Near the end of life and dying from cancer, Béla Bartók gave the world one of the most intensely moving and virtuosic works ever written for orchestra. This superb performance by the BSO-the orchestra that premiered this work in 1944-led here by maestro Ozawa, simply nails it.
Center Grove High School Marching Band placed second at the Bands of America Grand National Championships in 1997 playing this finale as the main piece for their show.
Tutti bravi. A splendid performance by the Bostonians & mtro. S. Ozawa. They offered us an astonishingly crystal-clear orchestral sound and impeccable solos.
Maestro Ozawa gave the best finales. Whether the danse sacrale from the Rite or here with the Bartok, his tempi are crazy fast but under his disciplined and uniquely talented baton, Boston never missed a beat. American orchestras ain't what they used to be....
Ozawa is diffictult to follow when he starts a new movement. He must have told them, "Start playing after I raise my arm straight up in the air 3 times.
The young Ozawa -- what year was this? What an exciting performance of this great work of genius! Fully lives up to the description of this movement in Alex Ross's "The Rest is Noise".
The beginning if the song sounds like a superhero theme song. The middle if the song sounds like a song cartoons have playing when a character is running away from something. The end of the song sounds like there is a situation where something bad is going to happen.
DerSibbe you sound like my music appreciation instructor. That’s one of the first things he figuratively thumped into us, the difference between a song and a piece.
It is the BSO in the fall of 1991. The acting principal flute is Leone Buyse, the principal oboe is Al Genovese, the principal bassoon is Richard Svoboda, the 2nd clarinet is a sub.
I don't consider Maestro Ozawa as an authentic interpreter of Bartók's Concerto. I would rather opt for Solti, Kocsis or even Boulez. These have much more feel for the composer's music. Sorry guys but this is my personal impression.
I don't disagree with you, but there is room for many interpretations of this, and not only is the piece a part of the Boston Symphony tradition, since they premiered it and Koussevitsky's Foundation commissioned it, it is a performance with some great playing.
0:40 Maruntel
0:46 Var1 Hora
1:03 Maruntel
1:20 Var2 Hora
2:02 Fugato
2:14 Hornruf 1 Var 1 Umk
2:30 Fortsp
2:51 Dudelsack
2:59 Hora 2
3:51 Durchführung 1. Fug
4:51 2. Fug
5:07 Zwspiel
5:17 3. Fug ->Hruf 2
5:52 Reprise
Just watched this after twoset sightread this lol
Near the end of life and dying from cancer, Béla Bartók gave the world one of the most intensely moving and virtuosic works ever written for orchestra. This superb performance by the BSO-the orchestra that premiered this work in 1944-led here by maestro Ozawa, simply nails it.
0:07 the conductor should get an Oscar for this
i agree, very difficult
Came here because of twoset,
1 hour later realized it's a audition piece for symphony.....
Oh jeez
Great observation!An audition piece for orchestra indeed. ( And conductor too)
Uh huh…
For the percussionists: Measure 556 is at about 8:32. Happy counting.
T. :
1 Einleitung: „Hornruf 1“ 0:03
5 Exposition: Crescendo I (“Perpetuum mobile”) 0:09
50 Crescendo II 0:43
74 „Maruntel-Thema“ 1:03
96 Crescendo III 1:19
148 „Hornruf 1“ Fugato (Holzbläser) 2:01
161 Tranquillo 2:14
188 „Dudelsack-Thema“ 2:50
201 „Hornruf 2“ / „Triumphthema“ Fugato (Blechbläser) 3:03
256 Durchführung: Einleitung Fuge „Triumphthema“ 3:51
265 1. Fugendurchführung (Streicher) 4:00
310 Zwischenspiel 4:42
317 2. Durchführung (Holzbläser) 4:50
333 Zwischenspiel 5:05
344 3. Durchführung (Holzbläser) 5:16
365 Rückführung zur Reprise 5:35
384 Reprise: Crescendo I 5:52
409 Crescendo II 6:12
430 „Metrum und Figur“ 6:29
449 Tranquillo 6:45
482 „Hornruf 1“ Fugato (Holzbläser) 7:31
535 „Hornruf 2“ / „Triumphthema“ Fugato (Blechbläser) 8:14
556 Coda / „Apotheose“: „Triumphthema“ Choral (Blechbläser) 8:30
573 -625 Stretta 8:45 -9:22
Danke😊
I consider Concerto's Finale to have one of the most (if not the most) fantastic endings in classical music.
This has so much energy, immediacy and shows off this orchestra at its greatest. Just fantastic. And this is LIVE!!!!!!!
What a tour de force for orchestra. Truly a concerto for orchestra. Some day I dream of playing this.
Center Grove High School Marching Band placed second at the Bands of America Grand National Championships in 1997 playing this finale as the main piece for their show.
Seiji!!!!!
My Hero!!!
Fantastique!!!!
Tutti bravi. A splendid performance by the Bostonians & mtro. S. Ozawa. They offered us an astonishingly crystal-clear orchestral sound and impeccable solos.
Maestro Ozawa gave the best finales. Whether the danse sacrale from the Rite or here with the Bartok, his tempi are crazy fast but under his disciplined and uniquely talented baton, Boston never missed a beat. American orchestras ain't what they used to be....
I love the rhythm in this
2:50
5:50
8:34
Don’t mind my just marking some of my favorite spots
Fantastic version! I am a bit bias also because my former violin teacher is sitting in the principal second violin chair. Miss you Marylou Churchill.
Marylou bought my mother’s violin, many, many years ago.
2nd violins 4:00
great recording! thanks for posting. it was on youtube for a while and then it got taken off. glad its back
......another piece of perfection by the BSO.....INSANE!!!!!
3:11 trumpet excerpt
3:02
8:26
They play this like it was written for them.
In a very real sense, it was :)
I don't think so.
I believe that honour belongs to this conductor and this orchestra:
ruclips.net/video/iuOvu5pKFTA/видео.html
@@obiwan88 The piece was premiered by the Boston Symphony and Koussevitsky, who also commissioned it. Yes, it was written from them in that sense.
You won't find this piece done any better than this......
BOULEZ
Grande Bartok,, era avanti nel tempo. Per questo non fu capito allora....
Thanks for the info - I would retract my statement if I knew a way.
It will always inspire me.
7:31 best crescendo ever
Ozawa is diffictult to follow when he starts a new movement. He must have told them, "Start playing after I raise my arm straight up in the air 3 times.
3:00
Al Genovese was principal oboe with the Metropolian Opera Orchestra in 1964. He later to the BSO.. Herbert Baker
3:10 Trumpet wondered off the reservation into his own little world.
Holy shmazola. These musicians are not human. How do fingers fly that fast?
Nice 😀
5:27 ya boi on 2nd bassoon!
The young Ozawa -- what year was this? What an exciting performance of this great work of genius! Fully lives up to the description of this movement in Alex Ross's "The Rest is Noise".
Autumn 1991.
3:54 violin 2 excerpt
The beginning if the song sounds like a superhero theme song. The middle if the song sounds like a song cartoons have playing when a character is running away from something. The end of the song sounds like there is a situation where something bad is going to happen.
Denise M It's not a song.
*IT'S A PIECE!*
Sorry but i somehow always freak out when soneone calls a piece a "song"...😂
DerSibbe you sound like my music appreciation instructor. That’s one of the first things he figuratively thumped into us, the difference between a song and a piece.
Tammy McComber well then there also is the difference between a piece and a *masterpiece* ... 😂
4:00 if you know what I mean
This piece was published in 2014, but the glasses and hair styles look much older. Was this performance actually IN 2014?
what?
No. I don't know for sure, but my guess is around 1990 or 91 based on the personnel.
...so confusing
seriously -.-
This somewhat reminds me of Rite of Spring.
Trumpets!!!!!
4.06
3:54
3:00
Name of 1st trumpetist?
His name is Charles Schlueter.
en.wikipedia.org/wiki/Charles_Schlueter
Al Genovese and Wayne Rapier
中学生、この曲、やります。
誰か、ポイントあったら教えて下さい……。
私もです、、
バイオリンなんですが、指つりそうです😅
お互い頑張りましょ💪
あずきちゃん 頑張りましょう(´・ω・｀)
This cannot be the Boston Symphony.
Flute isn't Doriot Anthony Dwyer,
Oboe isn't Ralph Gomberg,
Bassoon isn't Sherman Walt,
and 2nd clarinet female?
It is the BSO in the fall of 1991. The acting principal flute is Leone Buyse, the principal oboe is Al Genovese, the principal bassoon is Richard Svoboda, the 2nd clarinet is a sub.
I don't consider Maestro Ozawa as an authentic interpreter of Bartók's Concerto. I would rather opt for Solti, Kocsis or even Boulez. These have much more feel for the composer's music. Sorry guys but this is my personal impression.
I don't disagree with you, but there is room for many interpretations of this, and not only is the piece a part of the Boston Symphony tradition, since they premiered it and Koussevitsky's Foundation commissioned it, it is a performance with some great playing.
0:03 horn excerpt