I know your comment is a year old but I will say this. You do not truly understand this piece until you have listened to it 4 or more times. Then you realize the beauty and if you can't, you can hear that Strauss was creating an atmosphere, not a story. If it was a story it was like a dramatic film without words. You must watch every emotion to understand what's happening. To me, in the final moments I picture 2 friends slowly drifting away from each other, understanding but contemplating.
I watched performance where solo violinist stands like dance floor fiddlers do in front to audience while playing Tanzlied. Called "Aufspielen!" To me this kind of interpretation was best one I ever saw. Sorry don't know where and when.
Strauss trata de llevar a su poema sinfonico "Asi Hablaba Zarathustra" ( O Zoroastro) los canticos conocidos ( "agathas") que contenian los fundamentos de la religion nacida en Persia medio siglo AC. Zoroastro predicaba la existencia de un Dios del Bien (Ahura Mazda u Ormuz) y un Dios del Mal (Ahriman) . La lucha :Bien vs. Mal que traduce Strauss musicalmente tiene grandes contrastres ritmicos y un dinamismo impresionante. Y la ejecucion de Pappano es de primera linea.
@HonoraryCheesehead The one who is expecting a bombastic end to this has clearly seen to much Hollywood blockbusters. Ending is just perfect and subtle. My favorite Straus. Better without the radiotransmitter in the background. I'll play my CD instead again
Re Getnill’s comment about the contra laying out: Don’t worry, he’s getting ready to sound his low E for over sixty measures, from rehearsal #52 to ten bars before the Langsam, the “Epilog” in B-major. He re-attacks the E right along with the bell ringer. By the way, the organist has made it home by now-his last entrance was at the fff after #17, where you used to have to flip over an LP recording of this well-worn staple. Heil Herr Dr. Strauß!
It's not that good, it's really just a difficult piece for orchestra. And I can't hear much symphonic development, just basic repetition. AND a bad ending. Can anyone enlighten me on some good musical techniques used in this piece?
I know your comment is a year old but I will say this.
You do not truly understand this piece until you have listened to it 4 or more times. Then you realize the beauty and if you can't, you can hear that Strauss was creating an atmosphere, not a story. If it was a story it was like a dramatic film without words. You must watch every emotion to understand what's happening. To me, in the final moments I picture 2 friends slowly drifting away from each other, understanding but contemplating.
The solo violin holding its note at 6:30 is always magical for me ... A pure instant of ethereal magic ...
Congrats to the 26K of you who made it to the end.
Brava ! Brava !
I love the concertmaster's interpretation of the violin solo here! :D
He plays Strauss wanted the Tanzlied is played: like a dance floor fiddler.
Ah, I didn't realize that was Strauss' intention. It does make a lot of sense. Thank you for your response! :)
I watched performance where solo violinist stands like dance floor fiddlers do in front to audience while playing Tanzlied. Called "Aufspielen!" To me this kind of interpretation was best one I ever saw. Sorry don't know where and when.
Bravo!
Strauss trata de llevar a su poema sinfonico "Asi Hablaba Zarathustra" ( O Zoroastro) los canticos conocidos ( "agathas") que contenian los fundamentos de la religion nacida en Persia medio siglo AC. Zoroastro predicaba la existencia de un Dios del Bien (Ahura Mazda u Ormuz) y un Dios del Mal (Ahriman) . La lucha :Bien vs. Mal que traduce Strauss musicalmente tiene grandes contrastres ritmicos y un dinamismo impresionante. Y la ejecucion de Pappano es de primera linea.
@HonoraryCheesehead The one who is expecting a bombastic end to this has clearly seen to much Hollywood blockbusters. Ending is just perfect and subtle. My favorite Straus. Better without the radiotransmitter in the background. I'll play my CD instead again
Re Getnill’s comment about the contra laying out: Don’t worry, he’s getting ready to sound his low E for over sixty measures, from rehearsal #52 to ten bars before the Langsam, the “Epilog” in B-major. He re-attacks the E right along with the bell ringer. By the way, the organist has made it home by now-his last entrance was at the fff after #17, where you used to have to flip over an LP recording of this well-worn staple. Heil Herr Dr. Strauß!
Is it José Saramago at the bottom left corner in 05:08 ??
@bibifrijam Absolutely! I marvel at it everytime! It carries the brilliance of a mind conceiving ultimate truth and serenity.
UNBELIVABLY AMAZING! This did Nietszche justice!
why cut the applause? It's part of the concert too...
@stomentendo ya, i did notice that noise... i thought i was radio signal or something, but it's inside the record.
@JuliusRashad Nietzsche was a filosofer, which Strauss was inspired by.
@stomentendo
yes
@TheDavid2222 his name is Nietzsche, not Nietszche
@stomentendo Not really, because I have AIDS.
and, I forgot to put then in my ears. I hear the violins very well though. :D
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i was waiting a BIG and FORTE end, but it was piano and quiet...
@Soriehlam Não me parece.
Lol. At 3:05 the contra-bassoon player is like the only one not playing.
I think that’s how it’s written
It's not that good, it's really just a difficult piece for orchestra. And I can't hear much symphonic development, just basic repetition. AND a bad ending. Can anyone enlighten me on some good musical techniques used in this piece?
Uu