Beethoven's Symphony No. 2 / Mariss Jansons / Oslo Philharmonic
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- Опубликовано: 30 окт 2019
- Ludwig van Beethoven's Symphony No. 2 performed by the Oslo Philharmonic with conductor Mariss Jansons in Oslo Concert Hall in January 1988.
#classicalmusic #concert #beethoven #symphony
I. Adagio molto - Allegro con brio 0:30
II. Larghetto 11:17
III. Scherzo: Allegro 24:23
IV. Allegro molto 28:30
Recording by NRK. (Used with permission.)
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Also, the cinematography is top-notch!
Lebhafte Aufführung dieser jugendlichen Sinfonie mit gut phrasierten Töne aller Instrumente. Der energische Maestro dirigiert das perfekt trainierte Orchester im inspirierenden Tempo mit möglichst effektiver Dynamik. Ruhe in Frieden, liber Mariss!
BEETHOVEN se presenta cada vez que sus creaciones suenan...
I miss you Mariss Jansons, I will see you again but not yet. (From Maximus' friend! at the end of the movie!)
R.I.P. Maestro Jansons! We will miss you!
❤❤❤❤❤Bravissimi, complimenti
Both historical and actual uploads of that great orchestras are amazing.
R.I.P. Mariss Jansons
やはりすばらしいヤンソンス
❤️❤️❤️❤️❤️❤️
Very interesting. I remember doing Tchaikovsky's 5th with him at the CBSO in 1982? 1983? The CBSO had a reputation for being difficult - though Rattle had got a grip on them by this time - and Jansons was not very well known. He did a great job and was so quietly professional and friendly that it would have been difficult to give him a hard time.
And since I'm commenting, I was in Oslo (and Lillehammer) with my Youth Orchestra in 1977, I think, and we were taken to a concert given by the Oslo Philharmonic. I can't remember what we heard - I expect I have the programme somewhere - but it was not the most interesting of pieces and it seemed to last for hours! The conductor had to turn round at the end and indicate that the piece had ended so we could clap.
@@Nai61a wow thanks for sharing, how forutnate for for you! to the Oslo Phil.
I heard Beecham said let us pray after Pelleas was finished,
@@psono429 There are some wonderful stories attached to Beecham; not all true, but nearly all funny!
Thanks for loading this!
great, great, great !!!
Dear "Oslo phiharmonic orchestra", could you put online the symphony of Oisten Sommerfeldt, conducted by Mariss Jansons in 1974 ? It would be a nice discovery. Thanks in advance.
OMG 1988 so early
brawo
Early on janssons conducted without referencing a,score
Later years he always conducted with a score. Why?
2:24, la sinfonia 9 stava già nascendo
is there no vid with Jansons, Oslo and Beeth 5?
Not that we know of.
What are Norwegian???00000
Tutaj stajemy przed dylematem, właściwie to go nie ma, tylko jak to zrobić. Takie utwory i wykonania zasługują na pamięć pokoleń, lecz jak to pogodzić z nadmiarem informacji i postępem w ogólnie. Ja nie wiem, takie wydarzenie kulturalne stanowi o rozwoju ludzkości i jej postępu, a tutaj stajemy przed progiem weryfikacji co dobre, a co złe, to trąci inkwizycją. Tam i Tutaj są ciemne i jasne barwy, jak to wyśrodkować, nie wiem. Współczuję tym co będą musieli to weryfikować i decydować co dobre, a co złe. Będą w roli BOGÓW, a to już ateizm, dla sporej części z nas nie do przyjęcia.
This is a great performance, beautiful musicianship, and very noble-but unfortunately it completely fails to convey anything of the harrowing, disjointed, terrifying aspects of the piece!
I don’t have perfect pitch (dern it!) but I guess I’m not hearing what you are (or are not) hearing. I love this symphony (one of my favorites) but what I’m hearing seems to be faithful to the score. Tempi, dynamics, overall presentation seems dead on. What is missing?
@@markwardprodking Interpretation is missing. Why did Beethoven write the symphony like this? It’s full of extreme contrasts, weird non-sequiturs, and sudden breaks in mood. The sections in the main keys seem happy, and to a modern ear the disruptions aren’t that noticeable because we have heard so much of that kind of thing and “worse” by later composers. But I think it’s pretty clear that what Beethoven shows here is: I’m barely holding it together, but actually I’m going insane, and this isn’t going to end well!
And that fits the time at which Beethoven wrote it, which had him in major distress (see the „Heiligenstädter Testament“) among other things over the beginning loss of hearing.
Take for example the chromatic sequence in the coda of the 1st movement: it’s a textbook example of what theorists of the time nicknamed “devil’s mill” („Teufelsmühle“). To a modern ear, this just sounds like an interesting diversion right before the end-to a listener of Beethoven’s time, this was supposed to be like the gates of hell opening right in the middle of D major happiness. Or look at the F sharp major in the Trio section of the Scherzo: it’s completely alien, there’s no preparation or resolution, it doesn’t make any sense.
If the conductor and orchestra don’t try to get those things across, it will be all correct on the surface, but to Beethoven all of those notes held deep meaning, and if you’re not trying to get at that meaning, you’re definitely going to go wrong.