Right up there with Heifetz/Piatigorski, the casting is impeccable. Both of these two are just so free and wild and their sound is so lush and richly textured, perfect for this music!!!
The two of them can be argued to be best alive in the world in their respective instruments. The trio they formed with Mrs. Argerich is unforgettable. Their Brahms leaves me without words.
Wonderful music-making. I have this performance on CD, published in the 1980s. What a gift to see as well as hear these exceptional music-makers! Many thanks to Oleh Kuzminchuk for publishing this performance. You do us all a service.
Love Maisky's intro, especially the penultimate note and his expression - deeply suspicious - about what is happening next! Also struck me that their teachers (Oistrakh and Rostropovitch) made the definitive recording of the Brahms double, which may partly explain why this works so well.
Awesome video - thank you so much for posting - especially the last movement. Everyday I am thankful for TH-cam because I'm able to be a part of performances I could never have attended.
I know im randomly asking but does any of you know a tool to log back into an Instagram account? I was dumb forgot the password. I would love any help you can give me!
@Malcolm Denver I really appreciate your reply. I got to the site thru google and I'm in the hacking process atm. Takes quite some time so I will get back to you later with my results.
... 20 of OCTOBER TODAY : REALLY TALENTED CROATIAN VIOLONCELLIST StJEPan Hauser and REALLY TALENTED American Violinist Caroline Campbell REALLY CAN PLAY of This WONDERFUL Concert with SYMPHONIC ORCHESTRA ❤❤❤ ! ___ TEACHER SvetLana Here and Now, 20 of OCTOBER TODAY ❤❤❤, 2024 Year !
The interruptions by commercials are annoying, but this is glorious music and glorious music-making of 1983, the year Kremer played Paganini in Spring Symphony, the German film about Robert & Clara Schumann, in which Christina Preussler played the young Clara. One year later, in May 1984, she played the title role in my opera SIMA. I met with Bernstein for the last time in October 1984, right after another Brahms concert he conducted with this orchestra, in Berlin. What memories this brings back! - Leonard J. Lehrman, author of the forthcoming CONTINUATOR: The Autobiography of a Socially-Conscious, Cosmpolitan Composer.
크레머의 음색은 나에게는 항시 다소 날카롭게 들리는데 나만의 생각인가~? 과연 브람스는 하나의 멜로디을 자유자제를 펼쳐나가는 그 능력은 천재를 넘어 신비스럽군요 마치 텀퓨터 쳐럼 조화롭고 무궁무진 합니다, 바흐의 대위법에 버금가는 그의 음악을 펼쳐나가는 기법은 앞으로 이런 음악가가 또나올까 싶씁니다
Great performance just as the Mishakov ,Miller ,Toscanini in 1948 , 34 years earlier than this. Very characteristic: Toscanini version 29.29 and Bernstein version 35.30 . The timings of recordings made between are typically from 31 to 34 minutes. The tempo of performances have become slower and slower during the first 40 years after Second World War. This is just one example. I have observed this in performances of many other masterpieces.
Extreme effect: 2nd piano concerto of JB - I always wondered, why this tempo in the beginning (horn solo)? So I searched on youtube... the older the recordings, the shorter, even the several Tosanini-recordings... the earliest is terrific!
It is in good old tradition not necessarily custom to play this without music stands (for sure they have it memorized completely!), regarding the 'chamber music'-character of the unusual scoring with two soloists. It was common in older times e.g. (and I would insist on it) to play piano-acvompanied sonatas with a music stand, when the pianist does, since it is NOT music for a virtuoso and a sidekick, but chamber music for two equal partners. A 1st violinist wouldn't play from memory in a string quartet (except all 4 do so). I always found Anne-Sophie Mutter playing Beethoven Sonatas without a music stand a bad example of behaviour on stage... You can read in the extremely recommended book by Gregor Piatigorsky, that he played Piano Trio with Heifetz (!) and Rubinstein (!) with music on the stands, although he played Schubert B flat major Trio from memory - infact the two others, for fun a little bit kidding him, placed the cello part of Wagner 'Meistersinger'-Ouverture on his stand and he regocnized only when it was to late, after tuning. So he took sweet revenge and played the whole Trio from memory, interested fixing the music and from time to time turning pages. The two others hardly avoided to fell from their chairs of laughing... (In the same book, Piatigorsky reports, how, when he was section leader of the Berlin Philharmonic under Furtwängler, a not named soloist came along for Dvorak's cello concerto and indeed in everyone of the 3 movements had a black-out and he, Piatigorsky, jumped in, playing the Solo part from memory from his Tutti-chair. After the performance, the soloist called Piatigorsky 'arrogant idiot'. P.'s comment: I wish, he would follow the old manner and use the sheet music...) Of course, here both could play from memory here, but for some reason it established not to do so, and it underlines the unpretentious character of the performance...
@@borisbrinkmann Hey, thank you for this answer. I was not aware of this history and not aware that it has ever been considered bad etiquette to play a sonata (violin-piano, say) without the score.
There was an absolutely absurd performance of the Beethoven Triple concerto...: Anne-Sophie Mutter without music stand, behaving like a soloist, her husband Andre Previn the exact opposite at the piano, switching between looking into the music and onto the keyboard like a news speaker, Lynn Harrell, somehow grinning and being happy to make music with the young people (although the age difference must have been marginal, but that was the habit; I could swear that he was smoking a pipe - no, that was the other guy... ;-) Harrell also with music stand) and Kurt Masur trying to keep all that together... What is wrong with somebody, to play the Triple concerto from memory, when the 2 others use the music and one of them is your husband...?
some say slow, some say dramatic. I would say dramatic since the finale of his recording of Korsakov's capriccio Espagnol is so much faster than a lot of the others. I'm sure there are other examples of this but that is the main one that comes to my mind.
@@111violist not really, if I may suggest have a look to the Brahms Piano concerto n. 1 with Glenn Gould and Bernstein. Introducing the concert Bernstein explain exactly the dynamic between Director and Soloist and the problems he had to face with Mr. Gould.
![[#2024MAMA] ROSÉ (로제), Bruno Mars - APT. | Mnet 241122 방송](http://i.ytimg.com/vi/dgGqD28J6aQ/mqdefault.jpg)
One of the greatest performances ever recorded of this incredible masterpiece.
Outstanding performance of three superstars of the classical music in the 80's.
1:13 - I Allegro
19:13 - II Andante
28:03 - III Vivace non troppo
Stunning performance by good-looking violinist and others - bravo Gideon!
-- Superbe casting, Bernstein/Kremer/Maisky/Wiener Philharmoniker, pour ce chef-d’œuvre de Brahms. --
The best version I've ever seen
Right up there with Heifetz/Piatigorski, the casting is impeccable. Both of these two are just so free and wild and their sound is so lush and richly textured, perfect for this music!!!
The two of them can be argued to be best alive in the world in their respective instruments. The trio they formed with Mrs. Argerich is unforgettable. Their Brahms leaves me without words.
Wonderful music-making. I have this performance on CD, published in the 1980s. What a gift to see as well as hear these exceptional music-makers! Many thanks to Oleh Kuzminchuk for publishing this performance. You do us all a service.
I've just watched Maisky, Bernstein Schumann and again, this is about as good as it gets.
Love Maisky's intro, especially the penultimate note and his expression - deeply suspicious - about what is happening next! Also struck me that their teachers (Oistrakh and Rostropovitch) made the definitive recording of the Brahms double, which may partly explain why this works so well.
that explains to me why I love this so much, Slava and Oistrakh to me were the perfect performance, now I have to add this to my list of favorites....
Awesome video - thank you so much for posting - especially the last movement. Everyday I am thankful for TH-cam because I'm able to be a part of performances I could never have attended.
Famous recording! Really a great reference.
2 великих музыканта,можно только восхищаться и бесконечно благодарить.Брависсимо!!
I know im randomly asking but does any of you know a tool to log back into an Instagram account?
I was dumb forgot the password. I would love any help you can give me!
@Aidan Marley Instablaster ;)
@Malcolm Denver I really appreciate your reply. I got to the site thru google and I'm in the hacking process atm.
Takes quite some time so I will get back to you later with my results.
@Malcolm Denver it did the trick and I actually got access to my account again. I am so happy!
Thank you so much you really help me out !
@Aidan Marley glad I could help xD
Un grand merci pour m'avoir permis de découvrir cet enregistrement fabuleux!!
洋阿相
これ以上に優れた演奏と映像を見つけ出すことは不可能でしょう。歴史的音楽映像遺産です。感謝！
This is great music!
What a great Orchestra!
Maisky is great.... Outstanding 👌👌👌👏👏👏👏
This masterpiece Ìs a inspirational gift to cello lovers and violin lovers
My emotion Ìs unfathomable depths
FromTokyo
Thank you so much for sharing!
Excelente! gracias por compartirlo.
... 20 of OCTOBER TODAY :
REALLY TALENTED CROATIAN VIOLONCELLIST StJEPan Hauser and REALLY TALENTED
American Violinist Caroline Campbell REALLY CAN PLAY of This WONDERFUL Concert with SYMPHONIC ORCHESTRA ❤❤❤ !
___ TEACHER SvetLana Here and Now, 20 of OCTOBER TODAY ❤❤❤, 2024 Year !
Gracias por compartirlo!!!
Impresionante música la de Brahms e increíbles intérpretes !! 👋👋👋👋🎶🎼🎻💜
"37:21" : IT'S МОЩНО, ГЕРОИЧЕСКИ in Your PLAYING in this Video ❤❤❤ !
___ TEACHER SvetLana Here and Now, 20 of OCTOBER TODAY, 2024 Year ! ... ... ...
AMAZING!!!!!!!!
The interruptions by commercials are annoying, but this is glorious music and glorious music-making of 1983, the year Kremer played Paganini in Spring Symphony, the German film about Robert & Clara Schumann, in which Christina Preussler played the young Clara. One year later, in May 1984, she played the title role in my opera SIMA. I met with Bernstein for the last time in October 1984, right after another Brahms concert he conducted with this orchestra, in Berlin. What memories this brings back! - Leonard J. Lehrman, author of the forthcoming CONTINUATOR: The Autobiography of a Socially-Conscious, Cosmpolitan Composer.
The third movement can be defined in one word: elegance.
Un miracolo di pura bellezza!
Both went the same music school in Riga, Latvia😎👍
kremer, maisky, karajan... so amazing play ever watched on youtube.
i dont know why i reached this clip, but i feel comfortable extremely.
it s Bernstein L.
@@igortoronto1324 oh! idont know why i type karajan... thanx...!
@@takahisasasajima3938 you are welcome :-)
The Andante is pure pure magic.
I'm totally agree!
크레머의 음색은 나에게는 항시
다소 날카롭게 들리는데
나만의 생각인가~?
과연 브람스는 하나의 멜로디을
자유자제를 펼쳐나가는 그 능력은
천재를 넘어 신비스럽군요
마치 텀퓨터 쳐럼 조화롭고 무궁무진
합니다, 바흐의 대위법에 버금가는
그의 음악을 펼쳐나가는 기법은
앞으로 이런 음악가가 또나올까
싶씁니다
최고의 연주가 답네요 미야스키와 크래머 그리고 번스타인까지
Mr Maisky’s beard style is coming back now!
😂😂
Brahms No1💕💞❤️👍
The intro to this piece kicks SO MUCH ASS
Amazing😍😍😍😍😍👏👏👏👏👏👏❤❤❤❤❤
The 3rd Movement Was a Vibe
와... 이런 영상이...대박
13:00 i love this part
Superba...
18:47 -- Maisky showing why a proper hairdo and head bob is essential to this performance.
With the Vienna Philharmonic in the Vienna Musikverein.. Date? 1981-84. Film sage is 1983.
It was filmed in September 1982, according to Deutsche Grammophon who released the DVD.
Recorded on 4th September 1982. After the concerto, Bernstein conducted Brahms's 2nd symphony.
Can anyone share Spotify link?
👏❤️
Great performance just as the Mishakov ,Miller ,Toscanini in 1948 , 34 years earlier than this. Very characteristic: Toscanini version 29.29 and Bernstein version 35.30 . The timings of recordings made between are typically from 31 to 34 minutes. The tempo of performances have become slower and slower during the first 40 years after Second World War. This is just one example. I have observed this in performances of many other masterpieces.
Very right! I have one with Heifetz and Feuermann, it's under 29'!
Extreme effect: 2nd piano concerto of JB - I always wondered, why this tempo in the beginning (horn solo)? So I searched on youtube... the older the recordings, the shorter, even the several Tosanini-recordings... the earliest is terrific!
7:30 :D
1:17
10:13
34:24 :D
28:04
28:36
Mischa Maisky just out of his boyhood years, or so he looks....
Ye gads, slow as molasses. Like so much of Lenny. His Berlin Wall Beethoven 9th was dreck.
Great playing! But I'm shocked that they don't have this memorized.
It is in good old tradition not necessarily custom to play this without music stands (for sure they have it memorized completely!), regarding the 'chamber music'-character of the unusual scoring with two soloists.
It was common in older times e.g. (and I would insist on it) to play piano-acvompanied sonatas with a music stand, when the pianist does, since it is NOT music for a virtuoso and a sidekick, but chamber music for two equal partners. A 1st violinist wouldn't play from memory in a string quartet (except all 4 do so). I always found Anne-Sophie Mutter playing Beethoven Sonatas without a music stand a bad example of behaviour on stage...
You can read in the extremely recommended book by Gregor Piatigorsky, that he played Piano Trio with Heifetz (!) and Rubinstein (!) with music on the stands, although he played Schubert B flat major Trio from memory - infact the two others, for fun a little bit kidding him, placed the cello part of Wagner 'Meistersinger'-Ouverture on his stand and he regocnized only when it was to late, after tuning. So he took sweet revenge and played the whole Trio from memory, interested fixing the music and from time to time turning pages. The two others hardly avoided to fell from their chairs of laughing...
(In the same book, Piatigorsky reports, how, when he was section leader of the Berlin Philharmonic under Furtwängler, a not named soloist came along for Dvorak's cello concerto and indeed in everyone of the 3 movements had a black-out and he, Piatigorsky, jumped in, playing the Solo part from memory from his Tutti-chair. After the performance, the soloist called Piatigorsky 'arrogant idiot'. P.'s comment: I wish, he would follow the old manner and use the sheet music...)
Of course, here both could play from memory here, but for some reason it established not to do so, and it underlines the unpretentious character of the performance...
@@borisbrinkmann Hey, thank you for this answer. I was not aware of this history and not aware that it has ever been considered bad etiquette to play a sonata (violin-piano, say) without the score.
There was an absolutely absurd performance of the Beethoven Triple concerto...: Anne-Sophie Mutter without music stand, behaving like a soloist, her husband Andre Previn the exact opposite at the piano, switching between looking into the music and onto the keyboard like a news speaker, Lynn Harrell, somehow grinning and being happy to make music with the young people (although the age difference must have been marginal, but that was the habit; I could swear that he was smoking a pipe - no, that was the other guy... ;-) Harrell also with music stand) and Kurt Masur trying to keep all that together...
What is wrong with somebody, to play the Triple concerto from memory, when the 2 others use the music and one of them is your husband...?
why does Bernstein always play everything so slow?
some say slow, some say dramatic. I would say dramatic since the finale of his recording of Korsakov's capriccio Espagnol is so much faster than a lot of the others. I'm sure there are other examples of this but that is the main one that comes to my mind.
Because he can
Bernstein do not play :-). He fits the tempo following the soloists. Director is subjected to soloist. If he is not, he is bad director :-)
Because it works!!
@@111violist not really, if I may suggest have a look to the Brahms Piano concerto n. 1 with Glenn Gould and Bernstein. Introducing the concert Bernstein explain exactly the dynamic between Director and Soloist and the problems he had to face with Mr. Gould.
3 еврея и оркестр
גם אני חשבתי על זה.
1:12