I am always amazed at Maestro Abbado's humility! A gifted and intelligent musician who speaks so eloquently of Beethoven and not of his constant discovery of the latent or hidden meanings in Ludwig van Beethoven's works! Such is lost in translation of "fortunato" as blessed instead of fortunate. The great Claudio said we are fortunate to have Beethoven's works, which means Beethoven challenges us to discover(active) him/his thought/intent in his works rather than just being blessed/enriched by those works! Translation sometimes fail in communication without taking cognizance of the body language and facial expression of the Maestro Abbado.
De acuerdo con tigo Jacob ajayi, El lenguaje CORPORAL es importante, y el MAESTRO ABBADO LO HABLA MUY, Se le sale el amor por los poros por la musica, sobre todo por el GRAN COMPOSITOR Beethoven, MUCHAS GRACIAS POR TOCAR ESTE TEMA.🎶🎶🎶
What a leader ... we can only learn from him. A great example for 'fare musica insieme.' It is a great motivational concept. Thank you for uploading this video!
"Con Beethoven, non smetti mai di imparare" afferma Claudio Abbado , che ha interpretato le sinfonie del grande compositore (1770-1827) lungo l’arco di tutta la sua carriera , realizzando un monumento storico della musica occidentale , dedicato alle opere che Beethoven compose in meno di un quarto di secolo, dal 1799 al 1823. Simboli di libertà e di indipendenza, le sinfonie di Beethoven sono l'espressione della fiducia del compositore nella forza e dignità dell'uomo. Abbado è stato il più fine e sensibile interprete delle armonie strumentali di Beethoven, regalando con la sua bacchetta , la magia , la forza e la bellezza della musica di tutti i tempi .
Gênio! Perda irreparável. Poucos compreendem esta importantíssima ralação do "Tempo" em Beethoven. Abbado sabia como ninguém. Belo. Esse documentário e uma aula para todos os amantes da erudição. Bravo, Abbado. Será sempre lembrado na galeria dos monumentais.
Allora, per me ogni volta che ho sentito il maestro Abbado dirigere, soprattutto dopo la complessa operazione chirurgica, è stata un'esperienza interiore sublime! C'era sempre il suo momento di "trasfigurazione", bastava avere pazienza e puntualmente arrivava e tutti, orchestrali, pubblico e maestro volavamo in cielo!
Extreme musicality, profound intellect and humility = a great conductor. The greatest of his time. Only Barenboim carries on this trio of qualities, (with less humility!)
This may the noise introduced by web site design, esp on mobile phones. you may press a button by mistake. Another possiblitiy is to bookmark a video. I use like in general but someone they may not care.
A little correction to the translation: At 04:00 he didn't say that they were always faithful to the composer. What he said exactly was that it was the composer's merit (ma, sempre il merito è del compositore). I point it out because it shows his great humility. Incidentally, I'm amazed at the few views and the even fewer 'likes'.
Buon giorno Questa mattina ho avuto l'opportunità di ascoltare e vedere quanto il maestro Abbado. ha lasciato ai posteri qualche cosa che ritengo molto importante , ringraziando UA-cam e tutti quanto ne fanno parte, per avermi permesso di poterne ricevere consigli,. punti di vista, esperienza artistica, con profonde verità. Ho apprezzato moltissimo il volere sottolineare l'importanza sulla priorità di attenzione che un artista della sua dimensione da ai compositori in genere e alla sensibilità degli esecutori dai musicisti ai direttori di orchestra. E stata occasione per ascoltare, imparare e riflettere. Grazie ancora.
Quand on voit les sieurs Arnaud et Musk se disputer le titre officiel d’homme le plus « riche » du monde, et qu’on entend ensuite cet homme génial, profond mais humble et accessible, on a la démonstration éclatante que la vraie richesse ne se trouve pas à la bourse…
I was blessed to work with him at Covent Garden on Boris Godunov,directed by Tarkovsky. He was like Haitink in that he put the composer before his own self and respected the other musicians,giving them cues with his eyes. He took us singers with him to have coffee at Ponti's round the corner. One day he said he had to pick up a recording from the EMI shop. He came back some minutes later and recounted how he went in to the store and asked for Karajan's recording of Beethoven 9. The young man serving said "Oh sir ..take the Abbado recording with the Vienna Phil, its much better" [Claudio was an EMI artist and there was an lifesize poster of him in that same shop]. Claudio replied "I know its better,but I am recording it with the Berlin Philharmonic soon and I want to know what they are used to in tempi" On another occasion we had paid for our coffees and were seating ourselves when Abbado saw a lady at the counter with crutches who had just been given her coffee and was struggling to pick it up. He excused himself and went swiftly to aid her,carrying the coffee to her table and holding a chair for her to settle. Then as he returned to us,the Barista called across "Excuse me Lady,you forgot your change" Claudio sprang across to the bar,shot the stupid barista a look that would kill and took the coins across to the woman. She then offered him a coin as a gratuity. Abbado paused ,glanced across at us,who pretended not to be seeing this, and then with great graciousness accepted the tip. Because it would make her feel better.Incredible humility. When she left some time later, he went across to the bar and told the barista exactly what he thought of him in hissed Italian,a good few parolacci thrown in.
The challenge was to render what is possible from the process and reconciling that from what is standard pre-defined by the manuscript, whilst taking to account the audience's expectation to be baffled. What a master.
Sulla aderenza alla partitura originale rivista anche alla luce delle edizioni successive, Abbado ebbe anche il coraggio di distaccarsi, dalle edizioni critiche beethoviane di Del Mar, ad esempio nella IX, I mov, fregandosene degli intervalli di sesta (fa4-re5) trasformandoli in intervalli di quarta (fa4-sib4). In Mahler lo stesso. Alla fine era molto più coerente con lo spirito intrinseco della musica che alla partitura per sé.
This man is out of this world! I mean, even before he died he was! But: was the interviewer a very pritty lady (Abado was Italien, you know), or just a very very good interviewer? Or is he in love with the music perhaps? This is great footage, thanks!
Il maestro Abbado sorrideva a tutti, anche agli sconosciuti che lo disturbavano per un autografo...era fatto così... simpatico oltre che ottimo direttore...
He like Haitink was always more in love with the music than himself even. Also like Haitink,he cared deeply for his fellow musicians and valued them. So they loved him back.
Abbado directing and Jessye Norman singing in Mahler's Resurrection Symohony with the Boston Symphony was one of the greatest events of my long life. People in my generation who live in the Boston area still talk about it. A few years later he returned to do Mahler Third. He asked for a stage extension and additional strings but BSO management refused. His unhappiness showed in performances that never quite "clicked". He never returned. A terrible loss.
Up to 22 dislikes at present, and I'm convinced they're all in favor of the more histrionic interpretations of Bernstein and Tennstedt, with a healthy dose of Simon Rattle to consolidate their dissatisfaction. I, for one, find Abbado's Beethoven, Schubert, Brahms and Mahler most refreshingly elegant and self-controlled; if your "best interpretation" consists of pushing a piece of music to the breaking point, you've only managed to falsify the piece and remove all doubt about your unwillingness to recreate the ORIGINAL WILL of the composer. It is NEVER a conductor's place to teach us lesser mortals what a composer "should have" composed; such pretension should only be greeted with scorn hot enough to blacken the podium! Abbado was a great advocate of the seemingly foreign sentiment that "The composer knew what he was doing and very much knew just HOW he wanted his music to sound." Karajan - for all his ego, blather and absolute refusal to even look at the orchestra he was conducting - also believed in the "all-knowing" composer concept; the world of classical music is a much poorer place for their absence.
Smart in tempo..reveals the back pages of the relationship of time planes.. time isn't a constant. a metronom ..it change and live .as a body..an eagle..Claudio Abbado freed Beethoven give him wings..fly like an eagle..I must say..I'm addicted to his approaching!!
I'm not an expert on the technical points of music, but I do love Beethoven and I can sense when I think the tempo is too fast. It sounds like the musicians are rushing through it and there is no room to breathe. If slowing the tempo makes this more pleasing and emotionally appealing, then I prefer the slower tempo. But in the final analysis, this is a discussion for conductors. What did Toscanini have to say? Or Fuertwangler or Kleiber or Harnoncourt etc?
Not sure how it came across through the translation, but Abbado was not stressing the importance of the absolute tempo as much as that of the relative tempo relationships between different movements of the symphonies as they were conceived by Beethoven. In particular, he points out that the 2nd and the 4th movements of the 8th symphony, in Beethoven's intention, should be played with the same tempo, but traditionally the 4th was played at a slower tempo for its technical difficulty. To respect Beethoven intentions, slowing down that movement should lead to a corresponding slowing down of all the other movements.
I very much appreciate his fidelity to the composer's intentions. This is rare among moderns, so full of arrogance that they think they know better than a titanic mind like that of Beethoven.
I met him one day walking in Milano was August very hot time, I thought was a vision for the hot weather, Maestro Claudio Abbado e Maestro Carlo Maria Giulini together. I had not any words to say thank you.
Very interesting are his remarks as to his modern interpretation of the relativity of 'tempi' 80:80 or 100:100. Even in 'fortissimi' the listener should naver have the feeling that the orchestra is becoming 'hectic'. On the other hand slower 'tempi' must not give the impression that the music is too much 'dragging' on. This impression I had when Alberto Erede e (8 November 1909 - 12 April 2001) an Italian conductor who was particularly associated with operatic work, dragged out the tempi in a presentation of 'La Traviata' to such an extet I had the impression of a mourning procession. Claudio Abbado and Riccardo Muti are two of the greatest conductions of Italian origin.
"If the repeat is ommitted, then i feel something is missing" Yes i really agree with that. But yet, he conduct brahms 1st symphony without the repeat in the 1st movement.....
Brahms was very specific about his repeats. He basically said: I have my reasons when I write one. So ignoring them is a big no no. Bernstein had to learn this first as well. In his NYP recording he ignores them all, with the VPO he observes them all.
My friend, this is exactly what he explained in this interview. At the beginning of his career he often followed the performance habits of the time, omitting the repeats and not understanding their relevance. It was only through the year and the refinement of his musical understanding that he came to see how repeats are essential parts of the whole construction. I'd bet you are referring to his 1973 recording with the VPO. To validate the point he makes in this interview, you should compare that performance with his later recording with the BPO. Both are available here on UA-cam
At 22:32, Mr. Abbado says, "I can't thrive in Latin countries, in Italy, France or Spain...Music lovers in these climes tend to focus on listening to melody with accompaniment rather than an instrumental blend."
This is not true. He's not saying "I can't thrive" but "In Latin countries, ..., there's a different culture in which they tend to focus on listening to melody etc..". He's just comparing two different ways of playing and listening to music: Central Europe and Southern Europe, without referring to being successful there or anything else. (Indeed, he was appointed Senator for life in Italy!!!). P.S. I'm Italian.
Interesting comment about Latin countries producing melodic operatic music and Germanic countries producing the greatest symphonic works. That’s where Mozart comes in satisfying everyone! Wonderful to hear this consummate musician doing the same thing when speaking in Germanic Italian.
ESTE DIREC TOR HABLA MARAVILLAS DE BEETHOVEN,,PERO BERNSTEIN EN IUN VIDEO DICE CUALQUIER BARBARIDAD HACERCA DE BEETHOVEN..HAY UN REFRAN QUE DICE HAZTE LA FAMA Y ECHATE A DORMIR..
He is my favourite conductor
I prayed for him during his cancer period
What a charming man Abbado was ! And great conductor !
He was charming, and intimidating, which he dispelled by smiling at the end of a sentence . Man crush!
Yes and Sophia Strauss The Best composer All of Times and master of violins and BEST world and princess ♥️
Maestro Abbado died seven years ago. I miss him very much.Judit from Hungary.Judit Dittel
La vera grandezza di un'artista la si riconosce dall'umiltà...e lui era davvero di un'umiltà disarmante!
We must go further. Abbado the man evolving constantly to his death. My deepest honour to One of the Greatest Human in 21 century.
I am always amazed at Maestro Abbado's humility! A gifted and intelligent musician who speaks so eloquently of Beethoven and not of his constant discovery of the latent or hidden meanings in Ludwig van Beethoven's works! Such is lost in translation of "fortunato" as blessed instead of fortunate. The great Claudio said we are fortunate to have Beethoven's works, which means Beethoven challenges us to discover(active) him/his thought/intent in his works rather than just being blessed/enriched by those works! Translation sometimes fail in communication without taking cognizance of the body language and facial expression of the Maestro Abbado.
Jacob Ajayi was my u
Thanks
De acuerdo con tigo Jacob ajayi, El lenguaje CORPORAL es importante, y el MAESTRO ABBADO LO HABLA MUY, Se le sale el amor por los poros por la musica, sobre todo por el GRAN COMPOSITOR Beethoven, MUCHAS GRACIAS POR TOCAR ESTE TEMA.🎶🎶🎶
DE ACUERDO CON TIGO. BRAVO.
Well said!!!
Maestro Abbado's never-ending love and trust in music can never be forgotten!!
I feel enriched having listened to Maestro Abbado's so highly sensitive 'elaborations'. THANK you!
Thank you so very much for this inspirational video of one of the most "real", humble and gifted conductors it has been my pleasure to work with.
Bud Fields É andato via troppo presto. Mio sogno era auscultarlo dal vivo. Umiltà da vero.
What did you play and when?
Che meraviglia di uomo e di interprete, ciò che ha toccato lo ha trasformato in oro, un Re Mida tra i direttori d’orchestra!
What a leader ... we can only learn from him. A great example for 'fare musica insieme.' It is a great motivational concept. Thank you for uploading this video!
Abbado knew his stuff. He breathed music.
He speaks very easily understandable Italian. Great for an Italian learner like me.
"Con Beethoven, non smetti mai di imparare" afferma Claudio Abbado , che ha interpretato le sinfonie del grande compositore (1770-1827) lungo l’arco di tutta la sua carriera , realizzando un monumento storico della musica occidentale , dedicato alle opere che Beethoven compose in meno di un quarto di secolo, dal 1799 al 1823. Simboli di libertà e di indipendenza, le sinfonie di Beethoven sono l'espressione della fiducia del compositore nella forza e dignità dell'uomo. Abbado è stato il più fine e sensibile interprete delle armonie strumentali di Beethoven, regalando con la sua bacchetta , la magia , la forza e la bellezza della musica di tutti i tempi .
😊😊❤❤💐💐
La settima sinfonia è una cosa che non si può ascoltare senza sciogliersi in lacrime...
the best conductor I've ever known, thanks for posting this!!
thats the most satisfying 3rd ending i have ever heard
I love the way he talks
Thanks! Wow! Great to hear his illuminated understanding!
Gênio! Perda irreparável. Poucos compreendem esta importantíssima ralação do "Tempo" em Beethoven. Abbado sabia como ninguém. Belo. Esse documentário e uma aula para todos os amantes da erudição. Bravo, Abbado. Será sempre lembrado na galeria dos monumentais.
Allora, per me ogni volta che ho sentito il maestro Abbado dirigere, soprattutto dopo la complessa operazione chirurgica, è stata un'esperienza interiore sublime! C'era sempre il suo momento di "trasfigurazione", bastava avere pazienza e puntualmente arrivava e tutti, orchestrali, pubblico e maestro volavamo in cielo!
Dio ti benedica Claudio!
Grande Maestro di Musica e di Vita
I´ve GOT to buy all of Beethovens symphonies with Abbado! Must!
I just stumbled upon this on UA-cam. Fascinating I love listening to such a wonderful conductor.
БРАВО ! КЛАУДИО ААББАДО !! ВЕЛИКИЙ ДИРИЖЕР ВЕЛИКОГО КОМПОЗИТОРА БЕТХОВЕНА
Oh, thank you so very much for uploading this.
Extreme musicality, profound intellect and humility = a great conductor. The greatest of his time. Only Barenboim carries on this trio of qualities, (with less humility!)
I agree..... during a nap I had the honor in my dream to meet maestro him self. LOL may he rest in peace
He was an insane genius
Gracias por tanto Maestro Abbado!
mille grazie per questo meraviglioso registro
I presume the 3 dislikes are from people who know no Italian or English or perhaps no music?
I imagine the dislikes are from fans of Roger Norrington or Nikolaus Harnoncourt - lol
I imagine that both Norrington and Harnoncourt were great admirers of Abbado.
That would be presumptuous.
This may the noise introduced by web site design, esp on mobile phones. you may press a button by mistake. Another possiblitiy is to bookmark a video. I use like in general but someone they may not care.
All three tinghs...
Quanto ci manchi Maestro
Que lindos comentarios sobre este genio que Dios nos dio a los melomanos
A little correction to the translation:
At 04:00 he didn't say that they were always faithful to the composer. What he said exactly was that it was the composer's merit (ma, sempre il merito è del compositore). I point it out because it shows his great humility. Incidentally, I'm amazed at the few views and the even fewer 'likes'.
Neldidellavittoria it's because people like to enjoy the music and may close their eyes
this music is not for muggles :P that-s why there are few views and likes
Good point Buddy!
excellent precis
@@francescavalli1255 Thank you. :)
GRANDE!
Que bueno gracias!!!!!
thank you for this amazing video, a real treasure to see and hear
Interesting to see how some of the players have aged since this was recorded. They all look a lot older now! But their playing is as beautiful.
Herrlich!! Maestro Abbado를 그리워하며...
Maestro Abbado died eight years ago. World is poor without him.
"Omitting a repeat is the same as amputating an arm". Thank you!
Buon giorno
Questa mattina ho avuto l'opportunità di ascoltare e vedere quanto il maestro Abbado. ha lasciato ai posteri qualche cosa che ritengo molto importante , ringraziando UA-cam e tutti quanto ne fanno parte, per avermi permesso di poterne ricevere consigli,. punti di vista, esperienza artistica, con profonde verità.
Ho apprezzato moltissimo il volere sottolineare l'importanza sulla priorità di attenzione che un artista della sua dimensione da ai compositori in genere e alla sensibilità degli esecutori dai musicisti ai direttori di orchestra.
E stata occasione per ascoltare, imparare e riflettere.
Grazie ancora.
Grazie
Quand on voit les sieurs Arnaud et Musk se disputer le titre officiel d’homme le plus « riche » du monde, et qu’on entend ensuite cet homme génial, profond mais humble et accessible, on a la démonstration éclatante que la vraie richesse ne se trouve pas à la bourse…
Meraviglioso
Tal cual es su medicina y la de tantos como los que amamos la musica
I feel focused intently to do what’s going, enthusiasm and beautiful sadness sometimes but if’s it’s soulful with deafening energy😊!
I was blessed to work with him at Covent Garden on Boris Godunov,directed by Tarkovsky. He was like Haitink in that he put the composer before his own self and respected the other musicians,giving them cues with his eyes. He took us singers with him to have coffee at Ponti's round the corner. One day he said he had to pick up a recording from the EMI shop. He came back some minutes later and recounted how he went in to the store and asked for Karajan's recording of Beethoven 9. The young man serving said "Oh sir ..take the Abbado recording with the Vienna Phil, its much better" [Claudio was an EMI artist and there was an lifesize poster of him in that same shop]. Claudio replied "I know its better,but I am recording it with the Berlin Philharmonic soon and I want to know what they are used to in tempi" On another occasion we had paid for our coffees and were seating ourselves when Abbado saw a lady at the counter with crutches who had just been given her coffee and was struggling to pick it up. He excused himself and went swiftly to aid her,carrying the coffee to her table and holding a chair for her to settle. Then as he returned to us,the Barista called across "Excuse me Lady,you forgot your change" Claudio sprang across to the bar,shot the stupid barista a look that would kill and took the coins across to the woman. She then offered him a coin as a gratuity. Abbado paused ,glanced across at us,who pretended not to be seeing this, and then with great graciousness accepted the tip. Because it would make her feel better.Incredible humility. When she left some time later, he went across to the bar and told the barista exactly what he thought of him in hissed Italian,a good few parolacci thrown in.
grazie di nuovo
Who translated this? There are several mistakes, some big ones, altering the whole meaning...
The challenge was to render what is possible from the process and reconciling that from what is standard pre-defined by the manuscript, whilst taking to account the audience's expectation to be baffled. What a master.
Que análisis que placer escuchar a abbado sobre beethoven
Sulla aderenza alla partitura originale rivista anche alla luce delle edizioni successive, Abbado ebbe anche il coraggio di distaccarsi, dalle edizioni critiche beethoviane di Del Mar, ad esempio nella IX, I mov, fregandosene degli intervalli di sesta (fa4-re5) trasformandoli in intervalli di quarta (fa4-sib4). In Mahler lo stesso. Alla fine era molto più coerente con lo spirito intrinseco della musica che alla partitura per sé.
Que placer las sinfonías del genio que explicación las del maestro noe canso de beethoven
❤ Veramente Dio lo benedica!
Wonderful video !
Concept instructions
Very instructive
Thank you very much
Yes best maestro and conductor Cláudio abbado and Sophia Strauss The BEST composer All of Times and bestfriend Cláudio ♥️🌹👍
BRAVO !
Immenso, come lui secondo me nessuno è arrivato ad interpretare così Beethoven. A mia ignorante preferenza, meglio anche di Mister Karajan.
I agree.
Concordo in maniera totale!
RIP...maestro dei maestri.
When I listen to the finale of the 7th I realize where Bruckner got his ideas for his manic repetitions to build unbearable tension.
This is GOLD
che grande direttore d'orchestra!
Three people who downvoted this amazing video: did you get lost on UA-cam?
This man is out of this world! I mean, even before he died he was! But: was the interviewer a very pritty lady (Abado was Italien, you know), or just a very very good interviewer? Or is he in love with the music perhaps? This is great footage, thanks!
I don't see how the interviewer being or not a pretty lady has anything to do with the great Abbado being Italian.
Il maestro Abbado sorrideva a tutti, anche agli sconosciuti che lo disturbavano per un autografo...era fatto così... simpatico oltre che ottimo direttore...
He like Haitink was always more in love with the music than himself even. Also like Haitink,he cared deeply for his fellow musicians and valued them. So they loved him back.
Abbado directing and Jessye Norman singing in Mahler's Resurrection Symohony with the Boston Symphony was one of the greatest events of my long life. People in my generation who live in the Boston area still talk about it. A few years later he returned to do Mahler Third. He asked for a stage extension and additional strings but BSO management refused. His unhappiness showed in performances that never quite "clicked". He never returned. A terrible loss.
Up to 22 dislikes at present, and I'm convinced they're all in favor of the more histrionic interpretations of Bernstein and Tennstedt, with a healthy dose of Simon Rattle to consolidate their dissatisfaction. I, for one, find Abbado's Beethoven, Schubert, Brahms and Mahler most refreshingly elegant and self-controlled; if your "best interpretation" consists of pushing a piece of music to the breaking point, you've only managed to falsify the piece and remove all doubt about your unwillingness to recreate the ORIGINAL WILL of the composer. It is NEVER a conductor's place to teach us lesser mortals what a composer "should have" composed; such pretension should only be greeted with scorn hot enough to blacken the podium! Abbado was a great advocate of the seemingly foreign sentiment that "The composer knew what he was doing and very much knew just HOW he wanted his music to sound." Karajan - for all his ego, blather and absolute refusal to even look at the orchestra he was conducting - also believed in the "all-knowing" composer concept; the world of classical music is a much poorer place for their absence.
That was a great and enlightening comment
“Everyone a masterpiece “
sempre commovente
Smart in tempo..reveals the back pages of the relationship of time planes.. time isn't a constant. a metronom ..it change and live .as a body..an eagle..Claudio Abbado freed Beethoven give him wings..fly like an eagle..I must say..I'm addicted to his approaching!!
REQUIEM Sophia Strauss 🇵🇹, Cláudio abbado 🇮🇹best musics around The world ♥️🎻🎼🎶🎵🎶🎵🌹🌹🌹🌹🌹🌹
Under his hands music becomes gold.
See people , we dont speak like super mario.
I'm not an expert on the technical points of music, but I do love Beethoven and I can sense when I think the tempo is too fast. It sounds like the musicians are rushing through it and there is no room to breathe. If slowing the tempo makes this more pleasing and emotionally appealing, then I prefer the slower tempo. But in the final analysis, this is a discussion for conductors. What did Toscanini have to say? Or Fuertwangler or Kleiber or Harnoncourt etc?
Good question
Not sure how it came across through the translation, but Abbado was not stressing the importance of the absolute tempo as much as that of the relative tempo relationships between different movements of the symphonies as they were conceived by Beethoven. In particular, he points out that the 2nd and the 4th movements of the 8th symphony, in Beethoven's intention, should be played with the same tempo, but traditionally the 4th was played at a slower tempo for its technical difficulty. To respect Beethoven intentions, slowing down that movement should lead to a corresponding slowing down of all the other movements.
Además su vida fue muy dura
I very much appreciate his fidelity to the composer's intentions. This is rare among moderns, so full of arrogance that they think they know better than a titanic mind like that of Beethoven.
My god, this is good.
Abbado's face is look like my maternal grandfather.
❤
Enorme Divino Claudio
He sounds like a German speaking a good Italian.
He's a very untypical Italian, too.
LMAO so true
I'm italian and he has a strange accent, but not a german accent at all.
@@pega17pl not stereotypical maybe. Italy is very diverse, due to invasions from both north and south.
Will someone please tell me what is the song in the beginning?
Subtitles are absurdly wrong; often not even close to Abbado's concepts, very often just very wrong!
That same translator works now with Google translate 😁
I met him one day walking in Milano was August very hot time, I thought was a vision for the hot weather, Maestro Claudio Abbado e Maestro Carlo Maria Giulini together. I had not any words to say thank you.
Non sono sempre d'accordo quando parla,
ma raramente sono in disaccordo quando dirige.
Noi milanesi siamo fatti così.
17:09 ”il compositore” is translated by ”the conductor” ! 😮 😂
Pero Dios le dio el regalo de la inmortalidad para los mortales
Can someone tell me what pieces are played in the video?
Very interesting are his remarks as to his modern interpretation of the relativity of 'tempi' 80:80 or 100:100. Even in 'fortissimi' the listener should naver have the feeling that the orchestra is becoming 'hectic'. On the other hand slower 'tempi' must not give the impression that the music is too much 'dragging' on. This impression I had when Alberto Erede e (8 November 1909 - 12 April 2001) an Italian conductor who was particularly associated with operatic work, dragged out the tempi in a presentation of 'La Traviata' to such an extet I had the impression of a mourning procession. Claudio Abbado and Riccardo Muti are two of the greatest conductions of Italian origin.
Sorry: typing error: pls read: conductors instead of 'conductions'.
"If the repeat is ommitted, then i feel something is missing" Yes i really agree with that. But yet, he conduct brahms 1st symphony without the repeat in the 1st movement.....
Brahms was very specific about his repeats. He basically said: I have my reasons when I write one.
So ignoring them is a big no no. Bernstein had to learn this first as well. In his NYP recording he ignores them all, with the VPO he observes them all.
Any other recordings that include the repeat in the first movement? i quite rarely see them.
My friend, this is exactly what he explained in this interview. At the beginning of his career he often followed the performance habits of the time, omitting the repeats and not understanding their relevance. It was only through the year and the refinement of his musical understanding that he came to see how repeats are essential parts of the whole construction. I'd bet you are referring to his 1973 recording with the VPO. To validate the point he makes in this interview, you should compare that performance with his later recording with the BPO. Both are available here on UA-cam
Ecstasy Flow. Judit DITTEL
what is the name of the piece that playing at the begining?
It's the finale of the 'Eroica' symphony...
At 22:32, Mr. Abbado says, "I can't thrive in Latin countries, in Italy, France or Spain...Music lovers in these climes tend to focus on listening to melody with accompaniment rather than an instrumental blend."
Is he not familiar with the work of Frescobaldi or Monteverdi or Palestrina or du Caurroy or Cabezón, then? What a shame.
This is not true. He's not saying "I can't thrive" but "In Latin countries, ..., there's a different culture in which they tend to focus on listening to melody etc..". He's just comparing two different ways of playing and listening to music: Central Europe and Southern Europe, without referring to being successful there or anything else. (Indeed, he was appointed Senator for life in Italy!!!).
P.S. I'm Italian.
Pensar que creo muchas obras estando sordo
the English translation is really bad... his words are distorted
Interesting comment about Latin countries producing melodic operatic music and Germanic countries producing the greatest symphonic works. That’s where Mozart comes in satisfying everyone! Wonderful to hear this consummate musician doing the same thing when speaking in Germanic Italian.
ESTE DIREC TOR HABLA MARAVILLAS DE BEETHOVEN,,PERO BERNSTEIN EN IUN VIDEO DICE CUALQUIER BARBARIDAD HACERCA DE BEETHOVEN..HAY UN REFRAN QUE DICE HAZTE LA FAMA Y ECHATE A DORMIR..
You gotta be fit to play Beethoven’s symphonies. The tempo will give you a great cardio workout 😂
Como pode uma pessoa egoísta falar de música !!🇧🇷