Beethoven: Egmont - Schauspielmusik (Ouvertüre & Nr. 2, 6, 7, 9) ∙ hr-Sinfonieorchester ∙ Koopman
ฝัง
- เผยแพร่เมื่อ 24 ก.ย. 2021
- Ludwig van Beethoven
Musik zu Goethes Trauerspiel »Egmont« op. 84 ∙
Ouvertüre. Sostenuto ma non troppo - Allegro - Allegro con brio ∙
Nr. 2: Zwischenaktmusik I. Andante - Allegro con brio ∙
Nr. 6: Zwischenaktmusik IV. Poco sostenuto e risoluto - Larghetto - Andante agitato ∙
Nr. 7: Clärchens Tod bezeichnend. Larghetto ∙
Nr. 9: Siegessinfonie. Allegro con brio ∙
hr-Sinfonieorchester - Frankfurt Radio Symphony ∙
Ton Koopman, Dirigent ∙
Barock+ ∙
hr-Sendesaal Frankfurt, 24. September 2020 ∙
Website: www.hr-sinfonieorchester.de ∙
Facebook: / hrsinfonieorchester - เพลง
The stars are the sound engineers. Unbelievably good. How else can you display such talent.?
I am so grateful to hr-Sinfonieorchester for your performances on youtube. They truly set the production standard for performances online, the audio quality is amazing. The orchestra is also truly outstanding. The program selections and guest artists are always fantastic.Thank you!!
Finally a beginning tempo for the overture that doesn’t milk every note. Refreshing. This conductor would take getting used to…no baton, body bending, wild arm flinging. But this is a clean performance. Interesting trumpets and horns have”period” instruments, but everyone else has modern instruments.
This conductor you are talking about is the best baroque music conductor and organist Ton Koopman. He and Bachs music is just perfect. And sometimes he conducts later works and its always refreshing to listen to the master of old music conducting music from later times!
Fantastisch!!! After the end I just had one thing to say: lol (UAU, WOW)! I'm speechless, without words, until now. Incredible. What a sound!! I have never seen this orchestra with this sound yet. Koopman is a genius, and Beethoven must be very proud wherever he is.
Nothing better to start the day! ❤️
Хорошо сказано! Поддерживаю!
😍Beethoven's music is beautiful! thanks for posting
This brings back youth orchestra memories
Dziękuję bardzo. Wspaniała muzyka Beethovena. Wspaniałe wykonanie .
Оркестр Франкфуртского радио - прекрасный оркестр!
Люблю его слушать!
Отдельное спасибо You Tube за переводы на русский язык!
Just what I needed this morning! Excellent performance!
Bravissimo!!! Thank you!
Bravo! Gorgeous performance!
Szívvel, lélekkel. Köszönet ezért a csodálatos élményért!
Мне нравится музыка Бетховена и я слушаю ее с большим удовольствием
Great!
Maravilhoso! Meu canal preferido de música clássica!
Super cool wunderbach c'est trop classe ! Bisous de la France !
시원시원하게 나아간다!
좋다!
The sound engineer should have taken a bow on this one.
For those who complained about Koopman's "rushed" interpretation: tempo markings are inherently inanimate, music is empathetically human. Instead of outright disapproval and turning into TH-cam maestros all of a sudden, shouldn't we at least try to understand why Koopman might choose to diverge from the usual practice? Artistic expression is not about recreating the same interpretation again and again, otherwise that's just a scientific conclusion. I surely hope you don't enjoy your music the same way you scrutinize scientific facts.
0:28 begins | 7:34 |
👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
너무 멋진 연주입니다. 감사합니다.
Leve de republiek!
Una obra que me encanta. Me gustó mucho la interpretación
Wunderschöne und inspirierende Aufführung dieser majestätischen Schauspielmusik mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der erfahrene und unvergleichliche Dirigent leitet das kompakte und ausgezeichnete Orchester im gut analysierten Tempo und mit perfekt kontrollierter Dynamik. Die soziale Distsanzierung zwischen den allen Spieler ist auch perfekt. Einfach wundervoll!
...about the Mask you ask well, they are in or from Frankfurt right?
貝多芬作艾格蒙特序曲.描述16世紀荷蘭人艾格蒙特號召荷人反抗西班牙統治.獲得勝利的劇情.令人想到1642年荷蘭人驱離在台西班牙人.1662年鄭成功又驱離據台荷蘭人.現在台灣已不須抗爭.是自由民主的國家了
i dont understand the dontlikes!
13:12 its sounds like the beethoven theme to beethoven finale of his eroica/prometheus
Kommentar, um den Kanal zu helfen.
So, "Egmont" score is "Sostenuto, ma non troppo". The two equal notes are indicated as "marcato". This is "Sostenuto assai", and the two notes are all BUT "marcato". So if one wants to surprise and make it different...ok. But that's NOT what Beethoven has written.
Let me try to put it in modern day context. We've got original studio recordings of Beatles' biggest hits from the 1960s that would've had the intended tempo, dynamics, keys etc. embedded in them, but you also have countless of covers from who knows how many artists and fans from all over the world with widely varying interpretation that diverge from the original intention. Do you think members of The Beatles' would be repulsed/offended by those varying interpretations? Given that they have also recorded live performances that vary slightly from their own studio recordings, I think not. And in this line of thought, it would've been very likely for even Beethoven himself in his lifetime to have conducted his ensemble in a different tempo to his prescribed markings in multiple performances depending on his mood. So I really don't think Beethoven would have been offended by this particular performance of Egmont.
"To play a wrong note is insignificant. To play without passion is inexcusable." -- L. v. Beethoven
@@michaelng2176 yes, that's a way to see it. I understand. But play a wrong note for a mistake is one thing. If you want to play Beethoven and on purpose you do another thing, then why don't you change here and there also notes, duration... just to try other things... I don't know...it seems to me kind of "let's do it different so that people are curious to see where Ton Koopman changes". Not my idea...
@@GiuseppeCINA1970 When I quote Beethoven I was referring more to the "wrongness" that listeners might perceive according to their own interpretation, not just the wrong notes in terms of absolute pitch and rhythm. Your insistence towards Koopman not directing it in a certain preconceived way indicates that you believe his interpretation is wrong to a certain extent, to which I respectfully urge you to give it a second thought.
Music, and any artistic endeavours for that matter, does not exist in a perfectly theoretical vacuum; it's supposed to be a reflection of our existential experience and encounters with our own being in the limitless space-time continuum of the universe, as well as our understanding towards our shared humanity as part of the Homo sapiens tribe. Granted that Koopman's existential understanding might differ significantly to that of you and me, it is inevitable that dissonance might occur, but it doesn't mean that his expression is any less valid.
I'm also acutely aware that you might argue in the same line of thought by calling me a hypocrite. I do not intend to extinguish your right to expression. Rather, I aim to shed a different light by inviting you to embrace the vast spectrum of human expression there is to offer out in this world instead of shunning them away by referencing internalised preconceptions. Humanity is so much more than just ourselves.
I don't expect you to totally agree with my argument, or even at all. But I am confident you'll agree with me that Koopman's performance is as passionate as any warm-blooded human being can possibly attempt, and I am sure Beethoven would've approved.
@@michaelng2176 In fact neither you nor I nor anyone alive today has the foggiest idea of whether Beethoven "would've approved." You have your opinion, but don't pretend that you have Beethoven's endorsement.
I happen not to like deliberately disregarding what Beethoven wrote. That's my opinion. You've stated yours at length.
@@GoldinDr I never said I was endorsed by Beethoven to speak on behalf of him: to clarify, I did say "would've," which indicates a suggestion, not "must've," which you've implicitly eluded to.
And in the spirit of not deliberately disregarding directions, who are you to say that this performance is not a faithful representation of Koopman's idea of what Beethoven actually wrote? You are entitled to your opinions, but so do others, including Koopman and I for that matter. I simply hope we all treat each other with an open mind, not with preconceptions.
Wow! Blimey! Why is Koopman in such a hurry to get this music over with? He's taking it at the same brisk, business-like tempo he uses when performing, well, everything. At least we finally know what the Egmont sounds like as a Rossini overture. 😕
冒頭で全て持っていかれた感
良き
...I said he took off his Mask, he's in Frankfurt - what did you think I meant to say anyway?
Why turn tragedy into a comedy......This treatment can become a laughing stock 200 years from now
Not the best performance like the past performances of hr- frankfurte orchestra
Actually a very bad performance. The tempo is nothing like I've heard before anywhere. Very bad.
@@camilmoujaber4813 👍🌹
The strings would sound much better with vibrato.
What kind of performance is this? This is not how the Egmont overture should be performed. Terrible tempo from start to finish. Ignorant conductor to say the least. Look elsewhere!
I hope they didn't play like this in Beethoven's time. If they did, I'm grateful for the improvements that have happened over the past 200 years concerning instruments and performance - except this kind of performance, which tries to duplicate a style appropriate for the social and emotional make up of Europe, 1810, turning Egmont into a museum piece, and having little to do with 2021, except the phenomenon of performance replication of past eras. If the music sounded better as a result, I'd be all for it. It does not. see: th-cam.com/video/wtiOvFLwLTU/w-d-xo.html or th-cam.com/video/G7J0SvmhScM/w-d-xo.html