Aaron was a truly great violinist. It's great to have this recording and I remember him talking about some of the circumstances surrounding the performance. He was a good friend and certainly we all miss him. Few loved the violin as he did, and he was tremendously dedicated to the violin. Eric Shumsky
Can anyone confirm whether he was really scheduled to record this piece with the NYP, but then Stern muscled in threatening to cancel his scheduled recordings of 5 concertos with Columbia Records......?
@@hectorfalcon645 In that statement Rosand states inaccurately that Stern and Bernstein recorded the piece "five weeks later" than his 1960 performance. Actually the two performed the Hindemith and Barber Concertos together in concert in April of 1964, and then recorded them.
Tempo seems perfect to me and keeping in mind that being in a concert hall with a live perspective as you say, the tempi generally need to be slower in order to obtain the same clarity that a studio recording would provide.
The trendy classification "NeoRomantic" has always fit Samuel Barber, never mind the dismissive sidelong glance that accompanies "neo" anything, or the fact obvious to any student of music theory & composition that Barber skates over shallow contempt as a failure to understand America's Modernism in her Mid-Century Ascendancy. The esthetics of Barber's academic beauty were new but familiar, a warm but well-studied spirit, like Sibelius, Bartok, Shostakovich, Copland, Khachaturian, Gershwin, Smetana, Britten, Ravel, Respighi and Vaughn-Williams, all born of humbly nationalist pride but tempered by cosmopolitan immigrant energy. The roots of 19th-cent tradition were nourished by 20th-cent streams of innovation, each together serving the wings of a propulsive spirit with which the frontier of a post-atomic technological wilderness had to be traversed. Those composers opened a window for international culture onto a soundscape of lyrical generativity, under a final, glorious tonal sunset before the fever dreams of Uncharted Innovation loomed ahead. This music was sweet, nutritious and delicious compared to the unnerving, bewildering chaos to come. Not many music lovers outside Academia were prepared for the electronic, stochastic and algorithm-derived aural concepts of Stockhausen, Nono, Berlioz, Xenakis, Riley and 4' 33". I try, really hard, to appreciate Stockhausen and Xenakis and Carter. But I keep leaning back on my worn but warm pillow embroidered with Orff, Poulenc, Holst, Ravel, Bartok, Barber, Satie, Prokofiev and Gorecki. Ahh, the Symphony of Sorrowful Songs! How much more consoling it is to be sad than unsettled, wistful or melancholy than confused or alienated. But I'm open to being lectured and enlightened.
![ILLSLICK - KILLSHOT REMIX [FULL VERSION]](http://i.ytimg.com/vi/RIK8RrqIAzE/mqdefault.jpg)
The program also had the William Schuman Third; both he and Barber were being honored in their fiftieth year, and both were present to take a bow.
Aaron was a truly great violinist. It's great to have this recording and I remember him talking about some of the circumstances surrounding the performance. He was a good friend and certainly we all miss him. Few loved the violin as he did, and he was tremendously dedicated to the violin. Eric Shumsky
Great violinist. Still don’t agree with his comments about Stern being not so great violinist 😄
Too bad Issac Stern sabataged his career. 😮
@@violin031 Stern had great moments -- and bad ones too. Politically despicable, I'm afraid. But then, he saved Carnegie Hall ...
@@palladin331 Everybody had bad moments,not everybody had great moments …still we have to talk music and politics separately 😀
@@violin031 I was referring to his musical politics, not actual politics.
Wow! I am blown away to hear this. Simply the best!
Speechless and breatless ......freshly hugged with love...just WpW!!!! Thank you for sharing such a treasure:-))))
Exquisite!
Thanks!
Oh my. Thank you, Hector. Didn't know Rosand recorded the Barber! Wonderful.
This would be a live broadcast. He was also going to do a studio recording but Isaac Stern pulled his political clout and grabbed it for himself.
@@RModillo Thank you for that information. I can't say I'm surprised (nor can I say I was thrilled with Stern's recording).
@@RModillo Thank you for that imformation. I can't say I'm surprised (nor can I say I was thrilled with Stern's recording).
Such beauty 🎼
Great thanks!
14:55 that sound😩
Can anyone confirm whether he was really scheduled to record this piece with the NYP, but then Stern muscled in threatening to cancel his scheduled recordings of 5 concertos with Columbia Records......?
slippedisc.com/2014/07/high-explosive-aaron-rosand-accuses-isaac-stern-of-sabotaging-his-career/
@@hectorfalcon645 In that statement Rosand states inaccurately that Stern and Bernstein recorded the piece "five weeks later" than his 1960 performance. Actually the two performed the Hindemith and Barber Concertos together in concert in April of 1964, and then recorded them.
It's a story that has been widely circulated. Stern really was a power broker
スターンは彼のヴィオルトーゾぶりが嫌いで意地悪したようです、来日した時に聞きました。
@@Twentythousandlps Possibly Stern pulled the plug on a session with Rosand that would have happened in a few weeks.
I feel like the third movement is a tad slow, but it's a live.
The rest is very meaningful and poetic for a not so complex piece
Tempo seems perfect to me and keeping in mind that being in a concert hall with a live perspective as you say, the tempi generally need to be slower in order to obtain the same clarity that a studio recording would provide.
You can hear why Stern was so upset.
The trendy classification "NeoRomantic" has always fit Samuel Barber, never mind the dismissive sidelong glance that accompanies "neo" anything, or the fact obvious to any student of music theory & composition that Barber skates over shallow contempt as a failure to understand America's Modernism in her Mid-Century Ascendancy. The esthetics of Barber's academic beauty were new but familiar, a warm but well-studied spirit, like Sibelius, Bartok, Shostakovich, Copland, Khachaturian, Gershwin, Smetana, Britten, Ravel, Respighi and Vaughn-Williams, all born of humbly nationalist pride but tempered by cosmopolitan immigrant energy.
The roots of 19th-cent tradition were nourished by 20th-cent streams of innovation, each together serving the wings of a propulsive spirit with which the frontier of a post-atomic technological wilderness had to be traversed. Those composers opened a window for international culture onto a soundscape of lyrical generativity, under a final, glorious tonal sunset before the fever dreams of Uncharted Innovation loomed ahead.
This music was sweet, nutritious and delicious compared to the unnerving, bewildering chaos to come. Not many music lovers outside Academia were prepared for the electronic, stochastic and algorithm-derived aural concepts of Stockhausen, Nono, Berlioz, Xenakis, Riley and 4' 33". I try, really hard, to appreciate Stockhausen and Xenakis and Carter. But I keep leaning back on my worn but warm pillow embroidered with Orff, Poulenc, Holst, Ravel, Bartok, Barber, Satie, Prokofiev and Gorecki.
Ahh, the Symphony of Sorrowful Songs! How much more consoling it is to be sad than unsettled, wistful or melancholy than confused or alienated. But I'm open to being lectured and enlightened.