What a wonderful memory of playing with Kubelik this brings back to me: he conducted some of the greatest concerts that we played during the 1970's/'80's in the New York Philharmonic. He was so admired by all the more experienced musicians in our orchestra... his performances of the "House of the Dead" opera were absolutely devastatingly exciting. He also sometimes gave a special analysis (playing the piano too) of the music of that week's concerts at the Bruno Walter Hall at Lincoln Center -- he told us that he restored Janacek's original ending of that opera. What great musical moments he gave us and our audiences.... I am grateful that we had those experiences which last forever in the memory. Once in a rehearsal of Tchaikovsky's 6th, he just conducted it straight through without stopping, and at the end (no one was in the hall, just the orchestra on stage) the entire orchestra stood and applauded him. One of the violinists told me later that was one of the greatest performances he had ever played of that work....
Kubelik has really got to be one of my personal favourite conductors to have ever been graced the privilege to be recorded. His decisive and effortless baton is modern, precise, and deeply interpretive, but retains just the right amount of rusticity to give integrity to this deeply Bohemian, folklike (short - long short - long, hooked rhythms, especially in the first mvmnt) melody of a symphony. Simply bravo for the maestro and for this wonderful orchestra.
Kubelik was an idol of Simon Rattle, when he was 15 ears old he went to his rehearsals and liked the polite communication with orchestra accrcding to a recent post of Czech Phil with Simon Rattle.
Plaisir de voir ce grand chef qui à la tête De cette orchestre bavarois avec lequel il nous a donné tant de beaux enregistrements de Dvorak et de Mahler notamment
My preference is just the opposite. Less rhapsodic (not that that is a bad thing) and more 'Brahmsian' (and intensely so, at that), if you will. This has more to do with details in tempi and even more emphatic articulation, overall timings for the interpretations notwithstanding. Kubelik recorded one that predates the Berlin Phil. series by several years (it used to be available on Testament, if I recall) that is exceptional as well. On paper, one would not believe Gardiner could pull off such a miracle with an orchestra that has no real 'tradition' of Dvorak performance. Today's musicians in orchestras of decent repute are rightfully potential angels of interpretation. With inspired insight and direction, you get Gardiner and the RSPO.
@@kodalycat906 In this version the orchestration has also been changed; something which I find really disappointing, considering that the recording of Kubelik conducting the same symphony is my personal favorite
he was music director of the chicago symphony orchestra for 3 years, before claudia cassidy of 'the chicago tribune' hounded him out of town, along with a push from the brass of the cso. cassidy later savaged Jean Martinon, who fled, leaving the way open for the Sir Georg Solti/Daniel Barenboim/Carlo Maria Giulini era. i was so lucky to have seen so many concerts directed by these gentlemen.
now i read that claudia cassidy was just as nasty to solti. and one of her successors claimed that solti: 'he does not direct music; he directs sound.' guess that is the clever sort of stuff newspapers like.
A wonderful performance of Dvorak's finest symphony (a personal favorite of Brahms from what I hear). If all I got to hear for the rest of my life was the scherzo, I could do a lot worse.
I have loved Kubelik's conducting since I heard him play the Symphony Fantastic by Berlioz and I also agree that he is one of the greatest directors of all time.
Wonderful! It is important to motivate yourself during rehearsals just before the actual performance. Chef Maestro who conducts with a complete memorized score that cultivates the pride of self-improvement that both self and others admit, the orchestra itself has already completed the briefing at the complete memorized score level. .. It was none other than Karajan who directed it to the Berlin Philharmonic and the Vienna Philharmonic. After that, how to flap each orchestra member's wings on the ground, that is, this time, after increasing the degree of freedom, the chemistry will swirl while adding and amplifying the improvisation that naturally occurs in the ensemble. He wants that thrilling pleasure. It's the same thing. Genuine. 本番直前リハーサルに於いてのモチベーション触発は、自他共に認める、それだけの自己研鑽の矜持を培っている完全暗譜で指揮をするChef Maestroであれば、もう全てがオーケストラ自体も完全な暗譜レベルでブリーフィング完了している。それをベルリン・フィルやウィーン・フィルに方向付けしたのが他ならぬカラヤン。後はその地盤の上に本番でいかにオーケストラメンバーそれぞれの羽ばたき方、つまり今度は自由度を増した上で、アンサンブルに自ずと自然発生に生まれ出る即興性を加味増幅させながらケミストリーが渦巻くようになる、そのスリリングな愉悦を彼は求めているという事ですね。 それと同じ事です。本物です。 日本人指揮者にはいるのだろうか？ 本当の意味合いで…。Nein. Nicht.
Both 7 & 9 are supreme masterpieces of the symphonic literature, although any work can get tiring if you hear them played too often. And the 9th is definitely played too often, although it's one of those timeless works...
With more than half a century of listening under my belt, I find I really don't need a top 10 list. I was looking through my Kubelik BRSO live recordings and after the Serenade,Op22 I wanted to see if there was a 7th with better sound than the one I have and this popped up. I only saw Kubelik once in 1978ish with NYP. Sarka, Martinu, and a Bee3. I've collected his recordings since the 60s one of the earliest being his Chicago from the 50s. I started listening...went through the first movement smiling and the scherzo and now somehow we're in the finale. I find the 'better' question akin to what is the best ice cream...hehehe I do the rounds. All the best Jim Oaxaca Mexico.
getting back to claudia cassidy, trust me, i know from reading her...so called columns. google her. she ran kubelik and then jean martinon. then she started in on solti. i think she met her match. she was equally nasty in theater and opera reviews.
@@leestamm3187I have neglected those two conductors. Have you heard the 1956 account of #7 with the Vienna Philharmonic? It is a bit overwhelming. As for the Slavonic Dances, the mid seventies recordings conducted by Kubelik are excellent but the 1950 account by Talich is daydream material. Are you a fan ot de Falla? For my money, THE account of NIGHTS IN THE GARDEN OF SPAIN is the one with Soriano that was conducted by Argenta, from the earliest days of stereo.
@@davidroyer5049 I know the 1956 Vienna recording, which is interesting to compare with this later performance. I'm acquainted with the Talich "Slavonic Dances," which I consider a reference for those pieces. Sad that so many younger folks have never heard of him. I checked out your "Nights in the Gardens of Spain" recommendation. It's a great recording of a thoroughly delightful work.
@@leestamm3187 thank you for your reply. I love the later (1983) account with Alicia De La Rocha but it seems to me that the austere reading that Soriano and Argenta gave in their recording was just what the piece calls for. I have had it on a mono LP for decades and I was amazed when I came across the stereo version. It was tragic that Argenta died at as young an age as he did. There is a CD that has a nice Debussy's Images for orchestra with Argenta conducting l'orchestre de la Suisse Romande. (Ansermet was considering Argenta as his successor at the time of Argenta's death in 1958)
Based on many of the comments it seems most people don't understand that a lot of the video cuts were filmed as playback after the actual performance. The orchestra hated doing this as it was really tedious, uninteresting playback work. This is why it looks "militaristic" etc. Karajan always liked to choreograph things to death - gilding the lily with absurdly unnatural alignment of trumpet bells etc. Better to listen to the performance and forget about the manipulated visuals...
What a wonderful memory of playing with Kubelik this brings back to me: he conducted some of the greatest concerts that we played during the 1970's/'80's in the New York Philharmonic. He was so admired by all the more experienced musicians in our orchestra... his performances of the "House of the Dead" opera were absolutely devastatingly exciting. He also sometimes gave a special analysis (playing the piano too) of the music of that week's concerts at the Bruno Walter Hall at Lincoln Center -- he told us that he restored Janacek's original ending of that opera. What great musical moments he gave us and our audiences.... I am grateful that we had those experiences which last forever in the memory. Once in a rehearsal of Tchaikovsky's 6th, he just conducted it straight through without stopping, and at the end (no one was in the hall, just the orchestra on stage) the entire orchestra stood and applauded him. One of the violinists told me later that was one of the greatest performances he had ever played of that work....
Maestro Kubelik and the BRSO was a marriage made in heaven.
Kubelik has really got to be one of my personal favourite conductors to have ever been graced the privilege to be recorded. His decisive and effortless baton is modern, precise, and deeply interpretive, but retains just the right amount of rusticity to give integrity to this deeply Bohemian, folklike (short - long short - long, hooked rhythms, especially in the first mvmnt) melody of a symphony. Simply bravo for the maestro and for this wonderful orchestra.
Pro tip : watch series at KaldroStream. Been using it for watching a lot of movies lately.
@Louis Bronson Yea, I've been using KaldroStream for since november myself :D
But I have dandruff
Kubelik was an idol of Simon Rattle, when he was 15 ears old he went to his rehearsals and liked the polite communication with orchestra accrcding to a recent post of Czech Phil with Simon Rattle.
00:15 Allegro maestoso
02:51 S.T.
11:41 Poco adagio
14:18 B
20:55 Scherzo: Vivace - Poco meno mosso
23:27 Trio
28:17 Finale: Allegro
30:21 S.T.
35:08
Völlig zu Unrecht steht diese phantastische Symphonie seit jeher im Schatten der 9.
Einfach hervorragend, aufbauend und inspirierend...Danke
An exquisite interpretation and performance.
Plaisir de voir ce grand chef qui à la tête De cette orchestre bavarois avec lequel il nous a donné tant de beaux enregistrements de Dvorak et de Mahler notamment
貴重な映像ありがとうございます。クーベリックは私が最も敬愛する大指揮者です。彼の残した録音はかなりの数のCDやDVDで保有しており長年愛聴してきました。あまり、専門的なことはわかりませんが、クーベリックの演奏はとてもダイナミックで表現が豊かで音が生き生きしていてとても美しいですね。バイエルン放送交響楽団のアンサンブルもとても素晴らしいです。
the strings are really magnificent in this performance
THANKSSSS!!!! I've been waiting for this video long time ago.
There are no directors like Kubelik nowadays
strings at 36:25-36:39: goosebumps...simply great and touching.
thank you for this wonderful post of one of the supreme interpreters of Dvorak. very deeply appreciated.
Best rendition of this symphony on UA-cam, followed by the Gardiner's one. Goose bumps for how the strings play here... Simply marvelous!!!
My preference is just the opposite. Less rhapsodic (not that that is a bad thing) and more 'Brahmsian' (and intensely so, at that), if you will. This has more to do with details in tempi and even more emphatic articulation, overall timings for the interpretations notwithstanding. Kubelik recorded one that predates the Berlin Phil. series by several years (it used to be available on Testament, if I recall) that is exceptional as well. On paper, one would not believe Gardiner could pull off such a miracle with an orchestra that has no real 'tradition' of Dvorak performance. Today's musicians in orchestras of decent repute are rightfully potential angels of interpretation. With inspired insight and direction, you get Gardiner and the RSPO.
@@kodalycat906 In this version the orchestration has also been changed; something which I find really disappointing, considering that the recording of Kubelik conducting the same symphony is my personal favorite
Magnifique, merci d'avoir fait revivre un tout grand chef d'orchestre interprétant l'une des meilleures oeuvres de Dvořák!
Super recomendable! 🎶🎶 Gracias por compartir esta grabación! 🤗
Wonderful💙💙💙At the first momment I was thrilled💜...Maestro Kubelik❤❤❤!!
very beautiful, and very Brahmsian....
Concert master respectful Rudolf Koeckert~!!!
Amazing.....Thanks
he was music director of the chicago symphony orchestra for 3 years, before claudia cassidy of 'the chicago tribune' hounded him out of town, along with a push from the brass of the cso. cassidy later savaged Jean Martinon, who fled, leaving the way open for the Sir Georg Solti/Daniel Barenboim/Carlo Maria Giulini era. i was so lucky to have seen so many concerts directed by these gentlemen.
now i read that claudia cassidy was just as nasty to solti. and one of her successors claimed that solti: 'he does not direct music; he directs sound.' guess that is the clever sort of stuff newspapers like.
Great, thank you Mark.
A wonderful performance of Dvorak's finest symphony (a personal favorite of Brahms from what I hear). If all I got to hear for the rest of my life was the scherzo, I could do a lot worse.
Absolutely overwhelming!
I have loved Kubelik's conducting since I heard him play the Symphony Fantastic by Berlioz and I also agree that he is one of the greatest directors of all time.
Esta realización excelsa formó parte del concierto de 2 de abril de 1978, con el 2 concierto de piano de Brahms y Barenboim al teclado.
Wonderful!
It is important to motivate yourself during rehearsals just before the actual performance.
Chef Maestro who conducts with a complete memorized score that cultivates the pride of self-improvement that both self and others admit, the orchestra itself has already completed the briefing at the complete memorized score level. .. It was none other than Karajan who directed it to the Berlin Philharmonic and the Vienna Philharmonic. After that, how to flap each orchestra member's wings on the ground, that is, this time, after increasing the degree of freedom, the chemistry will swirl while adding and amplifying the improvisation that naturally occurs in the ensemble. He wants that thrilling pleasure.
It's the same thing. Genuine.
本番直前リハーサルに於いてのモチベーション触発は、自他共に認める、それだけの自己研鑽の矜持を培っている完全暗譜で指揮をするChef Maestroであれば、もう全てがオーケストラ自体も完全な暗譜レベルでブリーフィング完了している。それをベルリン・フィルやウィーン・フィルに方向付けしたのが他ならぬカラヤン。後はその地盤の上に本番でいかにオーケストラメンバーそれぞれの羽ばたき方、つまり今度は自由度を増した上で、アンサンブルに自ずと自然発生に生まれ出る即興性を加味増幅させながらケミストリーが渦巻くようになる、そのスリリングな愉悦を彼は求めているという事ですね。
それと同じ事です。本物です。
日本人指揮者にはいるのだろうか？
本当の意味合いで…。Nein. Nicht.
Honestly speaking, 7 is a better music than Nr 9, although many won't agree.
I agree
It's like London is better than The New World ? Right ?
Both 7 & 9 are supreme masterpieces of the symphonic literature, although any work can get tiring if you hear them played too often. And the 9th is definitely played too often, although it's one of those timeless works...
at Hyung Park: I agree I like the 7th more than the 9th, but my favorite is the 8th, although I do get mixed up since they changed the numbering.
With more than half a century of listening under my belt, I find I really don't need a top 10 list. I was looking through my Kubelik BRSO live recordings and after the Serenade,Op22 I wanted to see if there was a 7th with better sound than the one I have and this popped up. I only saw Kubelik once in 1978ish with NYP. Sarka, Martinu, and a Bee3. I've collected his recordings since the 60s one of the earliest being his Chicago from the 50s.
I started listening...went through the first movement smiling and the scherzo and now somehow we're in the finale.
I find the 'better' question akin to what is the best ice cream...hehehe I do the rounds. All the best Jim Oaxaca Mexico.
素晴らしい演奏ですね！!
感動しました😂
クーベリックのドヴォルザークは大好きです❤
どうもありがとうございます😊
yes
getting back to claudia cassidy, trust me, i know from reading her...so called columns. google her. she ran kubelik and then jean martinon. then she started in on solti. i think she met her match. she was equally nasty in theater and opera reviews.
oppps... conductors
👍Genuine.
I have long been a fan of Kubelik. . .
The only conductor who could challenge him in that repertoire was Vaclav Talich.
I'm another fan of both Kubelik and Talich. I also count Ančerl and Neumann among my favorites in this repertoire.
@@leestamm3187I have neglected those two conductors.
Have you heard the 1956 account of #7 with the Vienna Philharmonic? It is a bit overwhelming.
As for the Slavonic Dances, the mid seventies recordings conducted by Kubelik are excellent but the 1950 account by Talich is daydream material.
Are you a fan ot de Falla? For my money, THE account of NIGHTS IN THE GARDEN OF SPAIN is the one with Soriano that was conducted by Argenta, from the earliest days of stereo.
@@davidroyer5049 I know the 1956 Vienna recording, which is interesting to compare with this later performance. I'm acquainted with the Talich "Slavonic Dances," which I consider a reference for those pieces. Sad that so many younger folks have never heard of him. I checked out your "Nights in the Gardens of Spain" recommendation. It's a great recording of a thoroughly delightful work.
@@leestamm3187 thank you for your reply. I love the later (1983) account with Alicia De La Rocha but it seems to me that the austere reading that Soriano and Argenta gave in their recording was just what the piece calls for.
I have had it on a mono LP for decades and I was
amazed when I came across the stereo version.
It was tragic that Argenta died at as young an age as he did. There is a CD that has a nice Debussy's Images for orchestra with Argenta conducting l'orchestre de la Suisse Romande.
(Ansermet was considering Argenta as his successor at the time of Argenta's death in 1958)
* *
Herkulessaal der Residenz ?
4th.mov 28:17~ 30:15~
27:20、32:48
Based on many of the comments it seems most people don't understand that a lot of the video cuts were filmed as playback after the actual performance. The orchestra hated doing this as it was really tedious, uninteresting playback work. This is why it looks "militaristic" etc. Karajan always liked to choreograph things to death - gilding the lily with absurdly unnatural alignment of trumpet bells etc. Better to listen to the performance and forget about the manipulated visuals...