Beethoven: Violin Concerto in D Major, op. 61 | Sir Simon Rattle and Veronika Eberle
Вставка
- Опубліковано 22 кві 2024
- 0:00 I. Allegro ma non troppo
26:40 II. Larghetto
40:32 III. Rondo. Allegro
Conductor: Sir Simon Rattle
Violin: Veronika Eberle
Orchestra: Symphonieorchester des Bayerischen Rundfunks
Surprises aside, the soloist, the conductor, and the orchestra delivered a superb concert. I enjoyed the surprises. I thought I was going to hear another of the same traditional concert. I really liked it because the surprises were in very good taste. We cannot change the notes that Beethoven wrote, but the cadence, why not? No one can stand hearing the same thing every day, let alone for 2 centuries. Beethoven was a bold man and musician, he would certainly support it .
Eine großartige hörenswerte kadenz-ich bin begeistert!!
Auch über den Mut von Frau eberle !
To all the people criticizing this interpretation and the cadenzas: All within your rights, I won't argue that. But I for one, will take any attempt at freshness, at newness, even dissonance.... because to me it's exciting and if I want to hear the same interpretations and cadenzas I'll go to the other 10,000 concerts or recordings that do that.
My ears, for one, thirst for anything new. And would Beethoven cringe? I can't believe he's so precious that he would really care if people took massive leaps at an occasional concert. Life's not so serious y'all. Go with the flow, let art, even interpretive art, stretch.....for gods' sake, more of this pleasse!
I doubt Beethoven would disagree with it (not completely, at least), considering his own choices for the cadenza in the piano version of this concerto.
But we will never know...
Beautiful and risky to play such an iconic piece like that. Bravo
You have to have ears to play those cadenzas :-) Bravo!
Many thanks for uploading!
This is what I call quality.
sublime BEETHOVEN
精湛的詮釋貝多芬D 大調小提琴協奏曲令人驚豔讚嘆！
🎼🎻🎼🌹
Cadenzas in all three movements totally ruined for me, what was otherwise a very smooth performance by an accomplished soloist and fine ensemble. They were completely at adds with Beethoven and insufferably long. I’ve always appreciated Ms. Eberle’s playing and she very good here too when playing the concerto.
" at odds" not "adds". But I agree with you. It's gotta be difficult to add an interesting, fresh cadenza, but the insistence on dissonance here is annoying.
Wow ! !
The wonderfulness and gracefulness and Beauty of her performance are out of this world, and beyond description
A welcome surprise, so refreshing and such beautiful playing!
The soloist and then the conductor. They are conspiring to create a new musical experience for this performance. It’s a performance based on Beethoven’s violin concerto. Suffice it to say that it’s not the traditional performance that we are used to. If it’s a traditional performance, the violinist will play Beethoven’s notes as written, infusing them with his own feelings and technique, with certain freedom but within limits. So, in the final analysis, it’s up to you as listener. You either like it, or you don’t like it. I don’t like it, because I don’t feel it’s convincing. Since we are at the game, I would like the conductor to raise the volume at 3:39, to make this repeat more urgent and affirming. As it is, this repeat sounds like business as usual.
If you want to listen to a young violinist, try Daniel Lozakovich with Georgie, a very endearing performance.
This rendition is loaded with gimmicks from both the conductor and the violin player. I like great intonation, great phrasing, and a good (preferably unique) sound - like Heifetz. Just play it like Heifetz does and everything will be fine. No gimmicks please.
Bravo!
Bravo 🎉! A refreshing release from the straitjacket of conformity- stimulating and challenging even though it is still only practiced spontaneity, it opens the door to so many possibilities.
Très beau violon quelle belle âme bravo l'artiste
This is why I always insist that the Kreisler cadenzas should be considered as an integral part of the work. Stylistically they are completely compatible, even more so than the outlandish affairs Beethoven himself wrote for the piano version of this work.
I personally find the Kreisler cadenzas to be boring and unimaginative scale exercises, so I'm glad they're not part of the concerto itself. Ideally I would prefer musicians to improvise all cadenzas, but that is its own topic.
It is also quite the bold stance to judge Beethoven's choices for his own music...
It just doesn’t work, not at all, the cadenza, that is.
It's a psychotic break then slowly climbing back out of the pit of madness. As if the music is saying....aren't we glad that's over? Oh.. but it's not. It's not. It's a separate piece entirely.. ripping holes in a structure just when you thought all was safe. But yah gotta try new things..
一😊❤@@philwohlrab7588
We always want each cadenza to be individual. If not, change jobs.❤🎉😮😊good job ever
Paganini and modern music are not music, but public trash. It seems like they are protesting about that.
The piano transcription of this piece (Op. 61a if anybody wants to find it) has a cadenza, by Beethoven, for piano and timpani. Beethoven’s cadenzas never adheres to one style and the one for the second piano concerto sounds as out of place as the Widmann one if seen from a historical context. to debate what would Beethoven think is quite futile as evidenced by that one cadenza actually for timpani and soloist…
I would sooner have the Kreisler cadenzas adapted for piano than what Beethoven wrote.
❤вам нравится музыка?- же, мне Лица Движения и Мысли исполнителей: дирижёра Соло и Оркестра!😢😅
Great playing, but no, I don't like this cadenzas... too many reasons.
The lush and beautiful melodies from the second movement are sublime and touching.
Cadenzas need to be shorter to respect orchestral musicians.
Well, different anyway....
37:01 inexplicable. Creo que Beethoven, aun sordo, se removería en su tumba
The cadenza has too many dissonant chords, and the entrance has also been revised. Beethoven wouldn't like that, and neither would I. A piece can be made hard in many ways. Bach Air in G by Roman Kim is a good example of a virtuoso solo work without sharing it with the orchestra member.
멋진 카덴짜에 반해서 구독과 좋아요 남깁니다 ㅎㅎ
OK. I'm speechless. Veronika-may I be so bold? Foot stomping in the last movement cadenza? Flipping the bow hair to the opposite side? Involving the double bass, tympani, concert master in your "cadenza." I called up my friend Ludwig Van Beethoven. (special hot line.) Know what he said?
"I thought cadenzas were IMPROVISATION."
I get it. We've got Schnittke and a host of others who have abandoned that model. So now why not extend the "'we-don't-improvise-anymore-anyway-no-how-no-way- school-so let's take it to the next level?" So, yes, this is an extrapolation from other new approaches to the literature of cadenzas for Beethoven's violin concerto.
New wine in old bottles, or some such. Sure. I get it. I think.
Why stifle new composers who want to be creative?
We ok, so far?
But what about the tone, the mood, the jarring effect these cadenzas have. Are you sure this is not startling-just to shock?
The final moments of the 1st movement, so tender, reflective, poignant-isn't the point that a contemplative moment is about to pass into the scales and fanfare, but Beethoven has taken us on an emotional journey.
But what does this cadenza do?
It overrides that.
It substitutes creativity that doesn't belong here.
(Sure, in a separate piece with the same urge to express--go for it.)
And I am not so priggish as to believe an interpreter can't add his/her new take on the classic.
But, is there no limit? Sir Simon Rattle is a conductor whose seriousness is beyond reproach. You, also, are clearly committed and dedicated to this interpretation.
Of course I respect all of you.
I don't mean to challenge your earnestness in offering the public something new.
Perhaps, with further listening I may change my mind. But this is NOT Stavinsky Firebird Suite--Booed in the turn of the last century only to be vindicated by history.
Of course, maybe I'm wrong. Perhaps the decades to come may change some ears.
And if I am wrong-I await that correction.
That said, as a former violinist, you got my attention. It took a few hops and jumps from a short video where UA-cam knows my algorithm. I looked you up. Great credentials. So, from the PR department-well done.
Having been somewhat critical, allow me to offer up an olive branch.
I looked up Joerg Widmann, the composer. Again, a distinguished, serious German composer. I even listened to a piece he wrote that I liked. So kudos for supporting an esteemed German Artist.
And Ms, Eberle, may I conclude--Chapeau bas for the very fine playing! I wish you continued success in your long, bright, and innovative future.
What do you say?
BRAVO!!! Ein dreifaches Bravo für Frau Eberle und das Orchester unter Sir Simon Rattle zu dieser phantastischen Aufführung. Und was ist es für eine Wohltat, das Beethovensche Violinkonzert endlich mal wieder ohne die Kreisler-Cadenzas hören zu dürfen. Die Widmannschen Cadenzas sind exorbitant gut und eine 4-min-Cadenza im Larghetto ist ohnehin eine Novität.
Herzlichen Dank an alle Mitwirkenden.
Was ist an diesen Kadenzen "exorbitant gut"? Ich halte diese akrobatischen Einlagen für vollständig unpassend.
Sie halten die Cadenzas für "vollständig unpassend", ich sie für "exorbitant gut". Das ist vollkommen in Ordnung so. Und nun? Wer hat gewonnen? Das Dumme bei der Bewertung von Kunstwerken ist nur, dass man nicht 1/1000mm oder Sekundenbruchteile bemühen kann, sondern nur Geschmack und Sympathie. Also bleibt das stets subjektiv. Wie beim Eiskunstlaufen: Drei mal in der Weltmeisterschaftskür auf's Maul gefallen, aber trotzdem Weltmeister geworden. Übrigens habe ich vor meinem Kommentar zur Geisterstunde Ludwig van gefragt, wie es ihm gefällt. Er fand es gut, vielleicht hätte er auch so etwas geschrieben, nur ist es ihm gerade mal nicht eingefallen.
Für Sie persönlich hätte ich ne Lösung: Auf UA-cam gibt es derzeit 135 verschiedene Geiger, die das Konzert spielen. Suchen Sie sich eines aus, das Ihnen besser gefällt; schon haben Sie Ihren Frieden zurück. Innige Grüße.
@@jomasch9106 Ein erstaunlicher Wortschwall... Während Sie schreiben, dass die Kadenzen "exorbitant gut SIND", schreibe ich, dass ich sie für "vollständig unpassend HALTE". Fällt Ihnen wenigstens der Unterschied auf? - Sie brauchen sich übrigens nicht um meinen "Frieden" Gedanken zu machen und auch nicht nach "Lösungen" für mich zu suchen, auch benötige ich keine "innigen Grüße". Genießen Sie gern, wodurch Sie sich bereichert fühlen, und leben Sie wohl.
@@Pitborn Bravo for this response. Sie haben Recht.
Laa cadencias no son composicion de betoveen y si hay algo muy desagradable es que tanto orquestas como solistas en todos los instrumentos en piezas clasicas les hagan figuras que no estan en la obra original pues esto ya es de compositores y musica barata que se escucha en nuestros dias
30:16
46:37 en definitiva, Verónica será muy virtuosa pero esta versión es para el total olvido. No hay derecho a semejante insulto a la memorio de uno de los más grandes compositores de la historia 48:59
Fabulous cadenza - I really mean it ! If you always want favorite concertos played the same favorite way, listen to your favorite record instead… If any concerto suits for taking this kind of liberties it’s this. Great job Eberle ! And listen to the piano version too. Nino Gvetadze highly recommnded.
Со́гласен
and DOES Sir Simon Rattle?
21:11 la cadenza no es la original. Es muy virtuosística, pero distorsiona al concierto de Beethoven
Cadenza is so unnatural to the spirit and style of Beethoven. Totally unnecessary!
ˋ
카덴짜가 아닌 주접
カデンツァというより
トリオだ？
Мдааа.... 😮
카덴차 본인이 작곡???😮
cadenza; Jörg Widmann
Horripilante,no puedo decir más
Totally bastardized performance of a great masterpiece! I can’t believe it was allowed in the country of Beethoven’s birth. I am stunned that this was allowed in the hall of a great orchestra in fine conductor! Vial
and disregard of Beethoven’s music which was interrupted by crass nonsense that was nothing but gibberish!
It was nice to hear an original cadenza...in theory. But this was just beyond good taste. Parts of it were by Schoenberg, perhaps? Over the top. Thumbs down!!!
No, that's not Schoenberg. It's Jörg Widmann.
Impresentables cadenzas
Herejía mezclar esos experimemtos con tan exceso concierto. Una pena
@antoniocordon4564 Aber nun machen Sie mal einen Punkt! Wissen Sie überhaupt, was Sie da schreiben? Wenn das "Ketzerei" ist, müssten Sie ja jetzt den Scheiterhaufen anzünden. Wollen Sie wirklich, dass diese großartigen Musiker bei lebendigem Leibe verbrannt werden, nur weil sie einen anderen Geschmack haben? Wegen solchen Menschen wie Sie wird es niemals Frieden geben auf dieser Welt. Pfui!!