That choice was entirely deliberate. It did happen to be next up in the series of Mahler symphonies, though since I released No. 5 so recently, I had intended to leave some space until the next one. But this has been ready for a while, and since I didn't have _Kindertotenlieder_ or _Unsingable Song of Explosions and Stupidity_ put together, this will have to do.
@ I wonder what Mahler would have thought about fascism had he lived long enough to see it. Likely wouldn't have cared for it. His own music was suppressed by the Nazis, for being too sophisticated and for being written by a Jew.
@@jaegonekim This video was constructed using Microsoft Movie Maker (the old, far superior version) and the process can be seen in my video titled "How I Did It". The typeface is called "Modern No. 20".
@@SynchroScore34:55 against Solti, it will sound funny 1:08:28 1:19:19 is just a confirmation that Chicago has the best brass 57:30 1:13:54 Currentzis' recording at these moments has acoustics that symphonic music has not seen in principle, and in this objectively it is better. I have mentioned only the main points, but in general, I am talking about the fact that Solti and Currentiz are the best in this symphony, and the choice of recording depends on the listener's preference for brass climaxes or quiet interludes. The ideal performance should include both, but so far there is no such thing. The rest is garbage. I know this recording, it is no exception.
@@ddf72778 "Well, that's just like, your opinion, man." -- Jeffrey Lebowski Also, this is a live recording, so of course there will be differences from studio recordings. I happen to enjoy this one. The criteria for selecting which recordings will be used are admittedly imprecise and subjective, and if you do not like one, you are not required to listen to it. While there is one planned project where two recordings of a piece will be used, that is otherwise a considerable duplication of effort.
1:05:34 First hammer stroke
1:11:12 Second hammer stroke
1:06:34?
perfect day to upload this symphony
That choice was entirely deliberate. It did happen to be next up in the series of Mahler symphonies, though since I released No. 5 so recently, I had intended to leave some space until the next one. But this has been ready for a while, and since I didn't have _Kindertotenlieder_ or _Unsingable Song of Explosions and Stupidity_ put together, this will have to do.
@@SynchroScore ohhhh ok...lmao
the jackboots are taking over...
@ I wonder what Mahler would have thought about fascism had he lived long enough to see it. Likely wouldn't have cared for it. His own music was suppressed by the Nazis, for being too sophisticated and for being written by a Jew.
@@DynastieArtistique (yesterday was) tragic
Gustav Mahler ist ein Genie in Sachen Atonalität und
Wirkung! Danke!
Hammer 😎
🔨 👍
Grande sinfonia. Si chiama tragica perché non riusciva ha venire a capo dell'ultimo movimento...il più lungo...
What’s the font used in the intro?
@@jaegonekim This video was constructed using Microsoft Movie Maker (the old, far superior version) and the process can be seen in my video titled "How I Did It". The typeface is called "Modern No. 20".
Tasty
@@KaikhosruShapurjiMedtner Thank you kindly.
And still not the right recording like solti or currentzis
@@ddf72778 And what, exactly, is wrong about it?
@@SynchroScore34:55 against Solti, it will sound funny
1:08:28 1:19:19 is just a confirmation that Chicago has the best brass
57:30 1:13:54 Currentzis' recording at these moments has acoustics that symphonic music has not seen in principle, and in this objectively it is better.
I have mentioned only the main points, but in general, I am talking about the fact that Solti and Currentiz are the best in this symphony, and the choice of recording depends on the listener's preference for brass climaxes or quiet interludes. The ideal performance should include both, but so far there is no such thing. The rest is garbage. I know this recording, it is no exception.
The Currentzis recording is abysmal
@@ddf72778 "Well, that's just like, your opinion, man."
-- Jeffrey Lebowski
Also, this is a live recording, so of course there will be differences from studio recordings. I happen to enjoy this one. The criteria for selecting which recordings will be used are admittedly imprecise and subjective, and if you do not like one, you are not required to listen to it. While there is one planned project where two recordings of a piece will be used, that is otherwise a considerable duplication of effort.