Tiempo sin oír la quinta! Pensando que ya estaba (prácticamente) todo dicho...y este genio hace casi 100 años renueva mi interés en este portento de obra!!!! Gracias por compartirlo 🙏🏻
He likes the French Horn to be dominant. And brass generally are never subdued or bland. He almost ritardandos thd French Horn parts and again on the repeat to allow them to sing out. This is such an informative archive.
I don't generally like fast tempos, because so much nucance gets lost. But the Fifth is written in broad strokes, and is vitally concerned with energy. This performance is never rushed, and is not just a breakneck speed performance. He takes time where the music needs time, and never loses his poise. This is just great. I listen with awe.
Having slogged through this too many times, I agree with your comment wholeheartedly! Strauss both breathes and bristles where it needs to. So grateful to get to hear this performance 🎉❤
Wonderful restoration of this great recording. Thanks, Paul. Those of us familiar with Strauss as conductor know his excellence well. He was in his mid-60's at the time of this recording, and still in his prime. Notable here is the kind of lean, transparent sound that his disciples Reiner and Szell carried forward. A terrific 5th.
From heart, soul and mind, not rule books, fashionable trend or interpretational pedantry - this is a personal distillation of the very essence of this music. No single performance will capture every view that dances from the facets of this music but this revelatory performance is amongst the very best amongst the many I have heard - and that includes Klemperer's legendary 1956 performances with the London Philharmonia and Pletnev's vision with the RNSO. Not forgetting the incredible quality of the audio restoration.
Da ist eine großartige Aufnahme. Perfektes Tempo. Schnell und voller unfassbarer Dynamik. Meiner Meinung nach hat erst Zinnman in den 80er Jahren dieses Tempo für Beethoven wieder erwachen lassen. Diese hier ist noch großartiger, als meine liebsten Beethoven Einspielungen von Zinnman und dem Tonhalle Orchester. Strauss war nicht nur ein großartiger Komponist, sondern auch ein fantastischer Dirigent, der gewußt hat, wie man Beethoven spielen läßt. Vielen Dank für diese großartige historische Erkenntnis.
Un regalo musicale incredibile : Un genio eseguito da un altro genio. Una delle più belle esecuzioni della Quinta mai ascoltate, che rende giustizia alla fama di Richard Strauss direttore d'orchestra ( ed allievo di Bulow!! ). Many thanks for posting!!
Goodness me! What an incredibly high-quality sound for a recording made 97 years ago! Almost beyond belief! Magnificently well done! Thank you for sharing it on your channel. And what a fabulous performance. A joy to listen to. There's nothing like this today, with its incredible energy and speed, and the kind of spirited rubato that more or less ended with Furtwängler. A wonderful Fifth!
esecuzione decisamente diversa da quelle tradizionali e all'opposizione di quella di altri tedeschi come Furtwangler, siamo più vicini a Toscanini, Carlos Kleiber o Karajan. Indiscutibile la bravura di direttore d'orchestra oltre che di fantastico compositore.
A slap in the face of the conspiracy theorists that said music was played without vibrato or that Beethoven's Metronome markings were not meant to be observed. A bit odd however that he chose to not play the repeat in the first movment. It's a short exposition, it needs a repeat.
The last movement needs the repeat as well, on account of the fact that Beethoven wrote it! I first heard the piece without that repeat and felt something missing. For this recording, I wonder if there was some constraint with fitting it on the record or something like that.
@@andrewkohler3707 That's a given of course. But the repeat in the last movement has been ignored on recordings so often that I don't even feel the need to mention it. However I have never before heard a recording where the first movement is played without.
I wouldn't say it's odd, Karajan very often omitted repeats in his recording of Beethoven and Schubert. So while it doesn't adhere to the sonata form Beethoven was writing in, it reflects more on the modern and romantic departures from the Classical era's rigidity
@somenuggett6653 I agree it's not odd, but it's disappointing. Beethoven omitted repeats when he saw fit (Ninth Symphony first movement). The Classical era is more rigid on the whole, sure, but the repeats are part of the structure, and there's nothing rigid per se about them.
Truly amazing! Such liberty of tempo and pauses! I realize that he has taken a lot from Beethoven in e.g. Till Eulenspiegel. The moment when the music "waits" and just goes nowhere (2'30") is similar to when Till E. is "hiding away". And the solo oboe is an inspiration to Till before the judge (solo clarinet). (But that of course also came from the scaffold moment in S. Fantastique.)
funny. mahler was known for his conducting but not his compositions - strauss was known for his compositions but not his conducting. they are opposites in so many ways. There is a book on this - "Mahler and Strauss" by Charles Youmans.
Great performance , but I prefer Mengelberg from around the same time. Mengelberg, Strauss, Stokowski , Toscanini and Walter were the greatest conductors ever !
Tiempo sin oír la quinta! Pensando que ya estaba (prácticamente) todo dicho...y este genio hace casi 100 años renueva mi interés en este portento de obra!!!! Gracias por compartirlo 🙏🏻
Wow. Nearly a century old, and as vivid as a thunderstorm outside my window.
He likes the French Horn to be dominant. And brass generally are never subdued or bland. He almost ritardandos thd French Horn parts and again on the repeat to allow them to sing out. This is such an informative archive.
Sensationell ist diese fünfte. Richard Strauß hat den Komponisten Beethoven in seinem Wesenskern vollkommen verstanden und setzt das vollständig um.❤
I don't generally like fast tempos, because so much nucance gets lost. But the Fifth is written in broad strokes, and is vitally concerned with energy. This performance is never rushed, and is not just a breakneck speed performance. He takes time where the music needs time, and never loses his poise. This is just great. I listen with awe.
Having slogged through this too many times, I agree with your comment wholeheartedly! Strauss both breathes and bristles where it needs to. So grateful to get to hear this performance 🎉❤
Watch out, Toscanini!
Wonderful restoration of this great recording. Thanks, Paul. Those of us familiar with Strauss as conductor know his excellence well. He was in his mid-60's at the time of this recording, and still in his prime. Notable here is the kind of lean, transparent sound that his disciples Reiner and Szell carried forward. A terrific 5th.
From heart, soul and mind, not rule books, fashionable trend or interpretational pedantry - this is a personal distillation of the very essence of this music. No single performance will capture every view that dances from the facets of this music but this revelatory performance is amongst the very best amongst the many I have heard - and that includes Klemperer's legendary 1956 performances with the London Philharmonia and Pletnev's vision with the RNSO. Not forgetting the incredible quality of the audio restoration.
A genius composer conducting a work by an earlier genius composer! It can't get any better than this!
🙂👌
Wow, he really goes for broke in the first movement! Thrilling performance! Overall a 5th one can revisit many times. Thanks for the post!
Da ist eine großartige Aufnahme. Perfektes Tempo. Schnell und voller unfassbarer Dynamik. Meiner Meinung nach hat erst Zinnman in den 80er Jahren dieses Tempo für Beethoven wieder erwachen lassen. Diese hier ist noch großartiger, als meine liebsten Beethoven Einspielungen von Zinnman und dem Tonhalle Orchester. Strauss war nicht nur ein großartiger Komponist, sondern auch ein fantastischer Dirigent, der gewußt hat, wie man Beethoven spielen läßt. Vielen Dank für diese großartige historische Erkenntnis.
tempi incredibili per l'epoca, verament molto molto interessante!
Un regalo musicale incredibile : Un genio eseguito da un altro genio. Una delle più belle esecuzioni della Quinta mai ascoltate, che rende giustizia alla fama di Richard Strauss direttore d'orchestra ( ed allievo di Bulow!! ). Many thanks for posting!!
ずいぶん音質がいいですね。ビックリです。演奏も快活明瞭です。
This might be my favorite Beethoven’s 5th that I’ve ever heard. Thanks for posting - great work as always.
Wonderful performance, IMO. Strauss was quite the conductor. And the sound is amazing for it's time. Thanks!
Best Beethoven 5 ever, no doubt. Miles above everyone else, even Furtwängler.
Listen: 0:44
0:59 portamenti
3:29
3:35
3:38
Great video!
Actually there were three major condutors pre WWI, Strauss,Toscanini, and maybe the greatest of them all, Gustav Mahler
What a wonderful, wonderful performance! Thrilling! Thank you!
And a wonderful restoration, too!
Goodness me! What an incredibly high-quality sound for a recording made 97 years ago! Almost beyond belief! Magnificently well done! Thank you for sharing it on your channel. And what a fabulous performance. A joy to listen to. There's nothing like this today, with its incredible energy and speed, and the kind of spirited rubato that more or less ended with Furtwängler. A wonderful Fifth!
Inmortal performance!!!
Merci pour cette archive sonore inestimable
This is outstanding. Thank you for posting!
esecuzione decisamente diversa da quelle tradizionali e all'opposizione di quella di altri tedeschi come Furtwangler, siamo più vicini a Toscanini, Carlos Kleiber o Karajan. Indiscutibile la bravura di direttore d'orchestra oltre che di fantastico compositore.
Thanks for posting
Vaya, un éxito de interpretación. Suena tan moderna, casi pone fin a la discusión del metrónomo beethoviano.
Thank you very much for sharing
Strauss's rendition 1) seems like even faster than Toscanini's, 2) is a worthy alternative to Toscanini's.
Magnificent performance! And above all... no "effect without cause".
A slap in the face of the conspiracy theorists that said music was played without vibrato or that Beethoven's Metronome markings were not meant to be observed.
A bit odd however that he chose to not play the repeat in the first movment. It's a short exposition, it needs a repeat.
The last movement needs the repeat as well, on account of the fact that Beethoven wrote it! I first heard the piece without that repeat and felt something missing. For this recording, I wonder if there was some constraint with fitting it on the record or something like that.
@@andrewkohler3707 That's a given of course. But the repeat in the last movement has been ignored on recordings so often that I don't even feel the need to mention it.
However I have never before heard a recording where the first movement is played without.
@@Quotenwagnerianer I heard one with Toscanini that omitted it, to be my surprise and disappointment!!
I wouldn't say it's odd, Karajan very often omitted repeats in his recording of Beethoven and Schubert. So while it doesn't adhere to the sonata form Beethoven was writing in, it reflects more on the modern and romantic departures from the Classical era's rigidity
@somenuggett6653 I agree it's not odd, but it's disappointing. Beethoven omitted repeats when he saw fit (Ninth Symphony first movement). The Classical era is more rigid on the whole, sure, but the repeats are part of the structure, and there's nothing rigid per se about them.
Absolutely amazing, thank you very much for this!
Wow the energy.
Thank you thank you thank you
Truly amazing! Such liberty of tempo and pauses! I realize that he has taken a lot from Beethoven in e.g. Till Eulenspiegel. The moment when the music "waits" and just goes nowhere (2'30") is similar to when Till E. is "hiding away". And the solo oboe is an inspiration to Till before the judge (solo clarinet). (But that of course also came from the scaffold moment in S. Fantastique.)
Jamás creí que pudiera oir esto en mi vida❤
*Eu também não !*
This is an astonishing performance. You can hear that this is a classical performance. Mozarts tradition is not long away in this rendering.
I tempi giusti
Two geniuses meet at last in 1928.
Wait Strauss conducted Beethoven? I didn't know that!
I am in awe at what I have just heard.
The opening of the third movement begins with same notes and intervals between them as the opening of the last movement of Mozart's 40th symphony
Absolutely stunning transfer work. Would it be possible for you to upload a lossless version of this recording anywhere?
I seldom listen to the over played 5th. This is well worth all 4 movements.
funny. mahler was known for his conducting but not his compositions - strauss was known for his compositions but not his conducting.
they are opposites in so many ways. There is a book on this - "Mahler and Strauss" by Charles Youmans.
this is the only version for me
Quanti oggi saprebbero accettare un a simile esecuzione?
Great performance , but I prefer Mengelberg from around the same time. Mengelberg, Strauss, Stokowski , Toscanini and Walter were the greatest conductors ever !
22:53
うおー！
リヒャルト・シュトラウス指揮のベートーヴェン交響曲第5番だああああ!!!!!!
2:50 急迫するテンポで
ダダダダー…ン!!
しかし「雪崩込むように」
ダダダダーン！ダダダダーン！
とやるのではなく
(たとえばテンシュテットの1970年代の演奏のように！)
冒頭と同じように
ダダダダー…ン(引き伸ばし、そして間を開けて)
ダダダダー…ン!!
ベートーヴェンの交響曲第5番の第1楽章
その、もっとも印象的な冒頭に繰り返されるダダダダーンの場面をこれほど強調した演奏ははじめて
そう言ってよいのか？
解釈の一貫性を感じる演奏だった
例えばベートーヴェン本人はみんなが驚くようなテンポで演奏したという
(プレトニョフの談)
どのような作曲家であっても
「作曲家の顔」と「演奏家の顔」はちがう
作曲するときのスタンスと
演奏するときのスタンスは異なる…のかな？
作曲家の池辺晋一郎氏が自作自演の際に演奏家に
「なぜそのように演奏するのか？」ときいたとき
演奏家は「楽譜にそう書いてあるからだ」とこたえた
作曲家であっても
「作曲家の顔」と「演奏家の顔」はちがうのだとおもう
ベートーヴェンはとくにそうなのかもしれない
ここでのリヒャルト・シュトラウスの指揮の首尾一貫？ぶりについて感じたのは
彼は「作曲家としての顔」も「演奏家としての顔」も大差ないのではないか？とわたしは感じた
ときにスローダウンしてたっぷり聞かせるが快速テンポでガリガリと進行
しかし、決めどころ「ダダダダーン」だけはしっかりと印象的にきかせる
その「演奏」に「作曲家」としてのリヒャルト・シュトラウスを見る
彼は演奏に際しても作曲された曲の解釈に首尾一貫性を持たせようとする
そこに「作曲家」リヒャルト・シュトラウスの「演奏家」としての姿勢を感じた
ごめんね
いま「飲んでる」の!!!!!!
4:56
Wow he could not keep tempo??
Like him more a conductor than a composer.
*"Nothing and nobody is perfect !"*
Already polluted by the contemporary instruments at the time. Where are the period instrument folks!?