Hier waren Wolfgang Sawallisch und alle Musiker und zur gleichen Zeit am richtigen Ort. Entstanden sind wunderbare Aufnahmen. Robert Schumann hätte seine Freude gehabt.
Schumann's 4 symphonies are great because of developments of musical expressions. In between the greats Beethoven - Schubert - Schumann - Brahms, Schumann has set his own Romanticism of German classics. Sawallisch expressed all with absolute high interpretations.
An awesome performance! Other commenters have referred to the orchestral tone, and yes, it is deep and Germanic and magnificent; while Sawallisch (probably my favorite conductor in this repertoire) brings the ideal combination of flexibility, rigor and warmth to this music.
Every time I listen to this recording, I'm still amazed by the sound aesthetic these players kept alive during so many decades. Daniel Barenboim himself even said, when he conducted the Staatskapelle Berlin (former East Germany) in 1992 for the first time, he said "This orchestra sounds like the german orchestras I used to hear when I was young !". And this grey, mysterious, but rich and colourful sound, is, for my own taste, the perfect sound for the German romantic repertoire, from the late Beethoven to Mahler, in particular for Schumann, Weber, Brahms and Bruckner. Just listen, for example, the complete Schumann symphonies recorded with Sawallisch or the famous recording of "Der Freischütz" with Carlos Kleiber, and maybe you will have a better idea.
The orchestra Barenboim is referring to is the Staatskapelle BERLIN (where he is Music Director). The (much better) orchestra in this recording with Sawallisch is the Staatskapelle DRESDEN, the orchestra with the longest history in the world. And by the way the very same orchestra Kleiber recorded the Freischütz with.
@@MichaelGuettler I know this is the Staatskapelle Dresden, I was just quoting Barenboim because all the former East German orchestras in general have a very particular sound.
@@afrofinka Ok, I understand. To be honest (I am from Dresden), there is a BIG deal of differences and it's barely possible to put orchestras from the SAME town into the same basket (f.example Staatskapelle Dresden and the Dresdner Philharmonie, a very fine orchestra, but with DIFFERENT sound). The difference between Gewandhaus and Staatskapelle Dresden has ALWAYS been remarkable. And so on. So I do NOT recognize an "East German" sound. But every orchestra in this region had preserved (or developed) a particular INDIVIDUAL sound, that's true.
Un modèle d'interprétation : en 50 ans personne n' été aussi inpiré Quand je monte sur le pupitre je pense aux gestes de Sawallisch et je trouve la force de donner le premier accord C'est un Schumann tourmenté, volontaire, humain ! Marc de Dijon
He was one of the truly great Schumann conductors, though I still think nothing beats the intensity of Furtwängler's transition from the 3rd to 4th movements.
Sawallisch gives a near ideal performance with the Staatskapelle Dresden in capturing the essential brooding, tonality, atmosphere, ideal phrasing and slow-progress of the symphony. Let down only slightly by the recording, the performance is such that there is no reason to expect better
Yes, moreover Sawallish interpreted 4 symphonies of Schumann influenced by Beethoven and Schubert. In between he created his own worlds of 4 symphonies. Many of conductors disregard Schumann was succession of Beethoven together with Schubert (ex. 9th symphony of Schubert).
***** There are moments in the development of the Finale of the 1841 version where I am let down by the writing in comparison to this 1851, although, granted, I grew up with the 1851. The codas in the development of the 1st mvt feel more transcendental in the 1851. I discern less of a difference between the two versions in the middle two movements.
No, there are two version of the 1841 version, one coming directly from Schumann's manuscript and the other reworked by Brahms (thickening the orchestration a lot). In my view Schumann's original 1841 version which is scored for a much smaller chamber orchestra is much to be preferred. Unfortunately the only recording ever made of it, the one performed by the Radio-Symphonie-Orchester Berlin conducted by Georg Schmöhe released in 1987 on the now defunct Koch Schwann Label is no longer in print.
+Tamar Montoya Yes, the bass trombone was just a little out of tune at that entrance. But give the man (woman?) a break! He's been resting for nearly the whole movement and his trombone is cold. I've also played in orchestras, and an entrance after a long rest is always very difficult.
okay. sorry that i am really ignorant about orchestral music or whatever you would call this but i have a question. a lot of people in these comments are praising this conductor as a really great conductor. What is the importance of having a skilled conductor? because i just hear a bunch of talented musicians playing an awesome song and imagine the crazy guy waving his arms around and see no point to him being there at all. so what is the point of a conductor and what is it that makes this guy so talented?
Hi. I played in orchestras. Where each player knows his or her part, the conductors job is to know the work inside and out, to develop an overarching sense of where it is going, especially in the lengthy movements of a symphony. Among the conductor's job is to rehearse the orchestra, not just to make sure everyone plays together, but that balance, intonation, and articulation are all addressed. Symphonic music does not always proceed at a steady tempo, there may be moments where the music needs to be hurried along, or to be held back. The conductor is the unifying force that pulls this together. There are orchestras who work with out a conductor, but they are smaller chamber orchestras where the players can rehearse amongst themselves. I hope this answer is helpful.
+jokerorthethief Adding to the other two comments: a really sublime conductor (there are just a few), on the base of all that Jujube wrote about, has charisma in musical matters. He seduces the orchestra, yes really it is a matter of seducing like others can do with words (for example), to play the composition the way he (she ?) has build it in his imagination (the whole sound included) based upon a myriad of notes: and true to those notes. Sawallisch was such a (semi-)genius. In Schumann at his best. Twin souls some way. No orchestra without a conductor of this calibre can even aim to reach this result.
+jokerorthethief All these comments apply to your question. Somebody has to start and stop the composition. If there are many movements in the composition this can be complicated. The orchestra is made up of many musicians that have their own problems. The conductor somehow has to get these individuals to become one with the music. Black ink on white paper is not music. There was a time that conductors believed that their will created great music. Thankfully, these tyrants of the podium no longer exist. Many great orchestras are now democratic, and they may choose their conductors. Orchestras want to learn from a fine leader. Sawallisch had a reputation of a gentle giant that that could make the group sound better, and sent the orchestra home happy. As well as filling the seats. However, conductors do have their bad nights, just like everybody. If the conductor is on, the good orchestra will follow.
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The more I hear of Sawallisch (Belated!!!) the more I love him. It is a privilege to have lived in his time.
Thanks for sharing the recording that introduced me to Schumann's 4th symphony AND Wolfgang Sawallisch. It was a lucky first strike.
¡Esto es Schumann! Es una interpretación superlativa, la musicalidad fluye, el sonido está dotado magia, color, y claroscuros ricos en tonalidades.
Hier waren Wolfgang Sawallisch und alle Musiker und zur gleichen Zeit am richtigen Ort.
Entstanden sind wunderbare Aufnahmen.
Robert Schumann hätte seine Freude gehabt.
I heard Sawallisch conduct at the Royal Festival Hall and the Barbican a number of times. Always wonderful.
This is absolute interpretation of Schumann, and this sound is absolute German sounds of German Spirit.
Schumann's 4 symphonies are great because of developments of musical expressions. In between the greats Beethoven - Schubert - Schumann - Brahms, Schumann has set his own Romanticism of German classics. Sawallisch expressed all with absolute high interpretations.
The 1972 EMI edition of Schumann all symphonies with the Staatskapelle Dresden and Sawallisch, the best ever for me. This 4th symphony is from that
An awesome performance! Other commenters have referred to the orchestral tone, and yes, it is deep and Germanic and magnificent; while Sawallisch (probably my favorite conductor in this repertoire) brings the ideal combination of flexibility, rigor and warmth to this music.
This is a beautifully played and recorded set of Schumann symphonies to be sure. sounds great, many thanks
Every time I listen to this recording, I'm still amazed by the sound aesthetic these players kept alive during so many decades. Daniel Barenboim himself even said, when he conducted the Staatskapelle Berlin (former East Germany) in 1992 for the first time, he said "This orchestra sounds like the german orchestras I used to hear when I was young !". And this grey, mysterious, but rich and colourful sound, is, for my own taste, the perfect sound for the German romantic repertoire, from the late Beethoven to Mahler, in particular for Schumann, Weber, Brahms and Bruckner.
Just listen, for example, the complete Schumann symphonies recorded with Sawallisch or the famous recording of "Der Freischütz" with Carlos Kleiber, and maybe you will have a better idea.
I agree!
The orchestra Barenboim is referring to is the Staatskapelle BERLIN (where he is Music Director). The (much better) orchestra in this recording with Sawallisch is the Staatskapelle DRESDEN, the orchestra with the longest history in the world. And by the way the very same orchestra Kleiber recorded the Freischütz with.
@@MichaelGuettler I know this is the Staatskapelle Dresden, I was just quoting Barenboim because all the former East German orchestras in general have a very particular sound.
@@afrofinka Ok, I understand. To be honest (I am from Dresden), there is a BIG deal of differences and it's barely possible to put orchestras from the SAME town into the same basket (f.example Staatskapelle Dresden and the Dresdner Philharmonie, a very fine orchestra, but with DIFFERENT sound). The difference between Gewandhaus and Staatskapelle Dresden has ALWAYS been remarkable. And so on. So I do NOT recognize an "East German" sound. But every orchestra in this region had preserved (or developed) a particular INDIVIDUAL sound, that's true.
Un modèle d'interprétation : en 50 ans personne n' été aussi inpiré
Quand je monte sur le pupitre je pense aux gestes de Sawallisch et je trouve la force
de donner le premier accord
C'est un Schumann tourmenté, volontaire, humain !
Marc de Dijon
He was one of the truly great Schumann conductors, though I still think nothing beats the intensity of Furtwängler's transition from the 3rd to 4th movements.
Very beautiful interpretation. The last part is one of the best and with perfect tempo.
Fantastic performance. Sawallisch brings out the best in Schumann.
Sawallisch played Schumann in between Beethoven and Brahms. I really adore his interpretation.
This is imaginably colorful mainly due to the direction of Sawallisch who conducted orchestras with colorful sounds.
The 3rd movement is so Mozartian
Amo esta versión!
This is a historically important recording!
There was a great rehearsal video of S. in Paris on T.V. some years ago. Can't find it on TH-cam. Anyone know of it ?
me parece la mejor interpretacion que escuchado junto ala de furwangler y kemplerer le imprime mucho dramatismo
Sawallisch gives a near ideal performance with the Staatskapelle Dresden in capturing the essential brooding, tonality, atmosphere, ideal phrasing and slow-progress of the symphony. Let down only slightly by the recording, the performance is such that there is no reason to expect better
Yes, moreover Sawallish interpreted 4 symphonies of Schumann influenced by Beethoven and Schubert. In between he created his own worlds of 4 symphonies. Many of conductors disregard Schumann was succession of Beethoven together with Schubert (ex. 9th symphony of Schubert).
0:00 Ziemlich langsam; Lebhaft
10:22 Romanze: Ziemlich langsam
14:35 Scherzo: Lebhaft
19:55 Langsam; Lebhaft
The Sawallisch set is still one of the best, along with the Szell, Gardiner, and a couple others.
George Szell on serie Sony Barlboro great performance
Admiro hace muchos años el trabajo de Szell, pero Sawallisch es asombroso.
soy fanatica
Many thanks!
Allan Green
perfetto
Descanse en paz Maestro.
First movement 0:00
Second movement 10:22
Third movement 14:35
Fourth movement 19:54
6:27 : in a couple of seconds, I've reached the noumenal.
RIP Maestro
[0:00] I. Ziemlich langsam; Lebhaft
[10:22] II. Romanze: Ziemlich langsam
[14:35] III. Scherzo: Lebhaft
[19:55] IV. Langsam; Lebhaft
1:55 - And So It Burns - Jedi Mind Baby!
A superb perfomance! Please tell us which orchestra Maestro Sawallisch is conducting. Many thanks for posting this.
Allan Green
Staatskapelle Dresden
I like the Finale movement
+J Jokerjames DEpuis 17:50, le reste est de la soupe ! :-(
Me remito al comentario de otro video con la misma sinfonía. Esta es completa.
No olvidar a Kurt Sanderling, por favor
Omg the tuning is crazy high, sthing like A=450
And David Zinman.
yeah!!
Is the 1851 edition?
***** There are moments in the development of the Finale of the 1841 version where I am let down by the writing in comparison to this 1851, although, granted, I grew up with the 1851. The codas in the development of the 1st mvt feel more transcendental in the 1851. I discern less of a difference between the two versions in the middle two movements.
Yes Version 1851 The Symphony of Schumann had two version he's compost first version 1841 and revised in 1851 on german Tempo
No, there are two version of the 1841 version, one coming directly from Schumann's manuscript and the other reworked by Brahms (thickening the orchestration a lot). In my view Schumann's original 1841 version which is scored for a much smaller chamber orchestra is much to be preferred. Unfortunately the only recording ever made of it, the one performed by the Radio-Symphonie-Orchester Berlin conducted by Georg Schmöhe released in 1987 on the now defunct Koch Schwann Label is no longer in print.
Original version (1841) and Version Revised is (1851)
16:27 is that someone messaging you on QQ? lulz....
other Conducted is the best is Leonard Bernstein
8:39 is out of tune, or is it the timbre?
Please see on Full score ......
+Tamar Montoya Yes, the bass trombone was just a little out of tune at that entrance. But give the man (woman?) a break! He's been resting for nearly the whole movement and his trombone is cold. I've also played in orchestras, and an entrance after a long rest is always very difficult.
okay. sorry that i am really ignorant about orchestral music or whatever you would call this but i have a question. a lot of people in these comments are praising this conductor as a really great conductor. What is the importance of having a skilled conductor? because i just hear a bunch of talented musicians playing an awesome song and imagine the crazy guy waving his arms around and see no point to him being there at all. so what is the point of a conductor and what is it that makes this guy so talented?
Hi. I played in orchestras. Where each player knows his or her part, the conductors job is to know the work inside and out, to develop an overarching sense of where it is going, especially in the lengthy movements of a symphony. Among the conductor's job is to rehearse the orchestra, not just to make sure everyone plays together, but that balance, intonation, and articulation are all addressed. Symphonic music does not always proceed at a steady tempo, there may be moments where the music needs to be hurried along, or to be held back. The conductor is the unifying force that pulls this together.
There are orchestras who work with out a conductor, but they are smaller chamber orchestras where the players can rehearse amongst themselves.
I hope this answer is helpful.
Jujube Ivesaidtoomuchalready yeah it was, thankyou
+jokerorthethief Adding to the other two comments: a really sublime conductor (there are just a few), on the base of all that Jujube wrote about, has charisma in musical matters. He seduces the orchestra, yes really it is a matter of seducing like others can do with words (for example), to play the composition the way he (she ?) has build it in his imagination (the whole sound included) based upon a myriad of notes: and true to those notes. Sawallisch was such a (semi-)genius. In Schumann at his best. Twin souls some way. No orchestra without a conductor of this calibre can even aim to reach this result.
+jokerorthethief All these comments apply to your question. Somebody has to start and stop the composition. If there are many movements in the composition this can be complicated. The orchestra is made up of many musicians that have their own problems. The conductor somehow has to get these individuals to become one with the music. Black ink on white paper is not music. There was a time that conductors believed that their will created great music. Thankfully, these tyrants of the podium no longer exist. Many great orchestras are now democratic, and they may choose their conductors. Orchestras want to learn from a fine leader. Sawallisch had a reputation of a gentle giant that that could make the group sound better, and sent the orchestra home happy. As well as filling the seats. However, conductors do have their bad nights, just like everybody. If the conductor is on, the good orchestra will follow.