Schumann: Violin Concerto | Isabelle Faust and the Freiburger Barockorchester
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- เผยแพร่เมื่อ 22 พ.ค. 2024
- Isabelle Faust performs Robert Schumann’s Violin Concerto in D minor, WoO 1 together with the Freiburger Barockorchester (FBO) under conductor Pablo Heras Casado. The concert was held in May 2014 in the Berliner Philharmonie.
The Violin Concerto in D minor is the only concert for violin from Robert Schumann (1810 - 1856), and his last work for orchestra. Written in just two weeks in the Fall of 1853, its conception can be traced in part back to a suggestion from Joseph Joachim - one of the 19th century’s most significant violinists. It was never performed during Schumann’s lifetime; following a suicide attempt in Spring of 1854 he was admitted to a psychiatric hospital, where he would pass away in 1856.
It was only in November 1937 that Schumann’s violin concert received its premiere. An extensively reworked version was played by the Berlin Philharmonic at a propaganda event by the National Socialists. The conductor was Karl Böhm; Georg Kulenkampff played solo violin.
The original version would first be performed in the USA in December, 1937, by Yehudi Menuhin.
For many long years, Schumann’s violin concert remained controversial, many believing they detected hints of the illness Schumann was living with - already public knowledge - in the piece. In the years since, however, it has become a standard in every violinist’s repertoire. It’s one of Isabelle Faust’s credits - she performed the violin concert for her debut with the Berliner Philharmonic in 2009.
The Freiburger Barockorchester (“Freiburg Baroque Orchestra”) was begun with a spontaneous idea that has since developed into a unique, musical success story. On New Year's Eve some 30 years ago, music students in Freiburg decided to form an orchestra dedicated exclusively to historically-informed performance practice, played on period instruments. The FBO performed its first concerts in the Freiburg region in 1987. Today, the orchestra has become world-famous. In addition to its own concert series in Freiburg, Stuttgart and Berlin, the FBO performs in the foremost international concert halls, and is considered one of the world’s most distinguished early-music ensembles.
(00:00) Vigoroso, ma non troppo presto
(16:05) Lento
(21:22) Animato, ma non presto
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I can't help but be moved, cry for the beauty of this masterpiece, enjoy every touch of the orchestra, feel the radiant soul that Schumann embodied. Thank you for sharing this to the world!!!
This violin concerto composed by Schumann is a masterpiece of harmony and delicacy. The violin solos are wonderful and fully framed in romanticism of the period.
Isabelle Faust is an amazing violinist, for the delicacy, virtuosity and magnificent sound she extracts from the instrument. This violin concerto is a pearl of this romantic period for its fabulous and incredible beauty. Viva the music of Schumann. The direction and the orchestra are flawless. Thanks for the magnificent recording and the fantastic moments of pleasure it gives us.
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Fabulous. Got so excited I dropped a glass of decent red wine on the floor. Worth the sacrifice.
It was one cold winter day in Salzburg and I was at a friend's place, drunk, a bit high then I left to catch last train to Hallein. It was only 10 mins road but I fell asleep at the train and opened my eyes on a station far from home. It was too cold and dark to bike back, I decided to spend 3-4 hours at the station and wait for the first train, put my headphones and started to listen to radio. Then I heard this concerto for the first time in my life, a lady announced it is the next piece, hmm meh from Schumann?? A composer I respect but not really like much (I feel far from aesthetics of Romanticism, I love everything about Baroque).. I've started to listen this concerto, I liked it so much, I was so shocked how somewhat odd it is compared to other romantic concerti also and it was such great 30 minutes in middle of silence on a winter's night. Then I kept listening and listening it on next months, and now I am more than happy to see there is an authentic recording of it by Freiburg Baroque, this is an INCREDIBLE recording, I love how ''meaty'' strings sound, triple more meaningful timpani part compared to all other modern recordings/how direct brass sounds, how Mrs Faust interprets it incredibly and how nothing is exaggerated is no way. Thank you very much for making this possible! Salutes from İzmir/Turkey. :*
This comment is awesome
Wow
Every morning, when I get up, my first routine I do is to play music. Sometimes, I just click the one TH-cam recommends. As you did, I also thought Schumann? But I clicked. Cause I loved the one it picked yesterday: Auf dem wasser zu sigen by Schubert.
Like you, I am moved by her performance. I like your understanding of this classial piece.
This orchstra is one of the best I've heard in my 58 years. The sound, the play, dynamics, tempos, everything absolutely ....well, if not perfect, as close to perfect as possible. It's just right. Today everything is "great", but this orchestra is outstanding. Every time I come here I'm impressed again and again. It reminds me what "playing music" is, was, or should be. The sound.....the sound!! Is it the instruments d'époque? Just fantastic. Thank you for existing! And that goes to Isabelle as well.
I am grateful to all artists who take it upon themselves to perform the music of Schumann's last period.
This particular performance brings out vividly the inner sense of impending doom that Schumann felt during those last few years, knowing as he did, that his mental universe was in the process of collapse. And yet, the bard still could find within himself angelic music flowing from a heavenly source: There are precious moments of serenity in which Der Dichter accepts his destiny with equanimity.
I am very familiar with Schmann's symphonies and piano pieces (including his wonderful piano concerto) but just recently discovered this piece. I am definitely adding it to my favorites. Beautiful.
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This is the best recording of this concerto!! 👏👏The period instruments give such a richness in the sound
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Incredible performance, great interpretation : thank you very much !
This beautiful Schuman concerto has been very ...very underrated along with many others of his works. It is certainly a master piece. MS Faust plays It with great passion. Thanks!!!👏😃
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I didn't know isabelle Faust. What a fantastic musician. Bravo a lot! And the orchestra...oh la la!
I came across this concerto - performed by Yehudi Menuhin - on a morning concert, sometime in mid-1960s, on BBC's Radio Three. I was in my mid-teens and it held my attention even then, when I was relatively new to listening to classical music. I have heard it live just once - an amateur performance some 15 years ago - and I love it still.
I had no idea Schumann wrote a concerto for violin & orchestra despite enjoying classical music since around 1972. The more I listen to it, the more I love it. The intensity of the first movement. Marvelous!
Whether or not he was ill, Robert Schumann nevertheless produced a real gem. It absolutely deserves to be as widely known and performed as Tchaikovsky, Mendelssohn, Bruch, Brahms and others. I should add that I feel much the same way about Dvorak's fantastic violin concerto.
Totally agree.
Not to mention the neglected concertos by Nielsen (as good as the Sibelius) and Glazunov.
Interpreting music through the lens of a composer's "mental illness" is pretty much subjective.
It could easily be argued that Beethoven was mentally ill in his last years, even though he was not officially diagnosed. His masterpiece, the Ninth, was composed then.
@@gordonthompson5878 The Nielsen concerto is a gem, as is most music by that Great Dane 🙂
I usually have the big violin concertos: Beethoven, Brahms, Tchaikovsky, Mendelssohn, Sibelius, Dvorak, Schumann. Doesn't mean others aren't great of course (Mozart, Bruch, Vivaldi, etc.)
This has to be the best performance of this very underrated, and difficult piece ive ever heard. Ms. Faust control of the bow and her tone and phrasing is beyond words. Both soloist and orchestra sounded like one single instrument, the tone of gut strigs is the most natural and "human" for my taste, the violin sound was melted with the orchestra. The only thing I can say is THANK YOU!
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Isabelle is fantastic as always, and Petra must be one of the best concertmasters you'll ever see in your lives leading an orchestra, and she's also a great soloist...
What a unique journey and what a lovely person Isabelle Faust is.
Isabelle Faust plays with great sensitivity and nuance, more so than other performances on YT. In my original posting I went on to say that to my ears the baroque violin doesn't have the warmth or power to fully capture the romantic sensibility of this concerto. But after listening to it again, better prepared for the absence of lushness, I think it works very well indeed. It's now my preferred version.
Thank you for this masterpiece from a master, Clara's beloved, Robert. Isabelle Faust so expressively brings out the various moods of this Romantic beauty.
Incredible performance by everyone!! This is the best recording of the Schumann's Violin Concerto. It has the perfect tempo which makes it even more beautiful to hear. I am a great fan of Schumann's works and this one is my most favourite piece. Hopefully, in future I will hear this masterpiece live in Berlin. Thanks again for this recording 😁.
The slow movement is gorgeous - really made me think of Brahms-gorgeous solo cello in the beginning . Menuhin was right about this music whatever his reaons for playing it ! the 2nd movement immediately reaches toward one ! Though this will never become the audience favorite the piano concerto is the 9th minute drew tears from me . If ou spend time with this music it will affect you . Something torments almost every page here . I'm beginning to get this late Schumann . So much else he wrote at the end immediately wraps one this takes longer .
Absolutely sublime. Underrated. Should reach a much wider audience . Majestic and melodic. Wow.
A true masterpiece and an interpretation of rare sensitivity and taste. Confratulations from Brazil, Mrs. Faust.
Awesome piece supremely performed, great combined artistry
Wonderful! Very joyful. It might be placed among my favorite violin concertos, alongside Bartók's 2nd Violin Concerto and Sibelius's. Thank you for uploading this.
Glad you enjoyed it!
She is so cute and beautiful. And what an amazing control. I loved it. Bravo!!!
Gorgeous piece of music 🖤
Very dramatic, deep and calm in details, an alla Barroco performance. A very creative new reading of this underrated score. Bravo, Pablo, en Graná pueden estar orgullosos de ti. And bravo, Ms Faust, excellent performance.
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Fabulosa, me encanta la orquesta barroca de Freiburg!!!!! Isabel Faust, ALUCINANTE!!!!!!
What a happy family these perfomers! Would love to hear them interpret the Wolf-Ferarri and Nielsen as well. Outstanding in every way!
I didnt even know this existed. It's lovely
The soloist's care and sensitivity in extracting every morsel of music out of this score is impressive. It is the best I've heard. The orchestral treatment is unusual, particularly with the finale in keeping chamber music intimacy and not trying to compete with 19th century dynamics. Whether Schumann intended this approach or not, all together it sounds more sane and inventive than the way the concerto was first described. Glad to have listened.
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I really liked this interpretation of Schumann's violin concerto. The tempo is close to the author's vision of this music. It is simply mesmerizing.Schumann's genius at its highest point.Thanks to the performers...
...and it’s even more pleasant when the conductor smiles, the soloist and orchestra members answer him
IT'S such a privilege to hear contemporary instruments give clear explication. Wonderful find
Amazing concert !
Musicaliat, dinàmica i emoció. No es pot demanar més. Una meravellosa interpretació de la freiburger barockorchester i Isabelle Faust… i no podem oblidar a qui a coordinat aquesta obra d’art, el mestre Pablo Heras Casado
Wonderful. And that Lento section is incredible. Great audio/video work. Thank you for sharing this.
thankyou for nice performance
Sounds amazing, and what atmospheres...
Magistral, espléndido, reconfortante. Graciasssss.
¡De nada!
Wunderbaar!!!
Ti amo Schumann con la stessa intensita' che nutro per Beethoven e Mozart!
Underrated concerto, right ?
Questo concerto è degno di stare accanto agli altri celebri lavori per violino ed orchestra
they are phenomenal. but can i single out the principal cello? what amazing ensemble work!
It’s so beautiful :}
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Thanks to all for correct Finale 's tempo & good rhythm in Schuman's Music!
Lovely moment at around 25.38 between soloist and conductor. Both know this is going well!
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Спасибо за запись.
No performance Ìs as interesting and intriguing and captivating as her inspirational performance
And this Ìs a heartfelt gift to Schumann lovers
My emotion Ìs immeasurable depths
FromTokyo
コンサートマスターの弾き方や受け止め方が、実に見ていて気持ちがいい。保身に走らず、ファウストに合わせながら、きっちりと受け止めて、音楽的表現をしようとしているところも、見逃せないところである。世の中には、ダレきったコンマスが多く見受けられるが、彼女の立ち向かった姿を見ると、安心感が出てくる。菅のお兄さんがトスをするシーンも、オーケストラワークが見ていて楽しい。病後のシューマンの作品という、因縁のいわくつき作品を、明るく熱意を持ってオーケストラがカバーしている点も、好感度が高く、作品以前のシューマン、が自然のなかを散歩する姿を、彷彿とさせる音楽的な豊かさ、作品を楽譜で見ると、そこまで病気だの、キチガイだの、とか言われるけれども、下記のコココさんの偏見的な意見は無視して、楽譜のなかでは、はっきりとシューマンは、明晰なシューマンで、端正な筆致であるように感じられる。
トゥルテを使っているから、いいにちゃいない、という意見は、ちょっと的外れな気もしなくともない。が、ペカット、サルトリー、リュポでも十分だし、バロック弓でも、ファウストなら、なんでも、使いこなせちゃうので、トゥルテだから、ええねん、という意見は、多少、見地が低いようにも感じる。
ついでに申し上げると、ドミナントでなければならない必要もないし、お構いなしに、ガット弦で、ついでに、ちょっと扱いの難しいトゥルテってわけで、バロック弓でも、ファウストなら熟せる、というのがぼくの意見です。
加えて、バロックオーケストラの、やる気満々なところも、評価が高く、作品のネガティヴな一面から、新解釈に発展した作品になっているのおもうのです。
Excellent performance. Schumann himself would be proud!
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참 좋습니다(very good)!
👍
Wunderbar!!!!
Maravilha!
Quelle merveille
I guess It is Schumann’❤ itself. Thanks
Che Energia in questo Concerti a tratti elegiaco a tratti esplosioni di Forza Vitale !
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Great performance.
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Fabulous romantic masterpiece, orchestrated by Heras Casado
A very good version 🎙️
Extraordinario
Zertifizierter intergalaktische!
Einzigartig!
This is Schumann’s last will
The insane babbling of a god
Ich drücke dir die Daumen. Faust ❤❤❤
멋져요 😊
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A flawed work but Schumann reaches such transcendence that it hardly matters. The development of the first movement always brings tears to my eyes as does the other-worldly slow movement. It's as if he had finally stopped struggling and had begun the process of finally letting go.
Often heard this being flawed yet no one can ever explain just where it is flawed. I've known it for fifty years, though never played it myself, and still cannot find any flaws so isn't it about time that this false theory is dropped along with that equally useless comment that Heifetz is cold yet produces searingly heated tones in many variations.
@@DavidSmith-kc4hz The coda and cadential material in the first and third movements, the non-idiomatic writing for the solo instrument, much (not all) of the orchestral writing is typically thick and colorless, the soloist is too often relegated to the low and middle of their range (same in Schumann's violin sonatas), ... Despite my misgivings, I love the piece. Even at his most troubled, Schumann could write wonderful music and that is one measure of his genius.
Sorry you find comments that disagree with your own opinions so threatening, such that you have to dismiss them as 'false' w/out even considering why someone might hold them. If you're not interested in why, why ask or even respond if you're so sure they're unworthy of consideration? You must have a hard time on social media. Happy listening.
It's not necessary to be crazy to be a great artist. But it helps.
Saying the obvious but there is no right and wrong in assessing music which gives an emotional response. One person liking it is as valid as someone else not. Analysing really does not add weight to the argument. Having said that I agree with conventional wisdom that this is in the second tier of violin concertos though I still like it.
Unidiomatic, yes, but fully intentional. Schumann composes against a music-historical horizon that already knows several distinct violin idioms. In Schumann, these meet a romantic experimental conception of art whose basic convictions include the idea of transcending, of breaking boundaries. Complaints about uncomfortable playing techniques, however, do not really affect the nature and value of the work itself. The dominant use of the middle register is part of Schumann's personal style and common in his piano music, for example. It is an aesthetic choice, probably due to a certain aversion of Schumann to ringing virtuosity and dazzling brilliance, but certainly not due to any inability. The orchestration is an eternal bone of contention and especially with regard to the mentioned imbalances, there are arguments that attribute this to a certain lack of practicality in Schumann's handling of the orchestra. A good conducting and listening less from Brahms, with regard to the independence of the orchestral part and motif work, and from Tchaikovsky, in terms of brilliance and colorfulness, often already helps here and lets Schumann's peculiarity shine all the more clearly. I consider the still colpotted supposed weakness of his late compositions to be a well-cultivated commonplace, which is about as original as the assertion that Beethoven would not have been able to compose a fugue.
Great performance. When was this recorded?
We're glad you liked it! This was recorded in May 2014 in the Berliner Philharmonie. 😊
❤❤❤❤❤🌹🌹🌹🌹🌹🍃🍃🍃🍃🍃🍀
Its has a classical period sound.
it's because they are playing on gut strings!
🌸🎻🙏
Bana coşku vardı.
m'a donné de l'enthousiasme
They make a compelling case for using modern instruments for Schumann. That opening tutti sounded like a piece for tympani and brass, mainly tympani.
And the 2nd movement is a compelling case for why they should be used.
That dissonance around 5:28 is crazy! also around 19:13
21:53 - 21:58
cd's Schumann : Maestro Henryk Szeryng LSO , Fr.P. Zimmermann ...
00:15
Talk about control! Isabelle has it! GOD bless all performers in the name of Jesus! Wonderful job!😁
Very good performance, but I don't understand why she doesn't play it by heart.
In Swabia we say: "Not bad!"😉
Erstaunlich. Was alles unter Barock läuft...
👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️🌹🌹🌹🌹🌹💐💐💐💐💐
It is incredible and shameful that this piece has been considered as weak and had been hidden for so long. His weirdness, tempestuous and extremely syncretic esthetics (from barocco ouverture style to extreme tonal tensions), is only depth and reflects what the dying Schumann, from the edge of madness, had to say.
There are so many people (fortunately less than 50 years ago) that just don`t "get " Schumann. For all the criticisms of his symphonies (by academics mainly) they all still with us and probably played more now than earlier. Several have tried to "improve" the orchestration (Mahler for example) but Schumann`s original are the versions we always use. Perhaps , just perhaps it is because he DID know what he was doing and WE have been wrong all these years ? The orchestration is right for the music, that is the general conclusion. Take the first symphony, would someone with no ear for orchestral colour have used a triangle to give the tingle of the first feeling of spring after a long winter ? The later orchestral works are more thickly scored certainly but it works for this music. Schumann is the quintessential Romantic , here is epitomised the romantic struggle as we find in Byron. Make the orchestration clear and the struggle is gone. I would argue his single greatest orchestral achievement is the Manfred Overture (after Byron.) Two great romantics together. Schumann`s inspiration here is of the highest order, it is white hot and the orchestration perfect for the works dark colours, it is nothing less than a masterpiece and proves Schumann COULD write for the orchestra , the orchestral writing is ever bit as fine as found in any Brahms work
Thank you for sharing your observations with us.
Crazy Schumann
彼女はバイオリン界の女王に見えます。
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This orchestra makes Schumann sound like Lully. So interesting...
ファウストの知的な試みは見事に成功している。
シェリンクは弾いたら、シェリンクだし、個人的な個性が加味されていて、ちょっと聞きにくかったりする。あれも、これも、ヨシュアベルだったら、あー、ヨシュアベル的な弾き方だな、と、上手いけど、わかるけど、ちゃうなあ、と思ったりもする。
ヴィオラマテオさんの評価は、そーそー、と納得できるものである。ファウストの弾き方が、たしかに風変わりなように聞こえるところもあるが、まさにジーニャス、ガット弦でもできるんだぜ、ってところが、高評価に繋がるところで、意欲的な演奏と感じる。
問題提起を含むところが、ファウスト流の最近の傾向で、シューマンへの偏見や、偏りや見方を崩してやる、という前史的なものに対する歴史的な試み、と受け取っても構わないだろう。
むろん、そういうことを抜きにしても、楽器はめちゃめちゃ音質がいいし、弾き方はいうまでもなく、マエストロだから、ふつうに聞いている分にも、ずいぶん贅沢なもの、ファウストは、将来は伝説的な、ヴィルトゥオーゾな、堂に入った、現在においては、もっとも輝かしい存在であるといっても過言ではあるまい。
たくさんストラドはあるけど、「眠れる森の美女」、すなわち、スリーピング・ビューティーは、ピチピチで、神々しい音には、いつもクラッとします。
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서울대 화이팅..!
Hay interpretaciones que hacen grandes a obras menores. Este es un gran ejemplo de cómo sacar partido a una obra deslabazada y falta de ideas (entiéndaseme, estamos hablando de Schumann). Bravísimo por la orquesta a las órdenes de un magnífico y siempre sorprendente director Pablo Heras y chapeau por Isabelle Faust que hace una lectura elegante y llena de emoción de una página con poco espacio para el lucimiento. ¡Enhorabuena!
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Falta de ideas? Es un reflejo de lo que tenia en su mente, es su estado mental en musica, un sentido de no direccion y de dolor espiritual en sus pasajes, es la LOCURA hecha musica esta pieza. En fin, la belleza esta en el ojo de que mira, como dice el dicho, no todo el mundo es permeable a todo el arte.
I totally disagree with the chosen tempo for the last movement. Should Schumann had chosen andante, he would have written it in the score. Instead, he wrote Animato ma non presto. It's quite a different thing to what was heard here. It is also alien to Schumann's musical temperament. In certain moment I asked myself "Is it Annen Polka?' Sorry I disliked it.
This work could have been one of the great concertos if Schumann was mentally sharp. It has great ideas but it has real problems. The 1st movement's dramatic arc is flawed mainly due to the inert second subject that drags it down The 3rd movement never takes off, the themes are drab and there is a dullness that permeates it. The runs up and down the violin never goes anywhere and the entire movement just sits there unable to take off. Brahms refused to include it in Schumann's complete works because the work wasn't up to his standards caused by his illness.
A Barock orchestra, some fiddlers holding their bow as for Corelli, for a most ROMANTIC violin concerto...Mah...Miss Faust too does not enhance an idea of unity, playing (well in principle) the score with inconstant phrasing.
There are many more interesting performances than this one. Also, her tone is not strong enough to come through with authority. Good to hear all of them in this wonderful work.
It's a decent concerto and has all the hallmarks of the composer, but it is also inferior to the cello concerto by the same composer.
It’s interesting to me that so many love this piece. Schumann along with Brahms are my favorite composers. I have been playing Schumann’s piano music for 50 years. I have heard and loved nearly every piece he composed. Please don’t take offense at my opinion of this piece! I hear Schumann’s mental illness in every measure. I find it disorganized and disjointed. I hear only the intense mental anguish that was fast reaching a climax in the 1850’s. Both Brahms and Clara thought it far beneath Robert’s genius to have it performed much less published. I simply can’t listen to it. If this offends my musical friends, I’m truly sorry!
Compared to some of the pieces from composers of 20th century this is still genius music.
@Zita you have both my sympathy and my friendship. Music has always been the most important thing that could help me relieve stress and make me truly happy.
@Zita I agree. Some of us can relate to Schumann's rather schizoid & obsessive themes so please don't trash it because it isn't smooth & neatly organized.
Боже правый, если ты ничего не соображаешь в скрипичной музыке (при всей своей гениальности), какого чёрта сочиняешь скрипичные концерты?
Прокофьев с Шостаковичем (при всей их гениальности) ещё меньше понимали в скрипичной музыке,чем Брамс с Чайковским.
Однако,людям приходится их слушать,больше нечего.
Baroque orchestra to play Schumann?! Das ist fremd....
Thats just their name... They can switch to non baroque mode just as they did beautifully here.
if you look carefully, they aren't in baroque mode. The strings are using Tourte bows (as they do today) but are playing on gut strings, as they did up until the 20th century. The only thing possibly not 19th-century are the invisible innards of the string instruments (particularly the bass bars under the top plates, which had been enlarging since the late 18th century). The winds all have mid-19th century key systems, and the horns and trumpets all have 19th-century valve systems. As instruments go, everything looks Schumann-appropriate. The hall they are playing in is however inappropriate: too large and not a rectangular "shoebox." But the audio recording in this video picks up little (too little) of the hall.
@@Kth1723 You are wrong assuming that the 19th century was an era full of vibrato. On the contrary, it was the period with the least amount of vibrato ever (it’s only a 20th-century view of the 19th century that, devoid of any evidence, claims otherwise). Two hints for proof:
1) In his Thannhaeuser ouverture, Wagner signalled to the 1st violins that they were to use vibrato: at 3(three) separate positions, marked by a tilde above the stave respectively. One part only! Three moments only! Marked with an extra sign! This must have been exceptional; had it been conventional to use vibrato, no specific hint would be needed.
2) There exists a recording featuring Joseph Joachim (Brahms‘ friend and favourite violinist) from around 1900. Joachim plays a Bach partita there - absolutely no vibrato. And Hungarian dances: lots of vibrato, which was due a cliché that everything Hungarian was seen as ‚outlandish‘, ‚offtune‘ or whatever, for which the use of vibrato seemed fitting.
It was WW1 that changed everything. The war and then the flu claimed lives also among professional musicians. Many orchestras were reduced to less than half their original size or just ceased to exist. Traditions died as well, and a new playing culture took over, bringing today’s vibrato and a (distorted) view on past periods and practices.
14:08 is unforgivable. I understand they're period instruments, but can someone please do a better job tuning them?
Last movement is too plodding