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The Historical Recordings
Japan
Приєднався 22 вер 2017
This channel introduces great performances of classical music that are now in the public domain. I would like to introduce as many rare recordings as possible.
このチャンネルではパブリックドメインとなったクラシック音楽の名演奏を紹介します。なるべく珍しい音源を中心に紹介したいと思います。
このチャンネルではパブリックドメインとなったクラシック音楽の名演奏を紹介します。なるべく珍しい音源を中心に紹介したいと思います。
Mozart: Violin Concerto No.4 - Menuhin (1943) | モーツァルト: ヴァイオリン協奏曲第4番 - メニューイン (1943年)
Wolfgang Amadeus Mozart:
Violin Concerto No.4 in D, K218
Yehudi Menuhin (Vn)
Royal Liverpool Philharmonic Orchestra
Malcom Sargent (Cond)
31.III.1943, Philharmonic Hall, Liverpool
Track
00:00 I. Allegro
08:59 II. Andante cantabile
17:31 III. Rondeau: Andante grazioso - Allegro ma non troppo
モーツァルト:
ヴァイオリン協奏曲第4番ニ長調K218
イェフディ・メニューイン (ヴァイオリン)
ロイヤル・リヴァプール・フィルハーモニック管弦楽団
マルコム・サージェント指揮
1943年3月31日、フィルハーモニック・ホール、リヴァプール
*The audio used in this video is in the public domain.
#mozart #Menuhin #Sargent
Violin Concerto No.4 in D, K218
Yehudi Menuhin (Vn)
Royal Liverpool Philharmonic Orchestra
Malcom Sargent (Cond)
31.III.1943, Philharmonic Hall, Liverpool
Track
00:00 I. Allegro
08:59 II. Andante cantabile
17:31 III. Rondeau: Andante grazioso - Allegro ma non troppo
モーツァルト:
ヴァイオリン協奏曲第4番ニ長調K218
イェフディ・メニューイン (ヴァイオリン)
ロイヤル・リヴァプール・フィルハーモニック管弦楽団
マルコム・サージェント指揮
1943年3月31日、フィルハーモニック・ホール、リヴァプール
*The audio used in this video is in the public domain.
#mozart #Menuhin #Sargent
Переглядів: 27
Відео
Wagner: Lohengrin - Furtwangler & Bayreuth o, etc. | ワーグナー: ローエングリン・フルトヴェングラー & バイロイト祝祭管他
Переглядів 58Місяць тому
Wagner: Lohengrin (Excerpts from Act.III) Franz Volker (tenor) Maria Muller (soprano) Margarete Klose (mezzosoprano) Josef von Manowarda (bass) Bayreuth Festival Chorus Bayreuth Festival Orchestra Wilhelm Furtwängler (Cond) rec. 19 VII 1936, Bayreuth, Germany Track 00:00 Act III: Prelude 02:55 Act III Scene 1: Treulich geführt, ziehet dahina (Wedding March) (Chorus) 08:06 Act III Scene 2: Das s...
Mozart: Piano Concerto No.20 - Walter & NBC so. | モーツァルト: ピアノ協奏曲第20番 - B. ワルター & NBC交響楽団
Переглядів 46Місяць тому
Mozart: Piano Concerto No.20 in D minor, K.466 Bruno Walter (piano & cond) NBC Symphony Orchestra (rec. New York, 11 III 1939) Track 00:00 I. Allegro 12:37 II. Romanze 20:38 III. Rondo: Allegro assai モーツァルト: ピアノ協奏曲ニ短調 K.466 ブルーノ・ワルター (ピアノ・指揮) NBC交響楽団 (録音: 1939年3月11日、ニューヨーク) *The audio used in this video is in the public domain. #Mozart #Concerto #Walter
Mendelssohn: Violin Concerto in E minor - Kreisler, Ronald & LPO | メンデルスゾーン: ヴァイオリン協奏曲 (クライスラー、ロナルド)
Переглядів 58Місяць тому
Mendelssohn: Violin Concerto in E minor, Op.64 Fritz Kreisler (violin) Sir Landon Ronald (conduct) London Philharmonic Orchestra recorded: 8.IV.1935, No.1 Studio, Abbey Road, London Track 00:00 I. Allegro non troppo (Cadenza: Kreisler) 12:10 II. Adagio 19:10 III. Allegro giocoso, ma non troppo vivace メンデルスゾーン: ヴァイオリン協奏曲 ホ短調 作品64 フリッツ・クライスラー ヴァイオリン) サー・ランドン・ロナルド指揮 ロンドン・フィルハーモニー管弦楽団 *The audio us...
Brahms: Violin Concerto in D - Kreisler, Barbirolli & LPO | ブラームス: ヴァイオリン協奏曲 (クライスラー、バルビローリ)
Переглядів 674Місяць тому
Brahms: Violin Concerto in D major, Op.77 Fritz Kreisler (violin) Sir John Barbirolli (conduct) London Philharmonic Orchestra recorded: 18 & 22.VI.1936, No.1 Studio, Abbey Road, London Track 00:00 I. Allegro non troppo (Cadenza: Kreisler) 20:59 II. Adagio 29:26 III. Allegro giocoso, ma non troppo vivace ブラームス: ヴァイオリン協奏曲ニ長調作品77 フリッツ・クライスラー (ヴァイオリン) サー・ジョン・バルビローリ指揮 ロンドン・フィルハーモニー管弦楽団 *The audio us...
Schumann: Dichterliebe, Op.48 - Husch & Muller (1936) | シューマン:「詩人の恋」- ヒュッシュ & ミュラー (1936年)
Переглядів 122Місяць тому
Schumann: Dichterliebe, Op.48 Gerhard Hüsch (bariton) Hanns Udo Müller (piano) rec. 1936 Track 00:00 1. Im wunderschonen Monat Mai (美しい五月には) 01:15 2. Aus meinen Tranen spriesen (僕のあふれる涙から) 02:24 3. Die Rose, die Lilie, die Taube, die Sonne (ばらに百合に鳩に太陽) 02:57 4. Wenn ich in deine Augen seh' (君の瞳に見入る時) 04:48 5. Ich will meine Seele tauchen (心を潜めよう) 05:29 6. Im Rhein, im heiligen Strome (ラインの聖なる流れ...
Schumann: Dichterliebe, Op.48 - Panzera & Cortot (1935) | シューマン:「詩人の恋」- パンゼラ & コルトー (1935年)
Переглядів 246Місяць тому
Schumann: Dichterliebe, Op.48 Charles Panzera (baryton) Alfred Cortot (Piano) rec. Paris, 17 & 18 VI 1935 Track 00:00 1. Im wunderschonen Monat Mai (美しい五月には) 01:23 2. Aus meinen Tranen spriesen (僕のあふれる涙から) 02:18 3. Die Rose, die Lilie, die Taube, die Sonne (ばらに百合に鳩に太陽) 02:49 4. Wenn ich in deine Augen seh' (君の瞳に見入る時) 04:17 5. Ich will meine Seele tauchen (心を潜めよう) 05:07 6. Im Rhein, im heiligen ...
Schubert: Die schöne Müllerin - Husch & Müller (1935)
Переглядів 1,4 тис.6 років тому
Schubert: Die schöne Müllerin Gerhard Husch Hans Udo Müller 31 I, 2 & 5 II, 22 III 1935 シューベルト: 美しき水車小屋の娘 ゲルハルト・ヒュッシュ ハンス・ウド・ミュラー 1935年1月31日、2月5日、3月22日 *The audio used in this video is in the public domain.
Dvorak: Symphony No.9 - Stokowski & Philadelphia o
Переглядів 4,2 тис.6 років тому
Dvorak: Symphony No.9 in E minor, Op.95 " From the New World" The Philadelphia Orchestra Leopold Stokowski (cond) 22 X 1934 ドヴォルザーク: 交響曲第9番ホ長調作品95 「新世界より」 フィラデルフィア管弦楽団 レオポルド・ストコフスキー指揮 1934年10月22日録音
Brahms: Cello Sonata No.2 - Casals & Horszowski (1936)
Переглядів 3,2 тис.6 років тому
Brahms: Cello Sonata No.2 in F major, Op.99 Pablo Casals (Cello) Mieczylslaw Horszowski (Piano) 28 IX 1936, London ブラームス: チェロ・ソナタ第2番ヘ長調作品99 パブロ・カザルス(チェロ) ミエチスラフ・ホルショフスキ(ピアノ) 1936年11月28日、ロンドン
Beethoven: Symphony No.3 - B.Walter & Symphony of the Air (1957)
Переглядів 3,2 тис.6 років тому
Beethoven: Symphony No.3 in E flat major Op.55 "Eroica" Symphony of the Air Bruno Walter (Cond) 3 II 1957 (Live) ベートーヴェン: 交響曲第3番変ホ長調作品55「英雄」 ブルーノ・ワルター指揮 シンフォニー・オブ・ジ・エア 1957年2月3日(トスカニーニ追悼演奏会におけるライヴ)
Brahms: Violin Concerto - Thibaud (1953)
Переглядів 13 тис.6 років тому
Brahms: Violin Concerto in D major, Op.77 Jacques Thibaud (Vn) Concerts Pasdeloup Jean Fournet (Cond) 18 I 1953 (LIVE) ブラームス: ヴァイオリン協奏曲ニ長調作品77 ジャック・ティボー (ヴァイオリン) コンセール・パドルー管弦楽団 ジャン・フルネ(指揮) 1953年1月18日(ライブ)
J.S.Bach:Brandenburg Concerto No.5 - Furtwangler & VPO (1950)
Переглядів 26 тис.6 років тому
J.S.Bach: Brandenburg Concerto No.5 in D major, BWV1050 Wilhelm Furtwangler(piano & cond) Wiener Philharmoniker 31 VIII 1950, Salzburg J.S.バッハ: ブランデンブルク協奏曲第5番ニ長調BWV1050 ヴィルヘルム・フルトヴェングラー(ピアノ & 指揮) ウィーン・フィルハーモニー管弦楽団
Chopin : Piano Sonata No.2 - Alfred Cortot (Cortot in Japan, 1952)
Переглядів 5 тис.6 років тому
Chopin : Piano Sonata No.2 in B flat minor, Op.35 Alfred Cortot (pf) 1 & 3 XII 1952 Victor Studios, Tokyo ショパン:ピアノソナタ第2番変ロ短調作品35 アルフレッド・コルトー(ピアノ) 1952年12月1,3日 ビクター・スタジオ、東京
I have never heard anything good from Furtwängler and this not an exception.
grazie di nuovo
It's a big treasure to the music and art in common
全然ダメじゃんw お話お話にもならないw
So refreshing!
9:10 cadenza
Nel 1950 è stato un concerto emozionante, oggi è emozionante solo il ricordo e l’ammirazione per tale coraggio.
It sounds like Romantic music to me.
That's the point
Brillante interpretación .
I first listened to the horrible intonation in the first movement cadenza, and thought he had lost it at 73. Then I heard how out of tune his violin while tuning before the second movement (he played on open gut strings). Amazing that most of the first movement was in tune... true talent to do that
I`ve never heard this piece in that way. So gloomy, so sad. An inner world, that great Furtwägler unfolds towards us. Even sadness about the war, the situation of his beloved fatherland? Who knows? There are comments of him, hints, in the very last years, in writings and speeches, that he had the feeling that Germany and Europe are going to be destroyed, and the bond with the tradition, with art as a whole, is being torn on purpose.
9:10
Cet enregistrement a une valeur historique, mis l'interprétation elle même est très décevante; trop lente, un peu lourde, manquant terriblement de vivacité. Heureusement Furtwängler s'est largement rattrapé dans les symphonies de LVB.
grazie di cuore
Bach done with real emotion, meaning, beauty, and musicality. It's fantastic, eye opening stuff.
Furtwängler bringt die Seele der Kadenz zum Vorschein. Einfach meisterhaft.
8:33からの1楽章ラストはストコフスキーさんにしかできない技。癖にならずにはいられない。
Sometimes soul needs to rest, stop by the road and watch the whole crowd, regardless of anything correct or incorrect. In other words, needs pure joy. this is one of the moment
Surface
This is way too heavy, the cadenza way too slow. I have tried my best to appreciate this rendition but every time it fails. With such a tempo the character of the cadenza is completely distorted. As for the style he played in a too manneristic way, and the bass notes near the cadenza's end sound like hiccups of an old man -- I give it to the bad recording for that, to be fair. I am not a purist, I appreciate many Bach interpretations of old masters' -- Furtwaengler's 1930 recording of the Brandenburg 3 is magical, he reinvented the structure and exploited the rhythmic diversity of the first movement like no one else has done. But this recording lacks that creativity. It lacks the flair that you can feel in Cortot's EMI recording.
Wow, some of these comments! A bit of respect for Maestro Furtwangler. He conducted this and played the piano. Perhaps some of you could do it faster.
ピアノが通奏低音やるブランデンブルグのレコードならミュンシュボストン響しか持ってなくてそれ以外に重々しいバロック演奏を求めていた私にとどめを刺したこの演奏www古楽に疲れた方向け?
グールドの演奏はお嫌いですか? 他にピアノで弾いている演奏家はペライアさんがいますね、軽い演奏で重厚ではないですが…
Thank you youtube for implementing x 1.5 playback speed...
still horrible, but at least it doesn't sound like a psycho-acoustics experiment on how much you can isolate musical events until a human brain cannot follow a melodic line any longer...
Curati
@@matteogiorgetti858 Ehi, non hai più voluto seguire un dittatore senza nemmeno pensarci, tu che hai inventato tante orribili ideologie? Ah, no, continuano allo stesso modo, ripetendo come pappagalli senza senso critico quello che gli viene servito da bambini... ah ah. Che bello essere nato nel nuovo mondo, dove essere un idiota senza personalità è disapprovato.
why is this not a video?
Presumably they couldn't afford a camera in 1953.
@@wannabecat369 ua-cam.com/video/lvIMAGE3bv4/v-deo.html 1936?
Da ist wirklich grausig. Als würde mir einer ein Gedicht nicht vortragen, sondern buchstabieren. »E - de - el - Leerzeichen - es - e - i - Leerzeichen - de - e - er - Leerzeichen - em - e - en - es - zeh...« und so weiter. Im besten Falle kann sowas als Dada-Veranstaltung durchgehen. Übrigens ist das keine Frage der Epoche. Es ist keineswegs so, dass zu jener Zeit alle diese Musik so monströs genommen haben. (Aber es wurde ja auch nicht überall so monströs gebaut wie in jenen tausend Jahren, zu denen Furtwängler die passende Musik geliefert hat.)
Thibaud將Brahms小提琴協奏曲拉成巴哈小提琴無伴奏,重新感受Brahms
grazie
全盛期程は弾けなくなっていますけれども、だからこそ達する枯淡の偉大な芸術と思います。このコルトーの来日公演を聴けた方は羨ましいですが、日本でレコーディングを残してくれただけでも良かったです。
His last concerto recording. He dead on 1 September, 1953.
Like Callas even when his execution is flawed his musical intentions are peerless
Although the early music crowd has to a large extent sucked the joy and life out of pre-Romantic music, this recording is Exhibit A in the case for why they came about in the first place. What an abomination!!!!!
A very fine comment, that is the sad truth. It is horrible the way they played before the "early music" revolution, but they rebelled only to become a new dogma on how to play that music (a bit like the pigs in Orwell's farm), that is resistant to further examination, with certain players revered as gods... So all in all, we have to be grateful that we can now listen to this music at least with somewhat the right colors, still there is a lot that remains to be done, and with the bunch of thick-skulls that are now the establishment of "early music", any change will be much resisted.
He was 73 when recording this
Maestro .. I feel his angry ,and confidence
And the moral of the story is: playing music way too slow is bad for your hair.
For those who think this is too slow, imagine you are a visitor in Furtwängler's world. Open yourself to a foreign culture.
I love this tempo. Some conductors rush through Bach as if it were a time race. There are limits to the speed of certain instruments they used. Harpsicord can be very fast, but the violonist had to tighten the bow with his fingers while playing.
@@claranimmer7349 You say a foreign culture,... I would say a decayed culture, Europe is on a steep decline if you compare what it was capable of in the XVII - XVIII centuries to XX or XXI. Bach's music deserves to be played sooooo much better than this. Let me focus on one aspect only: the rhythm. A culture of dancers as was that of Bach, in which people felt the rhythm very deeply, had been destroyed. And this sort of rhythmic blandness is only possible for people that don't feel rhythm with their bodies, that have a disjointed body - soul relationship.
@@pablojlascano8322 I said nothing about a foreign culture. Nobody witnessed how this music was played.
@@pablojlascano8322 Perhaps true, but Furtwangler indeed feels this rhythm very well! Even better than a lot of historically informed performers. If you object to the dynamic, tempo, articulation or instrumentation; I will accept all of those as fair points of argument, but to say that this performance lacks a sense of rhythm is problematic.
@@wannabecat369 I just had a conversation with a Caribbean born percussionist who started studying at one of Europe's top conservatories, he couldn't believe the total lack of basic rhythmic skills of both the fellow students, and the professors... and that is at the "percussion" department, imagine strings etc... They cannot play convincingly even a passage with some slight syncopation. Reminds me of a story they use to tell, about people living on a plane field not believing someone who told them the world was in 3d. This performance lives in 2d musical world where the rhythmic dimension doesn't exist...
Thank you
Thank you
Casals c est autre chose une classe supérieure.
D’accord! 👌🏻
In 2020, I am listening to Leopold Stokowski conduct the Philadelphia Orchestra from 1934. The New World Symphony is my favorite work ever written. As a lover of history and music, listening to this recording may be the most joyous I have felt all year.
How can you play that beautiful music so damn slow that you completely ruin it... I thought Bach's music was bulletproof, but this guy absolutely murdered it...
Because seventy years ago Bach was performed differently by virtually everyone. It was a different century, you know. 🐧
No, he brings it back to life. Bach with a human soul, not generated by a computer on out-of-tune "authentic" instruments.
@@VivaRenata That people can also murder Bach on period instruments, you don't need to tell me. But this tempo is just ridiculous. BTW, I have listened to Bach played badly by "specialists" and the bunch who hates them, and in general specialists do a far better job.
@@VivaRenata I have the feeling people playing with gut strings have better pitch accuracy than the "modern" violinist with shrill metal strings using a vibrato that oscillates a whole-tone. But I don't really care about that, what I hate about how classical music (meaning Western art music) is played nowadays is the horrible, horrible rhythmic accuracy, or rather lack thereof. Classical musicians have in general a great sense of pitch, melody, etc., but they are in kindergarten in terms of rhythmic accuracy, if you compare to musical cultures in which rhythm is put to the fore.
@@VivaRenata And last, you might despise the idea of using "authentic" instruments as you put it, and I am far from being dogmatic about the so called "authentic" things, because I know then only too well to defend them. But one thing is undeniable, the right instruments create the right harmonics, for which the music was composed, and you can ONLY understand it fully if you do so. I have played Bach on piano and harpsichord, and I can tell you, Bach sounds so dull on the piano, all the harmonics are missing, and dissonances sound far less poignant. The amazing thing about Bach's music is that it is still great even badly played on bad instruments, so if you want the watered-down version of his music, where dissonances don't sound even half as powerful, feel free to keep on listening to that... I remember first time I played the pieces I learned on the piano on the harpsichord I felt as if changing from and old BW tv to full color.
Goin' home Goin' home I'm a goin' home... Quiet like, some still day I'm just goin' home. It's not far Just close by Through an open door Work all done, care laid by Goin' to grieve no more. Mother's there, 'spectin' me Father's waitin' there… Quiet like, some still day I'm just goin' home.
Semplicemente stupendo.
Cadenza is incredible, Great Furtwangler!
Nowadays Bach performance without period instruments and urtext tempos are often looked down on. This recording was from a different time
Well, there are no "urtext" tempi, but even a 5 year old will notice the tempo of the first movement isn't right... how can you play it so slow, that the four sixteenth note groups begin to sound like a whole bar...
@@pablojlascano8322, great Furtwängler. Absolutely legitimate. See also Kirsten Flagstad "im Abendrot". TBkPPCsjqZI
@@pablojlascano8322 I think it's just nice to hear people play things differently. No need to adhere to the score all the time
@@agustinusbravy5401 I couldn't agree any more with the "adhere to the score" part, but it is a whole different matter here. First of all, there are no "urtext" bpm markings (apparently someone did record exact tempi for Lully opera pieces but the information got lost anyways). It is not that I am defending a purist point of view, it is just that playing this even slower than a practice tempo doesn't make any sense. Do whatever you want with the music, but it has to work, a tempo that disrupts the musical discourse doesn't do justice to this great piece.
洋阿相 ネットを徘徊していると本当に思わぬ掘り出し物に出会います。私が通学していた高校には市内高校随一の大きなレコード棚がありまして、分厚いSPのアルバムがぎっしり並んでおりました。毬栗頭の悪童達が吹奏楽や合唱の部活が終わった後夕暮れ迫る教室で見回りの守衛さんに追い出されるまでレコードを鑑賞したものです。忘れられないアルバムの一つが「ストコの新世界」アメリカ先住民酋長のポートレートが浮き彫りになっていたアルバム。涙が出るくらい懐かしい。雑音皆無のリメイク有難うございました。(1936年生まれ)
麻生浩 あなたはブラスバンドで学校に行くのが最も幸運でした。 オーケストラもありましたか?
concerto in memoria per Toscanini.... Favoloso.... che era morto il 16.1.1957.....
イイねえ! ワルターとマーラースクールが、トスカニーニスクールと 融合してる。 師匠の葬式でワルターさん。 どんな演奏したの。
This is honestly awful
Zane, give the listeners an explanation, tell us why this is awful, thank you.
Guillaume Pirard thank you, i hope you're right
You passed the test, congratulations
@@pablojlascano8322 I don’t think it’s justified to speak of murder. Regardless of what you think of it, and regardless of whether Furtwängler’s music is appropriate for conveying Baroque style, he unequivocally brings the music to life. Take into consideration that the historical, emotional and personal background of this performance is far remote from ours today, and it is very questionable to consider our perspective ‘better’ than his. Taruskin is an absolutely brilliant mind, I cannot recommend reading him strongly enough.
I don't think you can necessarily assert that the tempo is too slow. Surely this is not historically correct, but does music always have to be played historically correct? I don't think so. “The birth of the reader must be at the cost of the death of the Author.”
Bona Pona, I am sorry for my inadequate English. "NEVER too slow." If you are talking about your own taste, it is ok. But if you are talking about this performance in a historical context, you are not right.
@@geiryvindeskeland7208 My point is that he grasped the essence of the music of J.S.Bach.
I'm sorry but there is no actual historical basis for playing this faster. We cannot know the composers intentions. Faster recordings of this piece come as a result of a modernist aesthetic and historical accuracy has very little if anything to do with it. I actually prefer these faster recordings on period instruments. But to claim that these performances are more accurate to Bach's intentions was is unfounded.
Sion Edwards, interesting comment. What about "tempo ordinario"? You make the statement that tempo ordinario is not any guide to get closer to "right" tempi? About the first movement in this performance: I am tempted to believe that if there wasn't any harpsichord part, the pace would be faster. Furtwangler prove that he struggling in the cadenza. At 12.02, the demisemiquavers is like semiquavers. But suddently, at 12.42, he play the rest of the cadenza closer to the pace from the beginning of the cadenza.
@@geiryvindeskeland7208 @Sion Edwards I'm sorry for my poor English. My thoughts are similar to those of Roland Barthes. So it's better to read his text than my poor English. e.g. "The Death of the Author"
洋阿相 何ということだ!この録音が私の生まれる1年も前だったとは。1950年台の録音と聞いても驚きはしないのに。私が音楽に溺れかかる高校時代、市内で最も多くのクラシックSPを所蔵していた大きなレコード棚にヒッシュとミューラーの組み合わせで「冬の旅」のアルバムがあって「菩提樹」だの「辻音楽士」などを選んで対訳と照らし合わせながら聞いたものでした。針雑音に埋もれた聞きなれないドイツ語を。デジタル処理でリメイクしたとはいえ何と美しいドイツ語なのでしょう。子音がとても良く聞き取れるのですから。信じられない!