Schumann: The 4 Symphonies by Leonard Bernstein 🎧 Qobuz bit.ly/3XLk6yP Tidal bit.ly/3EkX0s5 🎧 Amazon Music amzn.to/3Eki4ic Deezer bit.ly/3XKfrx6 🎧 Spotify spoti.fi/3xyUVFd TH-cam Music bit.ly/41cGh3O 🎧 Apple Music - SoundCloud bit.ly/3xDIVlE 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Robert Schumann (1810-1856) Symphony No. 4 in D minor, Op. 120 00:00 I. Ziemlich langsam - Lebhaft (Remastered 2023, New York 1960) 10:43 II. Romanze. Ziemlich langsam (Remastered 2023, New York 1960) 15:37 III. Scherzo. Lebhaft - Trio (Remastered 2023, New York 1960) 20:57 IV. Langsam - Lebhaft (Remastered 2023, New York 1960) Complete Remastered Edition Available on all the main streaming platforms (Qobuz in 24/96 His-Res, Spotify, Amazon Music, Deezer, Tidal, TH-cam Music..) th-cam.com/video/rXmmYyTJUMk/w-d-xo.html New York Philharmonic Conductor: Leonard Bernstein Recorded in 1960, at New York New mastering in 2023 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr In the manner of his elder Wilhelm Furtwängler, Leonard Bernstein records the Fourth Symphony in a single take. To understand why it's important for a conductor to conduct the Fourth in a single take, it's necessary to know an important characteristic of Schumann's symphonic writing: the interconnection of the movements. Since the (hemes, motifs and episodes are linked together across the movements, there really does exist, on a subtle level, a "reminiscence" and thus a special quality of cohesion. Schumann made use of this special form of association in all his symphonies - a technique which Brahms adopted and further developed in his symphonic writing. As much as ten years before the Rhenish, Schumann devoted himself to this new symphonic concept. On May 31, 1841 Clara noted: "Robert's mind is extremely active at present; yesterday he began another symphony, which is to consist of a single movement, but to include an Adagio and a Finale." This remark refers to his work on the Symphony No. 4 in D minor, which is in fact Schumann' s second symphony, and contains an important pointer to the concept of the work: it consists of "a single movement". This unusual continuous form gave rise to a great deal of criticism after its first performance on December 6, 1841 in the Gewandhaus in Leipzig, as did the chamber music character of the Romanze and the orchestration. Schumann, who was himself obviously not convinced, withdrew the work. Not until 1851, in Düsseldorf, did the composer once again concern himself with this composition and began to revise it. On May 3, 1853 he wrote to his friend, the conductor Johann Verhulst in Rotterdam: "Incidentally I have entirely reorchestrated the symphony and have certainly made it better and more effective than it was before." He retained the through-composed, continuous form of the movements, about wich the critics no longer complained: "The symphony is played without a break, but is not at all too long, since each movement (…) both holds the listener's attention and occupies his imagination and emotion." Leonard Bernstein was a pioneer in recording the original text of Robert Schumann's complete Symphonies, as opposed to so many versions reproducing scores rearranged by orchestrators who may have been more efficient but considerably less expressive. This recording is undoubtedly the most important in the discography, both for its philological aspect and for the conductor's physical commitment. Robert & Clara Schumann PLAYLIST (reference recordings): th-cam.com/video/1WSnITG2X5Y/w-d-xo.html
In the manner of his elder Wilhelm Furtwängler, Leonard Bernstein records the Fourth Symphony in a single take. To understand why it's important for a conductor to conduct the Fourth in a single take, it's necessary to know an important characteristic of Schumann's symphonic writing: the interconnection of the movements. Since the themes, motifs and episodes are linked together across the movements, there really does exist, on a subtle level, a "reminiscence" and thus a special quality of cohesion. Schumann made use of this special form of association in all his symphonies - a technique which Brahms adopted and further developed in his symphonic writing. As much as ten years before the Rhenish, Schumann devoted himself to this new symphonic concept. On May 31, 1841 Clara noted: "Robert's mind is extremely active at present; yesterday he began another symphony, which is to consist of a single movement, but to include an Adagio and a Finale." This remark refers to his work on the Symphony No. 4 in D minor, which is in fact Schumann' s second symphony, and contains an important pointer to the concept of the work: it consists of "a single movement". This unusual continuous form gave rise to a great deal of criticism after its first performance on December 6, 1841 in the Gewandhaus in Leipzig, as did the chamber music character of the Romanze and the orchestration. Schumann, who was himself obviously not convinced, withdrew the work. Not until 1851, in Düsseldorf, did the composer once again concern himself with this composition and began to revise it. On May 3, 1853 he wrote to his friend, the conductor Johann Verhulst in Rotterdam: "Incidentally I have entirely reorchestrated the symphony and have certainly made it better and more effective than it was before." He retained the through-composed, continuous form of the movements, about wich the critics no longer complained: "The symphony is played without a break, but is not at all too long, since each movement (…) both holds the listener's attention and occupies his imagination and emotion." Leonard Bernstein was a pioneer in recording the original text of Robert Schumann's complete Symphonies, as opposed to so many versions reproducing scores rearranged by orchestrators who may have been more efficient but considerably less expressive. This recording is undoubtedly the most important in the discography, both for its philological aspect and for the conductor's physical commitment. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
J'ai la chance, grâce à mes parents ,qui on acheter le Deurche Gramophone avec cet rengistrement ,et je l'ai encore .Mes parents depuis longtemps décédés m'ont appris à connaître la musique classique et le basket à fait le reste. Merci ,de tout cœur ,pour le grand plaisir que vous me faite . 85 ans en Résidence pour perssones àgées ,en hiver j 'ai la chance d'avoir au Victoria Hall ( Genève CH) les concerts (10) du dimanche après midi❤❤❤❤❤❤❤😊😊😊😊
Wunderschöne und spannende Interpretation dieser romantischen und perfekt komponierten Sinfonie mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt tröstend. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Der intelligente und unvergleichliche Dirigent leitet das hoch funktionelle Orcchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
Gracias por compartir las 4 sinfonías de Schumann dirigidas por Bernstein, la Filarmónica de Nueva York estaba a máxima potencia, hermoso y magnífico, muy enérgica y brillanete, desde mi punto de vista es una apoteosis a la naturaleza tormentosa pero llena de verde esplendor, me encanta la interconexión de los movimientos,la transición que hay entre el 3er y el 4to movimiento me recuerda a la 5ta de Beethoven, el final es muy apoteósico y lleno de vida, como una danza de campesinos alegres después de la tormenta (así como en la Pastoral de Beethoven). De verdad que estoy muy agradecido, muy fascinado con este conjunto, seguro que lo volveré a escuchar varias veces, en serio muchas gracias, saludos desde Venezuela.
Con estos mRavillosos registros ya no se necesita comprar discos, hermosa version, pero.para mingudto la verdion posteriorbcon Viena tiene mejor sonido aún! Felicitaciones por tan magnifico trabajo!!!
Since the Nordic countries are celebrating midsummers eve today, may I suggest you post something related? For example Hugo Alfvén - Midsommarvaka (Swedish rhapsody no1) op 19.
the outer movements of this symphony include some of Schumann's best work...such original and thrilling music...one can hear however why Schumann's orchestration suffers...it feels his register range is too constricted...and just not enough brass to make things brighter...mostly string and wind textures, with the winds often thickening the strings rather than becoming a texture all their own...
@@classicalmusicreference VERY good to know! My first exposure to the 4th was Roger Norrington. He was enough to make me a fan, but I like Bernstein even better. Thanks for the upload!!
The natural élan and spontaneity of his first complete work with New York was not matched by his second version with Vienna, which, although much more polished, loses some of its naturalness.
![ฮักเทื่อสุดท้าย - บอย ศิริชัย [OFFICIAL MV]](http://i.ytimg.com/vi/-1PoPoQ-B-k/mqdefault.jpg)
Schumann: The 4 Symphonies by Leonard Bernstein
🎧 Qobuz bit.ly/3XLk6yP Tidal bit.ly/3EkX0s5
🎧 Amazon Music amzn.to/3Eki4ic Deezer bit.ly/3XKfrx6
🎧 Spotify spoti.fi/3xyUVFd TH-cam Music bit.ly/41cGh3O
🎧 Apple Music - SoundCloud bit.ly/3xDIVlE
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
Robert Schumann (1810-1856) Symphony No. 4 in D minor, Op. 120
00:00 I. Ziemlich langsam - Lebhaft (Remastered 2023, New York 1960)
10:43 II. Romanze. Ziemlich langsam (Remastered 2023, New York 1960)
15:37 III. Scherzo. Lebhaft - Trio (Remastered 2023, New York 1960)
20:57 IV. Langsam - Lebhaft (Remastered 2023, New York 1960)
Complete Remastered Edition Available on all the main streaming platforms (Qobuz in 24/96 His-Res, Spotify, Amazon Music, Deezer, Tidal, TH-cam Music..) th-cam.com/video/rXmmYyTJUMk/w-d-xo.html
New York Philharmonic
Conductor: Leonard Bernstein
Recorded in 1960, at New York
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
In the manner of his elder Wilhelm Furtwängler, Leonard Bernstein records the Fourth Symphony in a single take. To understand why it's important for a conductor to conduct the Fourth in a single take, it's necessary to know an important characteristic of Schumann's symphonic writing: the interconnection of the movements. Since the (hemes, motifs and episodes are linked together across the movements, there really does exist, on a subtle level, a "reminiscence" and thus a special quality of cohesion. Schumann made use of this special form of association in all his symphonies - a technique which Brahms adopted and further developed in his symphonic writing.
As much as ten years before the Rhenish, Schumann devoted himself to this new symphonic concept. On May 31, 1841 Clara noted: "Robert's mind is extremely active at present; yesterday he began another symphony, which is to consist of a single movement, but to include an Adagio and a Finale." This remark refers to his work on the Symphony No. 4 in D minor, which is in fact Schumann' s second symphony, and contains an important pointer to the concept of the work: it consists of "a single movement". This unusual continuous form gave rise to a great deal of criticism after its first performance on December 6, 1841 in the Gewandhaus in Leipzig, as did the chamber music character of the Romanze and the orchestration. Schumann, who was himself obviously not convinced, withdrew the work.
Not until 1851, in Düsseldorf, did the composer once again concern himself with this composition and began to revise it. On May 3, 1853 he wrote to his friend, the conductor Johann Verhulst in Rotterdam: "Incidentally I have entirely reorchestrated the symphony and have certainly made it better and more effective than it was before." He retained the through-composed, continuous form of the movements, about wich the critics no longer complained: "The symphony is played without a break, but is not at all too long, since each movement (…) both holds the listener's attention and occupies his imagination and emotion."
Leonard Bernstein was a pioneer in recording the original text of Robert Schumann's complete Symphonies, as opposed to so many versions reproducing scores rearranged by orchestrators who may have been more efficient but considerably less expressive. This recording is undoubtedly the most important in the discography, both for its philological aspect and for the conductor's physical commitment.
Robert & Clara Schumann PLAYLIST (reference recordings): th-cam.com/video/1WSnITG2X5Y/w-d-xo.html
🤗👏💐
In the manner of his elder Wilhelm Furtwängler, Leonard Bernstein records the Fourth Symphony in a single take. To understand why it's important for a conductor to conduct the Fourth in a single take, it's necessary to know an important characteristic of Schumann's symphonic writing: the interconnection of the movements. Since the themes, motifs and episodes are linked together across the movements, there really does exist, on a subtle level, a "reminiscence" and thus a special quality of cohesion. Schumann made use of this special form of association in all his symphonies - a technique which Brahms adopted and further developed in his symphonic writing.
As much as ten years before the Rhenish, Schumann devoted himself to this new symphonic concept. On May 31, 1841 Clara noted: "Robert's mind is extremely active at present; yesterday he began another symphony, which is to consist of a single movement, but to include an Adagio and a Finale." This remark refers to his work on the Symphony No. 4 in D minor, which is in fact Schumann' s second symphony, and contains an important pointer to the concept of the work: it consists of "a single movement". This unusual continuous form gave rise to a great deal of criticism after its first performance on December 6, 1841 in the Gewandhaus in Leipzig, as did the chamber music character of the Romanze and the orchestration. Schumann, who was himself obviously not convinced, withdrew the work.
Not until 1851, in Düsseldorf, did the composer once again concern himself with this composition and began to revise it. On May 3, 1853 he wrote to his friend, the conductor Johann Verhulst in Rotterdam: "Incidentally I have entirely reorchestrated the symphony and have certainly made it better and more effective than it was before." He retained the through-composed, continuous form of the movements, about wich the critics no longer complained: "The symphony is played without a break, but is not at all too long, since each movement (…) both holds the listener's attention and occupies his imagination and emotion."
Leonard Bernstein was a pioneer in recording the original text of Robert Schumann's complete Symphonies, as opposed to so many versions reproducing scores rearranged by orchestrators who may have been more efficient but considerably less expressive. This recording is undoubtedly the most important in the discography, both for its philological aspect and for the conductor's physical commitment.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
J'ai la chance, grâce à mes parents ,qui on acheter le Deurche Gramophone avec cet rengistrement ,et je l'ai encore .Mes parents depuis longtemps décédés m'ont appris à connaître la musique classique et le basket à fait le reste. Merci ,de tout cœur ,pour le grand plaisir que vous me faite . 85 ans en Résidence pour perssones àgées ,en hiver j 'ai la chance d'avoir au Victoria Hall ( Genève CH) les concerts (10) du dimanche après midi❤❤❤❤❤❤❤😊😊😊😊
Indeed, this reminds me very much of Furtwänglers take on this symphony. Grandiose Interpretation. Thanks so much!
Wunderschöne und spannende Interpretation dieser romantischen und perfekt komponierten Sinfonie mit farbenreichen doch perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt tröstend. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Der intelligente und unvergleichliche Dirigent leitet das hoch funktionelle Orcchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
No doubts that Schumann's integral with Bernstein is One of the top
This is very good,
Gracias por compartir las 4 sinfonías de Schumann dirigidas por Bernstein, la Filarmónica de Nueva York estaba a máxima potencia, hermoso y magnífico, muy enérgica y brillanete, desde mi punto de vista es una apoteosis a la naturaleza tormentosa pero llena de verde esplendor, me encanta la interconexión de los movimientos,la transición que hay entre el 3er y el 4to movimiento me recuerda a la 5ta de Beethoven, el final es muy apoteósico y lleno de vida, como una danza de campesinos alegres después de la tormenta (así como en la Pastoral de Beethoven).
De verdad que estoy muy agradecido, muy fascinado con este conjunto, seguro que lo volveré a escuchar varias veces, en serio muchas gracias, saludos desde Venezuela.
So so so so so beautiful music 😊😊😊👍👍👍👍😊💕💕💕💕💕💕💕
Grazie Classical Music per Schumann
Well... This is superb!!!!!!!!!!
La migliore versione della 4 di Schumann insieme a quella di furtwangler che abbia mai sentito
❤
wonderful
Con estos mRavillosos registros ya no se necesita comprar discos, hermosa version, pero.para mingudto la verdion posteriorbcon Viena tiene mejor sonido aún! Felicitaciones por tan magnifico trabajo!!!
Maravilla 👏🔥
Very good but it seems L-R channels are swapped. Or, did Bernstein want it that way?
We can confirm that this is the original arrangement, as Bernstein also reproduces the same layout in his complete work with Vienna :)
Since the Nordic countries are celebrating midsummers eve today, may I suggest you post something related? For example Hugo Alfvén - Midsommarvaka (Swedish rhapsody no1) op 19.
the outer movements of this symphony include some of Schumann's best work...such original and thrilling music...one can hear however why Schumann's orchestration suffers...it feels his register range is too constricted...and just not enough brass to make things brighter...mostly string and wind textures, with the winds often thickening the strings rather than becoming a texture all their own...
I didn't know Bernstein had a connection to Furtwangler. I knew he was a protege of Koussevitsky---which is hardly any lesser at all.
They did not work together, but Bernstein admired this great conductor.
@@classicalmusicreference VERY good to know!
My first exposure to the 4th was Roger Norrington. He was enough to make me a fan, but I like Bernstein even better. Thanks for the upload!!
Great, but Bernstein with Wiener Phil surpassed it.
The natural élan and spontaneity of his first complete work with New York was not matched by his second version with Vienna, which, although much more polished, loses some of its naturalness.
@@classicalmusicreference it's better played, and his conception was more personal. Wiener Phil sounds better than NYPO