Adored this piece for 40 years (the old Musical Heritage Society recording with Lily Laskine is where I discovered it) but have heard it live only once-- Zabaleta played it with the Cincinnati SO in 1990 or so--
that third movement is really one of the most wonderful things I've ever heard in a concertante work. just... such brilliant orchestration, great mood-setting, wow.
Wow! What a musical dimension making ecstatic as if cool breeze is blowing around me in this extreme summer in this part of Northern India right now am going through! Thanks a lot ❤️ regards
@@steveegallo3384 Thanks for replying bro! I am so happy having reply of this kind from your end which I didn't expect that you in Mexico are feeling like me.God bless you. REGARDS
Now, I know nothing about harp technique, but can anyone explain why the orchestra in the slow movement is playing in B major and the harp in the awkward C flat major?
Harp is tuned in C flat major. The strings are arranged in octaves of seven notes, which can be raised (1st step natural, 2nd sharp) with pedals. Every pedal alter all the octave of the related note. So, C flat major is not awkward, for Harp: no key is awkward for Harp, because harpist literally only read the pitch, and the alterations follow accordingly to what they tuned before, or to the pedal changing during the piece.
@@SPscorevideos Also, something only a harpist would understand here, because of the bizarreness of the pedal mechanism, it is unengaged when the harp is playing in C flat major. So the strings aren't getting pinched off by any of the metal "forks" that create the accidentals. (I know, it's weird). So that means the strings are totally "open" and resonate better. Since C flat major is, as you said, a ridiculously awkward key for all normal instruments, Reinecke had the strings playing in a more reasonable key, with the harp playing in its bizarre, more resonate, but harmonically equivalent, key. I hope I explained that clearly.
Very nice concerto, thanks! I wanted request another unusual concerto from a surprising source, Louis Spohr. Can you make a video score of his Concerto for String Quartet and Orchestra in a minor, Op.131? If so, are you able to use the performance conducted by Sebastian Weigle? Thank you.
I can't find any score! There's only a set of parts, and a piano reduction without any cue of what happens in the solos (definitely unsuitable for a decent score video)...
Why is this not in the repertoire? It's Such a shame that these orchestras doesn't play Reinecke.
Adored this piece for 40 years (the old Musical Heritage Society recording with Lily Laskine is where I discovered it) but have heard it live only once-- Zabaleta played it with the Cincinnati SO in 1990 or so--
A masterpiece of its own kind!!!!!!! A lot of salutations to this artistry
Some passages, such as 11:24 and 12:55 in the second movement are truly memorable, almost sound like movie music !
that third movement is really one of the most wonderful things I've ever heard in a concertante work. just... such brilliant orchestration, great mood-setting, wow.
Yeah. Musically speaking, this is the best harp concerto out there. FIENDISHLY difficult. And up until very recently, not much performed.
The arpeggios are so lovely :)
Wow! What a musical dimension making ecstatic as if cool breeze is blowing around me in this extreme summer in this part of Northern India right now am going through! Thanks a lot ❤️ regards
Naresh Naresh -- Same experience here in South-West Mexico.....Stay well, friend ❤️ !
@@steveegallo3384 Thanks for replying bro! I am so happy having reply of this kind from your end which I didn't expect that you in Mexico are feeling like me.God bless you. REGARDS
Wonderful piece I've never known
Reinecke's "Ondine" (for flute) is also fabulous.
Now, I know nothing about harp technique, but can anyone explain why the orchestra in the slow movement is playing in B major and the harp in the awkward C flat major?
Harp is tuned in C flat major. The strings are arranged in octaves of seven notes, which can be raised (1st step natural, 2nd sharp) with pedals. Every pedal alter all the octave of the related note.
So, C flat major is not awkward, for Harp: no key is awkward for Harp, because harpist literally only read the pitch, and the alterations follow accordingly to what they tuned before, or to the pedal changing during the piece.
@@SPscorevideos Thank you.
@@SPscorevideos Also, something only a harpist would understand here, because of the bizarreness of the pedal mechanism, it is unengaged when the harp is playing in C flat major. So the strings aren't getting pinched off by any of the metal "forks" that create the accidentals. (I know, it's weird).
So that means the strings are totally "open" and resonate better. Since C flat major is, as you said, a ridiculously awkward key for all normal instruments, Reinecke had the strings playing in a more reasonable key, with the harp playing in its bizarre, more resonate, but harmonically equivalent, key.
I hope I explained that clearly.
For a harpist Cb major is anything but awkward.
Very nice concerto, thanks! I wanted request another unusual concerto from a surprising source, Louis Spohr. Can you make a video score of his Concerto for String Quartet and Orchestra in a minor, Op.131? If so, are you able to use the performance conducted by Sebastian Weigle? Thank you.
I can't find any score! There's only a set of parts, and a piano reduction without any cue of what happens in the solos (definitely unsuitable for a decent score video)...
12:58