Edgard Varèse, Amériques - Ensemble intercontemporain - Matthias Pintscher
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- Опубликовано: 25 июн 2015
- Edgard Varèse
Amériques
pour orchestre
Orchestre du Conservatoire de Paris
Ensemble intercontemporain
Matthias Pintscher, direction
Enregistré en direct le 3 février 2015 à la Philharmonie de Paris, Grande Salle - Philharmonie 1 
Видеоклипы
Damn it, this is almost heavier than a Meshuggah concert!!! Love this stuff.
Vraiment impressionné par l'engagement et le professionalisme de ces jeunes musiciens (et bien sûr des musiciens plus confirmés de l'EIC). Quelle belle version pleine d'énergie et de couleurs, ça décoiffe !
First time i listened to this was about a year ago and I didn't really like it then. This is my second time listening and i just have chills all over, so good. I'm happy i gave this piece a second chance. I need to listen to Varese more.
Varése kicks ass! No wonder Zappa loved him..
The original version of Amériques was premiered on 9 April 1926 by the Philadelphia Orchestra under Leopold Stokowski. The revised version was premiered on 30 May 1929 by the Orchestre des Concerts Poulet under Gaston Poulet at the Maison Gaveau.
Aside from the classic recording of Maurice Abravanel conducting the Utah Symphony, this is one of the great performances that I have heard of this magnificent work.
Absolutely agree, There was some other good stuff on that album as well.
Wonderful performance! Brilliant conductor! Excruciating camera work!!!
To define what I actually hear just one word: perfect!
It's always great to see my daddy conduct these amazing piece's 😍🔥
Well Done, all! Love that the bassoon section is made up of both French and German system; don't love that the Heckelphone part is being played on a bass oboe. (they're not the same; don't let anyone fool you into thinking they are)
How can you tell? When can you hear it?
Stupendous music ! I love it !
What a fascinating work.
Masterpiece!
I seldom listen to this kind of music,with such a mysterious timbre.
Surprisingly it sounds good! It's a new exposure to me haha
I was enjoying this performance until it was ruined by two advertisements popping up unexpectedly at about the six minute mark. Thanks a lot, You Tube.
you could always buy the recording, bozo.
@@blahdeblah6207 of this particular performance?
Many thanks, despite the ads.
absolutely astounding!...thank you!
A superlative performance! Bravissimi tutti!
Varese is more than a reflection of an era. It’s a phantom asteroid who returns to set his sights on sound art. A stupendous wave laden with paradoxes from which obscurantism and the irrational escape, hypnotic factors defying vulnerable souls in search of the infinity. This sound architecture is a translucid and short tunnel that leads to light 💥
Or.. it kicks ass!! 😁 No wonder Frank Zappa loved it..
Came here to make this comment.
This changed me.
excellent, vraiment très bonne direction et très bon orchestre
That's it, great music performed right....chapeau bas !
Great version! (Have the pleasure of seeing it performed today in Stockholm.)
Thanks.
Mi sono innamorato della percussionista.
Love it.
speechless... woow!
Bravo! Thank you for sharing.
GENIUS!
It boggles my mind that this piece is a hundred years old now. Leopold Stokowski, who premiered it, I believe was one of the bravest conductors in the last century. He looked for challenges like this for the concert hall. Nothing seemed to phase him, i.e. his premiering Charles Ives` 4th Symphony at age 83!
What an atmosphere! Love it. Sounds like John Williams and a few other film composers got mightily inspired by Varèse.
NO, IT DOES NOT SOUND AS JOHN WILLIAMS. JOHN WILLIAMS USED LOTS OF COMPOSERS TO MAKE HIS "ORIGINAL MUSIC". HE IS A THIEF!
@@gerardogerardiux6367 haha funny
Frank Zappa often said in interviews he was immensely influenced by Varèses work. Zappa made a list in 1966 consisting of his biggest influences. Varèse was in it together with names like Stravinsky, Stockhausen, Boulez, Ravel, Webern and Schönberg.
22:10 The climax is 🔥🔥🔥
One can see that this really is a very difficult thing to perform, and I have thoroughly enjoyed the spectacle. It's a pity the recording engineers were not quite up to the superb standard of the orchestra. Some of the performers, especially in the percussion, are scarcely audible. But I do know the difficulties in capturing such a massive range of dynamics.
Interesting. I was enjoying the recording without thinking much about it, but now that I am thinking about it, I guess the percussion does seem a bit far away, although I don't mind it. Wouldn't that be a fair representation of what it might sound like if you had good seats in this hall? They are at the back after all.
i suppose some spot mics would do the trick, but I can't help but wonder if that would make the percussion sound a bit too close.
Thanks!
RUclips is part of the problem as well. If you upload a video like that, the sound gets compressed to some degree.
@@davewestner You make some good points. But actually, it's all a matter of BALANCE. I have myself uploaded a copy of "ARCANA" which I chose because of it's excellent recording. RUclips use data compression, but it won't substantially alter the balance of the instruments.
@@AsIwasPlayingDrums RUclips use data compression, but that won't substantially alter the balance of the instruments within the recording. I have myself posted a version of ARCANA which I believe is an excellent recording for comparison.
@@michaelberridge1934 I am listening to Arcana from your page. I am going to comment about it on that video. just wanted to let you know so you recall this conversation
so many young musicians in the orchestra, almost as if the older players don't want to tackle this difficult stuff
Oh! A little bit of discrimination is always nice. So, young people play better than old people….this orchestra doesnt pay well, see….? So, young people who didnt get a better place yet work here.
@Leonardo Iglesias nothing worse than when some troll puts words in your mouth that were never there
Унікальне виконання! Браво всім!
I don't know what all the fuss is. Its just good music. A man is able to convey precisely what he imagines. What is impressive is the immensity of the orchestra and the physical beauty of the instruments, to which the music seems designed to draw one's attention.
Le Chef d'oeuvre de Varèse ! Rien de moins ! Interprétation intéressante !
Perfect!
It's total Varèse!!👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
El más original del siglo 20 (1883- 1965) ameriques 1918 -1922
Kind of a darker, angrier Stravinsky. Love it.
As one wag said, "Stravinsky's Le Sacre and Schoenberg's Fünf Stücke had a baby!"
You forgot Debussy
Indeed a more sinister form of Stravinksy's Rite of Spring. Great work!
How you just gonna compare Stravinsky to this composer the piece is good were talking about Stravinsky here he’s probably the best composer in ever and know I regret replying to your “comment”
I adore this piece so powerful
A lot of percussion lost in this recording but given size of orchestra and positioning it is understandable.
Bravo!
Yesssssss
Very interesting nice stuff.enlightenment .
Percussion section was Varese's big interest, which is not a lot in the rite of spring
Love the music! I don't hear much of Stravinsky in it aside from the opening alto flute motif; it's more like the next step after Scriabin's Prometheus.
Performance is masterful, but as others have said, it would be great if the recording were less compressed.
This sounds like the revised version...
I can see Sacre du Printemps and Uirapuru here... thats all the same feeling. Great.
Great
I understand why Zappa admired him...
AND Stravinsky AND Schönberg..
@@ulfingvar1 Yep...
Investiguen de Edgard Varèse, vale la pena!
Sounds like New York
Listening to this. I can see how he influenced mr Zappa so much. Absolutely superb 🙏
Amazônico
Eu, americano, entendo essa peça perfeitamente. É um olhar muito bonito e visceral em direção as Américas. Muito impressionante
Was gladly listening when suddenly around 19:40 some funky stuff from an add popped out. How to summon a heart attack.
OK, I got how Varèse loved Sirène🧜🏻♀️
I bet there were mosh pits forming in there in the audience
This is quite an achievement. I'm familiar with most of the recorded versions of this piece, and I've never heard a more adroitly balanced ensemble. Many details I'd never heard before. A sumptuous sound from the orchestra and the most (yes) lyrical rendition of the piece I've heard. Congratulations to one and all.
And RUclips - SHAME on you for interrupting this with ads!
Buy premium.
Something worth noting is how so many of the members of this really prestigious ensemble are actually quite young, and also diverse in terms of gender and ethnicity. I think that speaks really well of this institution, in spite of its controversial past when it... kind of dictated the aesthetic of new music in France with an iron fist.
Frank Zappa Sr.!
Word. I was inspired to listen to this piece again because I was listening to Zappa's Mo n Herb's vacation with the score.
Not many people know Varèse collaborated at least twice with Antonin Artaud, who was also a big influence on Zappa.
Like Artaud Varèse was mocked in his day.
Begins paraphrasing Stravinsky at 0:27. Listen to the Rite of Spring (particularly the part just after the reprise of the bassoon solo melody, but just before the stamping chords of the "augurs of spring" begins. It's almost verbatim. At 2:21, the rite is paraphrased again. This time the melody comes from the introduction to part II of the rite, before "mystic circles of the young girls" begins. 2:45 comes from loosely from "the sacrificial dance". 3:16 was likely inspired by the stamping chords beginning "the augurs of spring". This has Stravinsky written all over it.
2:21 Finding four notes here and there identical to four notes in "The Rite" isn't exactly fair. You've neglected to mention the thousands of notes having no connection. Yes, "The Rite" was an important work, but this argument is faulty for being entirely selective. If "The Rite" were so influential on it, where are the ostinato patterns that make "The Rite" structurally groundbreaking? No where in Varèse. He has an entirely different structural approach far more relevant than four similar notes or a similar metric emphasis spanning all of three seconds.
I'm listening to this for the first time. Could someone kindly provide some context to help me understand how I might appreciate it?
You don't have to "understand" anything. Listen.
@@raouldegardefeu1310 That's how I look at it. If you like it: Fine. If not: Fine.
There are many types of people and many types of music.
Yes, I would agree - just listen to it.
All I can say is look at the title. THAT is your context. And I am from there myself!
What I do before any score analysis, is close my eyes, and listen to the piece 15-20 times, and just go on a musical journey. Let the music take me wherever it wants to take me.... I GO! Then I pick up the score and then start studying it for the next 15-20 listens. Then I for the next 5 listens I act like I am conducting the piece... Then after 40-50 listens, half with the score, that is how you get to ''understand'' a piece. It is not a quick process. There are pieces like Ligeti's Requiem...that may take 100-150 listen throughs to ''understand'' the piece. Also reading a biography/autobiography about the composers life also helps!
Doesn't sound like Stravinsky to my ears. Varese was his own man. And there are more intense performances of this piece conducted by Boulez, and Chailly.
THAT beginning is unmistakably a LIFT from Stravinsky!
There are a lot of hints, 11:11 for example
The piece wouldn't exist if Stravinsky hadn't written The Rite of Spring. Its influence is all over this score. It's still unmistakably Varese, but the Stravinsky influence is huge.
I heard this in the 80s with the Chicago Symphony conducted by Tilson Thomas. It was so powerful I was shaking uncontrollably through the first half of intermission. It was much more ferocious than this. I think they were so angry to have to play it that they took out all their aggression in the performance.
Chicago has always done ferocity better than just about any orchestra. Maybe it's the climate.
Woow!
Anyone knows who makes the siren noise? Or is it a pre-recorded thing?
it is just that - a siren. Varese also uses it in "Ionisation"
Sabooorrrr!!!!!😎😎
Interesting piece.
It sounds as much like Stravinsky - specifically, The Rite Of Spring - as like Varese; it is apparently Varese's first published composition. The huge orchestra is not characteristic of him, nor is the length. Most of his later pieces involve non-standard chamber groups, and are considerably shorter and more focused on one concept.
C'est sûrement plus facile de rendre un son de sirène avec un violon que de faire un son de violon avec une sirène
Explique toi
Je suis un peux septique a propos de cette musique j'ai du mal avec elle pourtant je trouve que ça sonne bien elle me rapelle stravinsky
10:25 Ravel?
23:02
le plus grand pas besoin de dire pourquoi c'est LUI
0:15
4:24 Contrabass trombone blast
Cela semble du sous-Stravinsky mais avec des percussion malvenues.
Why?
この作品の核はサイレンの音！
This piece scares me lmao
Huh. I can hear how Zappa took influence from this for his orchestral works.
Pas très fair-play de ne pas mentionner l'Orchestre du Conservatoire dans le titre...
Accessoirement, que signifie "Enregistré en direct"? Y aurait-il des enregistrements en différé?
Ça veut dire qu'il n'y a eu aucune modification de la bande son (rééquilibrage des micros) en postproduction
Still finding it difficult to grasp Varese. I see a lot of comments comparing this to Le Sacre du printemps. I can still understand the melodic development (mainly in motifs) of stravinskys work, which happens to be one of my absolute favourites, but this seems to me to be more of an experiment on organising sounds which is exciting to hear but doesn’t seem memorable to me. The final few minutes - starting from the 17’ mark - are an exception they’re fantastic
Interesting to see a male harpist, a rare sight these days.
Rite of Ameriques
Dear EI Thanks for the recordings but can you please not cut off the audience response.
I do think this is not well recorded but at the same time its just a series of episodes, there's little tension in what is one of the most electric pieces of music ever written. And that's the conductor's fault. And if you're looking for influences go and listen to The Sorcerer's Apprentice by Varese's teacher Dukas.
Ce hosel bonjour 10
West Coast Hip Hip used police sirens in their music first.
@articflower2789 - I suppose you're making a joke, but just in case you're not you should know that this piece was composed in 1921 and first performed a few years later in 1926.
I hate when people compare this to rite of spring this is almost in a contemporary style far away from Stravinskys time
They might compare it because of how they're both avant-garde & atonal
The question is wh=ther Varèse was quoting Stravinsky. Nothing to do with comparison.
@@wp6007 Stravinsky isn't atonal?
@xxxwood_windxx-bb4413 I'm not sure what you mean when you say this piece is "far away from Stravinsky's time". Rite of Spring was composed in 1913 and this was written only 8 years later in 1921.
O horror nos sotos das cidades ucraínas?
Le sacre du printemps N.2
Ça va, on a compris...
13:28 ça ressemble à une citation du Sacre non?
Carement
Ich brauche keine Klangmassen…….
Appears, by moments like a fade imitation of the Rite of Spring, but very approximately !
Inspirado no compositor brasileiro Villas Lobo.
Planos espaciales .....limpidez ......
Mouais
Niet om aan te horen ;-/
... bemerkenswerte Schlüsselkomposition des 2O.Jdts, hier in bemerkenswerter Interpretation...
What a dull and boring performance of this delirious piece! A waste of time compared to Gielen or Heras-Casado.
The common man watches horror films. the Intelligentsia plays with absurdism and nihilism like this.
How is this absurdism?
@@segmentsAndCurves Orthogonality to rational, melodious? An obvious hectoring of petite bourgeois sensibilities? Dissettlement -- if that's a word? An entire orchestra is purposed for what is anti-structural? Reveling with _Schadenfreude_ at hearing this would be absurdist, IMHO.
@@vonBottorff And you are implying that this piece falls into those margins, let alone any of the qualities above is relevant to "absurd"?
@@segmentsAndCurves No, I enjoy it for its sheer musicality, its ability to explore what I call _tonal neutrality._ Absurdism is necessarily an integral relationship phenomenon with the non-absurd, the structured set of petty bourgeois sensibilities. Now, can you or I honestly claim objectivity? Or are we forever captive to our socialization? Can we face outwards? Or are we slaves to our comforts and reassurances? I'm a big Ligeti fan, and his association with _2001 A Space Odyssey_ was quite formative for me. I can better face my non-facing of the Universe with these musical aids. So let me finally define absurdism as runaway irony. But then what and why is irony? One set of highly intelligent people enjoy the hell out of it, another set reviles it.
@@vonBottorff We are slaves of our own opinion. Nothing is wrong with that, if you keep remind yourself that there's more to be discovered.
Frank Zappa recommended listening to Edgar so here I am
0:16