My, and suspect many people's, favourite piece by Carter played with great assurance. I heard Solti do it with the LPO in the 70s and Bamert with the RLPO in the 80s and these kids are as good or better.
At 1:46 seconds, those chords are reminiscent of what Bernard Herrmann has done in some of his films. These guys were contemporaries. I guess they both listened to each other. Anyway, great score by one of my favorite composers ever!!! And the best part of the piece was when the genius himself, Elliott Carter stepped onto the stage!
Carter's first orchestral work in his then-new style, the Variations is more accessible than the chamber music that came directly before and after and even contains allusions to the "outdoors-y" music of Copland, especially in some of the string writing. The kids put on a wonderfully clear and often committed performance!
Keith, what you don't yet hear in the music is the inevitable evolution from Mahler to Schoenberg to Carter. This work is an incredibly important addition to modern symphonic literature, and, if you were to follow the score (as I have in my collection) you would see it is brilliantly orchestrated, and really does divvy up into a sensible set of variations--all motif driven. This is classical music at it's zenith. My opinion is from here forward, though, there is a downward tailspin . . .
Stupendous. This is a really difficult score, each beat brimming with instrumental events. And this youth orchestra, none apparently older than 20, seem to play it with consummate ease. Kudos, and respect. Classical music is loosing its audiences? It doesn't seem to be loosing its performers. Too bad that the sound is very dim, and that it is ineptly filmed, by a director who obviously has no clue of what is happening next in the music, and whose camera work always focuses on the instrumentalist AFTER he's finished playing!
Poor kids, forced to play post-tonal music that defeats humanity's instinct towards tonal music. Not surprising classical music is losing its audiences.
Interesting performance. Bringing out the romantic side of the music. Carter's orchestral music to me, hitherto, has just seemed to be an amorphous mass of steely grey dissonant sludge promoted by people who think polysyllabic posturing is impressive. Having somebody bringing out the layering (which I find somewhat reminiscent of William Schuman in fact) like this is a refreshing change. Now if only the same could be done for the Concerto for Orchestra.
Susan, thanks for asking that question, and I certainly realize that everyone has a different take. In fact, there are some (maybe you) who enjoy classical music as it stands today! Myself, I think it died when Andrew Imbrie wrote his last symphonic work. What I still listen for and enjoy in music are modestly traditional ideals, as I started to mentioned below. Happy listening!
My my! Now don't you just wonder how many of the musicians in this orchestra - or any orchestra for that matter - would happily pop back for another illuminating 26 minutes or so, for a 're-listen' to this oh-so embracing, inspiring, warming, stimulating tapestry of "ooss". If the Music industry would like to reverse the overall - i repeat overall - flight from Classical Music, then it might do well to consider that audiences are composed of HUMANS. (Try my music - it keeps that in mind!)
I stop listening when the driving factor in the music is no longer counterpoint, but is layers of block sound. Also, I stop listening when electronic sounds are introduced, or when the orchestration strives for instrumentation voiced at it's outer reaches--not keeping somewhat within the characteristic range of the instrument. I stop listening when "chance" and choices are introduced into the score. I am still faithful to Maher; counterpoint, strong orchestration, motivic development, etc.
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One of my first Carter experiences - when I felt like I finally 'got' what he was about.
My, and suspect many people's, favourite piece by Carter played with great assurance. I heard Solti do it with the LPO in the 70s and Bamert with the RLPO in the 80s and these kids are as good or better.
This is my favorite Carter work. Thanks for posting this.
At 1:46 seconds, those chords are reminiscent of what Bernard Herrmann has done in some of his films. These guys were contemporaries. I guess they both listened to each other. Anyway, great score by one of my favorite composers ever!!! And the best part of the piece was when the genius himself, Elliott Carter stepped onto the stage!
Revelatory performance. It captures the youthful spirit of Elliott Carter in all its orange exuberance.
Great performance but boring music.
Carter's first orchestral work in his then-new style, the Variations is more accessible than the chamber music that came directly before and after and even contains allusions to the "outdoors-y" music of Copland, especially in some of the string writing. The kids put on a wonderfully clear and often committed performance!
I wonder how many performances of this work has there been since this one.
What a glorious performance!
Great performance but boring music.
Keith, what you don't yet hear in the music is the inevitable evolution from Mahler to Schoenberg to Carter. This work is an incredibly important addition to modern symphonic literature, and, if you were to follow the score (as I have in my collection) you would see it is brilliantly orchestrated, and really does divvy up into a sensible set of variations--all motif driven. This is classical music at it's zenith. My opinion is from here forward, though, there is a downward tailspin . . .
Carter's works like the light of rainbow always.
Gorgeous piece.
The harp is doubled. Interesting, and happy to see it. But not a standard practice, even for works (like this one) with an important harp part.
Good performance of a difficult work. It makes sense as music.
Wonderful...
Stupendous. This is a really difficult score, each beat brimming with instrumental events. And this youth orchestra, none apparently older than 20, seem to play it with consummate ease. Kudos, and respect. Classical music is loosing its audiences? It doesn't seem to be loosing its performers.
Too bad that the sound is very dim, and that it is ineptly filmed, by a director who obviously has no clue of what is happening next in the music, and whose camera work always focuses on the instrumentalist AFTER he's finished playing!
Poor kids, forced to play post-tonal music that defeats humanity's instinct towards tonal music. Not surprising classical music is losing its audiences.
Delicious!
Interesting performance. Bringing out the romantic side of the music. Carter's orchestral music to me, hitherto, has just seemed to be an amorphous mass of steely grey dissonant sludge promoted by people who think polysyllabic posturing is impressive. Having somebody bringing out the layering (which I find somewhat reminiscent of William Schuman in fact) like this is a refreshing change. Now if only the same could be done for the Concerto for Orchestra.
Having said that I am still left at the end with a general feeling of "and...?"
When did this performance take place?
Susan, thanks for asking that question, and I certainly realize that everyone has a different take. In fact, there are some (maybe you) who enjoy classical music as it stands today! Myself, I think it died when Andrew Imbrie wrote his last symphonic work. What I still listen for and enjoy in music are modestly traditional ideals, as I started to mentioned below. Happy listening!
My my! Now don't you just wonder how many of the musicians in this orchestra - or any orchestra for that matter - would happily pop back for another illuminating 26 minutes or so, for a 're-listen' to this oh-so embracing, inspiring, warming, stimulating tapestry of "ooss". If the Music industry would like to reverse the overall - i repeat overall - flight from Classical Music, then it might do well to consider that audiences are composed of HUMANS. (Try my music - it keeps that in mind!)
Slowest I've heard this played...not complaining tho...
Jesus Christ, nearly half an hour of this BS.
I stop listening when the driving factor in the music is no longer counterpoint, but is layers of block sound. Also, I stop listening when electronic sounds are introduced, or when the orchestration strives for instrumentation voiced at it's outer reaches--not keeping somewhat within the characteristic range of the instrument. I stop listening when "chance" and choices are introduced into the score. I am still faithful to Maher; counterpoint, strong orchestration, motivic development, etc.