisande, Elgar's Second Symphony, Berg's violin concerto, Brahms' second Piano Concerto, etc, etc. I've no problem with exquisite yet apt and seemingly simple writing, such as much of Handel. I'm not a creature or acolyte of Anton Webern and IRCAM, or one who despises the popular and accessible. That brand of ridiculous musical snobbery pisses me off something chronic. As Wagner and Puccini both well understood, music must address an audience of billions, not pedants and pseuds huddled in debating chambers around the wireless in NW3. Inshallah. Perhaps to initiate a world revolution of cultural enlightenment? What happens next is usually a bit nebulous 🤣🤔🤫. Tickets to Bayreuth are curiously expensive for a Temple of a New World Epoch of Reformed Germanic Culture. Back on the human level, I love late baroque and classical proportion and simplicity and balance, which are one expression of shakti and life. Love and hugs, andrea
32:27 so intense, one of my favorite section of this concerto
Wunderschöne und detaillierte Aufführung dieses neoklassischen und perfekt komponierten Konzerts mit seidigem doch gut phrasiertem Ton der technisch perfekten Solovioline sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders lebhaft und echt beweglich. Im Kontrast klingt der dritte Satz echt melodisch und auch bezaubernd. Der intelligente und geniale Dirigent leitet das ausgzeichnete Orchester im veränderlichen Tempo und mit perfekt kontrollierter Dynamik. Wunderbar vom Anfang bis zum Ende!
Ich glaube du solltest nochmal nachlesen was "Neoklassisch" bedeutet. Dieses Konzert ist es ganz entschieden nicht.
notaire2 ist kein Mensch, nur eine Maschine
@@Quotenwagnerianer Well, there's a passacaglia . . . A neoclassical piece can have powerful emotions.
Ich kann Ihren ewig gleich formulierten nichtssagenden Schrott echt nicht mehr hören. Unter JEDEM Konzert immer die gleichen völlig sinnfreien Satzbausteine. Wenn ich nur wüsste, was Sie damit bezwecken.
楽章ごとに違った表情を魅せる演奏、本当にかっこいい！演奏のテンポ感も自分はこの演奏が一番好きです！
Brilliant music!
Very beatiful ,Thank you
Incredible, incredible power from the soloist! I’ve never seen a violinist play that furiously without breaking a string..
Bravo!.
I can't call myself a fan of Britten (yet) but this is a great piece and a great performance with enormous sensitivity from the soloist. Bravo!
Das Publikum reagiert so kalt! Unverständlich bei so einer unglaublich leidenschaftlichen Interpretation. Man ist so verwöhnt, dass man so eine hervorragende Qualität und die Hingabe von Carolin Widmann nicht schätzen kann. Einfach traurig
So glad to be early to this masterpiece 💖💖💖💖
Sublime
Big feature on her in this month's Strad.
❤️❤️❤️
Benjamin Britten🙂🙂🙂.." I love you.." .. Death in Venice...
The slowest rendition ever and messes up the orchestra at times but the soul and tone, apart from an occasional glitch, are there. the Cadenza is wonderful.
Excruciating. The composer appears to hate the violin.
That comment, with all due respect, dear GA, is misguided rubbish.
BB is a genius of chamber ensembles, with all sorts of string combinations.
May I courteously suggest you listen to "The Turn of the Screw", and the "Serenade for Tenor Horn and Strings".
Regards, andrea
@@andreapandypetrapan Well it puts an unusually emotional strain on the performer. The original version as played by Ida Ida Haendel was deemed unplayable so it was revised to make it a bit simpeler and even so many violinists struggle with it.
@@homeofcreation
Fair enough, and indeed this is the work that earned BB his reputation as a smarty-pants "wunderkind" of advanced British music, writing for an audience of 1000 (if lucky, and all in Hampstead) listeners to the BBC Third Programme. One which he clearly relished. Hand in hand with his outré love affair with PP.
But high art should often be both inventive, extremely expressive, yet also taxing, and shocking. Consider a great deal of Wagner's writing for sopranos in "The Ring", especially the part of Brunhild - how many singers can even attempt that?
Or the part of Salome in Strauss's opera. More up to date, the Duchess in Thomas Ades' wickedly satirical opera "Powder Her Face", which I saw in a semi staged performance at the Barbican:
en.wikipedia.org/wiki/Powder_Her_Face
Schoenberg's Pelleas und Melisande, Elgar's Second Symphony, Berg's violin concerto, Brahms' second Piano Concerto, etc, etc.
I've no problem with exquisite yet apt and seemingly simple writing, such as much of Handel. I'm not a creature or acolyte of Anton Webern and IRCAM, or one who despises the popular and accessible. That brand of ridiculous musical snobbery pisses me off something chronic.
As Wagner and Puccini both well understood, music must address an audience of billions, not pedants and pseuds huddled in debating chambers around the wireless in NW3. Inshallah.
Perhaps to initiate a world revolution of cultural enlightenment? What happens next is usually a bit nebulous 🤣🤔🤫. Tickets to Bayreuth are curiously expensive for a Temple of a New World Epoch of Reformed Germanic Culture.
Back on the human level, I love late baroque and classical proportion and simplicity and balance, which are one expression of shakti and life.
Love and hugs, andrea