What a superb job. I think Mikhail Pletnev knew exactly what Rachmaninoff intended. One of the best I have heard, Berlin does a great rendition too. I absolutely love this piece, in fact it is my favourite piece of music. Cannot get through it without tears.
I owned that way back, it was on vinyl! Love it. What are you listening to these days. Have you heard of Esa Peka Salonen? He is a composer, he writes in a very linear fashion, allowing the music to organically grow and guide where the piece feels it needs to go. Really beautiful, a kind of enigmatic nature about it. Sometimes almost scary. The kind of mood that the rites of spring can conjure.
+cameronpaul It was Rachmaninoff's favorite work among all of his compositions. But it never impressed me, and I have tried to like it. I have no answer. But regarding the work at hand, I consider it the greatest "tone poem" ever composed.
+Milton Moore, agree with you about "The Bells". But you, know, I felt the same way about most of Rakhmaninov's pieces until I heard them in Pletnev's rendition.Actually it's a composer which is very hard to play .Cz on the one hand you must be very Russian by spirit ( this permanent feeling of anxiety , when all the time you are about to cry , even in the joyful moments of life . And you can't really explain why). And at the same time , your playing must be very laconic and rigorous , like Catholic monk, singing "Dies irae". I think Pletnev is one of the few intepreters ( if not the only ) who combines them both.
Absolutely! I recognize my feelings in your words. Cannot get through it without tears, especially in conjunction with the painting by Arnold Böcklin. There is a movie called "Betrayal" (2012) where this music is played when the events take place in or by a hotel which actually looks like the Isle on that painting! Here is a link to the trailer: th-cam.com/video/FZ1nBJpnaWA/w-d-xo.html
My mother gave me a recording of this music when I was 6. I'm now 87 so have listened to this wonderful tone poem for the last 81 years. I never tire of listening to this very early work of Rachmaninoff. (I listened on a set of 78 R PM records.) The recording I heard was by Artur Rodzinsky.
I was not made out of classical listener material. I tried very hard to enjoy classical music and I chose this piece to listen over and over. After 2 weeks I started enjoying it and today it has been two years
Been looking for this piece of work for 5 years now finally found it! Heard it in creativity class in high school. The teacher had the students write a story to this piece and i just remember it being so beautiful.. Good to hear it again
If you liked this piece, I would suggest you to try listening to some other works by Rachmaninoff, the Isle of the Dead is the first piece i've heard from him, and I am now a specialist of this composer. If you like orchestral music like this one, I would say try his second symphony (Op. 27) or first symphony (Op. 13) depending on if you prefere romantic or more dark. If you prefere piano works, his first suite (Op. 5) is a good introduction. But in all case please listen to his second piano concerto (Op. 18), it's a timeless classic, even rated the best piece of classical music ever almost every year.
As for many, this is one of my favorite compositions. Conductor and orchestra are very good; M. Pletnev is a true Romantic. He reintroduces some of the cuts Rachmaninoff himself took on his own recording. Still, this doest displace the classic recording by Fritz Reiner and the Chicago Symphony.
13:40 your sound engineer is the worst . Crescendos faded dramatically down to zero ! About you guys I can say nothing ! The whole peace is performed amazingly ! This oorchestral poem takes me away almost always ! ♥️♥️♥️
No sorprende que la famosa pintura de Arnold Böcklin impactara tanto a Rachmaninoff, porque quienes la hemos podido ver realmente sobrecoge, pero claro solo a un genio se le puede ocurrir esta maravilla
R certainly had some flashes of genius - this piece, the cello sonata, the 2nd piano concerto, the vespers - to name a few. This is one of my favorite pieces and a great rendition - wish it were available (better engineered) in a CD.
ALL the time spent to teach oneself to play and instrument and to conduct plus to write classical music. I just cannot understand.But I do respect and love it
Плетнёв и Ашкенази пожалуй одни из немногих, кто действительно понимает музыку Рахманинова. Всегда их интерпретации на голову выше других. Некоторые произведения Рахманинова и вовсе по-настоящему раскрылись только под руководством Плетнёва, та же первая симфония, к примеру
Well I wouldn't be so critical , in not so few works of him you feel it's too much and I guess Rakhmaninov knew it himself . Remember 2 versions of 2nd sonata (or 3 of 4th concert ) , you will notice it's significantly reduced in its last version. I think that's exactly what saved it from being neglected. I'm not familiar with score but I guess here he cut maybe a couple of bars ,no more, and when listening you still feel incredible perfection of shape.
Are you kidding??? [Шутите ли вы???] 1) Rakhmáñinov did NOT like making cuts at all - his quote regarding them was that every bar cut was (my paraphrase) "a drop of blood taken out of me". Simultaneously, _he felt heavily pressured by the opinions of his colleagues, especially whilst he was in the last 25 years of his life._ *In fact, the period 1900-1970* (especially 1920-70) *was an anti-Romantic time* where his music (as well as that of Chaykóvskiy - in addition to Elgar, Richard Strauß and even Puccini) was basically DESPISED by the "intellectual élite", who didn't LIKE emotionalism and wanted to push everything back to a non-Romantic time (as a general reaction against the entire 19th-century). 2) _This version is HEAVILY cut_ (50 bars so far, more than what even Rakhmáñinov himself tolerated and did - against his will!!!), with all the cuts done in the first half of the piece (timing-wise, before the "farewell-to-life" section in E-flat, as if Pljetñóv were saying "let's just get over there ASAP, this part isn't worth it"!!!), past the point where entire passages (not merely repeated bars) get omitted and the actual substance of the piece is harmed. It's in essence as if the conductor is putting himself above the composer relative to his wishes, saying to him in essence "you don't / didn't truly know how to write music!!!!" That kind of what's basically CONTEMPT for the composer (and in line with what I've written under point #1) is an absolute TURN-OFF to me in addition to undoing the trend that has taken place over these past 50 years when conductors like Prévin and Ashkenázy were pushing for all of this music to be performed *_UNCUT_* , allowing the full structural buildup of the work to take place unhindered. [If you want to check out the (full-) score, IMSLP has it available on-line: there you can examine it all you like and verify all I've written here.] This performance consequently loses not one but two stars out of 5 (3/5). NOT recommended - go with Ashkenázy's reading with the Royal Concertgebouw of Amsterdam. There is no question there that everything fits *perfectly* : nothing feels rushed, every gesture is completely at home and proves part of the whole.
In your post I liked most of all that he didn't LIKE making cuts . That was nice. You know I don't like getting up early in the morning , but man sometimes I have no choice. And I guess so did Rakhmaninov. What you said about blood he had to take out doesn't exclude the dilemma he undoubtedly faced many times : either to sacrifice a part of himself or let his work be neglected. And as we can see in many cases he chose the former .1st concert- 2 versions (in the 2nd most of cuts were made in final), 4th concert - 3 versions (the last is the shortest and the most common ), 2nd sonata - 2 versions (again a lot of cuts in the last of them ) , 2nd symphony - full version which lasts about an hour and shortened (goes about 35 mins ). Of course you can find many more examples. Nobody says performer can freely discard those parts of work he doesn't like. But unlike a good student big interpreter is capable to become co-author of what he plays. He sees the work both in the whole and in details and sometimes he does feel there is something that disturbs the work to live at the stage. And sometimes it becomes an impact for the genius solutions like that of Horowitz when he mixed 2 versions of Rakhmaninov's 2nd sonata . Or Pletnev - when he cut 1,5 pages from 1st sonata and still for me his playing of this work can't be compared with anyone else . The point is that you can say about very few things it's clearly yes or no when we talk about the art.
As I said, Sjergjéy Vasíljevich was simply trying to survive and get his music out into the world in the midst of a milieu that at heart despised him. He didn't however make the cuts permanent or indicate that they were what he really wanted: the scores are left published _in toto_ for the most part. The disastrous première of his First Symphony (Op.13) was in part due to severe cuts being imposed by Aljeksándr Konstantínovich Glazúnov (who particularly was extremely contemptuous to him, even misplacing the score of his Fourth Piano-Concerto {Op.40} in a taxicab!!!). That - in addition to Glazúnov's being drunk and leading an under-rehearsed orchestra that didn't understand the music - nearly killed him at least as a composer if not even as a human being. Not until after his death did it get a proper hearing (hopefully uncut), after which it achieved a place in the permanent repertory. After hearing it performed by Ashkenázy with the Amsterdam Royal Concertgebouw Orchestra on Decca/London, I can appreciate both its strengths and its faults (he needed to develop the 1st-movement's sub-theme more, in my opinion, while other parts could have been reworked) - and I strongly hold to that the best case one can make for any given piece is to perform it uncut, with not one note added or altered. What Pljetñóv did is simply unacceptable.
I guess they weren't cut ocassionally, but after listening to the record where Rachmaninov himself conducts it. If you listen to that record carefully you'll see this is not full version either. The more I listen to Pletnev's version the more I feel how much he took from the author's record.
An overused and largely meaningless adjective to describe this masterpiece. Like an awesome cup of coffee An awesome movie An awesome holiday An awesome electric toaster…………
Wouldn't it have been funny if the oboe solo right before six minutes totally HONKED and the entire orchestra just fell apart and everybody just looked at him like, what the FUCK dude?
I think there is a lot of nuance missed in the way they play this. This tone poem when we'll played really sets up the feeling of the "Isle of the Dead". I am disappointed, love everything Rachmaninoff wrote, from solo piano works to symphonic and vocal, but not this.
![[TH] 2024 PMGC League | Survival Stage วันที่ 1 | PUBG MOBILE Global Championship](http://i.ytimg.com/vi/FVFT-PFwU80/mqdefault.jpg)
What a superb job. I think Mikhail Pletnev knew exactly what Rachmaninoff intended. One of the best I have heard, Berlin does a great rendition too. I absolutely love this piece, in fact it is my favourite piece of music. Cannot get through it without tears.
Are you familiar with "The Bells"? Not performed very often but Rachmaninov at his best - extraordinary work.
I owned that way back, it was on vinyl! Love it. What are you listening to these days. Have you heard of Esa Peka Salonen? He is a composer, he writes in a very linear fashion, allowing the music to organically grow and guide where the piece feels it needs to go. Really beautiful, a kind of enigmatic nature about it. Sometimes almost scary. The kind of mood that the rites of spring can conjure.
+cameronpaul It was Rachmaninoff's
favorite work among all of his compositions.
But it never impressed me,
and I have tried
to like it. I have
no answer. But
regarding the work at hand, I
consider it the
greatest "tone
poem" ever composed.
+Milton Moore, agree with you about "The Bells". But you, know, I felt the same way about most of Rakhmaninov's pieces until I heard them in Pletnev's rendition.Actually it's a composer which is very hard to play .Cz on the one hand you must be very Russian by spirit ( this permanent feeling of anxiety , when all the time you are about to cry , even in the joyful moments of life . And you can't really explain why). And at the same time , your playing must be very laconic and rigorous , like Catholic monk, singing "Dies irae". I think Pletnev is one of the few intepreters ( if not the only ) who combines them both.
Absolutely! I recognize my feelings in your words. Cannot get through it without tears, especially in conjunction with the painting by Arnold Böcklin.
There is a movie called "Betrayal" (2012) where this music is played when the events take place in or by a hotel which actually looks like the Isle on that painting!
Here is a link to the trailer: th-cam.com/video/FZ1nBJpnaWA/w-d-xo.html
My mother gave me a recording of this music when I was 6. I'm now 87 so have listened to this wonderful tone poem for the last 81 years. I never tire of listening to this very early work of Rachmaninoff. (I listened on a set of 78 R PM records.) The recording I heard was by Artur Rodzinsky.
I was not made out of classical listener material. I tried very hard to enjoy classical music and I chose this piece to listen over and over. After 2 weeks I started enjoying it and today it has been two years
In my opinion, this is one of the most wonderful works of the classical music. This interpretation is fantastic!
Yes but the sound mix sucks completely. At the end we hear almost nothing even with the volume at max. All forte fortissimo effects are killed
Been looking for this piece of work for 5 years now finally found it! Heard it in creativity class in high school. The teacher had the students write a story to this piece and i just remember it being so beautiful.. Good to hear it again
If you liked this piece, I would suggest you to try listening to some other works by Rachmaninoff, the Isle of the Dead is the first piece i've heard from him, and I am now a specialist of this composer.
If you like orchestral music like this one, I would say try his second symphony (Op. 27) or first symphony (Op. 13) depending on if you prefere romantic or more dark.
If you prefere piano works, his first suite (Op. 5) is a good introduction.
But in all case please listen to his second piano concerto (Op. 18), it's a timeless classic, even rated the best piece of classical music ever almost every year.
I can see a boat slowly making its way to the mysterious island .
This little played work of Rach would be a fiiting tribute to victims of Covid19
@@harolcemert Please don't post that propaganda here.
@@folksurvival i didnt post it
@@harolcemert Please don't be dishonest.
@@folksurvival Ah yes, my friend's parents and elder brother died, this is propaganda.
Fascinante interprétation. Comme cette musique respire ! Admirable conduite de Mikhaïl Pletnev
One of the best, if not the best, interpretation of this wonderful tone poem!
As for many, this is one of my favorite compositions. Conductor and orchestra are very good; M. Pletnev is a true Romantic. He reintroduces some of the cuts Rachmaninoff himself took on his own recording.
Still, this doest displace the classic recording by Fritz Reiner and the Chicago Symphony.
Simply beautiful so much in this music even a lifetime it would not be enough time to listen. This music is pack with energy
I love this symphonic poem! Play it for me if I fall into a coma! :-)
Maravillosa interpretación de este poema sinfónico de Rachmaninov, expresividad, fuerza, lirismo, Orquesta excelsa, gran dirección. Impresionante.
Amazing R.N. Orchestra............BRAVO!!!!!!
"Der Toteninsel"(TonGedicht)~Eine der besten Orchesterwerken von Rachmaninoff
Fantástica interpretação!
Rachmaninoff merece este maestro e intérpretes.
the silence at the start
Un placer auditivo, una obra de arte
Brilliant
13:40 your sound engineer is the worst . Crescendos faded dramatically down to zero ! About you guys I can say nothing ! The whole peace is performed amazingly ! This oorchestral poem takes me away almost always ! ♥️♥️♥️
No sorprende que la famosa pintura de Arnold Böcklin impactara tanto a Rachmaninoff, porque quienes la hemos podido ver realmente sobrecoge, pero claro solo a un genio se le puede ocurrir esta maravilla
How do we live our lives? How do we live?
In un sogno.
R certainly had some flashes of genius - this piece, the cello sonata, the 2nd piano concerto, the vespers - to name a few. This is one of my favorite pieces and a great rendition - wish it were available (better engineered) in a CD.
This is one of my favorite versions. Well done!
ALL the time spent to teach oneself to play and instrument and to conduct plus to write classical music. I just cannot understand.But I do respect and love it
Such a fine piece
Плетнёв и Ашкенази пожалуй одни из немногих, кто действительно понимает музыку Рахманинова. Всегда их интерпретации на голову выше других. Некоторые произведения Рахманинова и вовсе по-настоящему раскрылись только под руководством Плетнёва, та же первая симфония, к примеру
Awesome performance.
Потрясающая музыка❤
Esta obra es magnífica!!
Fantastic!
Note that the time signature is 5/4, the rhythm of the Russian language.
O WEH!!! This version is cut - and the same with the other video-clip of Pljetñóv conducting!!!
Well I wouldn't be so critical , in not so few works of him you feel it's too much and I guess Rakhmaninov knew it himself . Remember 2 versions of 2nd sonata (or 3 of 4th concert ) , you will notice it's significantly reduced in its last version. I think that's exactly what saved it from being neglected. I'm not familiar with score but I guess here he cut maybe a couple of bars ,no more, and when listening you still feel incredible perfection of shape.
Are you kidding??? [Шутите ли вы???]
1) Rakhmáñinov did NOT like making cuts at all - his quote regarding them was that every bar cut was (my paraphrase) "a drop of blood taken out of me". Simultaneously, _he felt heavily pressured by the opinions of his colleagues, especially whilst he was in the last 25 years of his life._ *In fact, the period 1900-1970* (especially 1920-70) *was an anti-Romantic time* where his music (as well as that of Chaykóvskiy - in addition to Elgar, Richard Strauß and even Puccini) was basically DESPISED by the "intellectual élite", who didn't LIKE emotionalism and wanted to push everything back to a non-Romantic time (as a general reaction against the entire 19th-century).
2) _This version is HEAVILY cut_ (50 bars so far, more than what even Rakhmáñinov himself tolerated and did - against his will!!!), with all the cuts done in the first half of the piece (timing-wise, before the "farewell-to-life" section in E-flat, as if Pljetñóv were saying "let's just get over there ASAP, this part isn't worth it"!!!), past the point where entire passages (not merely repeated bars) get omitted and the actual substance of the piece is harmed. It's in essence as if the conductor is putting himself above the composer relative to his wishes, saying to him in essence "you don't / didn't truly know how to write music!!!!" That kind of what's basically CONTEMPT for the composer (and in line with what I've written under point #1) is an absolute TURN-OFF to me in addition to undoing the trend that has taken place over these past 50 years when conductors like Prévin and Ashkenázy were pushing for all of this music to be performed *_UNCUT_* , allowing the full structural buildup of the work to take place unhindered.
[If you want to check out the (full-) score, IMSLP has it available on-line: there you can examine it all you like and verify all I've written here.]
This performance consequently loses not one but two stars out of 5 (3/5). NOT recommended - go with Ashkenázy's reading with the Royal Concertgebouw of Amsterdam. There is no question there that everything fits *perfectly* : nothing feels rushed, every gesture is completely at home and proves part of the whole.
In your post I liked most of all that he didn't LIKE making cuts . That was nice. You know I don't like getting up early in the morning , but man sometimes I have no choice. And I guess so did Rakhmaninov. What you said about blood he had to take out doesn't exclude the dilemma he undoubtedly faced many times : either to sacrifice a part of himself or let his work be neglected. And as we can see in many cases he chose the former .1st concert- 2 versions (in the 2nd most of cuts were made in final), 4th concert - 3 versions (the last is the shortest and the most common ), 2nd sonata - 2 versions (again a lot of cuts in the last of them ) , 2nd symphony - full version which lasts about an hour and shortened (goes about 35 mins ). Of course you can find many more examples.
Nobody says performer can freely discard those parts of work he doesn't like. But unlike a good student big interpreter is capable to become co-author of what he plays. He sees the work both in the whole and in details and sometimes he does feel there is something that disturbs the work to live at the stage. And sometimes it becomes an impact for the genius solutions like that of Horowitz when he mixed 2 versions of Rakhmaninov's 2nd sonata . Or Pletnev - when he cut 1,5 pages from 1st sonata and still for me his playing of this work can't be compared with anyone else . The point is that you can say about very few things it's clearly yes or no when we talk about the art.
As I said, Sjergjéy Vasíljevich was simply trying to survive and get his music out into the world in the midst of a milieu that at heart despised him. He didn't however make the cuts permanent or indicate that they were what he really wanted: the scores are left published _in toto_ for the most part.
The disastrous première of his First Symphony (Op.13) was in part due to severe cuts being imposed by Aljeksándr Konstantínovich Glazúnov (who particularly was extremely contemptuous to him, even misplacing the score of his Fourth Piano-Concerto {Op.40} in a taxicab!!!). That - in addition to Glazúnov's being drunk and leading an under-rehearsed orchestra that didn't understand the music - nearly killed him at least as a composer if not even as a human being. Not until after his death did it get a proper hearing (hopefully uncut), after which it achieved a place in the permanent repertory. After hearing it performed by Ashkenázy with the Amsterdam Royal Concertgebouw Orchestra on Decca/London, I can appreciate both its strengths and its faults (he needed to develop the 1st-movement's sub-theme more, in my opinion, while other parts could have been reworked) - and I strongly hold to that the best case one can make for any given piece is to perform it uncut, with not one note added or altered. What Pljetñóv did is simply unacceptable.
I enjoyed reading this discussion. Was interesting. Thanks
Arnold Böcklin would be proud of it.
Bravo...Rach :)
There are so many parts cut from this version it isn't worth it.
I guess they weren't cut ocassionally, but after listening to the record where Rachmaninov himself conducts it. If you listen to that record carefully you'll see this is not full version either.
The more I listen to Pletnev's version the more I feel how much he took from the author's record.
0:15 begins |
I am trying to follow along in my part (1st trombone), but this performance has several surprise cuts.
That one trumpet player looks like Denis Matsuev haha
looks like clark gable
Why does the audio get drastically quieter midway through? The crescendos are quieter than the intro.
Because of the sound engineer! I didn't like it too ! But the whole piece is amazing though .
I think I agree there are some cuts here I have not heard. Seems telescoped somehow.
3:19 5:13 7:15
Masterpiece.
Yesssssssssss
awesome:)
An overused and largely meaningless adjective to describe this masterpiece.
Like an awesome cup of coffee
An awesome movie
An awesome holiday
An awesome electric toaster…………
Wouldn't it have been funny if the oboe solo right before six minutes totally HONKED and the entire orchestra just fell apart and everybody just looked at him like, what the FUCK dude?
why would I listen to this in 360p?
Whoever posted this must have hit the volume knob while uploading...it become extremely quiet ruining a beautiful performance...
11:50 i thought there's smt wrong with my wifi or internet browser.
Prikolna!!! But edited???
라흐마니노프 교향시
14:52
Acortaron una parte de la pieza?
Si, pero creo que son cortes originales de Rachmaninoff mismo
@@Maarethyu Interesante
There is something missing at 7:55
Yes actually there is a few other places like the one you pointed, where cuts were approved by Rachmaninoff.
@@Maarethyu Well, they aren't approved by me.
I think there is a lot of nuance missed in the way they play this. This tone poem when we'll played really sets up the feeling of the "Isle of the Dead". I am disappointed, love everything Rachmaninoff wrote, from solo piano works to symphonic and vocal, but not this.
Isn't it way too fast? Actually I can't make up my mind myself...
Not compared to the composer's version. Although this does speed up a bit more at the climax at one point.
Un peu rapide non ?
Запись не очень.
Oso gustatzen zait
Excellent phrasing but too broad
I've heard better interpretations frankly.
Salle Pleyel, shame on you for the terrible sound engineering!!!