sorry to be off topic but does anyone know a tool to log back into an instagram account?? I somehow forgot my login password. I would love any assistance you can give me!
@Muhammad Brantley I really appreciate your reply. I got to the site thru google and im in the hacking process now. Looks like it's gonna take quite some time so I will reply here later when my account password hopefully is recovered.
0:00. Allegro. This phrase carries the metric, quarter note=108 bpm. As time signature, Hindemith uses 1/2 bars. The emphasis is always on the first blow. The sentence extends over 165 bars and thus less than four minutes. Carl Maria von Weber describes his piano piece as Alla Zingara (to play after Gypsy style), so it should be played spirited, which Hindemith further enhances by his editing, where he parodies the metrical subordination in Weber's original by asymmetric displacements. 4:24. Scherzo (Turandot). Moderato - Lively: Here are the indications half note = 132 bpm and from the tempo mark Lively (bar 28 ff.) half note = 96 bpm. First, the Turandot Scherzo begins in 4/4 and then changes to the 4/4-metric. This movement is the longest of the metamorphosis and lasts with 304 bars, depending on the interpretation, around the nine minutes. The simple theme with "limited melodic structure" (V. S. Fomin) is played again and again in different variations. In the middle section, a fugato, a syncopated-rhythmic shift appears, reminiscent of a jazz sequence. Hindemith rearranges musical motifs, bars and even individual notes so that the melody always remains recognizable, but the actually pseudo-Chinese ambience acquires a completely new and surprising character. 12:27. Andantino. The Andantino is a slow movement. The value for the eighth note is 126 to 132 bpm, the composer chose a slightly danceable 6/8 measure here. This movement is the shortest of the work, it covers only 28 bars and thus takes under four minutes. This sentence is one of the few examples in Hindemith's music in which a lyrical character (in romantic folk tone) appears. 16:45. Marsch. The well-known march, which, at Carl Maria von Weber can still be regarded as a romantic funeral march, is played "faster, slacker, more ironic and sharper" (Hindemith) in Hindemith's Metamorphosis. It no longer has the somber character of a funeral procession. The value for the half note is therefore 80 bpm with the march-typical 2/2-measure (in german military jargon: links, zwo - links, zwo!). He has 139 bars and ends after nearly five minutes. This partly pompous march, which at the same time also contains impetuous and scherzo-like elements, culminates in a brilliant finale of the Metamorphosis (after Fomin, preface to the Symphonic Metamorphosis). source: de.wikipedia.org/wiki/Symphonische_Metamorphose_von_Themen_Carl_Maria_von_Webers#Musikalische_Struktur
Wow, what a wonderful performance of Hindemith's fabulous work. I love H's use of the themes and his great counter point. Bravo to the orchestra and conductor.
Wonderful performance of an unusual work! The title must be one of the longest of ANY Orchestral piece! I played flute in it when I was at Music College many years ago and so this brought back (mainly) happy memories. As we were aged from 15 to 22 we were nowhere as good as these expert professionals. I always loved Hindemith as I was a piano-accompanist and he wrote a sonata for every instrument - and a concerto for all, too (almost!) His organ works are amazing though difficult to play (and listen to!) It seems Hindemith learned to play almost every instrument too and he 'understood' the physics of sound, vibrations and tuning. I'm told every single piece he wrote ends with a major chord to ensure 'peace'!
@malacca1951 Coming from a real Hindemith expert, which you obviously are, we are all the more pleased with your compliment. Thank you! ♥️ And we were delighted that you shared your own experiences of Hindemith's music with us. It's so nice to read that we can awaken positive memories with our contributions. ☺️ And yes, the title is really very long 😂
9:20 Timpani Orchestral Extract Grade 8 Trinity! Great playing - lots of damping going on there. More than other players do. Lovely style and dynamics - so exciting to watch and hear.
Szell/Cleveland remains both my introduction and benchmark performance. But I'd long wanted to SEE this played, or, as the saying goes, get close enough to count. This performance delivers.
Thoroughly enjoyable. It's a piece that is so detailed, it is made a far better experience by seeing the performers. Kudos to the engineers too; the sound is really clean.
SWR Classic ... Thank you so much for putting this online; it is such a wonderful work, and very uplifting. Coming back to it after many decades, I'm impressed by the detail in this well recorded performance, making me realise that my 1969 Abbado/LSO LP and record player simply couldn't possibly deliver what modern equipment can. There is so much going on for the listener to to take in - it certainly merits several listenings.
Just sit back and enjoy this amazing composition from Germany's last truly great composer in a long line of genius. Hindemith's music will never be surpassed. Nothing has happened since his untimely death in 1963.
I hear a lot of Alex North in this composition, & i'm wondering if he drew considerable inspiration from Hindenmith. I've only recently been introduced to his work, & I'm immensely grateful for it!
As you indicate, nothing has really happened since 1963. What HAS happened is the great composers have gone to the movies. I can think of two German composers who have done that: Hans Zimmer and Klaus Badelt.
Part of a deep emotional experience is its assimilation after completion. Applause inhibits this process. A concert is not a circus. The performance of the SWR orchestra merits a profound silence as a tribute of admiration.
I feel the same way, but not in pieces like this. But clapping immediately in the silence following, say, the Sixth Symphonies of Tchaikovsky or Mahler, or _Tristan und Isolde,_ when the silence after the final chord is like crystal, then I dislike it when people feel the genuine but self-centered need to break that crystal the moment it forms. Sometimes the only response is silence and awe. It may not be the time for vocal self-expression, even if given in sincere gratitude.
Then the best venue of music listening is home, for gentlemen like you. It's true that a concert is not a circus, but it is a bi-directional social experience, in which the audience have a chance to provide feedbacks to the artists in ways they desire.
I disclaim any allegation of being a gentleman. Those who know me will readily attest to this flaw in my character. The showing of emotion should always respect the Other. This holds true even in a circus and commenting someone's opinion.
This is only true in so much as applause has been affected by the ability to record sound. Before the advent and rise of recorded music, it was rare that pieces were even played in full. Typically directors would pick and choose individual movements from larger works as a sort of sampler (excluding world premiers, or course), and each individual movement was met with applause at the end. So there could be a case for a piece like this where Hindemith was alive and composing in the era of recorded sound, but Beethoven? People clapped. Either way, I think it a bit of a fool's errand to try and define in any certain terms precisely how one should appreciate one's art. Especially in music, where every experience is a turbulent mixture of intent from the composer, intent from the performer(s,) and the experiences of the listener, you will never get the same reaction twice. Granted, if everyone collectively agreed upon a set of norms to be conducted in the concert hall to the perceived benefit of all attending, that's a matter all unto its own. But I don't question the appreciation of the exuberant applauder any more than that of the quiet contemplater. Goodness knows I've been guilty of being either at some point.
Simultaneous exuberant applause and quiet contemplation, in a shared concert situation, is a physical impossibility, unless the contemplators are deaf, in which case they would most probably not attend the concert performance. Who should respect whom ?
This has always made me think of the incidental music for some classical adventure movie from the golden age of Hollywood. No movie in particular, just general feel.
Played this during my 1st quarter with scsu wind band/ensemble and is one of my most favorite pieces I played besides Ballet Sacra & Schwanda the Bagpiper
Not to be a heathen or anything, but I heard this on my local classical radio channel and immediately thought the Hogwarts:Legacy soundtrack was based off it in its entirety XD
It reminds me very much of the Hogwarts music. JW may have “borrowed” a little bit from this piece. He’s still great though. We’ll call it “inspiration” not “stealing.”
Dieses Orchester klingt unter Teodor Currentzis wie das beste Orchester der Welt. Unter anderen Dirigenten klingt - und wirkt - es wie ein braves deutsches Orchester, korrekt, immer wieder unsauber intoniert und grob, und vor allem uninspiriert. Nicht nur Currentzis ist großartig sondern die anderen Dirigenten machen ihn so besonders!
Awesome videos, but is anyone else bothered by the abrupt truncation to delete all audience reactions? I find the loss of at least some applause very jarring. Coitus interruptus every time!
The editing is extremely jarring. I made another similar comment on one of the more recent uploads of a Beethoven symphony where the first notes of the piece are nearly incomplete and can't be heard properly due to the startup buffering process. This is the only classical channel that features this kind of poor editing..
I should add that this video is especially bad; some of the other SWR videos are cut uncomfortably short, but this one changes to their 'end screen' even before the reverberation of the last chord has faded.
Hindemith became a major advocate of the Neue Sachlichkeit (new objectivity) style of music in the 1920s - with some compositions in a neo-Bachian spirit.
Подобно первым лучам зари, эта музыка открывает вам глаза на новые обещания и на все чудеса природы. Вызывая невероятные силы, эти произведения трогают струны сердца, вызывают ностальгию и пробуждают любовь, ободранные жизни и оцепенение измученных стражников 🤠
00:00 Allegro (Weber, Op.60 No.4)
04:25 Scherzo (Weber, Turandot Op.37)
12:27 Andantino (Weber, Op.10 No.2)
16:50 Marsch (Weber, Op.60 No.7)
sorry to be off topic but does anyone know a tool to log back into an instagram account??
I somehow forgot my login password. I would love any assistance you can give me!
@Muhammad Brantley I really appreciate your reply. I got to the site thru google and im in the hacking process now.
Looks like it's gonna take quite some time so I will reply here later when my account password hopefully is recovered.
@Muhammad Brantley it did the trick and I actually got access to my account again. I am so happy:D
Thank you so much you really help me out!
@Dwayne Issac Happy to help =)
@@dwayneissac2302 scam
0:00. Allegro. This phrase carries the metric, quarter note=108 bpm. As time signature, Hindemith uses 1/2 bars. The emphasis is always on the first blow. The sentence extends over 165 bars and thus less than four minutes. Carl Maria von Weber describes his piano piece as Alla Zingara (to play after Gypsy style), so it should be played spirited, which Hindemith further enhances by his editing, where he parodies the metrical subordination in Weber's original by asymmetric displacements.
4:24. Scherzo (Turandot). Moderato - Lively: Here are the indications half note = 132 bpm and from the tempo mark Lively (bar 28 ff.) half note = 96 bpm. First, the Turandot Scherzo begins in 4/4 and then changes to the 4/4-metric. This movement is the longest of the metamorphosis and lasts with 304 bars, depending on the interpretation, around the nine minutes. The simple theme with "limited melodic structure" (V. S. Fomin) is played again and again in different variations. In the middle section, a fugato, a syncopated-rhythmic shift appears, reminiscent of a jazz sequence. Hindemith rearranges musical motifs, bars and even individual notes so that the melody always remains recognizable, but the actually pseudo-Chinese ambience acquires a completely new and surprising character.
12:27. Andantino. The Andantino is a slow movement. The value for the eighth note is 126 to 132 bpm, the composer chose a slightly danceable 6/8 measure here. This movement is the shortest of the work, it covers only 28 bars and thus takes under four minutes. This sentence is one of the few examples in Hindemith's music in which a lyrical character (in romantic folk tone) appears.
16:45. Marsch. The well-known march, which, at Carl Maria von Weber can still be regarded as a romantic funeral march, is played "faster, slacker, more ironic and sharper" (Hindemith) in Hindemith's Metamorphosis. It no longer has the somber character of a funeral procession. The value for the half note is therefore 80 bpm with the march-typical 2/2-measure (in german military jargon: links, zwo - links, zwo!). He has 139 bars and ends after nearly five minutes. This partly pompous march, which at the same time also contains impetuous and scherzo-like elements, culminates in a brilliant finale of the Metamorphosis (after Fomin, preface to the Symphonic Metamorphosis).
source: de.wikipedia.org/wiki/Symphonische_Metamorphose_von_Themen_Carl_Maria_von_Webers#Musikalische_Struktur
Wow, what a wonderful performance of Hindemith's fabulous work. I love H's use of the themes and his great counter point. Bravo to the orchestra and conductor.
Beautiful! Great orchestra and conductor.
Wonderful performance of an unusual work! The title must be one of the longest of ANY Orchestral piece! I played flute in it when I was at Music College many years ago and so this brought back (mainly) happy memories. As we were aged from 15 to 22 we were nowhere as good as these expert professionals. I always loved Hindemith as I was a piano-accompanist and he wrote a sonata for every instrument - and a concerto for all, too (almost!) His organ works are amazing though difficult to play (and listen to!) It seems Hindemith learned to play almost every instrument too and he 'understood' the physics of sound, vibrations and tuning. I'm told every single piece he wrote ends with a major chord to ensure 'peace'!
@malacca1951 Coming from a real Hindemith expert, which you obviously are, we are all the more pleased with your compliment. Thank you! ♥️
And we were delighted that you shared your own experiences of Hindemith's music with us. It's so nice to read that we can awaken positive memories with our contributions. ☺️
And yes, the title is really very long 😂
I memorized the entire bass line as a student! ❤
9:20 Timpani Orchestral Extract Grade 8 Trinity! Great playing - lots of damping going on there. More than other players do. Lovely style and dynamics - so exciting to watch and hear.
11:34 Loving the effect that the bells add!
Szell/Cleveland remains both my introduction and benchmark performance. But I'd long wanted to SEE this played, or, as the saying goes, get close enough to count. This performance delivers.
Thoroughly enjoyable. It's a piece that is so detailed, it is made a far better experience by seeing the performers. Kudos to the engineers too; the sound is really clean.
Played this when I was young, and it stuck with me... Amazing work!
SWR Classic ... Thank you so much for putting this online; it is such a wonderful work, and very uplifting. Coming back to it after many decades, I'm impressed by the detail in this well recorded performance, making me realise that my 1969 Abbado/LSO LP and record player simply couldn't possibly deliver what modern equipment can. There is so much going on for the listener to to take in - it certainly merits several listenings.
An absolutely enthralling performance
Just sit back and enjoy this amazing composition from Germany's last truly great composer in a long line of genius. Hindemith's music will never be surpassed. Nothing has happened since his untimely death in 1963.
I hear a lot of Alex North in this composition, & i'm wondering if he drew considerable inspiration from Hindenmith.
I've only recently been introduced to his work, & I'm immensely grateful for it!
As you indicate, nothing has really happened since 1963. What HAS happened is the great composers have gone to the movies. I can think of two German composers who have done that: Hans Zimmer and Klaus Badelt.
@@JessyCastellon-xl9jc Hello, do you like this masterpiece?
@@JessyCastellon-xl9jc I don't do apps much. xx
@@JessyCastellon-xl9jc I'm very flattered that you want to chat with me. But not sure how. I am a musicologist and live in London. Where are you from?
Part of a deep emotional experience is its assimilation after completion. Applause inhibits this process. A concert is not a circus. The performance of the SWR orchestra merits a profound silence as a tribute of admiration.
I feel the same way, but not in pieces like this. But clapping immediately in the silence following, say, the Sixth Symphonies of Tchaikovsky or Mahler, or _Tristan und Isolde,_ when the silence after the final chord is like crystal, then I dislike it when people feel the genuine but self-centered need to break that crystal the moment it forms. Sometimes the only response is silence and awe. It may not be the time for vocal self-expression, even if given in sincere gratitude.
Then the best venue of music listening is home, for gentlemen like you. It's true that a concert is not a circus, but it is a bi-directional social experience, in which the audience have a chance to provide feedbacks to the artists in ways they desire.
I disclaim any allegation of being a gentleman. Those who know me will readily attest to this flaw in my character. The showing of emotion should always respect the Other. This holds true even in a circus and commenting someone's opinion.
This is only true in so much as applause has been affected by the ability to record sound. Before the advent and rise of recorded music, it was rare that pieces were even played in full. Typically directors would pick and choose individual movements from larger works as a sort of sampler (excluding world premiers, or course), and each individual movement was met with applause at the end. So there could be a case for a piece like this where Hindemith was alive and composing in the era of recorded sound, but Beethoven? People clapped.
Either way, I think it a bit of a fool's errand to try and define in any certain terms precisely how one should appreciate one's art. Especially in music, where every experience is a turbulent mixture of intent from the composer, intent from the performer(s,) and the experiences of the listener, you will never get the same reaction twice. Granted, if everyone collectively agreed upon a set of norms to be conducted in the concert hall to the perceived benefit of all attending, that's a matter all unto its own. But I don't question the appreciation of the exuberant applauder any more than that of the quiet contemplater. Goodness knows I've been guilty of being either at some point.
Simultaneous exuberant applause and quiet contemplation, in a shared concert situation, is a physical impossibility, unless the contemplators are deaf, in which case they would most probably not attend the concert performance.
Who should respect whom ?
Thank you so much for posting! Great performance! :)
Wonderful performance!
So good.
This has always made me think of the incidental music for some classical adventure movie from the golden age of Hollywood. No movie in particular, just general feel.
Played this during my 1st quarter with scsu wind band/ensemble and is one of my most favorite pieces I played besides Ballet Sacra & Schwanda the Bagpiper
3rd movement flute solo 👍👍👍
15:16 flute!
15:14
In this performance,
all isfar superior splendor
Dear SWR. The audio is apr. a second behind around 12:00
Incrível 👏👏
Really solid performance. Only nitpick I have is that they play the March like an orchestra... too light and airy. Not aggressive or powerful enough.
agreed.
They're kind of phoning it in. (try: Czech Philharmonic, Gaetano Delogu. They know how to punch)
Brava flautista 👏🏼
11:35 Spongebob Squarepants, Spongebob Sq....
Steffen W. I hear it too
Never gonna unhear that.
Thanks.
legendary masterpiece.
@@josephfiddes60 My pleasure :)
unseeing juice *big sip*
Not to be a heathen or anything, but I heard this on my local classical radio channel and immediately thought the Hogwarts:Legacy soundtrack was based off it in its entirety XD
Indeed. Now that you mention it. If you look at it again today, there is a certain similarity. 🧙♂️
It reminds me very much of the Hogwarts music. JW may have “borrowed” a little bit from this piece. He’s still great though. We’ll call it “inspiration” not “stealing.”
Dieses Orchester klingt unter Teodor Currentzis wie das beste Orchester der Welt. Unter anderen Dirigenten klingt - und wirkt - es wie ein braves deutsches Orchester, korrekt, immer wieder unsauber intoniert und grob, und vor allem uninspiriert. Nicht nur Currentzis ist großartig sondern die anderen Dirigenten machen ihn so besonders!
Awesome videos, but is anyone else bothered by the abrupt truncation to delete all audience reactions? I find the loss of at least some applause very jarring. Coitus interruptus every time!
I agree; at least please, SWR engineers, allow 30 seconds of audience applause, or until the conductor and/or soloists leave the stage.
The editing is extremely jarring. I made another similar comment on one of the more recent uploads of a Beethoven symphony where the first notes of the piece are nearly incomplete and can't be heard properly due to the startup buffering process. This is the only classical channel that features this kind of poor editing..
I should add that this video is especially bad; some of the other SWR videos are cut uncomfortably short, but this one changes to their 'end screen' even before the reverberation of the last chord has faded.
Let's attach this video (use a playlist ;) ua-cam.com/video/LoByh6Xxc10/v-deo.htmlm20s
Wanderful
este tipo de obra a que periodo musical pertenece ?
Hindemith became a major advocate of the Neue Sachlichkeit (new objectivity) style of music in the 1920s - with some compositions in a neo-Bachian spirit.
8:36
15:16 flute solo
Подобно первым лучам зари, эта музыка открывает вам глаза на новые обещания и на все чудеса природы. Вызывая невероятные силы, эти произведения трогают струны сердца, вызывают ностальгию и пробуждают любовь, ободранные жизни и оцепенение измученных стражников 🤠
1st movement seemed slow..... I like a little faster tempo for movement 1. Just my opinion.
I like the tempo. It's good to hear different conceptions of this great piece.
15:00
18:42トライアングル ５小節まちがえて早くたたいているぞ！
Triangle player failed ( 5bars faster!! )
19:10
9:15
11:30
0:37 2:25
First trombone is scary in this
15:14
15:00
1:26
3:19