Johannes Brahms - Symphony No. 4 | Cristian Măcelaru | WDR Symphony Orchestra
ฝัง
- เผยแพร่เมื่อ 24 มิ.ย. 2024
- Johannes Brahms' Symphony No. 4 in E minor, op. 98, performed by the WDR Sinfonieorchester under the baton of its principal conductor Cristian Măcelaru. Recorded live on 14.03.2023 in Timișoara, Filarmonica Banatul.
Johannes Brahms - Symphony No. 4 in E minor op. 98
00:00:00 I. Allegro non troppo
00:12:43 II. Andante moderato
00:24:23 III. allegro giocoso - poco meno presto - tempo I
00:30:17 IV. Allegro energico e passionato - Più Allegro
WDR Symphony Orchestra
Cristian Măcelaru, conductor
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Work Introduction:
With the crushing legacy of Beethoven behind him, it took Johannes Brahms a quarter of a century to complete his 1st Symphony. When this succeeded, Brahms had three more symphonies follow after 1876. Mostly he used his free time in the summer vacations for this. Thus the 4th Symphony was written in 1884 and 1885 in the small village of Mürzzuschlag in Styria. While Brahms brooded over new compositions, little information leaked out. And when it did, his vague hints were mostly skeptical. To a family friend, he announced his Fourth as "a new sad symphony" and wrote from his vacation home to conductor Hans von Bülow: "For I fear it tastes of the local climate - the cherries here will not be sweet [...]." What is implied here is the austere and "elegiac" character of the 4th Symphony. Because Brahms' circle of acquaintances reacted with misgivings to the new symphony, the composer decided to give a preliminary performance on two pianos (two weeks before the premiere). The reaction here was also restrained, but after the successful premiere by the Meininger Hofkapelle on October 25, 1885, the Fourth also found its way into concert halls.
With the Symphony No. 4 op. 98, Brahms concluded his symphonic work. At the same time, the Fourth also meant the end of the classical-romantic symphony and its final solution "through night to light". The question of how Beethoven's symphonic legacy could be continued moved the entire 19th century. Brahms answered it in the finale of the 4th Symphony with a recourse to the Baroque chaconne or passacaglia. Relying on the majestic austerity and sublime grandeur of this time-tested variation model, Brahms achieved orchestral weight and symphonic grandeur in this original way. The young Richard Strauss was enthusiastic about this as one of the first listeners: "A giant work [...] new and original and yet from A to Z a genuine Brahms."
(Text: Tilla Clüsserath) - เพลง
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I love the first movement, one of my favorite from Brahms. Thank you for your performance.
You're welcome!
We're happy that you like it 😊
È l'alba. Grazie ❤ Brahms.
Buongiorno Mondo. ❤
Leaving aside the first symphony that Brahms took between 15 and 20 years to compose it, for my concept the fourth is the most beautiful symphony of the three remaining ones, this symphony contains everything and is the most tragic of all of them, it reflects all the repressed passions and feelings in the life of the composer, the fourth movement is based on a kind of "pasacaglia", baroque form that always intrigued the composer now written in the ramantic style. I love slower "tempos" in general, so I would have liked the third movement to have been "meno presto", and the fourth one more "passionato". Many thanks once again to the WDR Symphony Orchestra for such a beautiful performance and great extraordinary concert.
Our pleasure! We are happy that you like it.
There is no plot in the fourth movement ! Brahms was inspired by a arrangement of Bach's Cantata BWV 150, long before this symphony was written. Movement VII. Meine Tage in dem Leide. The structure is a Chaconne : She is built on a bass which is a descending tetrachord, while the passacaglia is built on a theme played in the bass and which is then distributed over the other voices. *Lucien*
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I absolutely loved this performance. It seems that Maestro Macelaru acquired the taste to balance from the German Conductors.
Everything balanced! Not dragging nor rushing.
But that 4th movement… 😮 absolutely powerful! Tragic and epic! “Better times will come, but today is Darkness”.
That 4th movement made this became my favourite Brahms Symphony.
And of course I’ll keep this performance as one of my favourites!
Ich danke dem Radio für das Privileg, das gehört und gesehen zu haben!
Ich hoffe, diese Symphonie eines Tages dirigieren zu können.
Enjoyed your performance in Beijing tonight!
Thank you! 🤗
❤❤❤❤🇩🇪🇩🇪🇩🇪🎼🎼🎼
Musicalement, la Quatrième symphonie de Brahms, Op. 98, poursuit l’avancée de la technique surprenante du compositeur. Chaque mélodie évolue de manière transparente et organique par rapport à ce qui a précédé, créant un réseau complexe d’interrelations musicales. Le langage de Brahms est également devenu incroyablement concentré et succinct, il en dit autant en quelques mesures que d’autres compositeurs le font en plusieurs phrases. Combinée au sérieux de l’œuvre, cette nouvelle richesse et densité a amené
le compositeur à s’inquiéter de la façon dont la symphonie serait reçue. L’une des caractéristiques les plus puissantes de la pièce est son économie de moyens. La concision est évidente dès le premier thème, une idée musicale gracieuse et expansive construite sur seulement deux notes, que Brahms renverse et étend pour générer presque tout le thème. Après un bref moment, une idée rythmique distinctive se révèle en arrière-plan. Il y a comme une saveur hispanique où qui s’en s’approche. Cette idée devient importante plus
tard dans le développement du premier mouvement. L’ouverture du second passage est également approfondie mais imaginative. Ce mouvement a été placé parmi les plus grandes déclarations orchestrales de Brahms. On peut deviner les quelques subtiles qualités médiévales dans cette musique. Contrairement aux sections extérieures plus lentes du mouvement, Johannes Brahms propose une section médiane rythmiquement active. La troisième partie est une musique rugueuse qui rappelle l’humour tapageur de Beethoven. Brahms rehausse subtilement la jovialité de la musique en ajoutant un triangle pour ce mouvement uniquement. Cette composition nous renvoie au XVIIIe siècle à bien des égards. Le lien le plus évident est le thème du dernier mouvement, que Brahms a sélectionné et adapté de la Cantate BWV 150 de Bach. Ce n’est pas exactement un thème en soi, mais une séquence d’accords, qui constitue le fondement du cycle musical de modulations qui suit. Comme chez Bach, les variations de Brahms s’enchaînent organiquement les unes aux autres et s’organisent en trois grands chapitres. La section centrale pastorale plus lente, soulage l'énergie harmonique et l'intensité orchestrale de la première section. Une reprise élaborée du thème annonce la section de conclusion énergique qui termine
la mélodie dans une dernière variation finale laconique mais puissante. Une telle lecture musicale semble presque prophétique car c’est bien l’esprit le plus romantique qui souffle sur cette partition brûlante de passion. Cette symphonie de Johannes Brahms atteint
la perfection formelle et l’aventure intérieure dans un caractère automnal. *Lucien*
Thank you for the thorough analysis 🤗
@@WDRKlassik Dear friend, it is with great pleasure. I am sensitive and admiring of this talented chef Cristian Măcelaru and these musicians become familiar faces that I love. Sincerely 😘
Perfeição!
Thank you! 😊
I can say that Macelaru is in many ways the opposite of Roth, the principal of the Gewandhausorchster. Cologne is lucky to have both. And Macelaru is a jewel among musicians. It is also interesting to compare Macelaru with Bychkov. Which is setting a high mark for the younger one. Macelaru stands up to it.
12:05
29:27
A fine performance but not a faithful interpretation by the conductor. The fourth movement is marked "Allegro energico et passionato", and the conductor's tempo misses the mark here. Further, there are no major tempo changes marked until the very end of the movement, and yet we find ourselves wading through thick and murky waters here. The beauty of a passacaglia is that the lack of tempo change illuminates the composer's ability to vary aspects of the piece freely within that constraint. In the case of Brahms, tempo is hardly a constraint. He can do anything in any tempo for any length of time, so it is best to not mess with his intentions. Adhering to his instructions is what produces the magic.
This orchestra is a very good instrument. The interpretation is not well thought out and boring predictableI am sorry, cos i ve heard better from the maestro. Brahma is a hard egg to crack, no matter how good the musicians