This is the work I return to whenever I need my sonic palate cleansed. Thank you for posting this gorgeous, austere symphony. Seeing Weberns beautiful and clear draftsmanship makes it even better.
Wunderschöne Interpretation dieser minimalistischen doch perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher und milden Tönen aller Bläser. Der intelligente und geniale Dirigent leitet das kompakte und ausgezeichnete Orchester im gut analysierten Tempo und mit sorgfältig kontrollierter Dynamik. Einfach wundervoll!
Ich gratuliere wieder einmal zu dem Geheimwissen davon, was eine perfekt komponierte Sinfonie ausmacht, freue mich, wenn das geneigte Ohr des Kommentatoren durch seidige und milde Töne gestreichelt wird und bewundere sein Naheverhältnis zu Sinopoli inklusive internem Wissen um dessen Intelligenzquotienten. Ferner Respekt dafür, dieses Werk in Partitur und Ausführung einer so sorgfältigen Analyse hinsichtlich Tempo und Dynamik unterzogen zu haben!
I want to meet the musicians who can improvise a double canon in four parts. To improvise a canon in rows by yourself is already a feat, but then with others, that would be near impossible.
@@bartjebartmans He refers to the sound result only. The work seems to be easily confused, only from appreciation, with an atonal improvisation. And here is the question: How much artistic value is there in something that can be so easily confused with something "random"? As a composer, I highly respect innovation, and I sometimes enjoy this type of music. But that question raises many doubts about the quality of the art.
@IgnacioDiSalvo One needs to understand how Webern's techniques work. Without that understanding there is no discussion possible. His is anything but random. Highly organized and cerebral, far removed from the romantic tonal mindset of many. That people get easily "confused" is completely irrelevant. The quality of the art is the total package, hence my posting of the manuscript score. Another proof of quality is that this work from 1927 is still played, studied and loved by many. That should give you a clue.
@@bartjebartmans The fun and challenge has always been of writing complex contrapuntal music that in the end it also sounds good (to tonal standards), but when the result sounds random anyways, what is the fun? let me write a triple fugue in atonal territory, no problem. its going to be noise but hey .....
Exquisite. Webern had a genius for combining intellectual rigour with aesthetic expression.
This is the work I return to whenever I need my sonic palate cleansed. Thank you for posting this gorgeous, austere symphony. Seeing Weberns beautiful and clear draftsmanship makes it even better.
Wunderschöne Interpretation dieser minimalistischen doch perfekt komponierten Sinfonie mit seidigen Tönen aller Streicher und milden Tönen aller Bläser. Der intelligente und geniale Dirigent leitet das kompakte und ausgezeichnete Orchester im gut analysierten Tempo und mit sorgfältig kontrollierter Dynamik. Einfach wundervoll!
Ich gratuliere wieder einmal zu dem Geheimwissen davon, was eine perfekt komponierte Sinfonie ausmacht, freue mich, wenn das geneigte Ohr des Kommentatoren durch seidige und milde Töne gestreichelt wird und bewundere sein Naheverhältnis zu Sinopoli inklusive internem Wissen um dessen Intelligenzquotienten. Ferner Respekt dafür, dieses Werk in Partitur und Ausführung einer so sorgfältigen Analyse hinsichtlich Tempo und Dynamik unterzogen zu haben!
The delicacy of the hand drawn score is apropos.
Commendably elegant handwriting.
And what an interpretation from Sinopoli. In spite of having listened to it many times, I feel like this is the first time I've "heard" this piece.
I love the atonal yet somehow consonant pointillism of this symphony.
Great sound quality!
Homie didn't make a single mistake, wowza
if you give good musicians some rules ad let them improvise you'll get a similar sounding result
I want to meet the musicians who can improvise a double canon in four parts. To improvise a canon in rows by yourself is already a feat, but then with others, that would be near impossible.
@@bartjebartmans
He refers to the sound result only. The work seems to be easily confused, only from appreciation, with an atonal improvisation.
And here is the question: How much artistic value is there in something that can be so easily confused with something "random"?
As a composer, I highly respect innovation, and I sometimes enjoy this type of music. But that question raises many doubts about the quality of the art.
Very much doubt it .
@IgnacioDiSalvo One needs to understand how Webern's techniques work. Without that understanding there is no discussion possible. His is anything but random. Highly organized and cerebral, far removed from the romantic tonal mindset of many. That people get easily "confused" is completely irrelevant. The quality of the art is the total package, hence my posting of the manuscript score. Another proof of quality is that this work from 1927 is still played, studied and loved by many. That should give you a clue.
@@bartjebartmans The fun and challenge has always been of writing complex contrapuntal music that in the end it also sounds good (to tonal standards), but when the result sounds random anyways, what is the fun? let me write a triple fugue in atonal territory, no problem. its going to be noise but hey .....