Stephen Golden : hr engineers have been recording the orchestra in superb fashion since I lived there during the 80s. It was astonishing to hear the result broadcast. The acoustics of the hall must be certainly crucial. Alte Oper is a great venue.
@Justice Patrick I really appreciate your reply. I got to the site on google and im in the hacking process atm. Seems to take quite some time so I will get back to you later when my account password hopefully is recovered.
This symphony, done well, is for me, is one the most intense experiences I've ever had in a concert hall or opera house. It's like living a lifetime in 1.5 hours. This is a wonderful performance. I love the commitment among the orchestra members to the music and to the conductor, e.g., the young woman playing principal flute; you can see that she is living the music and you can see it in others as well. And there's an obvious connection between this conductor and the orchestra. The Hispanic world is producing some amazing conducting talents -- Dudamel, Mena and this young man.
Re you singling out Clara's temperament: I have a theory that hair long (and short) enough to bounce when you move makes people look more expressive and sensitive because it amplifies the visibility of their movements.
Andrés Orozco-Estrada is one of my favorite conductors, and the Frankfurt Sinfonie Orchester is definitely one of my favorite orchestras. Beautiful piece by Mahler!
I have heard many great versions of Mahler 6 but this beats the lot! Wow, on every level. What an orchestra! The tightness of ensemble. Virtuoso performances everywhere, right down even to the gravitas of the celeste player! And that principal flautist... just wonderful. This is a prophetic symphony and the intensity and grandeur of this performance matched that perfectly. Such clear direction also. (Not to mention the twinkle in the eye of the leader :-) . Thank you, from the bottom of my heart!
It is truly magnificent. I am looking for a very particular performance. The first I heard and the one I loved most. It was the 100 year anniversary of the premiere, also played in Essen, Germany. Desperately trying to find it, no success yet.
Right? This is one of the most spiritually generous conductors I have seen on the podium. Always connected with the orchestra and sending them accolades in the moment with glances and mouthed bravi. I love watching this orchestra perform.
What a fantastic production, it's so enjoyable to see it played with professional film editing and sound engineering. And Mahler's 6th is a work of genius, it's no coincidence that we're all here.
Just want to extend Big Thanks to Frankfurt SO. Such a wonderful collection of gifted artists who have devoted much of their individual & combined lives' energetic intention to getting how (& *why* 🎉) to make the sounds right. Your First Violinist is stupendous, and your principal flautist so expressive... and so many others.. *All*. Love this Mahler symphony, love the beautiful nuances of this delivery. I listen to & revisit it, Often. MegaGratsies... Danke, Schoen.. !!
I have listened to all of Mahler's Symphonies. It is impossible for me to say I like this symphony more than the others. Every one of his symphonies are a sign of greatness! It all depends on how we conceive it. However what a wonderful orchestra and conductor! Enjoyed every moment of this great concert!
Once again we have this fantastic orchestra with an excellent conductor, the Colombian😃 Andres Orozco-Estrada. Everything here is excellent. Kudos!. Every time I listen to this symphony I like it better and better.
The andante of this colossal symphony is one of man’s sincerest musical utterances. It never fails to move me to tears. Only God knows how much Mahler poured of his soul into it .... While writing this and listening to it my tears began to well up
The Adagietto of Mahler's Fifth Symphony was the music of his initial infatuation with Alma Schindler. I think that the Andante of his Sixth Symphony was the music of his early domestic bliss with her. He specifically identified the second theme of the 6th's first movement as his 'Alma theme' (3:04 - 5:05). She would remain his muse, dedicating his Eighth Symphony to her and then inscribing an impassioned plea to her on the manuscript at the end of the sketched last movement of his incomplete Tenth Symphony.
The performance is as excellent as those of Von Karajan, Claudio Abbado, Leonard Bernstein... Nothing to improve. One reason is that this orchestra is formed with great musicians all of them soloists as well as we have discovered during this pandemic and its conductor was named in Austria as the "Viena Miracle". Thank you HR FRANKFURT Sinfonie. Viel Danke, muchas gracias!!!
I am just now immersing* myself in Mahler's symphonies and I am so blown away by his talent for infinite phrasing, beautiful composition for the horn section, undeniable dynamics, and just overall patience with the melodies. Sublime!
Das Andante von Mahlers Sechster Symphonie bewegt mich auf eine Art und Weise, die keine andere musikalische Komposition erreicht. Mahler beherrscht meisterhaft die Kunst, eine breite Palette von Emotionen in mir zu wecken, die sowohl berühren als auch begeistern. Meinen tiefen Respekt und Anerkennung dem hr-Sinfonieorchester für eine herausragende Darbietung.
After a mind-numbing week of work, Mahler's 6th symphony is intellectually restoring medicine. And this Symphony Orchestra performs it in superb fashion. Thank You.
@@myg949 on atlantic coast in France too ! ;-) but the more painful for me is that I can't go this year in... "Bayern" and "Österreich", "meine lieblingsländer" ! ;-) I miss deeply Regensburg, München, Reit im Winkel, Nürnberg, Bad Reichenhall, Straubing, Berchtesgaden, Salzburg, Linz, Mürzzuschlag, Passau, Molding, Maiernigg and a lot of others loved places ! I just can listen to comforting me, Brahms, Beethoven, Mahler, Bruckner, Richard Strauss, Johann Strauss, Ziehrer.... :-)
Agreed: the "loud yet dead (i.e. not resonant)" indication by Mahler has never been better followed. The gong simultaneously with the second hammer makes me feel as though the universe is being rent asunder. Truly a pity the third hammer was not included.
Entendue pour la première fois en public au Théâtre des Champs-Elysées ( 1978), la version de l'orchestre symphonique de Londres sous la direction de C. Abbado s'est passée de tout marteau. Attentif à la façon dont on allait s'y prendre pour le remplacer, j'ai vu un percussionniste se déplacer, et utiliser une partie de l'estrade avec un effet tout aussi saisissant. Abbado, déjà rompu au répertoire malhérien, m'a ému ce soir-là. Je me souviens comment dès son entrée, après avoir recueilli les applaudissements saluant son arrivée, il s'est retourné tel un danseur pour attaquer aussitôt le 1er mouvement.
This conductor understands the music from inside the orchestra. There is no 'maestro' gimmick stuff and "suffering for art" here. Orozco-Estrada delivers Mahler's somewhat advanced 6th straight from the page but with just enough of a nod to rubato etc as would have been typical in Mahler's own time. Don't forget, Mahler was best known as a conductor in his lifetime. We are possibly hearing something authentic in the hands of this highly experienced but still quite young musician with the orchestra which persuaded him to extend his contract with them. Outstanding.
Mahler’s Tragic superbly played, conducted and filmed. Marvelous tight tempo in the first movement. The Andante comes second: arguably Mahler’s most passionate slow movement. Another extraordinary hr production from a venue close to the heart: Die Alte Oper.
Truly, this is a benchmark performance of the Mahler Sixth and I doubt it would be bettered, not now, in future or ever! Danke. What an orchestra and conductor👍👍👍
Oh my goodness I listened so intensely it’s an unfathomable greatness that has been spread before me The orchestra was beautiful, that first French horn was amazing, percussion was outstanding oh gosh
"Bravissimo!" auch für diese Dokumentation - ein vorzügliche "Visitenkarte" des hr-Sinfonieorchesters! Wie bedauerlich ist es, daß Andres Orozco Estrada weggehen wird aus Frankfurt!!!
The andante moderato is so glorious... I can't get enough. Of course I also love the long string choral slow movements of the 3rd, 4th and 9th but there's something incredible right there. The adagietto is a mix of both styles.
A brilliant performance! I haven't heard the Sixth in years, and the Andante 2nd movement still moves me, as it did this conductor. Notice the long pause, before he starts the Scherzo.
Nah man. It‘s the „i feel you bro“ face because conductor was annoyed out of his mind that this audience couldn‘t even wait a few seconds to disturb this music and the silence after the piece with the applause.
@@serendrixsan9191 Perhaps, but I think it was more that the conductor really understands the 6th Symphony's tragic backstory. The concertmaster's look is one of agreement; you are right about that.
Сложное для моего восприятия произведение, но исполнение великолепное. Оркестр полностью во власти дирижёра, а я во власти музыкального гения. Спасибо.
What's amazing is that this massive canvas came after arguably his master-work, the Fifth It seems to me that there are more memorable melodies in his 6th than others. It's interesting revisiting this symphony after some time. In this age of covid, we could all use a little Komponierenhuette!
I have always considered the slow movement as the prelude to the finale and therefore I think it should be the third movement. It is the farewell before the great struggle and defeat.
TRANSCENDENT WORK! Spectacular performance! Glorious orchestra and conductor! AMAZING! My only quibble has to do with the video shot selection and coordination with the orchestral score. Many times the video missed the motif being played by the featured instrument(s) and the video was showing something totally unrelated what we were hearing. No excuse, poor pre-production understanding and shot planning.
Großartiges Konzert, das ich live in der Alten Oper erleben durfte. Ganz herzlichen Dank für diesen schönen Abend! Großartig übrigens auch die Arbeit des Toningenieurs im Rahmen des Post-Editings dieser nunmehr überarbeiteten Fassung der Live-Aufzeichnung: Die Solo-Trompete @ 01:10 klang in der Originalversion des Mitschnitts (und auch vor Ort) noch ein wenig anders ;-) ... . Jatzt mal im Ernst: Lasst solche geringfügigen, global nicht wirklich ins Gewicht fallenden Ungenauigkeiten doch in Zukunft möglichst unangetastet; es ist nicht wirklich schlimm - kaum ein Konzert ist in jeder Hinsicht perfekt, und ich persönlich fände es besser, wenn man hier ein möglichst genaues Abbild dessen zu hören bekäme, was man vor Ort erleben durfte. Ein grandioser Adend war es ja ohnehin!
This symphony is so dense - especially the finale - but this performance makes many things much clearer about those inner lines and the way in which Mahler incorporates nearly all of the themes from the symphony into the fabric - either deliberately or unconsciously - who knows? I listened to Bruckner's 5th yesterday and I swear I heard a theme from that somewhere in that counterpoint.
This is a great performance of a great symphony! The complex, extravagant finale that puts us on a roller-coaster and through an emotional wringer is a unique musical experience, well-realized by Maestro Orozco-Estrada, although I did miss some of the urgency in its' opening pages. And I could hardly hear the cowbells, whether by intent or unfortunate microphone placement. All in all, bravo to everyone!
My personal favorite is Bernstein's rendition of this symphony as recorded by the New York Philharmonic for the Bernstein Century series of albums by Sony Records.
🟦 1st Movement : sonata form ◾Exposition 0:31 Main section in A minor of marchlike character, section 1 (0:42), section 2(1:20) 2:23 Lead rhythm, major-minor seal 2:31 Chorale theme in A minor (8+8 measures @2:47) halfway between main and secondary themes, adapted from finale of 2nd symphony, th-cam.com/video/sHsFIv8VA7w/w-d-xo.html @ 57:00 3:04 Secondary section in F major (a portrait of his wife, Alma Mahler) 3:41 Interruption with motifs of the main section 3:57 Continuation of the secondary section in F major 4:40 Epilogue in F major 5:09 Repetition of exposition ◾Development 9:46 First part: Development of motifs from the main section; marchlike character AB(10:27)A’(10:43), e.g. 9:58 develops violins @1:10 11:33 Second part: Development of motifs from the secondary section and main section (two tam-tam beats) 12:10 Third part [gradually a little more sustained]: “music from far away” with cowbells (motifs from the second section, chorale, and main section), AB(13:17)A’(14:37) 15:40 Fourth part: (Tempo I. Subito. [Very energetic]): motifs from main section (1:28) and chorale ◾Recapitulation (shortened, greatly altered) 16:49 Main section in A minor (17:44 the major-minor seal) 18:19 Lead rhythm, 18:23 major-minor seal 18:27 Choral theme in diminuition: Music from a distance 18:50 Transition with motifs from the secondary section 19:06 Secondary section [slightly faster] in D major 19:52 Epilogue in D major ◾Coda 20:31 First section: Based chiefly on motifs from the main section 22:19 Secondary section: Beginning with music from far away, then crescendo molto 22:49 Third section: Motifs from the secondary section, main section, and chorale in A major; Alma’s motifs have the last word, supplying the affirmative triumphant ending 🟦2nd Movement: Andante moderato 🔸The order of the 2nd and 3rd movements is often reversed from this performance 🔸A song similar in tone to one of the kindertotenlieder th-cam.com/video/DMBUjpMPPvg/w-d-xo.html 🔸Five part structure (ABA’B’A’’) 24:53 A. Three-part song form, E-flat major: A, B(26:58 an elegiac theme in G minor) A’(27:38) abgesang(29:05 rocking motif and eighth-note motif) 30:28 B. First section, after four intro measures in C, elegiac theme in A minor; symphonic development of eighth-note motif 32:50 B Second section: pastorale in E major wih harps, celesta, and cowbells (rising motif and rocking motif) 34:04 A’ (shortened). Main theme in E-flat major (with another voice in counterpoint) 35:37 B’ First section: misterioso in C major (derived from eighth-note motif) 36:28 B’ Second section: Pastorale in A major with celesta (rocking and eighth-note motifs) 37:41 B’ Third section: Elegiac theme in A minor 38:21 B’ Fourth section: Elegiac theme in C-sharp minor, then climax in F-sharp major with cowbells 39:21 A’’. Main theme, first in B major, then in E-flat major, ending fades away 🟦3rd Movement : Scherzo 🔸Often played before the andante moderato ◾Main Movement (A) in A minor 43:39 First section 44:32 Second section 44:59 Third section (modification of first), seal @ 45:33 ◾Trio (B) in F major 45:48 First section 46:23 Second section 46:50 Third section 47:22 Fourth section 48:03 Transition (with parallel major thirds) 48:17 Interlude in F minor ◾Main Movement (A’) in A minor 48:51 First section 49:51 Second and third sections (interwoven), seal @ 50:26 ◾Trio II (B’) in D major 50:47 First section 51:25 Second section 51:57 Third section 52:23 Fourth section 52:53 Fifth section 53:06 Transition 53:21 Interlude beginning in E-flat minor 53:59 Main Movement (A’’) in A minor ◾Coda 54:57 First section 55:13 Second section (3fold statement of seal) 55:40 Third section (3fold statement of seal) 🟦4th Movement: Finale, sonata form ◾Exposition 56:49 Introductory theme with lead rhythm and major-minor seal 57:25 Music from far away [somewhat dragging]; suggestion of exposition 3-note motifs @ 57:30, call-like sighing motifs @ 57:46, and matifs from the secondary section 58:37 59:39 Brass chorale [Heavy. Marcato] beginning in C minor 1:00:28 Lead rhythm and major-minor seal 1:00:33 Music from far away [a little more flowing]: suggestions of exposition motifs 1:01:38 Major-minor seal 1:01:42 Transition to the main section, pianissimo to fortissimo 1:02:12 Main section (Allegro energico) in A minor 1:02:58 Pesante: choralelike theme contrapuntally combined with main section motifs 1:04:07 Conclusion of the main section 1:04:35 Secondary section in D major ◾Development 1:05:44 Introductory theme 1:06:01 Music from far away: reminiscences of exposition motis along with the call-like sighing motif; cowbells @1:06:07, low bell sounds in the distance @ 1:06:54 🔸First part 1:07:30 Signallike motifs from the secondary section and call-like sighing motifs 1:08:01 Development of the secondary section material (sweeping in character) 🔸Second part 1:09:38 HAMMER#1; Work with motifs from the choralelike theme (the strings accompany with motifs from the main section) 1:10:20 [Somewhat more weighty. Everything with brute strength]. Dramatic “battle scene" with main section motifs, ostinato rhythms, and harsh dissonances; major-minor seal @ 1:11:35 and a first tam-tam beat 🔸Third part 1:11:38 [Strong, but somewhat restrained]: at the beginning, work with the marchike main theme (the whip (Jute) is used only in this section) 1:13:33 [Gradually settling down]: section of hymnic character in A major, dervied from the introductory theme and from secondary section motifs 1:13:57 [Even more restrained]: transition similar to 1:01:17 🔸Fourth part 1:14:23 HAMMER#2; elaboration mainly of choralelike motifs ◾Recapitulation 1:15:20 Introductory theme with lead rhythm and major-minor seal 1:15:59 Music from far away: reminiscences of exposition motifs 1:18:21 Grazioso: Secondary section beginning in B-flat major and leading to A major here and there coupled with choralelike and main section motifs); lead rhythm @ 1:19:48 1:20:19 Main section in A minor (lead rhythm and major-minor seal @ 1:21:07) 1:21:11 Development and contrapuntal treatment of motifs from the main and secondary sections, along with choralelike motifs @ 1:22:40 1:22:55 Abgesang of hymnic character 1:23:44 Lead rhythm and motifs from the secondary and main sections ◾Coda 1:24:26 Introductory theme with lead rhythm and major-minor seal (3rd blow @ 1:24:50 ) 1:25:10 Imitative section for trombones, tuba, and horns (= epitaph) 1:26:26 Closing (lead rhythm @ 1:26:50) notes based on Constantin Floros : Gustav Mahler The Symphonies, Amadeus Press (1985)
Ende Februar 2020 in der Tonhalle unter Adam Fischer! Wunderbar farbige Darbietung hier in der fantastischen Alten Oper in Frankfurt! Vielen Dank an alle Mitwirkenden!
@@EE-gg3xf no argument against what you said but his actual words were "at last theres only one 6th, despite the Pastoral (B 6.)" In a letter to anton webern i think
Berg may have been unfamiliar with Sibelius' Sixth of 1923 and he died in 1935 before Vaughan William's Sixth was premiered in 1948. The first two movements of Bruckner's Sixth, which Mahler premiered in Vienna in 1899, are top notch, too.
Rhythmische und spannende Aufführung dieses großartigen Meisterwerks mit eindrucksvollen Töne der Schlagzeuge, seidigen Töne der Streicher, brillanten Töne der Metallbläser und, vor allem, milden Töne der Holzbläser. Der Dirigent leitet alles im überzeugenden Tempo mit völlig kalkulierter Dynamik. Die Mitwirkung zwischen dem genialen Dirigenten und dem ausgzeichneten Orchester ist vollkommen. Echt Hammer!
A fine fine performance of this great work, great clarity, flawless playing, a beautifully balanced interpretation. The best case I have yet heard in the andante/scherzo business for having this sequence. The first movement in my opinion is the finest since The Ninth (okay, the Brahms 4th ain't too bad). The andante is no less than the birthplace of modern music (i.e., orchestral music of all kinds to this very day; granted, Beethoven has some candidates along these lines, particularly in his piano sonatas, which were largely experimental, anyway).
Sad that Mahler himself did not survive into the age of electronic recording. One can only imagine how he would have enthralled us with his own reading of these towering masterworks. He would be smiling now.
I am currently reading J. M. Fischers Mahler biography which says that electronic recording, albeit of lower quality, was very much available at the turn of the 20th century, that there are recordings of his contemporaries and that it is somewhat hard to explain why all we have in Mahler's case is testimony and his piano rolls.
The great adagio movement should be placed just before the final cataclysmic movement. To hell with the traditional 4 movement structure. It has much more intense emotional power than the scherzo, which is great also. The way the slow movement ends segues perfectly into the ominous first bars of the final movement.
This was the first recording I came across where the adagio came 2nd not 3rd. To my horror I looked on you-tube to find other examples and it looks like this trend is catching on. According to a Guardian website Mahler had intended the adagio to be placed 2nd but Alma Mahler and a 1963 transcription had placed it 3rd which is what I'm used to. I was trying to work out why I hate the adagio coming 2nd so much. Difficult to argue logically on something which is emotional and an artistic preference but I think the symphony emotional journey works far better if the adagio is 3rd. The scherzo supports the first movement. Its more bumptious, less depressing but still with a militaristic vibrancy. The adagio is sombre and increasing emotional leading splendidly to the cataclysmic finale. Emotionally its a consistent journey. en.wikipedia.org/wiki/Symphony_No._6_(Mahler) provides a comprehensive history of the problem.
Welp, unpopular opinion here. I'm so extremely attached to the Andante/Scherzo form that switching it ruins the whole experience for me. The glum Scherzo's coda leads perfectly into the first bars of the final movement and in my opinion sets the mood in a much more fitting fashion than the andante.
With that surprise modulation in the Andante starting at 40:20, the following minute is right up there as some of the most sublime music ever composed. You just can't beat melodies and harmonies weaving around the circle of fifths.
You are absolutely right. That climax evokes a particular feeling that always gives me chills. Absolutely one of the most awe-inspiring moments ever composed in music.
Honestly, I think this is one of the trivial passages in the Symphony. It leaves an aftertaste that I don't like, because actually this work goes in a completely different direction. This cloying passage probably only serves as a distraction and to establish a fall height for the following crash in the 4th movement.
@@Altonahh10 God willing, I pray that: (1) this annoying aftertaste leaves you with no permanent residue and (2) you never again are subjected to something so far beneath your superior aural aesthetics. I can't thank you enough for taking the time to share your luminous insights, however distressing it may have been to recall this 'trivial' passage from the Andante of Mahler's 6th Symphony.
So... I put this against my old Mahler staples Horenstein & Barbirolli and-eh... while I believe that 1967 Barbirolli w. New Philharmonia is incredible in its own right this beat it out. See this guy take over BPO at some point in life or Chicago. He is absolutely unbelievable. All of his Mahlers are out of the ordinary. It's not only Mahler though. Listen to his other staff. I never got into Dudamel who I consider to be more of a "fashionable" conductor. But this guy is amazing! I first stumbled across him accompanying Kopatchinskaja in Stravinsky Violin Concerto. He almost beats her out! Well, not really but it sure was a match made in heaven! You should check it out.
Excellent. And I applaud the choice of Andante as Second Movement. Most conductors go with the Scherzo second...Andante as second movement works very well. Also, Orozco-Estrada observes Mahler's repeat in the First Movement.
A while ago, long ago really, when I was teaching Social Studies I made friends with a fellow member of the department and he and his wife went out for an evening with my then girlfriend and I. While out for the evening he told me that his favorite composer was Gustav Mahler. At that time I hadn't heard any of his music. We discussed elements of Mahler and his music and he loaned me several albums of his music. Later I collected all the then extant recordings. Today all the recordings are on the internet but in the early 1970's there was only radio, tv and recordings. The only other time I was startled by a discovery was when my cousin Lenny called me up and said, "You have to come over and listen to this guy Bob Dylan!
The more I listen to Mahler, the less I am able to understand how it is possible that he wrote such masterpieces...He was a GIANT
I would dearly like to meet the sound engineer and shake his hand off and give him a hug. Such a glorious sound!
Stephen Golden : hr engineers have been recording the orchestra in superb fashion since I lived there during the 80s. It was astonishing to hear the result broadcast. The acoustics of the hall must be certainly crucial. Alte Oper is a great venue.
I was hoping a jack in the box would pop out when he hit that box so hard.
@Justice Patrick I really appreciate your reply. I got to the site on google and im in the hacking process atm.
Seems to take quite some time so I will get back to you later when my account password hopefully is recovered.
@Justice Patrick It did the trick and I finally got access to my account again. I'm so happy!
Thank you so much, you saved my ass!
@Fletcher Kashton Glad I could help :D
15:09 that horn player being disgusted at the tragic fate of "sweaty bell hand" 👌
1. Allegro energico, ma non troppo. Heftig, aber markig. 0:31
2. Andante moderato 24:53
3. Scherzo: Wuchtig 43:38
4. Finale: Sostenuto - Allegro moderato - Allegro energico 56:49
Hammer at 1:09:37
thank you, we're all here for the hammer. it was a real nice thwack too.
Second hammer: 1:14:22
Third 'hammer': 1:24:26
The third hammer was ommited by Mahler and it used to be here: 1:24:50 and not where you linked to.
The second blow sounded much better. More metallic.
@@blintscav the hammer is the most tawdry aspect to this marvellous work in my opinion.
@@John-qj2xi because it was struck along with the gong
This symphony, done well, is for me, is one the most intense experiences I've ever had in a concert hall or opera house. It's like living a lifetime in 1.5 hours. This is a wonderful performance. I love the commitment among the orchestra members to the music and to the conductor, e.g., the young woman playing principal flute; you can see that she is living the music and you can see it in others as well. And there's an obvious connection between this conductor and the orchestra. The Hispanic world is producing some amazing conducting talents -- Dudamel, Mena and this young man.
Mema is from Spain, Dudamel from Venezuela and Orozco-Estrada from Colombia.
Perhaps one day we will do away with ethnicities and concentrate on artistic virtues.
Re you singling out Clara's temperament: I have a theory that hair long (and short) enough to bounce when you move makes people look more expressive and sensitive because it amplifies the visibility of their movements.
Andrés Orozco-Estrada is one of my favorite conductors, and the Frankfurt Sinfonie Orchester is definitely one of my favorite orchestras. Beautiful piece by Mahler!
I have heard many great versions of Mahler 6 but this beats the lot! Wow, on every level. What an orchestra! The tightness of ensemble. Virtuoso performances everywhere, right down even to the gravitas of the celeste player! And that principal flautist... just wonderful. This is a prophetic symphony and the intensity and grandeur of this performance matched that perfectly. Such clear direction also. (Not to mention the twinkle in the eye of the leader :-) . Thank you, from the bottom of my heart!
It is truly magnificent.
I am looking for a very particular performance. The first I heard and the one I loved most. It was the 100 year anniversary of the premiere, also played in Essen, Germany. Desperately trying to find it, no success yet.
I could have written exactly the same thing!
Alan Morrison: Yes! I have to agree. There is a superb Mahler tradition in Frankfurt. I heard them with Inbal in the 80s. Unforgettable
The start.
Right? This is one of the most spiritually generous conductors I have seen on the podium. Always connected with the orchestra and sending them accolades in the moment with glances and mouthed bravi. I love watching this orchestra perform.
I don't know how it's possible to listen to this without crying
What a fantastic production, it's so enjoyable to see it played with professional film editing and sound engineering. And Mahler's 6th is a work of genius, it's no coincidence that we're all here.
Just want to extend Big Thanks to Frankfurt SO. Such a wonderful collection of gifted artists who have devoted much of their individual & combined lives' energetic intention to getting how (& *why* 🎉) to make the sounds right. Your First Violinist is stupendous, and your principal flautist so expressive... and so many others.. *All*. Love this Mahler symphony, love the beautiful nuances of this delivery. I listen to & revisit it, Often. MegaGratsies... Danke, Schoen.. !!
I have listened to all of Mahler's Symphonies. It is impossible for me to say I like this symphony more than the others. Every one of his symphonies are a sign of greatness! It all depends on how we conceive it. However what a wonderful orchestra and conductor! Enjoyed every moment of this great concert!
I know, right? It's like my favorite Mahler Symphony changes every day :D
Once again we have this fantastic orchestra with an excellent conductor, the Colombian😃 Andres Orozco-Estrada. Everything here is excellent. Kudos!. Every time I listen to this symphony I like it better and better.
The andante of this colossal symphony is one of man’s sincerest musical utterances. It never fails to move me to tears. Only God knows how much Mahler poured of his soul into it .... While writing this and listening to it my tears began to well up
I know exactly your feelings.
The Adagietto of Mahler's Fifth Symphony was the music of his initial infatuation with Alma Schindler. I think that the Andante of his Sixth Symphony was the music of his early domestic bliss with her. He specifically identified the second theme of the 6th's first movement as his 'Alma theme' (3:04 - 5:05). She would remain his muse, dedicating his Eighth Symphony to her and then inscribing an impassioned plea to her on the manuscript at the end of the sketched last movement of his incomplete Tenth Symphony.
Yes, Huckleberry Finn! The music weeps a heartfelt sorrow, and my tears never fail to join in.
Reading this makes me tear up. It's so beautiful.
you can just feel the utter emotion Mahler poured into this piece of music.... just wow.
The performance is as excellent as those of Von Karajan, Claudio Abbado, Leonard Bernstein... Nothing to improve. One reason is that this orchestra is formed with great musicians all of them soloists as well as we have discovered during this pandemic and its conductor was named in Austria as the "Viena Miracle".
Thank you HR FRANKFURT Sinfonie. Viel Danke, muchas gracias!!!
I am just now immersing* myself in Mahler's symphonies and I am so blown away by his talent for infinite phrasing, beautiful composition for the horn section, undeniable dynamics, and just overall patience with the melodies. Sublime!
Seen u around
@@lewisbreland ㅣ
@@mitcheljames7053 Thanks! lolol
Ein fantastisches horn-violine-duo im ersten satz! Habe ich so noch nie gehört. Unglaublich subtil gemacht und gespielt.
Esse jovem maestro é espetacular!!!! A orquestra nunca tocou tão bem!!!! Verdadeira preciosidade!!! Não o percam de vista!!!! Bravo!!!!!
Every single one of Mahler's nine symphonies are Gem's and astonishingly brilliant! Great orchestra and conductor!
Das Andante von Mahlers Sechster Symphonie bewegt mich auf eine Art und Weise, die keine andere musikalische Komposition erreicht. Mahler beherrscht meisterhaft die Kunst, eine breite Palette von Emotionen in mir zu wecken, die sowohl berühren als auch begeistern. Meinen tiefen Respekt und Anerkennung dem hr-Sinfonieorchester für eine herausragende Darbietung.
After a mind-numbing week of work, Mahler's 6th symphony is intellectually restoring medicine. And this Symphony Orchestra performs it in superb fashion. Thank You.
This symphony seems so appropriate while I'm sitting at home quarantined due to COVID-19.
Same here (self-isolating in Manchester in the UK)
Bayern too
And now you can also check out the digital concert hall of the Berliner Philharmoniker.
@@myg949 on atlantic coast in France too ! ;-) but the more painful for me is that I can't go this year in... "Bayern" and "Österreich", "meine lieblingsländer" ! ;-) I miss deeply Regensburg, München, Reit im Winkel, Nürnberg, Bad Reichenhall, Straubing, Berchtesgaden, Salzburg, Linz, Mürzzuschlag, Passau, Molding, Maiernigg and a lot of others loved places ! I just can listen to comforting me, Brahms, Beethoven, Mahler, Bruckner, Richard Strauss, Johann Strauss, Ziehrer.... :-)
In Irvine, Southern California. But I hardly feel locked down when I have so much glorious music to hear--and see!--via TH-cam.
Que lujo de orquesta, archi director: Andrés Orozco Estrada ¡lo amooo!...
Gracias por compartir, es un placer escucharlos tocar Mahler.
Beautiful sound great conductor, i hope to listen also Mahler's n. 2 and n. 9 and n. 10 by Orozco-Estrada!
1:09:32 Hammer #1
1:14:16 Hammer #2
edit: tbh these hammers are the best mahler hammers i've heard so far.
Agreed: the "loud yet dead (i.e. not resonant)" indication by Mahler has never been better followed. The gong simultaneously with the second hammer makes me feel as though the universe is being rent asunder. Truly a pity the third hammer was not included.
Just look at the face of the timpani player, he's really enjoying it!
Entendue pour la première fois en public au Théâtre des Champs-Elysées ( 1978), la version de l'orchestre symphonique de Londres sous la direction de C. Abbado s'est passée de tout marteau.
Attentif à la façon dont on allait s'y prendre pour le remplacer, j'ai vu un percussionniste se déplacer, et utiliser une partie de l'estrade avec un effet tout aussi saisissant.
Abbado, déjà rompu au répertoire malhérien, m'a ému ce soir-là.
Je me souviens comment dès son entrée, après avoir recueilli les applaudissements saluant son arrivée, il s'est retourné tel un danseur pour attaquer aussitôt le 1er mouvement.
Cela dit, le Hr-Sinfonieorchester et son brillant chef colombien sont parfaits.
thanks you so much unnamed lmao
This conductor understands the music from inside the orchestra. There is no 'maestro' gimmick stuff and "suffering for art" here. Orozco-Estrada delivers Mahler's somewhat advanced 6th straight from the page but with just enough of a nod to rubato etc as would have been typical in Mahler's own time.
Don't forget, Mahler was best known as a conductor in his lifetime.
We are possibly hearing something authentic in the hands of this highly experienced but still quite young musician with the orchestra which persuaded him to extend his contract with them. Outstanding.
Oh my God; this is an incredible journey. Thank you so much.
É lindo ver uma orquestra que se comunica não só com música, mas também com sorrisos
One of the very best performances of the 6th I have ever heard. Emotionally explosive! Bravo!
Mahler’s Tragic superbly played, conducted and filmed. Marvelous tight tempo in the first movement. The Andante comes second: arguably Mahler’s most passionate slow movement. Another extraordinary hr production from a venue close to the heart: Die Alte Oper.
Truly, this is a benchmark performance of the Mahler Sixth and I doubt it would be bettered, not now, in future or ever! Danke. What an orchestra and conductor👍👍👍
Petrenko's is better
@@WritingontheWallIL How unworthy of you to publicly suggest such a thing.
Oh my goodness I listened so intensely it’s an unfathomable greatness that has been spread before me
The orchestra was beautiful, that first French horn was amazing, percussion was outstanding oh gosh
I finally witnessed this live - on the tip of my seat second after second. What a work!
Outstanding performance !!!
Thank you so much.
"Bravissimo!" auch für diese Dokumentation - ein vorzügliche "Visitenkarte" des hr-Sinfonieorchesters!
Wie bedauerlich ist es, daß Andres Orozco Estrada weggehen wird aus Frankfurt!!!
Bellísima música. Gracias por compartir tanta belleza. Desde Bolivia, muchas BENDICIONES.
Amazing piece of music. Mahler is the greatest.
Yes, he is. 😎🎹
The andante moderato is so glorious... I can't get enough.
Of course I also love the long string choral slow movements of the 3rd, 4th and 9th but there's something incredible right there. The adagietto is a mix of both styles.
Maestro, nuevamente muy conmovido con sublime dirección de esta maravillosa pieza de Mahler. Gracias otra vez.
Marvelous orchestra. Marvelous conductor! Bravo!
A brilliant performance! I haven't heard the Sixth in years, and the Andante 2nd movement still moves me, as it did this conductor. Notice the long pause, before he starts the Scherzo.
1:27:25 The expression of calm joy and support on the concertmaster's face says so much about this wonderful band.
Nah man. It‘s the „i feel you bro“ face because conductor was annoyed out of his mind that this audience couldn‘t even wait a few seconds to disturb this music and the silence after the piece with the applause.
@@serendrixsan9191 no applause until the conductor turns. So easy.
@@serendrixsan9191 Perhaps, but I think it was more that the conductor really understands the 6th Symphony's tragic backstory. The concertmaster's look is one of agreement; you are right about that.
Сложное для моего восприятия произведение, но исполнение великолепное. Оркестр полностью во власти дирижёра, а я во власти музыкального гения. Спасибо.
La orquesta sinfónica y Director me parecen espectaculares .! felicidades..1
What's amazing is that this massive canvas came after arguably his master-work, the Fifth It seems to me that there are more memorable melodies in his 6th than others. It's interesting revisiting this symphony after some time. In this age of covid, we could all use a little Komponierenhuette!
What an incredibly gorgeous second movement!!
I have always considered the slow movement as the prelude to the finale and therefore I think it should be the third movement. It is the farewell before the great struggle and defeat.
Another perfect live performance from Germany's leading radio orchestra.
Davey, wonderful tuba solos! Mom and Dad would be so proud of you!
Wieder einmal fantastisch! Bravo!
TRANSCENDENT WORK!
Spectacular performance!
Glorious orchestra and conductor!
AMAZING!
My only quibble has to do with the video shot selection and coordination with the orchestral score. Many times the video missed the motif being played by the featured instrument(s) and the video was showing something totally unrelated what we were hearing. No excuse, poor pre-production understanding and shot planning.
Espectacular actuación, Bellísima obra y gran orquesta,bravisimo ❤🎉❤
Großartiges Konzert, das ich live in der Alten Oper erleben durfte. Ganz herzlichen Dank für diesen schönen Abend!
Großartig übrigens auch die Arbeit des Toningenieurs im Rahmen des Post-Editings dieser nunmehr überarbeiteten Fassung der Live-Aufzeichnung: Die Solo-Trompete @ 01:10 klang in der Originalversion des Mitschnitts (und auch vor Ort) noch ein wenig anders ;-) ... . Jatzt mal im Ernst: Lasst solche geringfügigen, global nicht wirklich ins Gewicht fallenden Ungenauigkeiten doch in Zukunft möglichst unangetastet; es ist nicht wirklich schlimm - kaum ein Konzert ist in jeder Hinsicht perfekt, und ich persönlich fände es besser, wenn man hier ein möglichst genaues Abbild dessen zu hören bekäme, was man vor Ort erleben durfte. Ein grandioser Adend war es ja ohnehin!
This symphony is so dense - especially the finale - but this performance makes many things much clearer about those inner lines and the way in which Mahler incorporates nearly all of the themes from the symphony into the fabric - either deliberately or unconsciously - who knows? I listened to Bruckner's 5th yesterday and I swear I heard a theme from that somewhere in that counterpoint.
Extraordinary. Been a while since I last heard the 6th, and it was worth the wait.
i think this version is really one of the best!
This is a great performance of a great symphony! The complex, extravagant finale that puts us on a roller-coaster and through an emotional wringer is a unique musical experience, well-realized by Maestro Orozco-Estrada, although I did miss some of the urgency in its' opening pages. And I could hardly hear the cowbells, whether by intent or unfortunate microphone placement. All in all, bravo to everyone!
Very very beutiful symphony
What a glorious performance; absolutely wondrous...
Intense from beginning to end, couldn't do anything else but listen intensely.
Grandios. Fantastisch. Großartig.
Danke!!!
The best so among the many versions I have found; still looking for the 'perfect' one, but this says it pretty well.
My personal favorite is Bernstein's rendition of this symphony as recorded by the New York Philharmonic for the Bernstein Century series of albums by Sony Records.
That second movement was sublime! It's like hearing it again for the first time!
1:16:04 Hey, come back!
He gone
He has to go home and sleep now.
he's probably got tacet al fine, his shift finished early xD
He went out of stage to play distant low bells and cow-bells)))
🟦 1st Movement : sonata form
◾Exposition
0:31 Main section in A minor of marchlike character, section 1 (0:42), section 2(1:20)
2:23 Lead rhythm, major-minor seal
2:31 Chorale theme in A minor (8+8 measures @2:47) halfway between main and secondary themes, adapted from finale of 2nd symphony, th-cam.com/video/sHsFIv8VA7w/w-d-xo.html @ 57:00
3:04 Secondary section in F major (a portrait of his wife, Alma Mahler)
3:41 Interruption with motifs of the main section
3:57 Continuation of the secondary section in F major
4:40 Epilogue in F major
5:09 Repetition of exposition
◾Development
9:46 First part: Development of motifs from the main section; marchlike character AB(10:27)A’(10:43), e.g. 9:58 develops violins @1:10
11:33 Second part: Development of motifs from the secondary section and main section (two tam-tam beats)
12:10 Third part [gradually a little more sustained]: “music from far away” with cowbells (motifs from the second section, chorale, and main section), AB(13:17)A’(14:37)
15:40 Fourth part: (Tempo I. Subito. [Very energetic]): motifs from main section (1:28) and chorale
◾Recapitulation (shortened, greatly altered)
16:49 Main section in A minor (17:44 the major-minor seal)
18:19 Lead rhythm, 18:23 major-minor seal
18:27 Choral theme in diminuition: Music from a distance
18:50 Transition with motifs from the secondary section
19:06 Secondary section [slightly faster] in D major
19:52 Epilogue in D major
◾Coda
20:31 First section: Based chiefly on motifs from the main section
22:19 Secondary section: Beginning with music from far away, then crescendo molto
22:49 Third section: Motifs from the secondary section, main section, and chorale in A major; Alma’s motifs have the last word, supplying the affirmative triumphant ending
🟦2nd Movement: Andante moderato
🔸The order of the 2nd and 3rd movements is often reversed from this performance
🔸A song similar in tone to one of the kindertotenlieder th-cam.com/video/DMBUjpMPPvg/w-d-xo.html
🔸Five part structure (ABA’B’A’’)
24:53 A. Three-part song form, E-flat major: A, B(26:58 an elegiac theme in G minor) A’(27:38) abgesang(29:05 rocking motif and eighth-note motif)
30:28 B. First section, after four intro measures in C, elegiac theme in A minor; symphonic development of eighth-note motif
32:50 B Second section: pastorale in E major wih harps, celesta, and cowbells (rising motif and rocking motif)
34:04 A’ (shortened). Main theme in E-flat major (with another voice in counterpoint)
35:37 B’ First section: misterioso in C major (derived from eighth-note motif)
36:28 B’ Second section: Pastorale in A major with celesta (rocking and eighth-note motifs)
37:41 B’ Third section: Elegiac theme in A minor
38:21 B’ Fourth section: Elegiac theme in C-sharp minor, then climax in F-sharp major with cowbells
39:21 A’’. Main theme, first in B major, then in E-flat major, ending fades away
🟦3rd Movement : Scherzo
🔸Often played before the andante moderato
◾Main Movement (A) in A minor
43:39 First section
44:32 Second section
44:59 Third section (modification of first), seal @ 45:33
◾Trio (B) in F major
45:48 First section
46:23 Second section
46:50 Third section
47:22 Fourth section
48:03 Transition (with parallel major thirds)
48:17 Interlude in F minor
◾Main Movement (A’) in A minor
48:51 First section
49:51 Second and third sections (interwoven), seal @ 50:26
◾Trio II (B’) in D major
50:47 First section
51:25 Second section
51:57 Third section
52:23 Fourth section
52:53 Fifth section
53:06 Transition
53:21 Interlude beginning in E-flat minor
53:59 Main Movement (A’’) in A minor
◾Coda
54:57 First section
55:13 Second section (3fold statement of seal)
55:40 Third section (3fold statement of seal)
🟦4th Movement: Finale, sonata form
◾Exposition
56:49 Introductory theme with lead rhythm and major-minor seal
57:25 Music from far away [somewhat dragging]; suggestion of exposition 3-note motifs @ 57:30, call-like sighing motifs @ 57:46, and matifs from the secondary section 58:37
59:39 Brass chorale [Heavy. Marcato] beginning in C minor
1:00:28 Lead rhythm and major-minor seal
1:00:33 Music from far away [a little more flowing]: suggestions of exposition motifs
1:01:38 Major-minor seal
1:01:42 Transition to the main section, pianissimo to fortissimo
1:02:12 Main section (Allegro energico) in A minor
1:02:58 Pesante: choralelike theme contrapuntally combined with main section motifs
1:04:07 Conclusion of the main section
1:04:35 Secondary section in D major
◾Development
1:05:44 Introductory theme
1:06:01 Music from far away: reminiscences of exposition motis along with the call-like sighing motif; cowbells @1:06:07, low bell sounds in the distance @ 1:06:54
🔸First part
1:07:30 Signallike motifs from the secondary section and call-like sighing motifs
1:08:01 Development of the secondary section material (sweeping in character)
🔸Second part
1:09:38 HAMMER#1; Work with motifs from the choralelike theme (the strings accompany with motifs from the main section)
1:10:20 [Somewhat more weighty. Everything with brute strength]. Dramatic “battle scene" with main section motifs, ostinato rhythms, and harsh dissonances; major-minor seal @ 1:11:35 and a first tam-tam beat
🔸Third part
1:11:38 [Strong, but somewhat restrained]: at the beginning, work with the marchike main theme (the whip (Jute) is used only in this section)
1:13:33 [Gradually settling down]: section of hymnic character in A major, dervied from the introductory theme and from secondary section motifs
1:13:57 [Even more restrained]: transition similar to 1:01:17
🔸Fourth part
1:14:23 HAMMER#2; elaboration mainly of choralelike motifs
◾Recapitulation
1:15:20 Introductory theme with lead rhythm and major-minor seal
1:15:59 Music from far away: reminiscences of exposition motifs
1:18:21 Grazioso: Secondary section beginning in B-flat major and leading to A major here and there coupled with choralelike and main section motifs); lead rhythm @ 1:19:48
1:20:19 Main section in A minor (lead rhythm and major-minor seal @ 1:21:07)
1:21:11 Development and contrapuntal treatment of motifs from the main and secondary sections, along with choralelike motifs @ 1:22:40
1:22:55 Abgesang of hymnic character
1:23:44 Lead rhythm and motifs from the secondary and main sections
◾Coda
1:24:26 Introductory theme with lead rhythm and major-minor seal (3rd blow @ 1:24:50 )
1:25:10 Imitative section for trombones, tuba, and horns (= epitaph)
1:26:26 Closing (lead rhythm @ 1:26:50)
notes based on Constantin Floros : Gustav Mahler The Symphonies, Amadeus Press (1985)
Hermosa interpretación!! Sublime.
What a masterpiece!! BRAVO!!
And six months later, we’re still listening, and we’re still dealing with Covid-19!
Esse Andante é de muita pureza, celestialidade...
Ende Februar 2020 in der Tonhalle unter Adam Fischer!
Wunderbar farbige Darbietung hier in der fantastischen Alten Oper in Frankfurt! Vielen Dank an alle Mitwirkenden!
So eindrucksvoll. Einfach mitreißend. 👍
Played with moxie and elan; bravo, Maestro!
Alban Berg said this was “The only Sixth.”
Seems kind of unfair to Tchaikovsky, and perhaps Beethoven too...
@@EE-gg3xf no argument against what you said but his actual words were "at last theres only one 6th, despite the Pastoral (B 6.)" In a letter to anton webern i think
Berg may have been unfamiliar with Sibelius' Sixth of 1923 and he died in 1935 before Vaughan William's Sixth was premiered in 1948. The first two movements of Bruckner's Sixth, which Mahler premiered in Vienna in 1899, are top notch, too.
Rhythmische und spannende Aufführung dieses großartigen Meisterwerks mit eindrucksvollen Töne der Schlagzeuge, seidigen Töne der Streicher, brillanten Töne der Metallbläser und, vor allem, milden Töne der Holzbläser. Der Dirigent leitet alles im überzeugenden Tempo mit völlig kalkulierter Dynamik. Die Mitwirkung zwischen dem genialen Dirigenten und dem ausgzeichneten Orchester ist vollkommen. Echt Hammer!
Ach was! Ehrlich?
A fine fine performance of this great work, great clarity, flawless playing, a beautifully balanced interpretation. The best case I have yet heard in the andante/scherzo business for having this sequence. The first movement in my opinion is the finest since The Ninth (okay, the Brahms 4th ain't too bad). The andante is no less than the birthplace of modern music (i.e., orchestral music of all kinds to this very day; granted, Beethoven has some candidates along these lines, particularly in his piano sonatas, which were largely experimental, anyway).
What a beautiful sound ..... epic .... inspiring ...
I love how this conductor gives credit to the musicians before taking his bows!
In this orchestra‘s performance,
all is full of far superior splendor amazing
Sad that Mahler himself did not survive into the age of electronic recording. One can only imagine how he would have enthralled us with his own reading of these towering masterworks. He would be smiling now.
I am currently reading J. M. Fischers Mahler biography which says that electronic recording, albeit of lower quality, was very much available at the turn of the 20th century, that there are recordings of his contemporaries and that it is somewhat hard to explain why all we have in Mahler's case is testimony and his piano rolls.
Fantastic performance
The great adagio movement should be placed just before the final cataclysmic movement. To hell with the traditional 4 movement structure. It has much more intense emotional power than the scherzo, which is great also. The way the slow movement ends segues perfectly into the ominous first bars of the final movement.
speedystriper agree 100%. The scherzo fits better with the first movement also.
This was the first recording I came across where the adagio came 2nd not 3rd. To my horror I looked on you-tube to find other examples and it looks like this trend is catching on. According to a Guardian website Mahler had intended the adagio to be placed 2nd but Alma Mahler and a 1963 transcription had placed it 3rd which is what I'm used to. I was trying to work out why I hate the adagio coming 2nd so much. Difficult to argue logically on something which is emotional and an artistic preference but I think the symphony emotional journey works far better if the adagio is 3rd. The scherzo supports the first movement. Its more bumptious, less depressing but still with a militaristic vibrancy. The adagio is sombre and increasing emotional leading splendidly to the cataclysmic finale. Emotionally its a consistent journey.
en.wikipedia.org/wiki/Symphony_No._6_(Mahler) provides a comprehensive history of the problem.
Agree adagio should be 3rd, scherzo 2nd.
Welp, unpopular opinion here. I'm so extremely attached to the Andante/Scherzo form that switching it ruins the whole experience for me. The glum Scherzo's coda leads perfectly into the first bars of the final movement and in my opinion sets the mood in a much more fitting fashion than the andante.
Apart from me totally agreeing wtih the original poster, why do 3 of the 5 posters to this comment call it an Adagio? It's an Andante...
A performance of extraordinary quality
Ich Liebe das Lied Wunderschön Gott segne uns alle
54:58 I love this part... is like a teleportation to another world
When what we really recognize as modern music was born.
马勒的交响乐太动人心扉！ 赞！ 赞！ 赞！
这么优秀的乐团，音乐修养高水平。 这么杰出的指挥，把马勒原来的意识全表达淋漓！致敬！
With that surprise modulation in the Andante starting at 40:20, the following minute is right up there as some of the most sublime music ever composed. You just can't beat melodies and harmonies weaving around the circle of fifths.
You are absolutely right. That climax evokes a particular feeling that always gives me chills. Absolutely one of the most awe-inspiring moments ever composed in music.
@@nicolassanchez595 Gracias, would you say it compares to The Children of Sanchez by Chuck Mangione?
Honestly, I think this is one of the trivial passages in the Symphony. It leaves an aftertaste that I don't like, because actually this work goes in a completely different direction. This cloying passage probably only serves as a distraction and to establish a fall height for the following crash in the 4th movement.
@@Altonahh10 God willing, I pray that: (1) this annoying aftertaste leaves you with no permanent residue and (2) you never again are subjected to something so far beneath your superior aural aesthetics. I can't thank you enough for taking the time to share your luminous insights, however distressing it may have been to recall this 'trivial' passage from the Andante of Mahler's 6th Symphony.
Gracias por tan maravillosos videos !!!!!
You can get an accurate idea of the excepcional quality of the performance by having a look at the concertmaster… He is Mahler himself!
So... I put this against my old Mahler staples Horenstein &
Barbirolli and-eh... while I believe that 1967 Barbirolli w. New
Philharmonia is incredible in its own right this beat it out. See this
guy take over BPO at some point in life or Chicago. He is absolutely
unbelievable. All of his Mahlers are out of the ordinary.
It's not only Mahler though. Listen to his other staff. I never got into Dudamel who
I consider to be more of a "fashionable" conductor. But this guy is
amazing! I first stumbled across him accompanying Kopatchinskaja in
Stravinsky Violin Concerto. He almost beats her out! Well, not really
but it sure was a match made in heaven! You should check it out.
*them :* hold plank for the length of your favorite song
*my favorite 'song' :*
Mine would be "Let It Be" - what's yours?
@@hansjuergenkohlhaas871 mahler 6.
this very symphony.
Our abs and biceps be like STONKS though
Гениально! 👏🏻 Браво!
First time hearing this work.
Pretend that listening to the Adagietto is always your first time.
@@docbailey3265: The famous *Adagietto* is from the 5th Symphony. 😎🎹
First conductor I see that is so smiley :'D
Dale duro, paisano mío!!! 👏🏽👏🏽👏🏽👏🏽
listening the beautiful 6th by Mahler and watching Clara Andrada de la Calle give the most wonderful emotions and tender dreams I can feel ! :-)....
She's also in many (TH-cam) performances of the Chamber Orchestra Europe, because she's a great musician.
@@frankstein9982 And I love her .... as John Lennon wrote!
Excellent. And I applaud the choice of Andante as Second Movement. Most conductors go with the Scherzo second...Andante as second movement works very well. Also, Orozco-Estrada observes Mahler's repeat in the First Movement.
That couriosity with the big wooden hammer in the finale ...
Ich denk es ist mein lieblingsversion von dieses werk !
Emocionante, espetacular, sublime! (Martz Inura)
A while ago, long ago really, when I was teaching Social Studies I made friends with a fellow member of the department and he and his wife went out for an evening with my then girlfriend and I. While out for the evening he told me that his favorite composer was Gustav Mahler. At that time I hadn't heard any of his music. We discussed elements of Mahler and his music and he loaned me several albums of his music. Later I collected all the then extant recordings. Today all the recordings are on the internet but in the early 1970's there was only radio, tv and recordings. The only other time I was startled by a discovery was when my cousin Lenny called me up and said, "You have to come over and listen to this guy Bob Dylan!
great video
simply superb