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Christian Baldini - conductor & composer
United States
Приєднався 9 лис 2009
Official UA-cam Channel of opera and orchestra conductor and composer Christian Baldini. He has conducted in four continents and has served as assistant conductor with the BBC Symphony Orchestra in London and the San Francisco Symphony. In recent years, Baldini has worked internationally with the Munich Radio Orchestra, Buenos Aires Philharmonic, National Symphony Orchestra (Argentina), Florida Orchestra, English National Opera, Teatro Colón, North Netherlands Orchestra (livestreamed worldwide from the Concertgebouw in Amsterdam) and the Scottish Chamber Orchestra, with which he recorded a prize-winning Mozart CD (BBC Magazine Recording of the Month). He has been Music Director of the UC Davis Symphony Orchestra since 2009 and of the Camellia Symphony Orchestra since 2012. Recent engagements include guest conducting the Buenos Aires Philharmonic and the Nordwestdeutsche Philharmonie at the Concertgebouw in Amsterdam.
Beethoven, Symphony No. 6 - National Symphony of Chile - Christian Baldini, conductor
Ludwig van Beethoven
Symphony No. 6 "Pastoral" Op. 68
Orquesta Sinfónica Nacional de Chile
Christian Baldini, director
Teatro Universidad de Chile
15 de Junio de 2024
Grabación en vivo (sin edición)
Unedited Live Recording
Beethoven titled only two of his symphonies, and the only time in Beethoven’s symphonic career that he wrote any “program notes” occurred at the premiere of his Sixth Symphony on December 22, 1808, at the Theater an der Wein. In the printed program that evening, this guide appeared:
“Pastoral Symphony, more an expression of feeling than painting. First piece: pleasant feelings, which awaken in men on arriving in the countryside. Second piece: scene by the brook. Third piece: merry gathering of country people, interrupted by the fourth piece: thunder and storm, which breaks into the fifth piece: salutary feelings combined with thanks to the Deity.” Thus, the images are specific; but possibly in his own mind a bit unnecessary. Disclaimers aside, the titles indicate exactly what is being presented, and the result is music, painting via evocation and specific nature references, which are undeniable. The choice of the countryside would have been natural for the composer. He loved his daily walks “where nature is so beautifully silent. How happy I am to be able to wander among the bushes and grass, under trees and over rocks, no man can love the country as I love it.” (Beethoven’s Letters to Therese Malfatti, 1808.)
The first movement opens with a direction that it should be played “cheerfully, but not too fast. “ First and second violins proclaim a simple theme, which provides the basis of the movement. Contrary to intense thematic development in his previous symphonies, Beethoven chooses a far less complicated path for this melody. Simple repetitions of the theme, and repetitions of thematic segments served the composer’s wishes. Owen Downes observed, “At one point a tiny five-note figure derived from the second measure is repeated some eighty times without interruption, and yet the whole movement makes an impression of inexhaustibly fertile imagination.” Secondary themes emerge, but never displace the importance of the initial theme.
Scene by the Brook continues the gentle mood of the first movement and is written in sonata-allegro format. Second violins set up the watery vision with murmuring triplet figures, while violins produce two main themes.
The third movement Merry Assembly of Country Folk provides a boisterous scherzo, probably a parody of rustic bands the composer had heard in Viennese taverns. Anton Schindler commented, “Beethoven asked me if I had noticed how village musicians often played in their sleep, occasionally letting their instruments fall and keeping quite still, and then waking up with a start, getting in a few vigorous blows or strokes at a venture, although usually in the right key before dropping to sleep again. Apparently he had tried to portray these people in the “Pastoral Symphony.”
In the fourth movement, the fun at the Merry Assembly of Country Folk is interrupted by a fearsome Thunderstorm, possibly representing a tumult both in nature and in Beethoven’s psyche. At this time his deafness had progressed at an alarming speed over the past seven years. By 1805 he had acknowledged, “winds for me are lost in any orchestral tutti.” Thus, we arrive at a terrifying, stressful experience. What could be worse for a composer than losing hearing? “ It is no longer just a wind and rain storm; it is a frightful cataclysm, a universal deluge, the end of the world,” Hector Berlioz commented.
Softly, the movement tiptoes in, with violin “raindrops.” This imagery will appear several times in the movement. The intrusion of a ramming F minor triad signifies that all the merry-making is at risk. Nature takes over with violence and the music is filled with dissonant passages. Piccolos scream and shoot lightning bolts; timpani hammer thunderclaps; volcanic rhythmic patterns shift the winds. In a remarkable climax Beethoven summons a huge syncopated chord (including trombones) over the long span of six measures. Gradually, the storm subsides and Beethoven provides an exquisite rainbow in a long melodic line.
The fifth movement, Happy, grateful feelings after the storm: Allegretto begins with simple songs spun from the clarinet, followed by solo horn. It is likely that the composer was recalling little melodies he had heard on the outskirts of Vienna. The orchestra seizes the modest ideas and provides extensive development and ornamentation for the duration of the movement. In the manuscript of the symphony Beethoven wrote, “We give thee thanks for thy great glory.” His pantheistic philosophy consistently found proximity to God in nature.
© Marianne Williams Tobias, Indianapolis Symphony Orchestra, 2016.
Symphony No. 6 "Pastoral" Op. 68
Orquesta Sinfónica Nacional de Chile
Christian Baldini, director
Teatro Universidad de Chile
15 de Junio de 2024
Grabación en vivo (sin edición)
Unedited Live Recording
Beethoven titled only two of his symphonies, and the only time in Beethoven’s symphonic career that he wrote any “program notes” occurred at the premiere of his Sixth Symphony on December 22, 1808, at the Theater an der Wein. In the printed program that evening, this guide appeared:
“Pastoral Symphony, more an expression of feeling than painting. First piece: pleasant feelings, which awaken in men on arriving in the countryside. Second piece: scene by the brook. Third piece: merry gathering of country people, interrupted by the fourth piece: thunder and storm, which breaks into the fifth piece: salutary feelings combined with thanks to the Deity.” Thus, the images are specific; but possibly in his own mind a bit unnecessary. Disclaimers aside, the titles indicate exactly what is being presented, and the result is music, painting via evocation and specific nature references, which are undeniable. The choice of the countryside would have been natural for the composer. He loved his daily walks “where nature is so beautifully silent. How happy I am to be able to wander among the bushes and grass, under trees and over rocks, no man can love the country as I love it.” (Beethoven’s Letters to Therese Malfatti, 1808.)
The first movement opens with a direction that it should be played “cheerfully, but not too fast. “ First and second violins proclaim a simple theme, which provides the basis of the movement. Contrary to intense thematic development in his previous symphonies, Beethoven chooses a far less complicated path for this melody. Simple repetitions of the theme, and repetitions of thematic segments served the composer’s wishes. Owen Downes observed, “At one point a tiny five-note figure derived from the second measure is repeated some eighty times without interruption, and yet the whole movement makes an impression of inexhaustibly fertile imagination.” Secondary themes emerge, but never displace the importance of the initial theme.
Scene by the Brook continues the gentle mood of the first movement and is written in sonata-allegro format. Second violins set up the watery vision with murmuring triplet figures, while violins produce two main themes.
The third movement Merry Assembly of Country Folk provides a boisterous scherzo, probably a parody of rustic bands the composer had heard in Viennese taverns. Anton Schindler commented, “Beethoven asked me if I had noticed how village musicians often played in their sleep, occasionally letting their instruments fall and keeping quite still, and then waking up with a start, getting in a few vigorous blows or strokes at a venture, although usually in the right key before dropping to sleep again. Apparently he had tried to portray these people in the “Pastoral Symphony.”
In the fourth movement, the fun at the Merry Assembly of Country Folk is interrupted by a fearsome Thunderstorm, possibly representing a tumult both in nature and in Beethoven’s psyche. At this time his deafness had progressed at an alarming speed over the past seven years. By 1805 he had acknowledged, “winds for me are lost in any orchestral tutti.” Thus, we arrive at a terrifying, stressful experience. What could be worse for a composer than losing hearing? “ It is no longer just a wind and rain storm; it is a frightful cataclysm, a universal deluge, the end of the world,” Hector Berlioz commented.
Softly, the movement tiptoes in, with violin “raindrops.” This imagery will appear several times in the movement. The intrusion of a ramming F minor triad signifies that all the merry-making is at risk. Nature takes over with violence and the music is filled with dissonant passages. Piccolos scream and shoot lightning bolts; timpani hammer thunderclaps; volcanic rhythmic patterns shift the winds. In a remarkable climax Beethoven summons a huge syncopated chord (including trombones) over the long span of six measures. Gradually, the storm subsides and Beethoven provides an exquisite rainbow in a long melodic line.
The fifth movement, Happy, grateful feelings after the storm: Allegretto begins with simple songs spun from the clarinet, followed by solo horn. It is likely that the composer was recalling little melodies he had heard on the outskirts of Vienna. The orchestra seizes the modest ideas and provides extensive development and ornamentation for the duration of the movement. In the manuscript of the symphony Beethoven wrote, “We give thee thanks for thy great glory.” His pantheistic philosophy consistently found proximity to God in nature.
© Marianne Williams Tobias, Indianapolis Symphony Orchestra, 2016.
Переглядів: 248
Відео
Franz Schubert, Symphony No. 3 conducted by Christian Baldini
Переглядів 1,1 тис.8 місяців тому
Orquestra Sinfônica de Porto Alegre (Porto Alegre Symphony Orchestra) Christian Baldini, conductor April 13, 2024 Casa de Música de OSPA ospa.rs.gov.br/ospa-e-prestigiada-por-um-grande-publico-em-concerto-classico FastNotes Written in 1815 when Schubert was 18, the Third Symphony is notably concise, and shorter than the composer’s first two symphonies. But it also foreshadows ideas that would e...
Vesti la giubba (Leoncavallo, Pagliacci) - Thomas Kinch
Переглядів 7089 місяців тому
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Vi ravviso, o luoghi ameni - Vincenzo Bellini (La sonnambula) - Jongwon Han
Переглядів 6959 місяців тому
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Casta diva - from Vincenzo Bellini's “Norma” (1831) - Nikola Printz
Переглядів 1,1 тис.10 місяців тому
Nikola Printz, mezzo-soprano UC Davis Symphony Orchestra Christian Baldini, music director & conductor February 4, 2024 - Rising Stars of Opera Jackson Hall, Mondavi Center for the Performing Arts “Casta Diva” is the most famous aria of Vincenzo Bellini’s “Norma” (1831). It is sung by the title character, a Druidess or priestess of the Gauls, in the first act. The opera takes place in Gaul betw...
La ciudad ausente - Gerardo Gandini (Full Opera)
Переглядів 71811 місяців тому
Gerardo Gandini, La ciudad ausente (libretto by Ricardo Piglia) Teatro Colón, Buenos Aires, Argentina December 7, 2023 UNEDITED LIVE PERFORMANCE Dirección musical Christian Baldini Dirección de escena Valentina Carrasco Escenografía Carles Berga Vestuario Luciana Gutman Iluminación Peter Van Praet Asistente de dirección musical Diego Censabella Asistente de dirección de escena Lorenzo Nencini A...
Haydn, Symphony No. 103 "Drumroll" - Chamber Orchestra of Chile, Christian Baldini
Переглядів 200Рік тому
Orquesta de Cámara de Chile Christian Baldini, director Julio de 2022 Chamber Orchestra of Chile Christian Baldini, conductor July 2022 PROGRAM NOTES By the early 1790s Haydn was an independent operator, after more than three decades of remarkably fruitful employment by the Austro-Hungarian Esterházy family. The most beguiling post-Esterházy offer, coming after his nominal retirement, was from ...
Gerardo Gandini, Eusebius (Cinco Nocturnos para Orquesta)
Переглядів 860Рік тому
Orquesta Sinfónica Nacional (Argentina) Christian Baldini, Director 26 de Julio de 2023 Auditorio Nacional Centro Cultural Kirchner (Ballena Azul) La obra "Eusebius", Cinco Nocturnos para Orquesta, del compositor Gerardo Gandini, se estrenó en el Teatro Colón, en septiembre de 1985, por la OrquestaFilarmónica de Buenos Aires bajo la dirección de Juan Pablo Izquierdo El propio compositor, Gerard...
Robert Schumann, Symphony No. 1 "Spring"
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Orquesta Sinfónica Nacional (Argentina) Christian Baldini, director Auditorio Nacional - Centro Cultural Kirchner Buenos Aires, 26 de Julio de 2023 Robert Schumann, Sinfonía No. 1 "Primavera" - Op. 38 Christian Baldini, conductor, National Symphony Orchestra of Argentina Although he had made some "symphonic attempts" in the autumn of 1840 soon after he married Clara Wieck, he did not compose hi...
Spider-Man Homecoming Theme (Arr. Dante Baldini)
Переглядів 698Рік тому
Camellia Symphony Orchestra Christian Baldini, Music Director & Conductor McClatchy Auditorium, Sacramento (California) March 19, 2023 Michael Giacchino (b. Riverside Township, New Jersey 1967) Giacchino studied filmmaking at the School of Visual Arts in New York City. After college, he took a marketing job at Disney and began studies in music composition, first at Juilliard, and then at UCLA. ...
Matthew Rasmussen, Suite for Bassoon and Strings
Переглядів 211Рік тому
I Nocturne II Tarantella 03:23 UC Davis Sinfonietta Matthew Rasmussen, bassoon Christian Baldini, conductor Recorded in May 2021 in Jackson Hall, Mondavi Center, Davis, California.
György Ligeti - Chamber Concerto (UC Davis Sinfonietta)
Переглядів 5022 роки тому
UC Davis Sinfonietta Christian Baldini, music director & conductor May 2022 - Ann Pitzer Center (Davis, California) Members: Alice Lenaghan, flute and piccolo Sarah Wald, flute and piccolo Estevan Romero, flute and piccolo Trey Makler, oboe, and oboe d'amore and English horn Shanon Rubin, clarinet Michael Talty, bass clarinet Maya May, horn Benjamin Kimelman, horn Jonathan Minnick, trombone Jac...
Alberto Ginastera, Sinfonía Don Rodrigo (National Symphony of Argentina)
Переглядів 9932 роки тому
Alberto Ginastera, Sinfonía Don Rodrigo Orquesta Sinfónica Nacional (Buenos Aires, Argentina) Mónica Ferracani, soprano Christian Baldini, director 15 de Julio de 2022 Centro Cultural Kirchner - Auditorio Nacional - Ballena Azul (CCK) In the uncertain panorama of today's music, few indeed are the composers who appear able to set their course as though by an infallible compass. Among those few, ...
Victor Lavallén Sinfónico (arr. Diego Schissi) - Orquesta Nacional de Música Argentina
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Orquesta Nacional de Música Argentina "Juan De Dios Filiberto" (ONMA) Christian Baldini, director Centro Cultural Kirchner (Auditorio Nacional, Ballena Azul) 5 de Agosto de 2022 Víctor Lavallén Quinteto, integrado por Víctor Lavallén (bandoneón), Diego Schissi (piano), Juan Pablo Navarro (contrabajo), Guillermo Rubino (violín) y Alejandro Bruschini (bandoneón) Para leer una entrevista con Victo...
Ney Rosauro, Double Concerto for Marimba, Timpani and Orchestra
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Orquestra Sinfônica de Porto Alegre (OSPA) Christian Baldini, conductor Ney Rosauro, marimba Douglas Gutjahr, timpani April 9, 2022 - Casa da OSPA A native of Rio de Janeiro, Brazil, Ney Rosauro is considered one of the most important percussion composers of the 20th century. With his unique style of writing, which combines charming melodies with catchy rhythms, Rosauro utilizes the rich elemen...
Carrie Hennessey sings Verdi: Pace, pace mio dio (La forza del destino)
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Carrie Hennessey sings Verdi: Pace, pace mio dio (La forza del destino)
Oscar Strasnoy: Kuleshov (Piano Concerto) - with Ryan McCullough
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Himno Nacional Argentino - Orquesta Sinfónica Nacional & Coro Polifónico Nacional de Argentina
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Ney Rosauro, Brazilian Fantasy (Bach in Brazil)
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Christian Baldini Conducts Jean Sibelius - Symphony No. 2
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Christian Baldini Conducts Jean Sibelius - Symphony No. 2
Ney Rosauro in conversation with Christian Baldini
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Ney Rosauro in conversation with Christian Baldini
Ukrainian National Anthem - We Stand with Ukraine!
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Ukrainian National Anthem - We Stand with Ukraine!
CSO Operatic Rising Stars on March 13, 2022
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CSO Operatic Rising Stars on March 13, 2022
Jean Sibelius, Violin Concerto - with Judy Kang
Переглядів 8493 роки тому
Jean Sibelius, Violin Concerto - with Judy Kang
Christian Baldini on his composition Elapsing Twilight Shades with the Munich Radio Orchestra
Переглядів 2063 роки тому
Christian Baldini on his composition Elapsing Twilight Shades with the Munich Radio Orchestra
Maximilian Haft on Lutoslawski's Chain 2 (Album Release on Centaur Records)
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Maximilian Haft on Lutoslawski's Chain 2 (Album Release on Centaur Records)
Miranda Cuckson on Ligeti's Violin Concerto (Centaur Records Album Release)
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Miranda Cuckson on Ligeti's Violin Concerto (Centaur Records Album Release)
Varèse, Lutosławski, Ligeti & Baldini (Centaur Records) - Album Preview
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Varèse, Lutosławski, Ligeti & Baldini (Centaur Records) - Album Preview
Elgar, Hybrid Suite from Enigma Variations
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Elgar, Hybrid Suite from Enigma Variations
Chissà quanti morti e stramorti ha dovuto bestemmiare per ottenere tutto questo da quei poveri cristi che lo sopportavano ....
Use the vibrato!!! Toscanini, Monteux and others were born after few years since Beethoven had died and they always yse vibrato.
Gergiev is the worst one as usual
il genio della bacchetta magica.
Busco esto en spotify... estará?
No hay lugar exacto, ni día en el cual escucharlo. Donde sea que estes y al momento que sea, te emociona.
August / 9 / (2025)
Viva nuestro país,viva Argentina!!😌🇦🇷
Boulez: affreusement lent. Provocation ou bêtise ??
Barenboïm à peine mieux...
Tempi un pochino stretti, ma proprio una puntina...
balle; è magico.
que bueno!!, lo vi en vivo, antes de un concierto de piano, no se si fue este mismo dia. Muchas gracias.
🇦🇷🇦🇷🇦🇷🇦🇷
My favorite: Carlos and Erich Kleiber, Karajan ( better in the video '73, not this one!), Muti, Ozawa, Chung, Walter
Resumen Letra Oíd, mortales, el grito sagrado Libertad, libertad, libertad Oíd el ruido de rotas cadenas Ved en trono a la noble igualdad Ya su trono dignísimo abrieron Las provincias unidas del sur Y los libres del mundo responden Al gran pueblo argentino ¡salud! Al gran pueblo argentino ¡salud! Y los libres del mundo responden Al gran pueblo argentino ¡salud! Y los libres del mundo responden Al gran pueblo argentino ¡salud! Sean eternos los laureles Que supimos conseguir Que supimos conseguir nados de gloria vivamos O juremos con gloria morir O juremos con gloria morir O juremos con gloria morir
Very interesting!! Thank you so much for uploading!!
Great job by putting together these performances . It is amazing to see the differences Orchestra Conductors can make to the same piece of music. From tempo to sentiment... My personal preference goes to Furtwangler, Bernstein, Karajan, and Toscanini etc. Although their styles were not the same. Furtwagler's tempo seems slower, but so deep and profound, very much suits my tastes. Benstein seemed to adopt the similar approaches. Karajan's a slightly faster. Then Toscanini's was brief and heavy, which I quite like too... Therefore, Musics reallly can be represented in different ways.
❤❤❤❤
Kleiber and Karajan are outstanding
super interesting to see, thank you for putting this together. On a side note: not surprising but also interesting that there is not one female conductor in the mix...
lejos lo mejor de ARGENTINA !
Abado is the best
I'll vote for the performance of Karajan and Furtwängler with the Berliner Philharmoniker! Although, I also like Bernstein, Myung-whun Chung, and Dudamel
Aburrido
Vos mucha materia gris e imaginación no tenés, no?
Hermosa y melodiosa letra Dios bendiga a la gran Argentina 😍🇦🇷🇦🇷🇦🇷🇦🇷🩵🩵🩵🕊️🕊️🕊️
3:22 es la mejor parte
For me: Maazel - Chung - Furtwängler - Klemperer - Walter.
Musicalement très intéressant. Très beau travail d'orchestre, aussi. Bravo !
Lo que debe ser en vivo, me muero de amor ❤️🔥
Mucho respeto para la Argentina desde México 🇲🇽
👏👏
Gardiner comico
John Eliot Gardner is the only one who got it right. NO idea what Boulez was up to. I don’t think he did either.
When are you coming to South Africa
A great idea. I'd have chosen the 1949 Toscanini and it's stereo equivalent, Rene Leibowitz. Lenny with the NYPO is much better IMO.
THE ENDING analysis was SUPERB!
Toscanini and Kleiber and keep the rest.
Impressed by Thomas Dausgaard and Alondra de la Parra, both of whom I'd never heard of before.
Solemne, bellisimo! debería prohibirse que se le falte el respeto a su maravillosa introducción instrumental (es decir, sin letra) cada vez que se la "tararea" con sonidos guturales como si fueran cabernicolas
Que belleza de himno y que orgullo ser Argentino!
Recuerdo cdo hacia el servicio militar obligatorio y desfilabamos con orgullo de pertenecer a esta hermosa patria.
QUE HERMOSURA NUESTRO HIMNOS.. NUESTROS HIMNOS.. SOY DE FORMOSA ARGENTINA Y EL HIMNO MARCHA A FORMOSA TAMBIEN ES HERMOSO!!! y las marchas tambien!!! marcha a san lorenzo, marcha a las malvinas, aurora, himno a la bandera!!! todos hermosos❤❤
O juremos con gloria morir! Saludos desde Vzla
Cabeza a cabeza con el himno de la Unión Soviética, los mejores del mundo, capaz tercero la Marsellesa.
A lo largo del tiempo vas analizando la letra y es extraordinario.
Q hermoso concierto. Y el Director tan joven Christian Baldini es de Mar del Plata
Avec Toscanini, la musique chante et nous enchante, un très grand parmi les grands!
Dov'è Claudio Abbado ? Insieme a Bernstein per sono le versioni migliori.
Fascinating and moving piece of music. Thank you for posting it. The Tale of Genji was written, surely, by Murasaki Shikibu, in the early 11th century.
Muy interesante. Comparando la misma obra con distintos directores resulta muy instructivo
ESE DIRECTORRRRRRRRRRRR!! PAPÁAAAAAAAAAAAAAAAA!! ESTA ES LA MEJOR VERSIÓN DEL HIMNO ARGENTINO DE TODA LA HISTORIA. ES IMPOSIBLE LO QUE HICISTE. LAS DINÁMICAS, LOS VOLÚMENES, LOS CAMBIOS DE VELOCIDAD, TODO ES ABSOLUTAMENTE PERFECTO. GRACIAS, CHRISTIAN!!!!!!!!