Mendelssohn est un génie digne de Bach. Une symphonie pleine de grâce, d'élévation et en même temps jubilatoire. Très belle version, fine, fluide et profonde avec un son généreux, jamais heurté. Merci beaucoup à l'orchestre, aux chanteurs et au chef Alain Altinoglu qui fait respirer cette musique. Un moment de félicité.
I just noticed this was/is today! Wow! Many thanks for the many fabulous works of the greatest musical minds in all human history. What blessings. God bless you all!
This symphony is quite interesting, very well written and orchetrated. By no ways it is inforior to symphonies 3,4,5 and even exhibits some unique features, like for instance the prodigious and poorly known Walpurgisnacht op. 60, adter Goethe's "second" Faust. Mendelssohn is quite surprising, even in piano. Forget for instance his honeyed romances without words and listen to his Preludes & fugues.
Literarisch lobenswerte und wunderschöne Aufführung dieser einzigartig konstruiereten doch perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie gut harmoniserten Stimmen des ausgezeichneten Chors und herrlichen Stimmen dreier genialen Solisten. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester in verschiedenen Tempi und mit perfekt kontrollierter Dynamik. Wundervoll vom Anfang bis zum Ende!
Magnificent performance! It makes my heart and soul cry out to God in thanksgiving and praise. Mendelssohn if, I believe, woefully underappreciated and underperformed by orchestras today.
È sublime ❤...!!!! È un " Canto di Lode " che nasce da un cuore credente , tale è il cuore di Mendelssohn ❤.. Il canto del coro nell'ultimo movimento mi fa lacrimare gli occhi 😢😢..Sia Lodato il creatore dei due mondi ...❤❤❤
In such a masterful interpretation, I think this second symphony of Felix Mendelsshon-Bartholdy announced, in the middle of the 19th century, the later second symphony of Gustav Mahler. Two cathedrals of symphonic music...
I'll be in the chorus at a performance of this piece August 2023 -- it seems an apt choice as the pandemic abates to sing "Let everything that hath breath praise the Lord." Probably that was in the mind of the director a year ago also, if perhaps a bit prematurely. I hope the performers were all vaccinated and tested: there was a LOT of breath blowing into that space!! This is the most nuanced performance I have found so far on UA-cam. Some performances make the piece seem just loud and bombastic from beginning to end. I loved watching the choir during the "Nun Danket" movement: it seemed clear that many of them were singing the chorale from memory from learning it in childhood.
Danke für diesen tollen Musik❤ Meine Musikklub singt dieses Musik und das hilft uns sehr. Ich bin japanische Studentin so mache ich vielleicht Fehler, aber meine Danke für deine Musik ist sehr groß ❤
Прекрасно!Включила,чтобы познакомиться с редко исполняемым сочинением Мендельсона и была совершенно захвачена"Хвалебной песнью".Ален Алтыноглу покорил.Прекрасно чувствуеет и стиль композитора и своих музукантов.Совершенно отеческой улыбкой одновременно внушает бесстрашие и дарует силу.Спасибо!
I’ve been watching performances of Maestro Altinoglu for weeks now, and I can’t help but be struck how much he resembles Anton Rubinstein, and to some extent Hector Berlioz (the latter whose music Altinoglu does exceptionally well.) He certainly carries the traditions of the nineteenth century well into the future; lovely directing! Perhaps he should tackle some of Rubinstein’s music, sometime.
History (en.wikipedia.org/wiki/Lobgesang) It was composed in 1840, along with the less-known Festgesang "Gutenberg Cantata", to celebrate the 400th anniversary of the invention of Johannes Gutenberg's movable type printing system. In 1842 Mendelssohn published his Scottish Symphony as "Symphony No. 3", however, "Symphony No. 2" had never been published during Mendelssohn's lifetime. Possibly the composer's intention was to spare this number for his earlier Italian Symphony, which he premiered in 1833, but afterward withheld for a revision that was never completed. The Italian Symphony was published posthumously as "Symphony No. 4". Decades after Mendelssohn's death, the editors of the old Mendelssohn complete edition entered Lobgesang as "No. 2" in the sequence of these symphonies for editorial reasons. However, there is no indication that this represented the composer's intentions. The new Mendelssohn-Werkverzeichnis (MWV), published in 2009 by the Saxonian Academy of Sciences and Humanities, no longer lists Lobgesang among the symphonies, but rather among the sacred vocal works.
Mendelssohn's symphony numberings are a bit of a mess. I agree that this simply isn't a symphony, but the others are sort of jumbled too. The chronological order (and what other criterium to use for numbering?) Is 1-5-4-3 when we exclude two. However, enter the "string symphonies" and the thing becomes even more confused. We can just prefix all, but I've seen numberings that just include the ones with a fuller orchestra: Nos. 8 and perhaps 11 (which contains percussion in the 2nd mvt). In which case SS8=1, SS11=2, Regular Symph 1=3, 5=4, 4=5, 3=6. In short, it's a mess.
Descrição da obra (Wikipedia) A obra é em Si bemol maior e é formalmente dividida em duas partes: a primeira, a sinfonia, que representa cerca de um terço da obra e consiste em três movimentos instrumentais interligados e sem pausa; e a segunda, a cantata, formada pelos números 2 a 10 da obra. As duas partes da obra, contudo, não são independentes, pois são conectadas pelo tratamento dos temas musicais. Assim, o vibrante tema inicial só se revela verdadeiramente para o ouvinte quando a parte da cantata se encaixa à letra Alles was Odem hat, lobe den Herrn (Todos que têm um sopro de vida/respiram, louvem ao Senhor), passagem que dá título à obra. Para o texto da obra, o compositor uniu citações da Bíblia com o hino protestante de Martin Rinckart Nun danket alle Gott (Agradecei agora a Deus), e a partir disso elaborou três temas principais: o louvor de Deus, a fidelidade de Deus para aqueles que esperam a sua ajuda e seu consolo e a ascensão do povo de Deus das trevas para a luz. Mendelssohn enfatiza o último tema em particular, porque consegue vincular os temas bíblicos ao objetivo da obra: o desenvolvimento da prensa móvel e a primeira Bíblia impressa por Gutenberg conduzem ao clímax, que leva o cristianismo da Idade das trevas e da ignorância até uma nova era de esclarecimento. Isto é enfatizado no clímax dramático da obra, quando a pergunta do tenor solo “Hüter, ist die Nacht bald hin?” (Guardião, a noite está acabando?) é repetida com um tom de súplica cada vez maior, sendo primeiramente respondida com uma afirmativa pela soprano e depois pelo radiante tutti: “Die Nacht ist vergangen!” (A noite já passou!). Mendelssohn escreve sobre esta parte em uma carta: “para a introdução do coro “Die Nacht ist vergangen”, encontrei as palavras na Bíblia. Elas não poderiam ser mais bonitas e se encaixam como se estivessem sido escritas para essa música...” Muitas vezes, Mendelssohn também repete trechos do texto, passando primeiro pelos solistas e depois os repetindo no coro, simbolizando a propagação da iluminação do povo de Deus. Com o tratamento do texto, Mendelssohn dá seguimento à tradição do Oratório do século XVIII. A duração da execução da 1ª versão é de cerca de 37 minutos no total, e da 2ª versão, de aproximadamente 55 minutos.
Kann mir jemand erklären, warum nicht der Einstudierer das Orchester dirigieren kann/darf im Konzert? Warum unterscheiden sich oftmals Einstudierer und Dirigenten?
Der "Einstudierer" ist in diesem Fall nur für die Choreinstudierung zuständig. Das Werk hat aber auch Instrumentalsätze ohne Chor. Bei diesem Stück übernimmt aber sehr oft auch ein Chorleiter die Gesamtleitung.
In Ergänzung zu dem, was @obotobi bereits schrieb: Chor und Orchester bereiten sich zunächst getrennt voneinander vor. Chor-Dirigat und Orchester-Dirigat unterscheidet sich zudem in bestimmten Punkten (z. B. Atmung oder auch für den Chor beispielsweise die Hilfe für das Halten eines langen, schwierigen Tons; im Orchester hingegen ist Phrasierung oder das Zusammenspiel auf einer großen Bühne wo die Musiker:innen weit verteilt sitzen). Idealerweise arbeiten beide "Einstudierer:innen" gemeinschaftlich. In machen Fällen findet dies in Personalunion statt. Ich empfand es jedoch stets als Bereicherung, ein und dasselbe Stück unter der Leitung von zwei Dirigent:innen zu spielen. Wir handhabten es bei uns dann so, dass einen Teil der gemeinsamen Proben von beiden (zumeist abwechselnd) bestritten. Manchmal kam auch der jeweils andere Dirigent:in als Gast zum Hospitieren hinzu. Die Konzerte fanden dann idealerweise ein Mal unter dem Chor-Dirigent:in und ein Mal unter der Orchester-Dirigent:in statt. Es gebietet der Ehre, die jeweils andere Person zu nennen.
OBRA PRIMOROSA DE MENDELSSOHN, ESTA SINFONIA CANTATA 'LOBGESANG' OPUS 52, É UMA DAS MAIORES E MELHORES OBRAS DO PERÍODO ROMÂNTICO. SUA PERFEITA INTEGRAÇÃO DE SOLISTAS, ORQUESTRA E CORO OBTÊM ESPLÊNDIDA COESÃO RARÍSSIMA ENTRE OS GRANDES COMPOSITORES ROMÂNTICOS QUE JAMAIS ALCANÇARAM ESTA MAGISTRAL E FENOMENAL HARMONIA DOS RECURSOS MUSICAIS CONTIDOS NESTA ESTUPENDA OBRA. RICA DE HARMONIA, RICA DE MELODIA E EXTRAORDINÁRIO ACABAMENTO ARTÍSTICO QUE SÓMENTE MENDELSSOHN PODERIA OBTER COM SEU INCOMPARÁVEL GÊNIO.
So schön! Ich werde des Anhörens nicht müde! Preist den Herrn für Mendelssohns Talent sowie das der an der Aufführung beteiligten!!!🥰🥳🙏🏻🙏🏻
One of the best symphonies ever written. The composer must have been a genius.
He was just lucky to find all the right notes to put in the score - that's all.
Sadly, not a symphony
@@robertopatino6646et alors ! Et pourquoi malheureusement ?
Quel étrange commentaire .
Why not?@@robertopatino6646
Hi Felix, you are my favorite Composer!!❤
J’aime beaucoup cette œuvre, et plus je l’écoute plus je l’aime
Mendelssohn est un génie digne de Bach. Une symphonie pleine de grâce, d'élévation et en même temps jubilatoire. Très belle version, fine, fluide et profonde avec un son généreux, jamais heurté. Merci beaucoup à l'orchestre, aux chanteurs et au chef Alain Altinoglu qui fait respirer cette musique. Un moment de félicité.
Razón
Toporkest, topdirigent, top-camerawerk, top-geluidstechniek, dus: genieten!!!!!
Superbe
Légèreté de bonne aloi
La plus belle interprétation que je connaisse
Prodigious entrance with Trombones : Fabulous indeed 😍
not only the entrance - last but not least the finale!
I am glad to find Mendelssohn: I've been buried under Schubert, Schumann and Brahms.
That's not a bad place to be buried lol
This is so beautiful! Note what Mendelssohn makes of " Now thank we all our God"! Glorious!!!!
I just noticed this was/is today! Wow! Many thanks for the many fabulous works of the greatest musical minds in all human history. What blessings. God bless you all!
im always happy when the hr orchestra uploads a video, because i can discover new music played from a top world orchestra
Me too. Would love to see them in person one day.
Yes, undoubtedly a great orchestra!
Agree
This symphony is quite interesting, very well written and orchetrated. By no ways it is inforior to symphonies 3,4,5 and even exhibits some unique features, like for instance the prodigious and poorly known Walpurgisnacht op. 60, adter Goethe's "second" Faust. Mendelssohn is quite surprising, even in piano. Forget for instance his honeyed romances without words and listen to his Preludes & fugues.
Amazingly beautiful! It deeply touches us!
Literarisch lobenswerte und wunderschöne Aufführung dieser einzigartig konstruiereten doch perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie gut harmoniserten Stimmen des ausgezeichneten Chors und herrlichen Stimmen dreier genialen Solisten. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester in verschiedenen Tempi und mit perfekt kontrollierter Dynamik. Wundervoll vom Anfang bis zum Ende!
Bei ihnen ist immer alles Wahnsinn, wa?
@@Calamity365 Nicht immer, doch fast alles so.
Der Mezzosopran ist meiner Meinung nach nicht perfekt (was aber nicht heißen soll, dass ich es besser kann).
Auch wenn ich Atheist bin, muss ich sagen, das ist wunderschön!
Geht mir genau so
不是學音樂出身，不知道創作內容，不懂語言...
然而，一個多小時的交響曲，讓我目不轉睛！
豐富又帶著難度的樂曲，精湛的指揮，交響樂團，合唱團，男女獨唱，深深吸引住聽眾的眼、耳。
感恩！大和諧。
Beau compliment
There is so much going on in this symphony by Mandelson . The performance by all is simply stunning. Thank you all. Bravo...
I wonder if there any gud and Batch, Hidin' and Baydoven.
Phantastisch ! Gänsehaut ! 😌 😍
Magnificent performance! It makes my heart and soul cry out to God in thanksgiving and praise. Mendelssohn if, I believe, woefully underappreciated and underperformed by orchestras today.
Fantastic choir and orchestra!
Amazing rendition!
Congrats from Brazil.
A stunning and moving performance - thank you!
this literally makes me cry i wish i was there
È sublime ❤...!!!! È un " Canto di Lode " che nasce da un cuore credente , tale è il cuore di Mendelssohn ❤.. Il canto del coro nell'ultimo movimento mi fa lacrimare gli occhi 😢😢..Sia Lodato il creatore dei due mondi ...❤❤❤
Secondo me questa sinfonia supera di gran lunga la nina sinfonia di Beethoven....
So beautiful!! Thank you!!
The majesty and wonderfulness of this performance are overwhelmingly , and off the charts
Always good. Clear filming. Sparkling sound. No advts. Doesn't matter what they're playing. Very uplifting.
quelle bonheure d ecouter cette musique
Brilliant.and powerful
i've been obsessed with this since the upload! thanks for sharing such a precious performance!
Same here 😀🤩😍
경이롭고, 아름답습니다 ❤️
감사합니다 👍👍👍
Wonderful sound!!!
Это произведение можно слушать каждый день! Магическое произведение!! Как будто слушаешь первый раз каждый раз!
In such a masterful interpretation, I think this second symphony of Felix Mendelsshon-Bartholdy announced, in the middle of the 19th century, the later second symphony of Gustav Mahler. Two cathedrals of symphonic music...
I'll be in the chorus at a performance of this piece August 2023 -- it seems an apt choice as the pandemic abates to sing "Let everything that hath breath praise the Lord." Probably that was in the mind of the director a year ago also, if perhaps a bit prematurely. I hope the performers were all vaccinated and tested: there was a LOT of breath blowing into that space!!
This is the most nuanced performance I have found so far on UA-cam. Some performances make the piece seem just loud and bombastic from beginning to end.
I loved watching the choir during the "Nun Danket" movement: it seemed clear that many of them were singing the chorale from memory from learning it in childhood.
Divinement exécutée, cette œuvre est d'une beauté ineffable... Merci pour ce moment d'éternité ❤
Danke für diesen tollen Musik❤ Meine Musikklub singt dieses Musik und das hilft uns sehr. Ich bin japanische Studentin so mache ich vielleicht Fehler, aber meine Danke für deine Musik ist sehr groß ❤
Danke von Herzen für diesen musikalischen Genuss! Grüße aus Brasilien 🇧🇷
oaaah? ... Something else than samba?
Wunderbar, Danke!
Grüße aus Frankfurt - Andreas
Прекрасно!Включила,чтобы познакомиться с редко исполняемым сочинением Мендельсона и была совершенно захвачена"Хвалебной песнью".Ален Алтыноглу покорил.Прекрасно чувствуеет и стиль композитора и своих музукантов.Совершенно отеческой улыбкой одновременно внушает бесстрашие и дарует силу.Спасибо!
Ein sehr gutes video
MAGNIFICIANT!
BRAVO !!!
Great rhythmic integrity by this orchestra. (I have played every Mendelssohn orchestral work except this one!!!)
Essa sinfonia me lembra a Grande (Great) do Schubert, principalmente o primeiro movimento.
I’ve been watching performances of Maestro Altinoglu for weeks now, and I can’t help but be struck how much he resembles Anton Rubinstein, and to some extent Hector Berlioz (the latter whose music Altinoglu does exceptionally well.) He certainly carries the traditions of the nineteenth century well into the future; lovely directing!
Perhaps he should tackle some of Rubinstein’s music, sometime.
Ascult cu plăcere muzica Barocă și va multumesc pentru mesajele transmise
I wish I could’ve been there to bask in the glory.
Sehr schön, vielen Dank!
History (en.wikipedia.org/wiki/Lobgesang)
It was composed in 1840, along with the less-known Festgesang "Gutenberg Cantata", to celebrate the 400th anniversary of the invention of Johannes Gutenberg's movable type printing system.
In 1842 Mendelssohn published his Scottish Symphony as "Symphony No. 3", however, "Symphony No. 2" had never been published during Mendelssohn's lifetime. Possibly the composer's intention was to spare this number for his earlier Italian Symphony, which he premiered in 1833, but afterward withheld for a revision that was never completed. The Italian Symphony was published posthumously as "Symphony No. 4". Decades after Mendelssohn's death, the editors of the old Mendelssohn complete edition entered Lobgesang as "No. 2" in the sequence of these symphonies for editorial reasons. However, there is no indication that this represented the composer's intentions. The new Mendelssohn-Werkverzeichnis (MWV), published in 2009 by the Saxonian Academy of Sciences and Humanities, no longer lists Lobgesang among the symphonies, but rather among the sacred vocal works.
Mendelssohn's symphony numberings are a bit of a mess. I agree that this simply isn't a symphony, but the others are sort of jumbled too. The chronological order (and what other criterium to use for numbering?) Is 1-5-4-3 when we exclude two. However, enter the "string symphonies" and the thing becomes even more confused. We can just prefix all, but I've seen numberings that just include the ones with a fuller orchestra: Nos. 8 and perhaps 11 (which contains percussion in the 2nd mvt). In which case SS8=1, SS11=2, Regular Symph 1=3, 5=4, 4=5, 3=6. In short, it's a mess.
Hey sehr schöne Operrette mag ich sehr gerne hören und dass zusammen spiel einfach nur super traumhaft schön
❤❤❤
Descrição da obra (Wikipedia)
A obra é em Si bemol maior e é formalmente dividida em duas partes: a primeira, a sinfonia, que representa cerca de um terço da obra e consiste em três movimentos instrumentais interligados e sem pausa; e a segunda, a cantata, formada pelos números 2 a 10 da obra. As duas partes da obra, contudo, não são independentes, pois são conectadas pelo tratamento dos temas musicais. Assim, o vibrante tema inicial só se revela verdadeiramente para o ouvinte quando a parte da cantata se encaixa à letra Alles was Odem hat, lobe den Herrn (Todos que têm um sopro de vida/respiram, louvem ao Senhor), passagem que dá título à obra.
Para o texto da obra, o compositor uniu citações da Bíblia com o hino protestante de Martin Rinckart Nun danket alle Gott (Agradecei agora a Deus), e a partir disso elaborou três temas principais: o louvor de Deus, a fidelidade de Deus para aqueles que esperam a sua ajuda e seu consolo e a ascensão do povo de Deus das trevas para a luz. Mendelssohn enfatiza o último tema em particular, porque consegue vincular os temas bíblicos ao objetivo da obra: o desenvolvimento da prensa móvel e a primeira Bíblia impressa por Gutenberg conduzem ao clímax, que leva o cristianismo da Idade das trevas e da ignorância até uma nova era de esclarecimento. Isto é enfatizado no clímax dramático da obra, quando a pergunta do tenor solo “Hüter, ist die Nacht bald hin?” (Guardião, a noite está acabando?) é repetida com um tom de súplica cada vez maior, sendo primeiramente respondida com uma afirmativa pela soprano e depois pelo radiante tutti: “Die Nacht ist vergangen!” (A noite já passou!). Mendelssohn escreve sobre esta parte em uma carta: “para a introdução do coro “Die Nacht ist vergangen”, encontrei as palavras na Bíblia. Elas não poderiam ser mais bonitas e se encaixam como se estivessem sido escritas para essa música...” Muitas vezes, Mendelssohn também repete trechos do texto, passando primeiro pelos solistas e depois os repetindo no coro, simbolizando a propagação da iluminação do povo de Deus. Com o tratamento do texto, Mendelssohn dá seguimento à tradição do Oratório do século XVIII.
A duração da execução da 1ª versão é de cerca de 37 minutos no total, e da 2ª versão, de aproximadamente 55 minutos.
Whithout advertises
Next chance to hear this: 8 June 2024, 19:30 hr, Duesseldorf Johanneskirche
Everyone
Listen to the aesthetics of Mendelssohon‘s
Symphony
One of the horn players looks suuper young. Does anybody know his name?
25:45
Kann mir jemand erklären, warum nicht der Einstudierer das Orchester dirigieren kann/darf im Konzert? Warum unterscheiden sich oftmals Einstudierer und Dirigenten?
Der "Einstudierer" ist in diesem Fall nur für die Choreinstudierung zuständig. Das Werk hat aber auch Instrumentalsätze ohne Chor. Bei diesem Stück übernimmt aber sehr oft auch ein Chorleiter die Gesamtleitung.
In Ergänzung zu dem, was @obotobi bereits schrieb: Chor und Orchester bereiten sich zunächst getrennt voneinander vor. Chor-Dirigat und Orchester-Dirigat unterscheidet sich zudem in bestimmten Punkten (z. B. Atmung oder auch für den Chor beispielsweise die Hilfe für das Halten eines langen, schwierigen Tons; im Orchester hingegen ist Phrasierung oder das Zusammenspiel auf einer großen Bühne wo die Musiker:innen weit verteilt sitzen). Idealerweise arbeiten beide "Einstudierer:innen" gemeinschaftlich. In machen Fällen findet dies in Personalunion statt. Ich empfand es jedoch stets als Bereicherung, ein und dasselbe Stück unter der Leitung von zwei Dirigent:innen zu spielen. Wir handhabten es bei uns dann so, dass einen Teil der gemeinsamen Proben von beiden (zumeist abwechselnd) bestritten. Manchmal kam auch der jeweils andere Dirigent:in als Gast zum Hospitieren hinzu. Die Konzerte fanden dann idealerweise ein Mal unter dem Chor-Dirigent:in und ein Mal unter der Orchester-Dirigent:in statt. Es gebietet der Ehre, die jeweils andere Person zu nennen.
Hernandez Larry Thompson Cynthia Taylor Maria
56:21
Las interrupciones son molesta cuando se oye un concierto y está la tiene y muchas
On the thumbnail I thought it was Mr Darcy.
Gorgeous sound, outstanding soloists, magnificent orchestra, excellent choir... but too fast here and there, too much energy so to say.
Mi trasferisco a Francoforte. Basta questo.
OBRA PRIMOROSA DE MENDELSSOHN, ESTA SINFONIA CANTATA 'LOBGESANG' OPUS 52, É UMA DAS MAIORES E MELHORES OBRAS DO PERÍODO ROMÂNTICO. SUA PERFEITA INTEGRAÇÃO DE SOLISTAS, ORQUESTRA E CORO OBTÊM ESPLÊNDIDA COESÃO RARÍSSIMA ENTRE OS GRANDES COMPOSITORES ROMÂNTICOS QUE JAMAIS ALCANÇARAM ESTA MAGISTRAL E FENOMENAL HARMONIA DOS RECURSOS MUSICAIS CONTIDOS NESTA ESTUPENDA OBRA. RICA DE HARMONIA, RICA DE MELODIA E EXTRAORDINÁRIO ACABAMENTO ARTÍSTICO QUE SÓMENTE MENDELSSOHN PODERIA OBTER COM SEU INCOMPARÁVEL GÊNIO.
❤❤❤❤❤❤❤