Not gonna lie, at the end of third movement is like joyful and everyone gave applause to the conductor, wait til the fourth movement, it’s like a curse that will hunt you fown
Sir Thomas Beecham (in rehearsal) used to sing, 'I'm going to go to Paris....but the wife's going to stay at home!' during the 3rd movement! Now you'll always find yourself singing it yourselves!
This piece is intense. It doesn't matter who plays or conducts. It's just a very very deeply intense experience. And what really got me was every time Bernstein begged and pleaded for all the pain to stop. It was truly a joy to watch him express so much not only to keep tempo but to illustrate the sheer complexity of depression and mental anguish that plagues its composer.
Every time I listen to Tchaikovsky's 6th I feel a jolt - or a "downer" if you will - between the 3rd and 4th movts. The mood changes dramatically from joy to sadness; in that last movt everything leads up to extreme pain and, as I heard Ken Winters say on CBC Radio in the early '90s, "ultimate tragedy." The Pathetique is both Tchaikovsky's last and most tragic work .
@@alalbatross6549 (Let's try this again) Every time I listen to Tchaikovsky's 6th I feel a jolt - or a "downer" if you will - between the 3rd and 4th movts. The mood changes dramatically from joy to sadness; in that last movt everything leads up to extreme pain and, as I heard Ken Winters say on CBC Radio in the early '90s, "ultimate tragedy." The Pathetique is both Tchaikovsky's last and most tragic work .
We all listen to various great conductors and their different interpretations of great classical works George Solti, Andre Previn, Simon Rattle,Bruno Walter, Van Karajan to mention a few.But Leonard Bernstein conducts with such passion and when conducting works by a Mahler, Tchaikovsky, Rachmaninoff, Sibelius he just seems to get to the very soul of these composers.In particular his recordings of Mahler are sublime and I think his temperament and soul are closest to Mahler and for me his recordings are definitive. The views I express are personal and 6 in no way do I wish to show disrespect to other great conductors, in particular George Solti and Herbert von Karajan who built up excellent Mahler discographies. Opinions of Bernstein as composer, pianist, conductor remain both strong and strongly divided and to music lovers who consider him to be a marmite musician, well they are entitled to their opinion which I respect but do not agree with.
None of those directors did this work true justice. The worst of all Karajan, having the magnificent instrument of the Berlin Philharmonic, gave a completely flat, disastrous reading of this work. Within that group of directors, perhaps Bernstein is the best, Ozawa's interpretation is also correct. But when you listen to Celibidache's recordings with his Munich Philharmonic you understand that you had never heard that work until that moment. You had heard the notes, but not the work. Only a true genius like the Romanian has known how to correctly read and transmit the message of a work as extremely technically complex and as intensely emotional as this sixth symphony, one of the most important works of all Western classical music of all time.
Yeah, the Mahler connection is there. Bernstein however, did not seem as struck by fate as Mahler and was quite the bon vivant. But there must be much of Bernstein's internal self to relate to Mahler's apocalyptic vision of the mechanical world. The Harvard lectures come to mind.
Dieses historischen Konzert in Sydney Opera Hause war tatsächlich eine von berühmtesten Vorstellungen die 6 Symphony von Tchaikovsky. Zu dieser Symphony sagte selbst der Komponist "ich werde viel nicht beantworteten Fragen in diesem Werk hinterlassen " . Diese Symphony ist sehr schwer von emotionale Seite vollkommen zu erfassen. Zum Beispiel nur eine Frage ist schon ziemlich schwer mit Sicherheit zu beantworten. In mittleren Teile des 1. Satzes nutzte Tchaikovsky berühmten Kirchlichen Gesang " Gib mir Ruhe fvür meine Seele.." Ist die Antwort schon in friedlichen H- dur am Schluss dieses Satzes zu finden oder ganz am Schluss dieser Symphony? In pessimistischen h- mol in der letzten 25 Takten ??. Dank die Wall der Tempo im Scherzo (3Satz) eröffnet sich der Charakter der Bezeichnung dieser Symphony. "PATHÉTIQUE " In diesem Tempo kann man wohl auch genialen harmonischen Scherz von großen Komponist genießen. Die Takten 95-96.(4en .Takt mit Auftakt nach Buchstab K.) Dank Leonard Bernstein ,die Aufnahme dieses Konzertes ist viel mehr lebendiger in seiner Wirkung als Besuch einiger Konzerte in unserer Zeit.
Does the audience clap at the end of the 3rd as for means of following tradition, like how people stand up for Hallelujah in Handel's mass, or did the audience genuinely slip up? I've never seen this performed live (although it's on my bucket list) so I don't know, if it's by tradition or if one person started clapping and it started a virus.
It’s not supposed to happen, but that 3rd movement is just so spectacular that audiences just can’t help themselves. So every time it just always seems to happen. Some conductors embrace it and let them express their admiration and others jump straight into the 4th movement to cut them off.
The only time I saw this live, at the Concertgebouw, the audience clapped after the third movement too. It happens. Fabio Luisi who conducted let them clap it out for a bit, but didn't meet the applause, indicating that there was still something a-coming.
@@peterholwill1170 Extreme opposites, both masters in their craft. I don't think I have a favourite, in relation to their work, but Bernstein was more than just a conductor, so, in more general terms, he is closer to my heart.
0:33 I. Adagio - Allegro non troppo
20:33 II. Allegro con grazia
28:26 III. Allegro molto vivace
37:50 IV. Finale: Adagio lamentoso
Not gonna lie, at the end of third movement is like joyful and everyone gave applause to the conductor, wait til the fourth movement, it’s like a curse that will hunt you fown
なんと懐かしいことか、私が学生時代日本公演の前のオーストラリアでの映像ですね。
コンマスがエリオットチャポー、チェロにローンムンロー、第一バイオリンにいるエンリコディチェッコ
とくに彼とは日本公演の際四谷で日フィルとの親善ソフトボールの時に記念撮影をしていただきました。
嬉しかった、ニューヨークフィルのメンバーとの交流は素晴らしかった！
この映像に感謝です！
Sir Thomas Beecham (in rehearsal) used to sing, 'I'm going to go to Paris....but the wife's going to stay at home!' during the 3rd movement! Now you'll always find yourself singing it yourselves!
No one has ever expressed, in musical language, any more clearly or more intensely, EVERYTHING IS OVER.
i love so much this symphony🙏🏻🎶🎶😔👌🏻👌🏻👌🏻Masterpiece ❤️❤️❤️❤️❤️Masterpiece ❤️❤️❤️❤️❤️
This piece is intense. It doesn't matter who plays or conducts. It's just a very very deeply intense experience. And what really got me was every time Bernstein begged and pleaded for all the pain to stop. It was truly a joy to watch him express so much not only to keep tempo but to illustrate the sheer complexity of depression and mental anguish that plagues its composer.
Magnifique, Fantastique...,Pathetique!
今日はこれから東京芸術劇場でこの曲聴きに行きます。初めて聴くユライ指揮は楽しみですが、ちょっと予習でこの動画見てしまったけど、ハードル上げすぎたかもな… 第三楽章終了時の拍手ってこの曲には良いですよね。 欧州の音楽フェスとか、結構自由に楽章ごとに拍手もあるけどちゃんと曲を理解してるから出来るんだろうな。
Браво! Подача прекрасная! Оркестр справился!
Emocionante
Ein tolles Video!
Decía el filósofo F. Schelling que: "La obra de arte es una manifestación finita de lo infinito". Esta obra de Tchaikovsky es un ejemplo de ello.
Una testimonianza unica inarrivabile, inconsolabile
Superbe ! Merci infiniment !
Every time I listen to Tchaikovsky's 6th I feel a jolt - or a "downer" if you will - between the 3rd and 4th movts. The mood changes dramatically from joy to sadness; in that last movt everything leads up to extreme pain and, as I heard Ken Winters say on CBC Radio in the early '90s, "ultimate tragedy." The Pathetique is both Tchaikovsky's last and most tragic work .
Symphony has a program. Third movement is unstoppable merciless fate marching to get him. There is nothing joyful in it. You misunderstood.
@@alalbatross6549 (Let's try this again) Every time I listen to Tchaikovsky's 6th I feel a jolt - or a "downer" if you will - between the 3rd and 4th movts. The mood changes dramatically from joy to sadness; in that last movt everything leads up to extreme pain and, as I heard Ken Winters say on CBC Radio in the early '90s, "ultimate tragedy." The Pathetique is both Tchaikovsky's last and most tragic work .
Sublime
We all listen to various great conductors and their different interpretations of great classical works George Solti, Andre Previn, Simon Rattle,Bruno Walter, Van Karajan to mention a few.But Leonard Bernstein conducts with such passion and when conducting works by a Mahler, Tchaikovsky, Rachmaninoff, Sibelius he just seems to get to the very soul of these composers.In particular his recordings of Mahler are sublime and I think his temperament and soul are closest to Mahler and for me his recordings are definitive. The views I express are personal and 6 in no way do I wish to show disrespect to other great conductors, in particular George Solti and Herbert von Karajan who built up excellent Mahler discographies. Opinions of Bernstein as composer, pianist, conductor remain both strong and strongly divided and to music lovers who consider him to be a marmite musician, well they are entitled to their opinion which I respect but do not agree with.
None of those directors did this work true justice. The worst of all Karajan, having the magnificent instrument of the Berlin Philharmonic, gave a completely flat, disastrous reading of this work. Within that group of directors, perhaps Bernstein is the best, Ozawa's interpretation is also correct. But when you listen to Celibidache's recordings with his Munich Philharmonic you understand that you had never heard that work until that moment. You had heard the notes, but not the work. Only a true genius like the Romanian has known how to correctly read and transmit the message of a work as extremely technically complex and as intensely emotional as this sixth symphony, one of the most important works of all Western classical music of all time.
Yeah, the Mahler connection is there. Bernstein however, did not seem as struck by fate as Mahler and was quite the bon vivant. But there must be much of Bernstein's internal self to relate to Mahler's apocalyptic vision of the mechanical world. The Harvard lectures come to mind.
4:50👌🏻👌🏻👌🏻👌🏻😔😔😔meludy
素晴らしい熱演！
惜しむらくは１楽章。オケが静まり返った後のffの全合奏でいきなり始まる展開部↓
10:28 で、明らかに録音のバランスがおかしい。
聴こえるのが不自然なオーボエだけ。
バーンスタインの他の録音を確認したら、こんなことは無かった。
同じ動画で正しい音源のものがあれば、是非聴き直したい。
コメントありがとうございます。ご指摘の箇所は確かにオーボエがよく聞こえてバランスに違和感がありますね。
14:00 great trombone
Tchaikovsky invented movie music before movies were even made.
💖🎼💖
Dieses historischen Konzert in Sydney Opera Hause war tatsächlich eine von berühmtesten Vorstellungen die 6 Symphony von Tchaikovsky. Zu dieser Symphony sagte selbst der Komponist "ich werde viel nicht beantworteten Fragen in diesem Werk hinterlassen " .
Diese Symphony ist sehr schwer von emotionale Seite vollkommen zu erfassen. Zum Beispiel nur eine Frage ist schon ziemlich schwer mit Sicherheit zu beantworten.
In mittleren Teile des 1. Satzes nutzte Tchaikovsky berühmten Kirchlichen Gesang " Gib mir Ruhe fvür meine Seele.." Ist die Antwort schon in friedlichen H- dur am Schluss dieses Satzes zu finden oder ganz am Schluss dieser Symphony? In pessimistischen h- mol in der letzten 25 Takten ??. Dank die Wall der Tempo im Scherzo (3Satz) eröffnet sich der Charakter der Bezeichnung dieser Symphony. "PATHÉTIQUE " In diesem Tempo kann man wohl auch genialen harmonischen Scherz von großen Komponist genießen. Die Takten 95-96.(4en .Takt mit Auftakt nach Buchstab K.) Dank Leonard Bernstein ,die Aufnahme dieses Konzertes ist viel mehr lebendiger in seiner Wirkung als Besuch einiger Konzerte in
unserer Zeit.
Does the audience clap at the end of the 3rd as for means of following tradition, like how people stand up for Hallelujah in Handel's mass, or did the audience genuinely slip up? I've never seen this performed live (although it's on my bucket list) so I don't know, if it's by tradition or if one person started clapping and it started a virus.
It’s not supposed to happen, but that 3rd movement is just so spectacular that audiences just can’t help themselves. So every time it just always seems to happen. Some conductors embrace it and let them express their admiration and others jump straight into the 4th movement to cut them off.
The only time I saw this live, at the Concertgebouw, the audience clapped after the third movement too. It happens. Fabio Luisi who conducted let them clap it out for a bit, but didn't meet the applause, indicating that there was still something a-coming.
@@bradyjacobs3878 I think they just assume it's the finale. I saw this in NYC in October with Payare- thunderous applause after the third movement.
7:39
21:40
42:33
where was this performance?
Sydney Opera House
I wish this sounded better.
34:28
Tchaikovsky come to Indonesia when!????!!??? THENFANS OF THE INDONESIA ARE THE YESSS HEADBANG METAL TO TCHAIKOVSKYNDONESIA BRUTAL!!!!!! \m/ 666 \m/
私は３楽章のあとに拍手が自然発生することは構わないと思っています、疑似フィナーレに間違いないのですから。
演者が緊張感というか空気感を途切れさせなければ、素晴らしく絶望的な後語りができる例だと思います。
確かにこの拍手は聴衆が醸し出しているのかバーンスタインの指揮によるものか分かりませんが違和感ないですね。むしろ演奏の一部のようにさえ感じます。
29:59 the anti-Karajan :)
Agree with you Bernstein for me too
nonsense
@@peterholwill1170 Extreme opposites, both masters in their craft. I don't think I have a favourite, in relation to their work, but Bernstein was more than just a conductor, so, in more general terms, he is closer to my heart.
No ! Bernstein was a skilled pianist and the most Expert of Gustav Mahler, nobody like him! But Von Karajan was unique in the 1960-1980
Def. not “background” music