Hector Berlioz - Symphonie fantastique op. 14 | Andris Poga | WDR Sinfonieorchester
ฝัง
- เผยแพร่เมื่อ 19 ม.ค. 2022
- Hector Berlioz' "Symphonie fantastique op. 14" performed by the WDR Symphony Orchestra conducted by Andris Poga on December 04, 2021 at the Kölner Philharmonie.
Hector Berlioz - Symphonie fantastique op. 14
Episodes from the life of an artist
00:00:02 I. Reveries - Passions (Dreams - Passions)
00:14:47 II. Un Bal (A Ball)
00:21:43 III. Scene aux champs (Scene in the countryside)
00:39:04 IV. Marche au supplice (Walk to the place of execution)
00:43:49 V. Songe d'une nuit du Sabbat (Dream of a Sabbath night)
WDR Symphony Orchestra
Andris Poga, conductor
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○ Introduction to the works
It all began with Berlioz's schooling. He attended a regular school for only a short time; his father preferred to teach him himself and occasionally hired private teachers. Berlioz himself later found this type of education a shortcoming, as it shielded him "from the realities of life." The fact that he was spared school drill and being forced into behavioral templates, on the other hand, is a rare stroke of luck for the music world. Only in this way was Berlioz able to defy compositional traditions and conventions. Thus, with the "Symphonie fantastique", he pushed the door wide open - for the imaginative worlds of musical romanticism.
The composition shows how much Berlioz was aesthetically uncompromising and artistically self-assured. The unflinching nature of the 26-year-old's sounds and formal design struck the audience at the premiere in December 1830 like a bolt of lightning: fascination and bright enthusiasm here, irritation and sheer horror there. The reactions of the experts were also controversial: some suspected Berlioz of madness, others proclaimed him the uncrowned icon of the musical modern era. Franz Liszt, only 19 years old at the time, showed himself to be truly intoxicated: he dug into the novel tides of sound with verve and created a piano transcription in the shortest possible time.
But what is so new, so stirring about the "Symphonie fantastique"? The most striking thing is the new tonality: the color mixtures that Berlioz elicits from the orchestra have something magical about them. And he achieves this through sheer skill - which commands the respect of even his harshest critics. Berlioz divides the strings several times, for example, which means that not all instruments of a voice group (for example, the first violins or the violoncellos) always play the same, but sometimes different voice progressions. This fans out the sound in a previously unknown way. Then there is the harmony. Berlioz throws familiar progressions overboard, sometimes with madness, in order to get from one key to another.
The purely external novelty of the "Symphonie fantastique" is that Berlioz - for the very first time in music history! - Berlioz based it on a detailed program. The sound developments here are therefore not "only" music per se, but they illustrate quite concrete contents. The basic constellation: Berlioz had fallen in love with the Irish actress Harriet Smithson, who, however, spurned his advances. From this he developed the melodious "Episode from the Life of an Artist," which he also called a "drame musical. Analogous to the classical drama with its five acts, Berlioz tells this tragic love story in five movements. In addition, Beethoven's Symphony No. 6, the "Pastorale," which also refers (admittedly only latently) to extra-musical content in five movements, served as a model.
The first movement of the "Symphonie fantastique" depicts the various stages of infatuation of a young musician with the woman who is ideal for him. Musically, it is embodied by a motif - called "idée fixe" by Berlioz - which appears in all movements in the most varied moods and shades. At the ball in the second movement, the lover sees the beloved again, but she pays no attention to him. In the "Scene in the Countryside," the dialogue of two shepherds is heard as the lover is seized by doubts about being loved again. Afterwards, only one shepherd sings his way. The "Walk to the Place of Execution" describes the musician's dream that he has murdered the chosen one, is condemned to death and is being led to the place of execution. Finally, in the "Dream of a Sabbath Night," the former lover appears as a witch. The distorted "idée fixe" contrasts with the melody of the "Dies irae," the Last Judgment from the Catholic Mass for the Dead.
Harriet Smithson, the real-life wooer, first heard the work two years after its premiere. Fascinated and deeply moved, she agreed to make Berlioz's acquaintance. The following year they married - a turn of events as if from the dream worlds of the "Symphonie fantastique".
(Text: Otto Hagedorn) - เพลง
This masterpiece, this amazing tour de force is hitting two hundred years old and still thrills the ears and the hearts of listeners even today. My guess is that, like Shakespeare, it will still be around five hundred years from now even if the human race is here or not.
Thank you very much, Germany, for providing us with such wonderful performances and orchestras.
Wow🌹🌹🌹Diese Interpretation ist für mich die Beste in der aktuellen Periode: frisch, klar, dynamisch mit einem tollen Klangvolumen. Herzliche Gratulation an den Dirigenten und alle Musikerinnen und Musiker.
Vielen lieben Dank für Ihre netten Worte. ❤
Schön, dass Ihnen unsere Musik gefällt.
I never would've thought that a German orchestra could be so sound minded in the French repertory. But amazingly you did it along with an authentic enough interpretation. Thanks. Thank you.
Our pleasure!
We're happy to hear that you like our rendition 🤗
Bravo!
Bravo! Great! Thank you to Maestro Andris Poga and Orchestra.
Toll !!! Dankeschön !!! 👏👏👏👏 💓
Wonderful concert, thanks for sharing 👏👏👏
Thanks for watching!
Great performance! Thank you ❤️ Danke sehr!
You are welcome ❤
Bravi !
Filmmusik " Der Feind in meinem Bett"