Bohuslav Martinů:3.Szimfónia H.299 1.Allegro poco moderato 00:00 2.Largo 09:28 3.Allegro - Andante 16:29 Királyi Skót Nemzeti Zenekar Vezényel:Bryden Thomson
This symphony is noteworthy for its texture which changes often, giving her a specific momentum that is not only harmonic or melodic nor rhythmic - even if the rhythm is quite important in this symphony. . This is a rather outstanding score.
Apparently, this symphony and the sixth are most appreciated in the series. I do not know if I'm talking bullshit (I do not have any instruction in musical theory) but it seems to me that almost all Martin's works, or at least his works of maturity, are composed according to a technique that makes all thematic material derive from a small group of chords, a cell. Although this procedure reminds Bruckner, I believe that the source in this case is Debussy, and the same goes for Sibelius, whose music seems to arise from a very similar procedure on a small chord cell. It is not surprising that Martin's art not only does not resemble Debussy's, but even less so with Sibelius's.
It seems in fact that there are generating cells in this Martinu's symphony and in Martinu's works in a more general way. It is true about Debussy and Sibelius (in some works), ut in quite another way. You are right underlining that point.
It seems to me that a remarkable difference and that in Sibelius a small group of chords can evolve into vast thematic declarations and complex metmorfoses that make the structure and discourse of some of his works a little hard to follow require extreme attention. For me, this happens in the sixth and seventh symphonies. In Martinů, the basic thematic cell not only rarely asfatas of memory in the various stages of a work, as it closely resembles that of other works, which gives the musician's mature work a remarkable unity of style and language, but at the cost of a certain monotony.
@@pedrohenriqueprata It would be a lot less entertaining if commentators would proofread / edit their comments before ending comments. I wouldn't have to guess what those words really are any more.
@@Renee2004lr I sincerely think that you are a bit severe. Remember that we are not writing in our native language. What if you were asked to comment in German or Russian? Actually, even in English, you did not comment the music. I perfectly understand what Rique meant, even if I don't completely share his views. But I have no idea about your own musical opinion. We are here to have exchanges about music, not to get top level Enlish lessons..
Recently listening to this symphony on CD via good speakers, I actually gasped at the amazing sound produced by Martinu in the finale (here at 22:53). I know the symphony well but had forgotten just what remarkable sounds this composer can draw from an orchestra. (To say nothing of the luminous moment at 24:25). I have various complete recordings of the symphonies but wouldn’t be without Bryden Thomson’s Martinu. Try the scherzo of No. 4 for size or the strings in the first 3 minutes of that symphony's slow movement.
Thanks for uploading this symphony. I love the symphonies of Martinu, especially nos. 3, 5 and 6 and I think from what I've heard so far, Bryden Thomson's recordings are second only to those of Neumann with the Czech. Philharmonic
The site in the picture today: www.google.cz/maps/@50.0871161,14.4074698,3a,75y,295.08h,93.05t/data=!3m7!1e1!3m5!1sjTAQOGUyMDhPM_LYdWoj9w!2e0!3e2!7i13312!8i6656?hl=en
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I love the fizzy yet homogeneous texture of Martinu's symphonies - something instantly recognisable and distict.
Your vision worthy of its object,, sir.
Just love this symphony. Martinu at his very best.
The passage at 22.52 with the flutes hovering over the strings is pure magic and pure genius. It's like nothing else in music.
One of the most extraordinary sequences of music I've ever heard.
Quite impressive indeed. Reminds me a bit the 4th Symphony of Villa-Lobos, 4th movement.
Just magnificent.
Belle oeuvre, au relief puissant, thématique nette et forte...
Exciting and breathtaking symphony...great!
..so schön, so großartig; so underrated! .....ahhh!
Bohuslav Martinů:3.Szimfónia H.299
1.Allegro poco moderato 00:00
2.Largo 09:28
3.Allegro - Andante 16:29
Királyi Skót Nemzeti Zenekar
Vezényel:Bryden Thomson
This symphony is noteworthy for its texture which changes often, giving her a specific momentum that is not only harmonic or melodic nor rhythmic - even if the rhythm is quite important in this symphony. . This is a rather outstanding score.
Apparently, this symphony and the sixth are most appreciated in the series. I do not know if I'm talking bullshit (I do not have any instruction in musical theory) but it seems to me that almost all Martin's works, or at least his works of maturity, are composed according to a technique that makes all thematic material derive from a small group of chords, a cell. Although this procedure reminds Bruckner, I believe that the source in this case is Debussy, and the same goes for Sibelius, whose music seems to arise from a very similar procedure on a small chord cell. It is not surprising that Martin's art not only does not resemble Debussy's, but even less so with Sibelius's.
It seems in fact that there are generating cells in this Martinu's symphony and in Martinu's works in a more general way. It is true about Debussy and Sibelius (in some works), ut in quite another way. You are right underlining that point.
It seems to me that a remarkable difference and that in Sibelius a small group of chords can evolve into vast thematic declarations and complex metmorfoses that make the structure and discourse of some of his works a little hard to follow require extreme attention. For me, this happens in the sixth and seventh symphonies. In Martinů, the basic thematic cell not only rarely asfatas of memory in the various stages of a work, as it closely resembles that of other works, which gives the musician's mature work a remarkable unity of style and language, but at the cost of a certain monotony.
@@pedrohenriqueprata It would be a lot less entertaining if commentators would proofread / edit their comments before ending comments. I wouldn't have to guess what those words really are any more.
@@Renee2004lr I sincerely think that you are a bit severe. Remember that we are not writing in our native language. What if you were asked to comment in German or Russian? Actually, even in English, you did not comment the music. I perfectly understand what Rique meant, even if I don't completely share his views. But I have no idea about your own musical opinion. We are here to have exchanges about music, not to get top level Enlish lessons..
Man, that ending is unsettling...
Totally agree with you on that one!!
velkolepé a krásné = great and beautifull
Brilliant!!
great
Recently listening to this symphony on CD via good speakers, I actually gasped at the amazing sound produced by Martinu in the finale (here at 22:53). I know the symphony well but had forgotten just what remarkable sounds this composer can draw from an orchestra. (To say nothing of the luminous moment at 24:25). I have various complete recordings of the symphonies but wouldn’t be without Bryden Thomson’s Martinu. Try the scherzo of No. 4 for size or the strings in the first 3 minutes of that symphony's slow movement.
Great with Bose headphones, too.
Thanks for uploading this symphony. I love the symphonies of Martinu, especially nos. 3, 5 and 6 and I think from what I've heard so far, Bryden Thomson's recordings are second only to those of Neumann with the Czech. Philharmonic
+cameronpaul Give Jarvi on BIS a go - they float my boat!
Ancerl on Supraphon recordings is brilliant!
Jarvi is superb too.
Thank you !
The site in the picture today: www.google.cz/maps/@50.0871161,14.4074698,3a,75y,295.08h,93.05t/data=!3m7!1e1!3m5!1sjTAQOGUyMDhPM_LYdWoj9w!2e0!3e2!7i13312!8i6656?hl=en
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