notaire2 Stimmt. Ich denke (nur eine persönliche Meinung), dass da wirklich nur zwei Meister des Motivtransormations und Motivdurchführungs sind: Bach und Schönberg.
notaire2 Ich bin mir bewusst, dass es ist. Jedoch meine ich nicht, dass die anderen Komponisten in irgendeiner Weise 'schlechter' sind... z.B. Webern ist für mich der Meister der kleinste Konstruktionen. Es wirklich ist alles über Vielfalt.
Beautiful version. I find it a bit slow, at least it's slower than Schoenberg's tempi indications (specially the initial adagio). Anyway it's an excellent interpretation.
Schoenberg finished that symphony a long time after its beginning. There were many reasons, among which the fact that the symphony was tonal while he was exploring atonality then serialism in depth. Also, the orchestra is a "Mozart-orchestra' rather than a large kammerochestra like in his op; 9. The general mood is rather dark, like a winter day, while in the op. 9 we could hear a lot of themes sparkling here and here in an endless firework and mixing together in an unforgettable countrepoint. Here, the issue is rather harmonic. This can explain why music lovers prefer by far the first kammersymphonie, and why the conductors do the same.
I feel like Bernard Herrmann definitely borrowed that section at 23:01 for one of his scores, possibly one of the Hitchcock movies? Can't place it exactly but it's so familiar!
This might be the most beautiful and competent piece I ever heard.
Definitely one of the most beautiful for me. I just heard it for the first time. Great!
Kompakte und perfekt kontrollierte Aufführung dieser anspruchsvollen Kammersinfonie. Der Dirigent ist echt genial!
notaire2 Stimmt.
Ich denke (nur eine persönliche Meinung), dass da wirklich nur zwei Meister des Motivtransormations und Motivdurchführungs sind: Bach und Schönberg.
PiEndsWith0 Danke für die Zustimmung. Deine Meinung ist auch interessant, obwohl ein bißchen übervereinfacht.
notaire2 Ich bin mir bewusst, dass es ist. Jedoch meine ich nicht, dass die anderen Komponisten in irgendeiner Weise 'schlechter' sind... z.B. Webern ist für mich der Meister der kleinste Konstruktionen. Es wirklich ist alles über Vielfalt.
PiEndsWith0 Das verstehe ich. Danke sehr!
@@PiEndsWith0 Ich weiß nicht. Hasst du die Klaviersonate von Liszt gehört? Ein Meisterwerk des Motivtransformations.
a very hard piece to perform... musicians and the conductor did a really good job.
00:00 - I. Adagio (11:27)
11:47 - II. Con fuoco (24:05)
Stunningly beautiful.
Absolutely brilliant piece and wonderful performance from one of my favourite orchestras!
Einer der wenigen Dirigenten, welche das Adagio dieser Symphonie wirklich als Adagio spielen! Hervorragende Interpretation!
ein ein summa absolut massstabsetzende interpretation.- fließend und funkelnd. was für eine tolle moderne! bravo maestro manacorda et l ´orchestre!
Antonello Manacorda sounds like an indication in a score of schoenberg. phenomenal interpretation.
Beautiful version. I find it a bit slow, at least it's slower than Schoenberg's tempi indications (specially the initial adagio). Anyway it's an excellent interpretation.
way too slow!
Schoenberg finished that symphony a long time after its beginning. There were many reasons, among which the fact that the symphony was tonal while he was exploring atonality then serialism in depth. Also, the orchestra is a "Mozart-orchestra' rather than a large kammerochestra like in his op; 9. The general mood is rather dark, like a winter day, while in the op. 9 we could hear a lot of themes sparkling here and here in an endless firework and mixing together in an unforgettable countrepoint. Here, the issue is rather harmonic. This can explain why music lovers prefer by far the first kammersymphonie, and why the conductors do the same.
I feel like Bernard Herrmann definitely borrowed that section at 23:01 for one of his scores, possibly one of the Hitchcock movies? Can't place it exactly but it's so familiar!
Feel like you're thinking about the "Vertigo" score - not sure though, I'd have to listen to it again too!
This piece demands and final cutoff, not an air message, which is di modo these days with conductors. God awful.
Musicians who use body language when not playing should be lined against the wall.