What a beautiful, magnificent, piece of music. It communicates, in the most direct and evocative way, the idea, "Pay attention -- somebody IMPORTANT is approaching." And it does it with great musical craftsmanship. I can hear this piece again and again and it never gets old.
I remember playing this in college for the inauguration of the new college president. It loops pretty well if you go back to the beginning instead of playing the final fanfare section, but for some reason they wanted to show the entire faculty walk all the way across campus on a big screen before they finally got to the auditorium and actually showed up in person, and I swear we played through it like 20 times.
Played this in junior high orchestra in 1978 (2d trumpet) ... our director put it in front of us, she never let on how difficult this REALLY was for 7th, 8th & 9th graders ... one of my favorite memories of performing music ...
Just beautiful done! We played this in community band, and then my daughter played it in her high school wind ensemble. She also wrote a college paper on Korsakov’s nationalism. I play flute, so the second movement is my favorite, but I love it all.
Very much impressed by solid piccolo playing. When I hear this, the piccolo usually has a thin twitter and gets lost. When I saw "Boston Symphony" in the header, I knew it would be an excellent rendition. Love the BSO. Grew up listening to them.
One of my favorites as well. Performed this in High School and again in University / Conservatory. I will be conducting this with the ORSO later this year. (Will post the recording on my TH-cam channel).
I'm watching this because I'm in high school ensemble, and I'm listening to my part. My teacher/conductor is making me play the triangle part overwhelmingly loud, and I'm trying to convince her to let me play it quieter. Basically, she wants me to play it forte, and the music calls for piano.
@@tylermoseley935 Tyler, which triangle entrance are you addressing here? Are you addressing the entrances at measures 82 and 89? In those, the marking is piano. The triangle still has to be heard with the woodwinds and the pizzicato strings, which are marked mf and f, and if your ensemble is also performing with the choral parts, the chorus is singing there as well (although, their part is marked piano.) All that being said, dynamic markings are all relative. One conductor's forte may be another's fortissimo. Something else to consider: the acoustics of the hall that you will be performing (or recording) in. If the hall's acoustics dampen higher frequencies, you may need to play louder for the part to be heard by the audience at the proper volume. It may seem much louder to you on the stage (or rehearsal room), but it will be just the right volume when the sound reaches the audience (during the actual performance). Also, when there is an audience in the hall, the acoustics may change drastically (which is one of many reasons some professional symphony orchestras have an audience for the dress rehearsal.) Another thing to remember is that the conductor is a musician whose instrument is the entire orchestra. Every conductor has a different concept of what the work being performed should sound like, both tempo-wise and dynamic-wise. Here is an excellent example of the same work being interpreted by two different conductors. This is part of the 4th movement of Tchaikovsky's 5th symphony. Here is (my conducting mentor) Leonard Bernstein's interpretation: th-cam.com/video/_XPj7YMd48Y/w-d-xo.html, and here is mine (from a studio recording): th-cam.com/video/Cyp9H6PvFPI/w-d-xo.html . You can see that I bring out more of the string runs than Maestro Bernstein does in this section, and if you listen to both all the way to the end, you will see that there are significant differences in the tempos and dynamics. Both are correct, even though they are quite different. These are things that are left up to the discretion of the conductor. So Tyler, what you should do is speak to your teacher (after the rehearsal is over) and ask her why she wants you to play the part much louder than the printed music says it should be played (and this is important to add) because you would like to understand why. (You may even add some of the reasons I explained above). Tyler, I don't know if you want to choose music as a career path or if you just want to play and appreciate good music, but your question is a very good one, and I hope that I was able to convey an excellent explanation to you. I wish you luck in your endeavors. Mark
This composition was performed at the 1970 Midwest National Band Clinic by the Ouachita Parish High School Band, under the directorship of Jack W. White, one of the finest directors, musicians and individuals ever to grace the podium. The Band received a standing ovation which started before the last echo of the last note had even begun to fade. I am proud to say that I am an alumnus of that band, and extremely proud to say that I performed under Jack White!
Jack White! I was in the 156th Army Band (Bossier City) when he came over to guest conduct us in one of our concerts at the Strand Theater, Shreveport. This was back in the mid/late 90's! Fabulous conductor indeed.
I was privileged to have Jack White as an instructor all the way from 5th Grade to college. He moved up at about the same times I moved up. Mr. White was an outstanding conductor, educator and person. @@usafepercman
Did this in our school orchestra in 1976. Shout out to our director John Mallinson from Camberwell Grammar in Melbourne who’s still with us. We had some very good trumpeters in that year that carried it. Great piece though we didn’t quite achieve this tempo!
The harpist has very weak tone for being a member of the BSO. No wonder she has to be on a big raised podium. I can't imagine how they hired her. She belongs in a little chamber orchestra.
Iam a lover of Rimsky so enjoy his music any time I get a chance to listen to it. HE, Grainger, and Beethoven are my favorite composers. ON the Pop side I would say Mancini and Glen Miller. of course there is always John Williams to fit on the list, too. But I will quit there. No! I can't without mentioning Neil Hefty and John Phillip Sousa. Any more. YES but not on the list, Dave Brubeck , Nelson Riddle arrangements and I am sure there is more. I guess I should save the Best for Last. Tchaikovsky being the best of the best. Some Bach, Brahms, Dvorak, Greig, and Bernstein are great, too. BUT over all i will stick with Peter, Piotr.
What a beautiful, magnificent, piece of music. It communicates, in the most direct and evocative way, the idea, "Pay attention -- somebody IMPORTANT is approaching." And it does it with great musical craftsmanship.
I can hear this piece again and again and it never gets old.
I remember playing this in college for the inauguration of the new college president. It loops pretty well if you go back to the beginning instead of playing the final fanfare section, but for some reason they wanted to show the entire faculty walk all the way across campus on a big screen before they finally got to the auditorium and actually showed up in person, and I swear we played through it like 20 times.
Played this in junior high orchestra in 1978 (2d trumpet) ... our director put it in front of us, she never let on how difficult this REALLY was for 7th, 8th & 9th graders ... one of my favorite memories of performing music ...
Just beautiful done! We played this in community band, and then my daughter played it in her high school wind ensemble. She also wrote a college paper on Korsakov’s nationalism. I play flute, so the second movement is my favorite, but I love it all.
This was my College graduation processional (1975) first in my family to walk. love listening to it and enjoy the memories of that day
Wonderful piece, wonderful conductor, wonderful trumpets, wonderful everything else.
Bumped into this today. MAGNIFICENT piece. MAGNIFICENT ORCHESTRA. I thank you!
Very much impressed by solid piccolo playing. When I hear this, the piccolo usually has a thin twitter and gets lost. When I saw "Boston Symphony" in the header, I knew it would be an excellent rendition. Love the BSO. Grew up listening to them.
Pic can be hard! Yes, the pic here is the premier.
Sooooooo gorgeous. Absolute musical perfection!, and one of my favorites. Bright, grand, noble, warm and triumphant right to the VERY end! :-)
One of my favorites as well. Performed this in High School and again in University / Conservatory. I will be conducting this with the ORSO later this year. (Will post the recording on my TH-cam channel).
I'm watching this because I'm in high school ensemble, and I'm listening to my part. My teacher/conductor is making me play the triangle part overwhelmingly loud, and I'm trying to convince her to let me play it quieter. Basically, she wants me to play it forte, and the music calls for piano.
@@tylermoseley935 Tyler, which triangle entrance are you addressing here? Are you addressing the entrances at measures 82 and 89? In those, the marking is piano. The triangle still has to be heard with the woodwinds and the pizzicato strings, which are marked mf and f, and if your ensemble is also performing with the choral parts, the chorus is singing there as well (although, their part is marked piano.) All that being said, dynamic markings are all relative. One conductor's forte may be another's fortissimo.
Something else to consider: the acoustics of the hall that you will be performing (or recording) in. If the hall's acoustics dampen higher frequencies, you may need to play louder for the part to be heard by the audience at the proper volume. It may seem much louder to you on the stage (or rehearsal room), but it will be just the right volume when the sound reaches the audience (during the actual performance). Also, when there is an audience in the hall, the acoustics may change drastically (which is one of many reasons some professional symphony orchestras have an audience for the dress rehearsal.)
Another thing to remember is that the conductor is a musician whose instrument is the entire orchestra. Every conductor has a different concept of what the work being performed should sound like, both tempo-wise and dynamic-wise. Here is an excellent example of the same work being interpreted by two different conductors. This is part of the 4th movement of Tchaikovsky's 5th symphony. Here is (my conducting mentor) Leonard Bernstein's interpretation: th-cam.com/video/_XPj7YMd48Y/w-d-xo.html, and here is mine (from a studio recording): th-cam.com/video/Cyp9H6PvFPI/w-d-xo.html . You can see that I bring out more of the string runs than Maestro Bernstein does in this section, and if you listen to both all the way to the end, you will see that there are significant differences in the tempos and dynamics. Both are correct, even though they are quite different. These are things that are left up to the discretion of the conductor.
So Tyler, what you should do is speak to your teacher (after the rehearsal is over) and ask her why she wants you to play the part much louder than the printed music says it should be played (and this is important to add) because you would like to understand why. (You may even add some of the reasons I explained above).
Tyler, I don't know if you want to choose music as a career path or if you just want to play and appreciate good music, but your question is a very good one, and I hope that I was able to convey an excellent explanation to you.
I wish you luck in your endeavors.
Mark
Will check it out!
Fantastic. Just fantasic. Thank you for posting this.
This composition was performed at the 1970 Midwest National Band Clinic by the Ouachita Parish High School Band, under the directorship of Jack W. White, one of the finest directors, musicians and individuals ever to grace the podium. The Band received a standing ovation which started before the last echo of the last note had even begun to fade. I am proud to say that I am an alumnus of that band, and extremely proud to say that I performed under Jack White!
Jack White! I was in the 156th Army Band (Bossier City) when he came over to guest conduct us in one of our concerts at the Strand Theater, Shreveport. This was back in the mid/late 90's! Fabulous conductor indeed.
I was privileged to have Jack White as an instructor all the way from 5th Grade to college. He moved up at about the same times I moved up. Mr. White was an outstanding conductor, educator and person. @@usafepercman
Did this in our school orchestra in 1976. Shout out to our director John Mallinson from Camberwell Grammar in Melbourne who’s still with us. We had some very good trumpeters in that year that carried it. Great piece though we didn’t quite achieve this tempo!
Color coded Korsakov. I love it❤
I’m playing this for my Spring Concert on May 18th.
Learning this now in high school:)
This is one of my favorite pieces, it used to be the theme for "Agronsky & Co." which was a politics show I watched as a kid.
Soundtrack of my youth. My folks never missed A&Co. Plus, my Dad played viola in the NSO for almost 40 years. Our house was a bastion of good music.
And its successor, "Inside Washington" - which we watched religiously at my home (WUSA, channel 9 was our go-to for everything).
@@dcbandnerdboth WUSA and WJLA versions
Wonderful Music. One of my favorites by Rimsky Korsakov. Can anyone identify the conductor please?
The conductor’s name is Thomas Wilkins.
Thanks, wanted to know. He smiles!@@pyee55
Does this seem like at times the music just doesn't match the video?
Can't hear this without thinking of "Inside Washington" 👍
Wusa/wjla
Indeed. I miss that show (and its panellists).
Great performance, only one thing, they did the timpanist dirty when he played his solos 😢
really excellent performance, but information about orchestra, conductor, dates, please...
Conductor is Thomas Wilkins: archive.boston.com/jobs/news/articles/2011/12/04/boston_symphonys_first_black_conductor_thomas_wilkins_applies_passion/
@@joycemichel3817 very nice, thank you!
That looks like the flight deck crew of an aircraft carrier.
Out of curiosity, why such a fast tempo?
Because if you're already playing fast, you can't rush 😋
Maybe because they can. Maybe R-K marked it 110 to be realistic regarding the abilities of most orchestras.
What is with these casual clothes? Who is the conductor? Is this a Pops Concert?
The harpist has very weak tone for being a member of the BSO. No wonder she has to be on a big raised podium. I can't imagine how they hired her. She belongs in a little chamber orchestra.
Brows Held High/ Still
They are dressed like they are going to a cookout...
Who is the director?
Thomas Wilkins, according to a previous comment.
1:02
3:06 [65]
Iam a lover of Rimsky so enjoy his music any time I get a chance to listen to it. HE, Grainger, and Beethoven are my favorite composers. ON the Pop side I would say Mancini and Glen Miller. of course there is always John Williams to fit on the list, too. But I will quit there. No! I can't without mentioning Neil Hefty and John Phillip Sousa. Any more. YES but not on the list, Dave Brubeck , Nelson Riddle arrangements and I am sure there is more. I guess I should save the Best for Last. Tchaikovsky being the best of the best. Some Bach, Brahms, Dvorak, Greig, and Bernstein are great, too. BUT over all i will stick with Peter, Piotr.
Division 1
I love French music.
VIVAT ANAXIS QVARTVS
who else is here from the online class lol
Looks like it was just you.