Відео

In this Age such a disciplin with Vibrato..

Opening 3:05 Leland Ko 6:00 James Kim 1:03:06 Jonathan Swensen 2:01:35 Alexander Hersh 3:18:20 Aaron Wolff 4:18:10 Announcement of Winners 5:38:01

As one of the earlier Nadumberg Award winners of the generation of Jules Eskin and Ronald Leonard, Mr. Mann included named "David" McCall. Sorry, It was DONALD McCall- subsequently cellist of the Lenox Quartet, and later teacher and mentor of the marvelous cellist Clive Greensmith.

It feels like it's x1.25

Bravo to the pianist!

I only just saw Valentine Kovalev this weekend, playing with the Harrisburg Symphony Orchestra in Pennsylvania. I was never a big fan of the Saxophone, because I always think of it as a jazz instrument, and saxophonists screeching out ear-slitting high-pitched screeches to impress their audiences. But after hearing VK, I've been looking up videos, like this one, and suddenly find myself a huge fan of the concert sax. And Valentine!

9:06 49

When the cello starts singing under her balcony and then is mocked by his pals, the viola and second violin, then when he waits in vain for a reply-crickets!-then Wolf’s fantastic ability to create whole tapestries, without a single word, is revealed brilliantly

Great playing

Very nice. Thank You.

Bravo, elegante, felicidades

I remember seeing this live and really enjoying it!

The world Surrenders a your Feet ❤❤❤😢🎉🎉🎉😅😂😂😂

When They perform Music, the Hearts it accelerates ❤❤❤🎉🎉🎉😅😅

This Concert has been Sublime His Music is Marvelous 🎉❤❤😢😮😊😅

Great sound and technique, could go easier on the glissandos!

I own a fully restored Rudy Wiedoeft model tenor saxophone. It’s approximately 107 years old. I’d love to play one of his compositions for tenor, if there are any.

Wonderful.

Had Bobby Mann been a soloist all his life, rather than a great quartet player, this sonata performance likely would have lacked the masterful voicing that sets it apart-by light-years-from almost all other renditions on record. The “philosophy” of the string quartet, as conceived by Haydn and articulated by Goethe (“an aimiable conversation between four reasonable people”), is part of the late-eighteenth-century’s reaction to absolute monarchy, spearheaded by Kant, that helped give rise to the American and French revolutions. This music is not at all about a hierarchy, of soloist above and accompanist below, but about the illusion of an active dialogue between the piano’s right hand, its left hand and the violin that would have been impossible just a few years earlier using a harpsichord. The obvious exchange here is a real partnership-and it transforms the music into an transcendent experience. Bravo, to both Steve and Bobby!

Can't stop looking at the pianist face!! Very representative of what this song makes me fell. Súper performance!

im high af this shit scared me

nice

So great. Thanks for sharing.

What sort of Sax?

The camera man/woman completely failed.

10:00

Waaaay better than the Juilliard Quartet performance that's also on UA-cam

Often fiendish technical challenges are somehow swept away by his sense of sheer lyrical joy. This is real music making, at its finest.

A revelation. This should be required listening for every string player.

This is a great performance.

Mann’s approach to drama sometimes did conflict with the composer’s intention-consider the last movement of Bartók number four, in which the Juilliard ca. 1969 plays a wedding dance as though it were a war dance-but so what? That performance also signalled a new performance standard, playing a significant role in forming the present level of quartet technique worldwide. As for his Beethoven, the degree of abstraction in the Third Style Period, particularly evident in the Grosse Fuge, legitimately precluded a “normal” approach, precisely because the “normative” characteristics of string quartet playing hadn’t yet fully evolved in the 1820s. Arguably, the “normative” approach is the anachronistic one here, not Mann’s; this music was first played publicly in the early 1920s largely because it didn’t fit the prevailing performance style-that certainly wasn’t Beethoven’s fault.

12:14 Суперский в исполнении каскад получился. Слушать очень приятно, в конце звук местами мне казалось что играет не сакс а скрипка)), мелодия временами напоминает музыку из советского мультфильма Маугли, зато теперь я стал немного знаком с таким композитором как Анри Томази.

Amazing performance but his interpretation is a little questionable at times. (Why is his vibrato so fast????)

8:33

Never a fan of this Concerto though it is a good competition piece. Performed beautifully to where you can tell what Tomasi was trying to do. Great job Valentin.

This performance is AWESOME! Just as Camden's below comment, that Complete Bartok String Quartet recording is, for me, totally referential. Especially this third quartet, which was one of the first Bartók works I knew (Bartók is one of my favourites). I've heard through several quartets but Emerson's is absolutely powerful. Thanks, The Walter W. Namburg Foundation, for posting it! ❤❤

While digging for records the other day I found this LP. I noticed it was rather heavy and inside, besides this album I also found an Audiodisc acetate 12" disc with hand written labels. On the labels it states "The Nightingale" Robert Mann - violin and music, Lucy Rowan - Narrator and what looks like Betty Olsen - piano. As soon as I get a chance I am going to compare what's on the acetate to this recording. Perhaps I have found an unreleased version?

Oh my, utterly astonishing.

wow. excellent interpretation and skill

superrrrr

Very good!!!👏👏👏🔥❤️

Bravo👏👏👏🔥❤️

Порой мне кажется, что музыканты сами как бы поют через свой инструмент, но только сказочными голосами.

👄👁️💯👩‍🎓🎻

wonderful performance!!

2 years and only 257 views? This world really is f**ked

Fine performance, tasteless camera work.