A splendid, spirited performance. This is the symphony that was first performed in Paris in July 1778, which Mozart describes in a letter to his father. "… just in the middle of the first Allegro there was a passage which I felt sure must please. The audience were quite carried away-and there was a tremendous burst of applause. But as I knew, when I wrote it, what effect it would surely produce, I had introduced the passage again at the close-when there were shouts of “Da capo”. And about the last movement, he writes "... having observed that all last as well as first Allegros begin here with all the instruments playing together and generally unisono, I began mine with two violins only, piano for the first eight bars followed instantly by a forte; the audience, as I expected, said “hush” at the soft beginning, and when they heard the forte, began at once to clap their hands." Wouldn't it be wonderful if the audience was allowed in classical concerts to react in this natural way - as in jazz and rock concerts - and not be constrained to listen in total silence?
Classical music would certainly benefit from a more organic, spontaneous approach regarding the audience and the concert proposal. The excess of reverence and solemnity that surrounds the concerts is often in dissonance with the piece being played -- take Beethoven, for example. The man was assaulting the heavens, we should be laughing, crying, drinking, dancing to his music, instead of this mandatory sitting and waiting for the end. And I'm not implying that the quiet audience and traditional concert format is always bad, the problem is always conceiving this approach as the standard. Of course the solution has nothing to do with those concerts and musicians that try to banalize classical music, or make it more appealing as a show. I'm probably alone here, but I would love to attend a wild presentation of Bach, Mozart, Beethoven, Schumann, Mahler, Penderecki, Stravinsky, Villa Lobos etc., with people around being joyful and free instead of concerned with some elitist status. And by the way, thanks for the Mozart excerpts, they are awesome.
My little personal story...I went with my Mom and her husband to see Mozart's 20th piano concerto as that piece of music changed my life. When it was over, I was the only one on my feet clapping above my head and Mom tried to pull me down as to not embarrass us. I just stood up clapping. When music moves youj to your core, that is a fantastic thing.
I'm SO glad to read these comments. I have said the same for years: the absurdity of sitting in total silence at the end of some stirring movement (Brahms' 1st piano concerto, for example) is creepy. In NO other musical setting is this ridiculous restraint exercised: We cheer in ballet, we applaud and call out after some soprano sings "Vissi d'arte", we applaud when Adelaide in Guys and Dolls does her hilarious schtick. Yet, somehow in classical concerts, we sit like bumps on a log. It's ridiculous, and I'm glad to have Wolfie's own letters describing the scene.
We can always count on Frankfurt Radio Symphony to deliver an amazing performance with amazing quality recording. I really want to watch a concert by them at the Alte Oper one day.
Graziöse und intelligente Aufführung dieser lebhaften und komponierten Sinfonie mit präzisen Tönen der Streicher, milden Tönen der Holzbläser und schimmernden Tönen der Blechbläser. Der erste Satz klingt besonders spannend und aufregend. Im Kontrast klingt der zwei Satz echt mild und beruhigend. Die begabte Dirigentin leitet das erfahrene hr-Sinfonieorchester im gut phrasierten Tempo und mit perfekt analysierter Dynamik und Agogik. Wahrlich wundervoll!
Wonderful music making from the orchestra as always. I also find the conductor to be wonderful in many aspects: she shows how the music should sound like with her gestures. Good tempo, and great character. She certainly has a very solid core in her stance and her music making. Bravo!
There is a second Andante that Mozart composed for this symphony. It is almost never played included, but mostly as a single piece. That piece is one of my favourite. It is so poetic and melancholic yet friendly and hopefull.
Bernard Labadie explained this to the National Symphony Orchestra audience in Washington, DC last week, and they then played the second Andante. It was splendid!
Lebhafte und wunderschöne Aufführung dieser kompakten und fein komponierten Sinfonie mit seidigen Tönen aller Streicher, milden Tönen aller Holzbläser und brillanten Tönen aller Blechbläser. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Die intelligente und talentierte Dirigentin leitet das ausgezeichnete Orchester im rhythmischen Tempo und mit effektiver Dynamik. Einfach wundervoll!
Diesmal bekommen Sie einen Like von mir. Ihr Kommentar ist zwar, wie immer, gleich, aber Giedre ist definitiv intelligent und talentiert. Ich habe gemeinsam mit ihr studiert.
Si una sinfonia poco frequentata, ma ricca di suoni e colori. Con lo spirito giusto che è quello teatrale di Mozart. Oserei dire che ogni sinfonia è un’opera teatrale. Orchestra che suona un magnifico Mozart. Grazie a tutti ❤❤❤
Das strahlt und strotzt vor Gutgelauntheit, das frohlockt und heitert auf! Das „wendet sich und blickt und macht uns schneller / und wir folgen wie die Vogelsteller / und das Herz klingt oben bis ins Ohr.“ (Rilke).
I am a pianist, not a conductor. That is why I am asking. The discussion can be althought done😅 Yes. She is conducting two beats, not four. But there is no tragedy at all. What I see she is conducting Mozart a little bit untypicaly. But I like it and there are also the another sharing this opinion with me. It is more personal thing of taste.
Conducting in two is completely fine. My problem with her is mainly that she's not very precise, she's giving too much information and sometimes her gestures are even a bit conflicting. The first thing I was taught as a conductor is to not overwhelm the orchestra with unnecessary information.
Any specific criticism of her conducting? Unclear beat? Wrong tempo? No dynamic guidance? No sense of phrasing? Or is just perhaps the wrong gender. I don't think the musicians looked miserable or anxious, and I don't think they had any trouble following her. On the contrary, I saw one or two smiles, and the front desk cellists seem particularly cheerful (17:07).
@@dorette-hi4j Sure! Her entire upper body is filled with tension, especially her wrist and shoulders, and she compensates by showing the beat with her lower body, which while it isn't too noticeable on camera is always distracting and extraneous. Those moments where she is trying to show very small gestures are especially egregious, as it becomes clear that she is unable to dictate a beat from the wrist without an incredible amount of tension because of holding in the wrist. When she makes a broad musical gesture that gesture is often slightly out of sync with the subdivided tempo as a whole, and so the result is tempo instability. Finally, and most distracting, is that her use of space is incredibly inconsistent and broadcasts, once again, a tempo instability that the entire ensemble senses. You'll notice that many of them aren't looking up at all- a marked contrast to other videos of the orchestra, which feature relaxed ensemble members smiling quite often (not "once or twice" in the performance of an entire symphony, thanks), faces out of the stands, joyfully interacting with the conductor and each other. There's very little of that here, because they're focused on something else- staying together. More importantly than any of these concerns: were you looking, in your comment, to exempt an entire gender from any criticism of musicianship or technical ability? It seems like that's the case. And if so, is that not more insulting, patronizing, and sexist than the comments of someone who just happens to think that another person, regardless of gender, doesn't seem to be terribly good at what they do? Anyway, it's just gross. Really gross.
@@ctfamily40 Fair enough, and I'm sorry to have implied that you personally were biased against female conductors. It is such a common prejudice (often expressed in veiled terms) that sometimes one suspects it when it isn't there.
nowadays it’s possible to make a career as a conductor without any musical talent or skills. a great orchestra like HR would deserve better conductors.
What do you think you know about somebody's musical talent just by watching a video of them conducting? Or could it be you just don't like women conductors?
It looks like the video wants to project Mozart's wife Constanze onto the conductor's image. Unfortunately, not only can I not look at the screen, but I also can't feel like listening to the music.
I am sorry - you make no sense! First you comment on the hair-style of the conductor in the Clarinet concerto. - now this. Why must you be a misogynistic troll, you poor unfortunate soul???
Die pariser symphonie nr 31 in d dur von mozart ist eigentlich gut gemacht nur det 1 satz das allegro ist mir zu schnell gespielt es fehlen noch mehr musikalische töne mann hätte mehr herauhoöen sollen hier beim 2 satz das andante ist es ebenso das orchester müsste mann viel mehr heiss machen müssten der 3 satz allegro ist okay es gibt bessere darstellungen
It seens she is a disciple of Paavo Järvi, whose style of conducting I love. Bon succès chère madame (depuis Montréal)
A splendid, spirited performance. This is the symphony that was first performed in Paris in July 1778, which Mozart describes in a letter to his father.
"… just in the middle of the first Allegro there was a passage which I felt sure must please. The audience were quite carried away-and there was a tremendous burst of applause. But as I knew, when I wrote it, what effect it would surely produce, I had introduced the passage again at the close-when there were shouts of “Da capo”.
And about the last movement, he writes "... having observed that all last as well as first Allegros begin here with all the instruments playing together and generally unisono, I began mine with two violins only, piano for the first eight bars followed instantly by a forte; the audience, as I expected, said “hush” at the soft beginning, and when they heard the forte, began at once to clap their hands."
Wouldn't it be wonderful if the audience was allowed in classical concerts to react in this natural way - as in jazz and rock concerts - and not be constrained to listen in total silence?
Classical music would certainly benefit from a more organic, spontaneous approach regarding the audience and the concert proposal. The excess of reverence and solemnity that surrounds the concerts is often in dissonance with the piece being played -- take Beethoven, for example. The man was assaulting the heavens, we should be laughing, crying, drinking, dancing to his music, instead of this mandatory sitting and waiting for the end. And I'm not implying that the quiet audience and traditional concert format is always bad, the problem is always conceiving this approach as the standard. Of course the solution has nothing to do with those concerts and musicians that try to banalize classical music, or make it more appealing as a show. I'm probably alone here, but I would love to attend a wild presentation of Bach, Mozart, Beethoven, Schumann, Mahler, Penderecki, Stravinsky, Villa Lobos etc., with people around being joyful and free instead of concerned with some elitist status.
And by the way, thanks for the Mozart excerpts, they are awesome.
My little personal story...I went with my Mom and her husband to see Mozart's 20th piano concerto as that piece of music changed my life. When it was over, I was the only one on my feet clapping above my head and Mom tried to pull me down as to not embarrass us. I just stood up clapping. When music moves youj to your core, that is a fantastic thing.
No, it wouldn't be WONDERFUL.
Some people have such an overrated sense of what is desirable.
(The comment above expresses an exception)
@@nickgoldring1446 Thank you for clarifying!
I'm SO glad to read these comments. I have said the same for years: the absurdity of sitting in total silence at the end of some stirring movement (Brahms' 1st piano concerto, for example) is creepy. In NO other musical setting is this ridiculous restraint exercised: We cheer in ballet, we applaud and call out after some soprano sings "Vissi d'arte", we applaud when Adelaide in Guys and Dolls does her hilarious schtick.
Yet, somehow in classical concerts, we sit like bumps on a log. It's ridiculous, and I'm glad to have Wolfie's own letters describing the scene.
Mozart; thank you for every beautiful note you leave in such a horrible world. We love you.
We can always count on Frankfurt Radio Symphony to deliver an amazing performance with amazing quality recording. I really want to watch a concert by them at the Alte Oper one day.
She understands the spirit of Mozart's music: outstanding the interpretation of the final movement
She has a very neat, clear style of conducting - unequivocal, with nothing exaggerated.
Graziöse und intelligente Aufführung dieser lebhaften und komponierten Sinfonie mit präzisen Tönen der Streicher, milden Tönen der Holzbläser und schimmernden Tönen der Blechbläser. Der erste Satz klingt besonders spannend und aufregend. Im Kontrast klingt der zwei Satz echt mild und beruhigend. Die begabte Dirigentin leitet das erfahrene hr-Sinfonieorchester im gut phrasierten Tempo und mit perfekt analysierter Dynamik und Agogik. Wahrlich wundervoll!
Wonderful music making from the orchestra as always. I also find the conductor to be wonderful in many aspects: she shows how the music should sound like with her gestures. Good tempo, and great character. She certainly has a very solid core in her stance and her music making. Bravo!
There is a second Andante that Mozart composed for this symphony. It is almost never played included, but mostly as a single piece. That piece is one of my favourite. It is so poetic and melancholic yet friendly and hopefull.
Bernard Labadie explained this to the National Symphony Orchestra audience in Washington, DC last week, and they then played the second Andante. It was splendid!
Truly beautiful performance - filled with energy, style and elegance from start to finish!
Lebhafte und wunderschöne Aufführung dieser kompakten und fein komponierten Sinfonie mit seidigen Tönen aller Streicher, milden Tönen aller Holzbläser und brillanten Tönen aller Blechbläser. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Die intelligente und talentierte Dirigentin leitet das ausgezeichnete Orchester im rhythmischen Tempo und mit effektiver Dynamik. Einfach wundervoll!
Diesmal bekommen Sie einen Like von mir. Ihr Kommentar ist zwar, wie immer, gleich, aber Giedre ist definitiv intelligent und talentiert. Ich habe gemeinsam mit ihr studiert.
Yes, and show me a conductor who isnt intelligent and talented, please?
Notaire, der ChatGPT-Bot des hr-Orchesters. 😂
Si una sinfonia poco frequentata, ma ricca di suoni e colori. Con lo spirito giusto che è quello teatrale di Mozart. Oserei dire che ogni sinfonia è un’opera teatrale. Orchestra che suona un magnifico Mozart. Grazie a tutti ❤❤❤
Upon listening intently to many of HR's performances, I consider this orchestra as #1 in the world. My very best regards and appreciation.
Agreed!
Ich liebe auch die Musik von Mozart.
СПАСИБО!!!
1st movement
0:05 begins |
2nd movement
7:24 begins |
Great performance!
Haha, to me it’s like she is directing a totally different symphony. Lol 😂 Beautiful! ❤
Simplemente maravilloso💥🙌💃🌹❤🎼🎻
Heel mooi gespeeld 👏🙏
Wonderful version, has the full stamina of this Mozart's symphony, full of energy, thanks a lot for sharing!
Absolute beauty
Thanks so much!!!!!
BRAVO ... SWEET AND BEAUTIFUL SOUNDS OF YESTERYEAR
Very nice ❤
Великолепно 👏
А русским запрещают слушать классическую музыку?
Greetings from Mexico.
❤
What a wonderfully crafted piece! And so well played!!
Wat een prachtig orkest. En een mooie klankkleur.
👏👏👏👏⚘️⚘️
Amazing!!! Congrats!!
こんなに瑞々しいモツアルトは初めて。オーケストラも乗りに乗ってる感じだね
😊😊Herr
r😊
Das strahlt und strotzt vor Gutgelauntheit, das frohlockt und heitert auf! Das „wendet sich und blickt und macht uns schneller / und wir folgen wie die Vogelsteller / und das Herz klingt oben bis ins Ohr.“ (Rilke).
Quelle énergie bravo
I’m doing this same program, American in Paris and the Paris Symphony in March, and wow does Šlekytė do both pieces justice.
So wonderful! What an incredible regency ❤️❤️😍
Praise God we have a
women conductor ❤
两拍子或者四拍子指挥，这个倒是没问题，就是第一乐章太快了。3:30左右的风格转换没有明显对比。一个疑问，5:32 开始，定音鼓的渐强，这是莫扎特作品里常见的处理吗？我在谱面上没有看到对这个的清晰提示
Maravilloso ❤
Mozart. ÚNICO IRREPETIBLE ETERNO
Delightful. Thanks a lot.
What is conductor’s name?
Que hermosura escuchar esta belleza
Красиво. Спасибо.
A symphony that looks like a concerto.
The score of the symphony or the video of this performance???
A Kick-A...s performance 🎉🎉🎉
📒
Pretty bad ass.
💖💗💝❤️🩹💙💛💚💜 ..
I tell U All...this lady conductor..just full.of endless energetic motions....! Jn
Vivaldi Mozart Strauss....happiness...what beautiful by Mozart
Lovely
Better than Royal Bangkok symphony orchestra.
What an amazing talent. She has a genius.
I am a pianist, not a conductor. That is why I am asking. The discussion can be althought done😅 Yes. She is conducting two beats, not four. But there is no tragedy at all. What I see she is conducting Mozart a little bit untypicaly. But I like it and there are also the another sharing this opinion with me. It is more personal thing of taste.
Conducting in two is completely fine. My problem with her is mainly that she's not very precise, she's giving too much information and sometimes her gestures are even a bit conflicting. The first thing I was taught as a conductor is to not overwhelm the orchestra with unnecessary information.
Peinliche Handbewegungen und Grimassen. Aber Orozco Estrada war nicht besser!!
👎Giedrė Šlekytė👎
Heard one of the performances led by her in Toronto. To be very honest, not very impressed.
The musicians look miserable and anxious trying to follow this. They deserve a far better conductor.
Any specific criticism of her conducting? Unclear beat? Wrong tempo? No dynamic guidance? No sense of phrasing? Or is just perhaps the wrong gender. I don't think the musicians looked miserable or anxious, and I don't think they had any trouble following her. On the contrary, I saw one or two smiles, and the front desk cellists seem particularly cheerful (17:07).
@@dorette-hi4j Sure!
Her entire upper body is filled with tension, especially her wrist and shoulders, and she compensates by showing the beat with her lower body, which while it isn't too noticeable on camera is always distracting and extraneous. Those moments where she is trying to show very small gestures are especially egregious, as it becomes clear that she is unable to dictate a beat from the wrist without an incredible amount of tension because of holding in the wrist.
When she makes a broad musical gesture that gesture is often slightly out of sync with the subdivided tempo as a whole, and so the result is tempo instability.
Finally, and most distracting, is that her use of space is incredibly inconsistent and broadcasts, once again, a tempo instability that the entire ensemble senses.
You'll notice that many of them aren't looking up at all- a marked contrast to other videos of the orchestra, which feature relaxed ensemble members smiling quite often (not "once or twice" in the performance of an entire symphony, thanks), faces out of the stands, joyfully interacting with the conductor and each other. There's very little of that here, because they're focused on something else- staying together.
More importantly than any of these concerns: were you looking, in your comment, to exempt an entire gender from any criticism of musicianship or technical ability? It seems like that's the case. And if so, is that not more insulting, patronizing, and sexist than the comments of someone who just happens to think that another person, regardless of gender, doesn't seem to be terribly good at what they do?
Anyway, it's just gross. Really gross.
@@ctfamily40 Fair enough, and I'm sorry to have implied that you personally were biased against female conductors. It is such a common prejudice (often expressed in veiled terms) that sometimes one suspects it when it isn't there.
Ich komme nicht aus deutschland. Und sie sind gestresst.
nowadays it’s possible to make a career as a conductor without any musical talent or skills. a great orchestra like HR would deserve better conductors.
@@onenightraven1978yes but she shouldn’t be guest again😂 if the conductor is the least good musician on the whole stage something went wrong…
What do you think you know about somebody's musical talent just by watching a video of them conducting? Or could it be you just don't like women conductors?
Ahhh so you are a professional musician and worked with her that you can judge her? ;))
What a stupid and unprofessional comment, who has no idea from classic music!
@@derfux979yes I’m a professional musician and experienced her already as a conductor in an orchestra.
This is why most orchestras should avoid playing Mozart.
But she IS a profesional😅
It looks like the video wants to project Mozart's wife Constanze onto the conductor's image. Unfortunately, not only can I not look at the screen, but I also can't feel like listening to the music.
I am sorry - you make no sense! First you comment on the hair-style of the conductor in the Clarinet concerto. - now this. Why must you be a misogynistic troll, you poor unfortunate soul???
Doch ist okay...sie wird dadurch nicht schöner ...
Die pariser symphonie nr 31 in d dur von mozart ist eigentlich gut gemacht nur det 1 satz das allegro ist mir zu schnell gespielt es fehlen noch mehr musikalische töne mann hätte mehr herauhoöen sollen hier beim 2 satz das andante ist es ebenso das orchester müsste mann viel mehr heiss machen müssten der 3 satz allegro ist okay es gibt bessere darstellungen
Deutsche Sprache, schwere Sprache gell?
Come dire : il pelo nell’uovo!! ( scherzo 😛)
Sieht komisch von einer Frau..
Und Sie sind nicht mal in der Lage, einen richtigen Satz zu schreiben. 😂
Warum soll eine Frau kein Orchester dirigieren?