BBC Proms 2012 National Youth Orchestra of Great Britain Conducted by Vasily Petrenko Soloists: Cynthia Millar and Joanna MacGregor
КОМЕНТАРІ • 134
8 років тому+45
00:25 -1st mvt Introduction 06:53 -2nd mvt Chant d’amour (First Love Song) 15:11 -3rd mvt First Turangalîla 21:00 -4th mvt Chant d’amour 2 (Second Love Song) 32:00 -5th mvt Joie du Sang des Étoiles (Joy of the Blood of the Stars) 39:00 -6th mvt Jardin du Sommeil d’amour (Garden of Love’s Sleep) 50:20 -7th mvt Second Turangalîla 54:50 -8th mvt Développement d’amour (Development of Love) 01:05:50 -9th mvt Third Turangalîla 01:11:00 -10th mvt Finale
I love this composition. In my opinion, Messiaen is one of the greatest composers ever. His style is distinctive and innovative. I admire him too for his catholic faith.
I have loved this piece ever since I saw Michael Tilson Thomas lead the L.A. Philharmonic in a performance in 1972 or 1973. The crescendo that ends "Joie du Sang des Etoiles" built so relentlessly that I thought the theater might collapse. One of my all-time favorite listens.
The orchestra is much more numerous than usual! It looks like they doubled all the woodwind and brass players, and augmented the string section proportionally. They must have wanted to give as many young musicians as possible the chance to play this great, ecstatic music. :)
The orchestra is almost doubled in size for every concert, every year- and for the reason you mention. If you haven't already, check out their thrilling performance of The Planets, under Gardner, or the Symphonie Fantastique ( with Bychkov) or the most moving Mahler 8 you've ever heard under Rattle- it's thrilling to hear that many players, although it rather spoils you for regular-size performances.
Yes, this is a massive, thrilling and exuberant work - it relates to "normal" mid-19th century symphonies like Tales From Topographic Oceans relates to....Good Vibrations, maybe? 😼
That was breathtaking! I've heard this (on CD) many times, but this was by far the best version I've ever heard. Astonishing, brilliant, and bound to go down in my musical memory as one of the great performances I've ever heard. How I envy anyone who was there to hear this live!
Im a 50 year old from a rough estate in Newcastle and until I came across a video abaout the junkyard orchestra from Paraguay Ive never listened to classical, Maybe Air on a 'G' string from the Hamlet advert. Well I'm completely hooked , Im not ashamed to say i've been in tears of every emotion and couldn't give a fk x
And Katey Sagal too. She voiced Leela. If this symphony is not played at her funeral, don’t even bother bringing her casket. In case you never heard of Katey, she was the hot housewife Peggy Bundy from Married with Children and the evil queen bitch Gemma Morrow from SOA.
A very special diversion from some of the recorded versions I have - at 24:45 - very special. My favorite symphony by far... worth the listen if you invest the time.
stupendous; so over the top that its really quite easy to surrender its lyricism and ecstatic trance LOVE music, this is psychedelic cartoon music with a great blast of divinity.
...I have the Seji Ozawa Toronto Symphony performance of this on LP (2 discs) which Mr Messiaen approved of back in 1967 and this totally blows it away.
00:00:25 -1st mvt Introduction 00:06:53 -2nd mvt Chant d’amour (First Love Song) 00:15:11 -3rd mvt First Turangalîla 00:21:00 -4th mvt Chant d’amour 2 (Second Love Song) 00:32:00 -5th mvt Joie du Sang des Étoiles (Joy of the Blood of the Stars) 00:39:00 -6th mvt Jardin du Sommeil d’amour (Garden of Love’s Sleep) 00:50:20 -7th mvt Second Turangalîla 00:54:50 -8th mvt Développement d’amour (Development of Love) 01:05:50 -9th mvt Third Turangalîla 01:11:00 -10th mvt Finale
If so, she is in good company--- did not Jeanne Loriod, with her sister on piano and brother-in-law Monsieur Messaien sphinx-like wielding score in hands, tour the world doing this symphony many times over?^^ P.S.: In light of that fact, it is all the stranger to think that Bernstein only conducted the premiere and then seemingly never touched the work again.
Es la primera vez que he escuchado esta sinfonia y la verdad es que te engancha ,.. Es sobrecogedora y muy completa Fantástico el segundo movimiento canción de amor .
Messiaen is one of the few -very few- athonalist musicians that I can hear without feel completely and utterly sleepy,besides Webern,some Berg and the first Schonberg. By the way,I have seen the left handed trumpetist.Amazing!
manuel damian, this piece is far from being completely atonal. There some parts which are purely atonal but the whole symphony is perfectly balanced mixed of tonal and atonal
Stupendous performance by all concerned particularly since the average age of the orchestra must be about 17. The first time I heard this symphony live I thought the hall balcony was going to collapse with the audience cheering and stomping at the end. Glad to see that the Prommers were equally enthusiastic although I wish people wouldn't clap between the movements.
Wait, did they play this before? I remember seeing another video of the National Youth Orchestra of Great Britain performing this work with a different conductor and pianist, also at the Proms.
@@laburgy It also happened in the turangalila-symphonie live concert in Los Angeles last year. I guess it was just because the performance was too astonishing.
Contrariwise, it seems my ears are still ringing from a Chung / Seoul P.O. / Seoul Arts Center late-2000s performance.^^ Chung (it should be transliterated as Jung, but that is an argument for another time...) held the last chord seemingly forever---> apparently the universe is roughly in Bb, 57 octaves below middle C, but for a while it seemed to be in F#, the key of that final chord.
It's an Ondes Martenot, an early 20th century hybrid electronic-acoustic instrument. It's what makes that high-pitched whistling sound that glissandos up and down.
Yeah, of course... and also a great way to destroy the atmosphere created by the composer through his Symphony itself. I know some traditions have no solid fundaments at all, but I really think that this one is specially meaningful in order to mantain the coherence of the work and, therefore, let the composer transmit what he wants more accurately. And, no, my friend, I strongly believe it isn't the same situation when you are in a rock concert, for example. The attitud of the performers and the public, the way (proportion) you listen or hear the music, the meaning of "silence", the average loudness... Nevertheless, with just a little "artist's empathy" it becomes very clear.
musicofracasao93 these are all valid arguments you've made, but it for a bit of fun backstory, see the wikipedia article entitled concert etiquette: "...Mozart expected that people would talk, particularly at dinner, and took delight in audiences clapping at once in response to a nice musical effect ... With the arrival of recording technology in the twentieth century, applause between the movements of a symphony or suite came to be regarded as a distraction from the momentum and unity of a work." so, symphonies did used to be somewhat like a rock concert, to some people!
pbzp Well, that's fun. I mean, Mozart used to play very happy and dynamic pieces in general, but I'm not specially sure he would appreciate applauses in the middle of his requiem "in response to a nice musical effect". There are situations and situations. Believe me, I'm extremely liberal talking about tearing social norms, but I also think that the best way to break away from rules in general is not the action of denying them all (I think that's really really really stupid), but understand that they exist, they can be invented, they can be even discovered, they can be changed, they can have sense or not for you and, the most important fact, they're not fixed: they're just variables. And this relativity is given uniquely by the context. And silence is great to preserve unity, listen actively better, understand or feel the sentimental message of the piece much better... etc, specially when these are, conciously or unconciously, fundamental blocks in the work of the author, which is a very common thing in classical music in general.
yes, i agree clapping oughter be somewhat verboten for religious/contemplative performances. although i wouldn't mind a bit more rock to my classical, i agree on the etiquette you posted above, and do solemnly swear to stop wolfwhistling between movements ;)
Yes, in oryginal Ondes Martenot there low note priority. In new Ondomo you can switch between low/high note priority but in oryginal ondes its impossible.
The 5th movement is a little slow, I'm missing the passion. The title is "Joy of the Blood of the Stars", not "The friendly smile of the stars".... Just listen to (e.g.) the UA-cam-Video "Tv67YkOWJNA" ... and you'll know what I wanted to say.
Yes, a certain section of the audience are idiots. They think everything must be clapped. I think the conductor should have made a 'shoosh' sign with his forefinger to his lips the first time that happened. The audience might then have got the message. I'd be very put out, as I sense this conductor was, by the inopportune clapping.
Martin Offord oh stfu at least they're enjoying the music and not trying to be eccentric self-righteous tossers like some people :/ they're not talking, they're not throwing rotten fruit at the conductor, they are just enjoying the music Christ almighty
My father was in the audience for an Edinburgh Festival concert conducted by Sir Thomas Beecham sometime in the early 1950s. A few idiots started clapping after the first movement of whatever they were playing. Beecham rounded on the audience, called the clappers "a bunch of savages" and threatened to stop the performance if they did it again. They didn't.
@@alejandrom.4680 What's the need of doing this kind of comments? I don't know nor will know ever. This is horrible for people who actual don't like it.
I don't think I could ever sit through it....it, how do I say it......scares the living shit out of me...like extreme panic WOOOOOOOOO made it to 5:40 NEW RECORD!!!
Actually, considering what an acoustic soup the RAH is (reference Sir Thomas Beecham's saw about a young composer's world premiere in the hall getting its first two performances at once), the sound is to my ears remarkably clear. After all, if any piece benefits from excess, this one is it...
26:43-27:15 playing on keyboard with ribbon? Uncomfortable. That place can be played whole on keyboard. There is no need to play "love theme" on ruban - just here.
@@kazimierzijadwiga définitely not : she only met Jeanne Loriod.... If you observe her left hand technic, you can see she presses the expressive touch with her finger only. The real technic (from Ginette Martenot and Jeanne Loriod then Valérie Hartmann) is playing with the whole arm... That is the first thing we learn, from the very first lesson and during the following months and years. Playiing by rolling the forearm is the most important aspect of ondes technic
00:25 -1st mvt Introduction 06:53 -2nd mvt Chant d’amour (First Love Song) 15:11 -3rd mvt First Turangalîla 21:00 -4th mvt Chant d’amour 2 (Second Love Song) 32:00 -5th mvt Joie du Sang des Étoiles (Joy of the Blood of the Stars) 39:00 -6th mvt Jardin du Sommeil d’amour (Garden of Love’s Sleep) 50:20 -7th mvt Second Turangalîla 54:50 -8th mvt Développement d’amour (Development of Love) 01:05:50 -9th mvt Third Turangalîla 01:11:00 -10th mvt Finale
00:25 -1st mvt Introduction
06:53 -2nd mvt Chant d’amour (First Love Song)
15:11 -3rd mvt First Turangalîla
21:00 -4th mvt Chant d’amour 2 (Second Love Song)
32:00 -5th mvt Joie du Sang des Étoiles (Joy of the Blood of the Stars)
39:00 -6th mvt Jardin du Sommeil d’amour (Garden of Love’s Sleep)
50:20 -7th mvt Second Turangalîla
54:50 -8th mvt Développement d’amour (Development of Love)
01:05:50 -9th mvt Third Turangalîla
01:11:00 -10th mvt Finale
SUPERB! heard it on radio 3 and my ears went into some sort of cosmic overdrive.... HUGE ATMOSPHERIC VIBES
I love this composition. In my opinion, Messiaen is one of the greatest composers ever. His style is distinctive and innovative. I admire him too for his catholic faith.
I have loved this piece ever since I saw Michael Tilson Thomas lead the L.A. Philharmonic in a performance in 1972 or 1973. The crescendo that ends "Joie du Sang des Etoiles" built so relentlessly that I thought the theater might collapse. One of my all-time favorite listens.
My sentiments exactly, Harry Lande. The NYO did a top notch performance of it, as well.
you're a bit bonkers, aren't you?
The orchestra is much more numerous than usual! It looks like they doubled all the woodwind and brass players, and augmented the string section proportionally. They must have wanted to give as many young musicians as possible the chance to play this great, ecstatic music. :)
I think you’re right. It’s very, very cool!
Messiaen's commission was quite vague, so he really went to town and wrote for an immense ensemble for this piece. And why not! :)
The orchestra is almost doubled in size for every concert, every year- and for the reason you mention. If you haven't already, check out their thrilling performance of The Planets, under Gardner, or the Symphonie Fantastique ( with Bychkov) or the most moving Mahler 8 you've ever heard under Rattle- it's thrilling to hear that many players, although it rather spoils you for regular-size performances.
Yes, this is a massive, thrilling and exuberant work - it relates to "normal" mid-19th century symphonies like Tales From Topographic Oceans relates to....Good Vibrations, maybe? 😼
That was breathtaking! I've heard this (on CD) many times, but this was by far the best version I've ever heard. Astonishing, brilliant, and bound to go down in my musical memory as one of the great performances I've ever heard. How I envy anyone who was there to hear this live!
Im a 50 year old from a rough estate in Newcastle and until I came across a video abaout the junkyard orchestra from Paraguay Ive never listened to classical, Maybe Air on a 'G' string from the Hamlet advert. Well I'm completely hooked , Im not ashamed to say i've been in tears of every emotion and couldn't give a fk x
A maelstrom of surging attention to expert focus, and a sound of orchestral shout.
Thank you, Futurama.
And Katey Sagal too. She voiced Leela. If this symphony is not played at her funeral, don’t even bother bringing her casket. In case you never heard of Katey, she was the hot housewife Peggy Bundy from Married with Children and the evil queen bitch Gemma Morrow from SOA.
A very special diversion from some of the recorded versions I have - at 24:45 - very special. My favorite symphony by far... worth the listen if you invest the time.
stupendous; so over the top that its really quite easy to surrender its lyricism and ecstatic trance LOVE music, this is psychedelic cartoon music with a great blast of divinity.
I think that celesta player should be the third highlighted person :)
...I have the Seji Ozawa Toronto Symphony performance of this on LP (2 discs) which Mr Messiaen approved of back in 1967 and this totally blows it away.
Oh my god, what an astonishingly fine performance of this great work. Thank you for uploading this..
A masterpiece, beautiful rendition !
A lot of thanks
Amazing!! I saw it in Girona perform by JONC. Thank you uploading this!
That was always my favourite bit with Petrenko in rehearsals! :)
I love the pianist. At one point you can see her counting silently..."one...two...three...four..." and the face she makes after that is priceless.
Even the mighty Joanna MacGregor needs to have the music in front of her and count the beats for this!
00:00:25 -1st mvt Introduction
00:06:53 -2nd mvt Chant d’amour (First Love Song)
00:15:11 -3rd mvt First Turangalîla
00:21:00 -4th mvt Chant d’amour 2 (Second Love Song)
00:32:00 -5th mvt Joie du Sang des Étoiles (Joy of the Blood of the Stars)
00:39:00 -6th mvt Jardin du Sommeil d’amour (Garden of Love’s Sleep)
00:50:20 -7th mvt Second Turangalîla
00:54:50 -8th mvt Développement d’amour (Development of Love)
01:05:50 -9th mvt Third Turangalîla
01:11:00 -10th mvt Finale
Cynthia Millar must spend her entire life playing Ondes Martenot in performances of Turangalila
messiaen wrote pieces for solo ondes martenot as well
About as cushy a number as you can get. I wonder how much she earns compared to the pianist.
@@ramprasada7451 But they understandably never get played.
If so, she is in good company--- did not Jeanne Loriod, with her sister on piano and brother-in-law Monsieur Messaien sphinx-like wielding score in hands, tour the world doing this symphony many times over?^^
P.S.: In light of that fact, it is all the stranger to think that Bernstein only conducted the premiere and then seemingly never touched the work again.
Brutal. Tendré pesadillas esta noche...
Pesadillas planetarias de placer.
My favourite work of art
Wow! What a wonderful performance!
i like this version more than most others i've heard. SO well done. chills all the way through the first and second movements
This makes me grinning like an idiot. Love it.
Orchestra is about double as large as actually specified by Messiaen, but that's a common thing with youth orchestras.
why is t a common thing with them?
This so good !!!!!
Es la primera vez que he escuchado esta sinfonia y la verdad es que te engancha ,.. Es sobrecogedora y muy completa
Fantástico el segundo movimiento canción de amor .
Extraordinaire 💚
Thanks for the markers!
Messiaen is one of the few -very few- athonalist musicians that I can hear without feel completely and utterly sleepy,besides Webern,some Berg and the first Schonberg.
By the way,I have seen the left handed trumpetist.Amazing!
manuel damian, this piece is far from being completely atonal. There some parts which are purely atonal but the whole symphony is perfectly balanced mixed of tonal and atonal
@@AKoribut Easy tiger - don't jump down her throat - she didn't SAY it was completely atonal.
It's as mad as a box of frogs but I love it!!
Turangalila is mad as a bike.
That's why I love it. :o)
..someday i hop our local symphony performs this.
Stupendous performance by all concerned particularly since the average age of the orchestra must be about 17. The first time I heard this symphony live I thought the hall balcony was going to collapse with the audience cheering and stomping at the end. Glad to see that the Prommers were equally enthusiastic although I wish people wouldn't clap between the movements.
it's called an "ondes martenot" which is a very similar to a theremin, but with a keyboard element... very cool.
agreed.
The trombones!!!
Joie du Sang des Étoiles - What words doesn't the conductor understand in this title?!?
Last note needed at least another 10s after that fantastic performance
Wait, did they play this before? I remember seeing another video of the National Youth Orchestra of Great Britain performing this work with a different conductor and pianist, also at the Proms.
Andrew Davis and Jean-Louis Thibaudet, probably.
!!!!
So where is the holophoner and the Robot Devil?
And where’s Katey Sagal?
hated it when the audience clap between movements - so annoying!
Perhaps it would have been an instruction to give them. Inexperienced listeners can be confused by silences. No need to hate . XXX
@@laburgy It also happened in the turangalila-symphonie live concert in Los Angeles last year. I guess it was just because the performance was too astonishing.
did some body know what is the new instrument name ?
An excellent performance but that final chord should have been much much longer.
Contrariwise, it seems my ears are still ringing from a Chung / Seoul P.O. / Seoul Arts Center late-2000s performance.^^ Chung (it should be transliterated as Jung, but that is an argument for another time...) held the last chord seemingly forever---> apparently the universe is roughly in Bb, 57 octaves below middle C, but for a while it seemed to be in F#, the key of that final chord.
Hogwartz band killing it!
What is that other instrument up front with the piano? Some sort of modified celesta?
It's an Ondes Martenot, an early 20th century hybrid electronic-acoustic instrument. It's what makes that high-pitched whistling sound that glissandos up and down.
sorabji1 Thank you!
Great! Absolutely great! But people, please, don't clap the fuck between movements...
What's the big deal? They liked what they heard & clapping is a way to show appreciation.
Yeah, of course... and also a great way to destroy the atmosphere created by the composer through his Symphony itself.
I know some traditions have no solid fundaments at all, but I really think that this one is specially meaningful in order to mantain the coherence of the work and, therefore, let the composer transmit what he wants more accurately.
And, no, my friend, I strongly believe it isn't the same situation when you are in a rock concert, for example. The attitud of the performers and the public, the way (proportion) you listen or hear the music, the meaning of "silence", the average loudness...
Nevertheless, with just a little "artist's empathy" it becomes very clear.
musicofracasao93 these are all valid arguments you've made, but it for a bit of fun backstory, see the wikipedia article entitled concert etiquette: "...Mozart expected that people would talk, particularly at dinner, and took delight in audiences clapping at once in response to a nice musical effect ... With the arrival of recording technology in the twentieth century, applause between the movements of a symphony or suite came to be regarded as a distraction from the momentum and unity of a work." so, symphonies did used to be somewhat like a rock concert, to some people!
pbzp Well, that's fun. I mean, Mozart used to play very happy and dynamic pieces in general, but I'm not specially sure he would appreciate applauses in the middle of his requiem "in response to a nice musical effect". There are situations and situations.
Believe me, I'm extremely liberal talking about tearing social norms, but I also think that the best way to break away from rules in general is not the action of denying them all (I think that's really really really stupid), but understand that they exist, they can be invented, they can be even discovered, they can be changed, they can have sense or not for you and, the most important fact, they're not fixed: they're just variables. And this relativity is given uniquely by the context.
And silence is great to preserve unity, listen actively better, understand or feel the sentimental message of the piece much better... etc, specially when these are, conciously or unconciously, fundamental blocks in the work of the author, which is a very common thing in classical music in general.
yes, i agree clapping oughter be somewhat verboten for religious/contemplative performances. although i wouldn't mind a bit more rock to my classical, i agree on the etiquette you posted above, and do solemnly swear to stop wolfwhistling between movements ;)
Does anyone know what type of keyboard is that at 8:03?
It’s called an “Ondes Martenot”
1:06:51 Low note priority? I thought the Ondes had the oposite.
Yes, in oryginal Ondes Martenot there low note priority. In new Ondomo you can switch between low/high note priority but in oryginal ondes its impossible.
The 5th movement is a little slow, I'm missing the passion. The title is "Joy of the Blood of the Stars", not "The friendly smile of the stars"....
Just listen to (e.g.) the UA-cam-Video "Tv67YkOWJNA"
... and you'll know what I wanted to say.
Yes, a certain section of the audience are idiots. They think everything must be clapped. I think the conductor should have made a 'shoosh' sign with his forefinger to his lips the first time that happened. The audience might then have got the message. I'd be very put out, as I sense this conductor was, by the inopportune clapping.
Martin Offord oh stfu at least they're enjoying the music and not trying to be eccentric self-righteous tossers like some people :/ they're not talking, they're not throwing rotten fruit at the conductor, they are just enjoying the music Christ almighty
My father was in the audience for an Edinburgh Festival concert conducted by Sir Thomas Beecham sometime in the early 1950s. A few idiots started clapping after the first movement of whatever they were playing. Beecham rounded on the audience, called the clappers "a bunch of savages" and threatened to stop the performance if they did it again. They didn't.
@@davidgriffiths7215 A HA HA! Great story! Bit harsh though!
My ears are hurting.
What’s the need of doing this kind of comments? I don’t know nor will know ever. This is a masterpiece for people who actual know about music.
@@alejandrom.4680 What's the need of doing this kind of comments? I don't know nor will know ever. This is horrible for people who actual don't like it.
Ondes Martenot
I don't think I could ever sit through it....it, how do I say it......scares the living shit out of me...like extreme panic
WOOOOOOOOO made it to 5:40 NEW RECORD!!!
Try another movement, particularly the 5th.
The conductor seems to emphasize on the details...
If so moved. What's wrong with showing audience approval?
This symphony is a cyclops.
One of the trumpet players doesn't have a right hand.
ésto es música?
si
P. Marios Christodoulou mozart, liszt ,rachmaninov, scharwenka deben estar revolcándose en sus tumbas.
no
P. Marios Christodoulou creo que si.
Jean Fonsse para ti, para mi son un conjunto de notas desordenadas.
Dudamel's is better.
Turangalila is above Dudamel's pay grade. Try Paavo Järvi to hear how it should be done.
Excellent performance by these (very) young musicians but the orchestra is much too numerous. The result is therefore much too thick.
Actually, considering what an acoustic soup the RAH is (reference Sir Thomas Beecham's saw about a young composer's world premiere in the hall getting its first two performances at once), the sound is to my ears remarkably clear. After all, if any piece benefits from excess, this one is it...
26:43-27:15 playing on keyboard with ribbon? Uncomfortable. That place can be played whole on keyboard. There is no need to play "love theme" on ruban - just here.
She is an autodidact, she does many mistakes like that. It has no consequence here but sometimes she is out of tune because of that
@@cecilelartigau-ondesmarten9621 ??? She studied ondes Martenot with Jeanne Loriod. What are talking about?
@@kazimierzijadwiga définitely not : she only met Jeanne Loriod.... If you observe her left hand technic, you can see she presses the expressive touch with her finger only. The real technic (from Ginette Martenot and Jeanne Loriod then Valérie Hartmann) is playing with the whole arm... That is the first thing we learn, from the very first lesson and during the following months and years. Playiing by rolling the forearm is the most important aspect of ondes technic
she is a good autodidacte playing by ear. This is not a criticism, it's a fact, an observation (I attended several of her concerts)
@@cecilelartigau-ondesmarten9621 Well I don't know. I only can tell that I don't like her vibrato - almost semitone.
00:25 -1st mvt Introduction
06:53 -2nd mvt Chant d’amour (First Love Song)
15:11 -3rd mvt First Turangalîla
21:00 -4th mvt Chant d’amour 2 (Second Love Song)
32:00 -5th mvt Joie du Sang des Étoiles (Joy of the Blood of the Stars)
39:00 -6th mvt Jardin du Sommeil d’amour (Garden of Love’s Sleep)
50:20 -7th mvt Second Turangalîla
54:50 -8th mvt Développement d’amour (Development of Love)
01:05:50 -9th mvt Third Turangalîla
01:11:00 -10th mvt Finale