Dmitrij Shostakovitch - Symphony No. 11 G minor op. 103 | WDR Sinfonieorchester | J-P Saraste
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- Опубліковано 30 вер 2024
- The WDR Symphony Orchestra plays Dmitri Shostakovich's Symphony No. 11 in G minor op. 103 under the baton by Jukka-Pekka Saraste. With this monumental work, recorded on 5 April 2019 in the Cologne Philharmonic Hall, we immerse ourselves in the time of the 1905 revolution in Russia.
00:00:27 I. Der Platz vor dem Palast. Adagio
00:14:37 II. Der 9. Januar. Allegro - Adagio - Allegro - Adagio
00:34:35 III. In memoriam. Adagio (attacca:)
00:46:36 IV. Sturmgeläut. Allegro non troppo - Allegro - Moderato - Adagio - Allegro
WDR Sinfonieorchester
Jukka-Pekka Saraste, conductor
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28:23 FINALLY!!! A timpanist who actually is aware that he also participates in the fugue!
Cannon agree more! This is what I missed in the majority of performances
@@andreykonovalov2324 It is the same musician as in the Bychkov performance ;-)
29:43 I also like how they have an extra drummer who plays only the grace notes so as to keep the rhythm tight
当時の歴史的背景をしっかり勉強してからでないとこの曲の本質はなかなか理解できない。
私は60歳近くになってようやくこの作品にほんのほんのちょっとだけ近づけたような気がする。
まだまだ勉強が足りない💦。
1:01:45 DON'T STOLE OUR BELLS!!!
Very good performance!!
bravo to the snare drummer for being able to instantly adjust to the new tempo at 29:40
and bravo to the conductor for completely avoiding the written tempo and putting a tempo change where there never was one
this whole section is meant to be played at quarter note = 216, but in the section leading up to 29:40, the conductor slows down, like, 20 clicks, and then speeds up to around quarter note = 240
so the conductor was wrong
@@325bpm6 It's up to the conductor to decide tempo. I'd like to see you get up on the stand and try.
@@masantonio8790 as a conducting student i agree with bpm, the sudden tempo change makes the oppression sound more like an exciting motorbike ride
@@johannesasfaw Yes. I'd say this tempo change certainly falls within the bounds of creative flexibility.
Many conductors speed up the tempo, as if they think the utter chaos of protestors being gunned down by the palace guard would be more effectively portrayed by speeding the tempo.
But it sounds more like an unstoppable menace if you keep the tempo straight throughout the entire section, like Shostakovich wrote in his score. All in 108 bpm for the half note.
Schostakowitschs Musik ist selbst dann schon monumental, wenn sie nur flüstert. Wie wenn ein Mensch nur mit Blicken und stummen Lippenbewegungen etwas mitzuteilen versucht. Schon da geht bei Schostakowitsch der Himmel auf. Und da liegt auch der große Unterschied zu den Komponisten der Romantik: die haben ihre privaten Gefühle zu einer Weltangelegenheit gemacht. Schostakowitsch hat die Gefühle *Anderer*, die Gefühle der ganzen Welt, zu seiner eigenen Angelegenheit gemacht.
Sehr schön gesagt.
There are a few great interpretations of this epic work on UA-cam. But the reasons why I would choose this one over all the others are, firstly, there is something very "clean" about this performance. The ensemble is perfect, as can be heard in the unison woodwinds at 25:40 and in the unbelievable string playing throughout. Secondly, the absolute commitment of all the musicians to this music. They all take it seriously and believe in it. One doesn't often see that with such intensity. Thirdly, those bells! That young percussionist who plays them has totally the right intense expression for the role. He looks like a serious character out of a Dostoevsky novel! I love it! Finally, I love Jukka-Pekka Saraste. One might think that he looks too laid back for a powerful work like this. But he is mightily in control and all the real work has gone into rehearsals. He had a vision for this and it came to life. That tocsin conclusion though. Do you think the world has paid attention to it? Shostakovich said that he wanted "to show the recurrence" of despot-led evil and warn against it with this symphony. The ending with the bells is supposed to epitomize that. But as there is no real key progression from beginning to end, it would suggest that he doubted the alarm would be heeded. He has so far been proven right. Thank you all for a superb reminder and performance!
Thank you for your kind words. We are glad that you like it. 🤩
I prefer that the bells are allowed to decay at the end, until, silence.
Me encantó esta interpretación, es una de mis sinfonías favoritas de este magnífico compositor, hasta ahora no la he escuchando en vivo, me encantaría tener la oportunidad de estar presente cuando toque alguna orquesta esa solemne sinfonía...
49:40 strings are amazing
allways 🤭
Bravo wdrso und Saraste!!!!!! 🥰🥰🥰
29:43 Jaaaaaaa
The ending is incredibly powerful. This is how authoritarian regimes collapse.
Das ist einfach geil!
EINVERSTANDEN !!! :-)
21:48 | 22:15 | 29:15 | 52:39 | 54:49 | 59:04 Beginning of end | 1:00:47 | 1:01:38
Proper bells!!!
At the climax of the 2nd movement the build up fugue part was a bit slow but it all made up in the release. Bravissimo!
30:23
Yeah, I see the tortured soul
S A C R E L I G I O U S
29:40
I'm sorry, but no recording will ever come close to the pure intensity and passion of Wdr with Bychkov.
The cinematography of the Bychkov recording is nothing short of blockbuster-worthy and the orchestra and bychkov outdid themselves back then
We have a selection of the Bychkov recordings online too.
➡️ ua-cam.com/play/PLS66eMqyKkK2OhVY7DF5fb9D2LRBdTVDI.html
I agree, Bychkov holds the title for the best Shostakovich 11 performance. I wish so badly it was on DVD in 60 FPS HD, I'd buy a copy for 200 bucks.
27:00 attack
Snare drum missed his first entry
Pas mal du tout, mais si loin de ce que le maestro Bychkov a obtenu de la même formation....
너무 멋있습니다
훌륭합니다♡
Just great !
Tremendous ! - Thank YOU +++
Hi, Keith!
You are welcome!
Quien diría, Shostakovich tocando el redoblante minuto 1:01:35
The second movement at 14:38
19:35
27:00
27:01
Une des plus belles interpretations sur you tube en vidéo bravo maestro
Terrifying.
3:10
53:00
BRAVO EXCELLENT.
Why so many asians? Its China??
We actually have musicians from over 20 countries in our orchestra, and that’s something we’re very happy about! The language of music is international and we’re glad top Musical Talents from all over the world want to join our orchestra.
@@WDRKlassik And that coming from a Russian, who seemed to forget, that huge parts of his country are actually ... asian. Good response @WDR!
@@romanczura4146 But there is something to be said about Orchestras risking to lose their national indentities (and there is such a thing in different music schools and how they are taught) if they let too many outsiders into their ranks. By that I mean not necesarrily that it matters whether an instrumentalist is from South Korea or Germany, but rather where they studied their instrument.
@@Quotenwagnerianer And with that I can agree. Although it seems rather hard to preserve what is - and if one looks back in time, it allways was. The main difference seems, it all happens much faster now and only now we have the intend to preserve, to conserve. The first question is: is this museal approach not in a way standing in the path of natural evolution and progress?
And the second question: will many cultures and traditions at some time indeed merge into one "Einheitsbrei"? It may seem so, but then again even in popular culture it seems people are tired of always the same and hungry for other cultures (see the recent success of non-english Netflix series such as La casa de papel or Squid Game).
yes.