Finally, finally we have come to an age where all the knowledge we gained throughout the last 60 or 70 years of historically informed playing of the baroque era, has been woven into the modern orchestral performance of these pieces! Slowly but surely! Amazing performance with a baroque aura on modern instrumentarium 🎉🎉
@@remifasolla5324 of course, nothing can replace baroque bows, gambas, harpsichord and cohorts of four or five-keyed oboes and bassoons, but for a modern orchestra, this is a step forward. Maybe it's my frustration from those Rameau and Charpentier recordings from decades ago that speaks in such awe of this performance, but again, for modern instruments, pretty good and close!
@@LucienMarine I know, but in the years of the 50s, 60s, 70s and the 80s of the 20th century, mostly up until now, non-period instrument modern symphony orchestras haven't played baroque pieces in historically informed way. I am talking about non-period instrument ensembles, ergo symphony orchestras, I am not talking about baroque ensembles. In the time of Mendelssohn they have probably played Bach and Telemann in a much different way, more style accurate than a symphony orchestra in 1960s! Of course!
@@msg776 My musical commentary aims to recall the historical context of this composition by Jean-Baptiste Lully and the means implemented at the time. It is regrettable to note that the symphony orchestras of yesterday and today play on a register that does not belong to them. The Baroque period has nuances and colors that deserve its own instrumentation. I think that this conductor Klaus Mäkelä has great qualities but has difficulty controlling his impetuosity. Youth obliges! Hoping to have met your expectations. *Lucien*
El jovencísimo Mäkelä es todo un espectáculo. Fuerza, convicción, empatía, sensibilidad, bonhomía, todo se une en este director de excepción. Los músicos, sensibles y virtuosos.
Klaus Makela y la Filarmónica de Oslo son mi combinación favorita, nunca me decepcionan!! Magnífica y divertida interpretación me hace viajar a la época de su compositor
The March for the Turkish Ceremony (Marche pour la cérémonie des Turcs) was written by Jean-Baptiste Lully in 1670. It is taken from the ninth comedy-ballet entitled « Le Bourgeois Gentilhomme » by the playwright Molière. Comedy-ballet is a combination of spoken comedies, singing, and dancing. This form was desired by King Louis XIV in order to sew together theater, music and dance without breaking the thread of the piece. Context: The King received the emissary of the Grand Turk represented by Suleiman Aga in 1669 but the diplomat's clumsiness and casualness turned into a caricature. It was then that the famous « Turkish ridiculous ballet » was born. The comedy-ballet is a veritable reservoir of the processes that Lully will find in lyric tragedy. She is entirely instrumental and is intended to be danced. So it’s ballet music. To heighten the irony of this scene, the composer employs all the instruments at his disposal and also uses percussion with oriental sounds. The march is structured around two repeated musical phrases. From the first notes, everything is done to create a solemn character as the key of G minor, the dotted rhythms similar to opera overtures and supposed to represent the march of the Sun King. This colored piece also includes a small tessitura of which the repetitions offer a journey of exploration of the timbre in the score. *Lucien*
Impecable y original versión de esta joya de Lully. Y qué bien queda la batuta del barroco, el bastón de madera de este grande, que marca con tanta fuerza los compases.
What an epoch France enjoyed. With a King who saw himself as Jupiter and producing genius like Lilly! Unlike today's France. A scoundrel for a president and a nation in ruins.
Cette interprétation est absolument sidérante, et allant crescendo en intensité, ça prend aux tripes ! Merci pour vos précieux détails et informations ! Makela a même respecté la direction au bâton !
I'd be so glad if anyone could tell me which instrument the percussionist on the left uses with his right hand. I can't find it anywhere. The sound is so good. It may be part of his bigger instrument which I also can't find.
Au dessert, euh pardon...au programme : une omelette norvégienne, froide comme les espaces scandinaves et chaude comme les contrées turques. Et Lully, dans tout ce mélange de pays ? eh bien l'habitué Lully, Florentin devenu Français lui, il est resté de marbre (de Carrare, of course) où son buste a été sculpté pour Versailles 😂
I love this It now has me running to listen to Rameau's Indes Galantes Rondeau (th-cam.com/video/RKvd4tMkFHc/w-d-xo.html), Jean-Joseph Mouret's Rondeau (th-cam.com/video/GZib08sHrwE/w-d-xo.html), Charpentier's Te Deum (th-cam.com/video/iwU37osOkQA/w-d-xo.html), and Couperin's Barricades Misterieuses (th-cam.com/video/Z-LV4_mem6Q/w-d-xo.html)
😂🎉😂🎉😂🙏🙏👍🫡🫡😂🔝😂😂are you very sure,that they were not,,friends,,behind the curtains,like the,,advocates,,in a judgement court!!!??????😂🔝🫡👍🙏👏👏👏👏the BAROQUE vibes,were and are still anUNIVERSUM for ALL!!!!so LIFE and MUSIC is for ALL!!!they were in a,,huge,SHOW,,a positive one for all of us!!!but their personal art&work was very hard!!;!😂😂😂✊💯💯✌️💯😂🎶🎶🎶💫💫👏👏👏👏👏👏👏👏👏❤️❤️❤️🥂🌿🥇
HA-HA "Amazing" conductor, when the conducting dont work for the orchestra, the knoking with the big rod will fix the discipline of the orchestra !!! 😆
@@rastislavdemko6682 It's a myth. An orchestra needs a director, the 0,0001% chamber orchestras playing without a one is an illusion, the first violin is giving the tempo and entries.
These string orchestral players that move all over the place while playing are so annoying. If it is the concertmaster I understand, it's suposed to do that. All the others stay still and play whatever you have to play.
Be careful, Klaus! Take care of your foot!
indeed! 🙂
Nice!
Klaus, you should ware heavy-duty boots
😂
@@namenlos2578ware or wear?
Conducting 'a la Lully' and lived to tell the tale! 🤣
Nicely performed!
😂
Always know where your feet are!
Love conductor and orchestra energy, there is no other way to play Marche pour la Ceremonie des Turcs.
Finally, finally we have come to an age where all the knowledge we gained throughout the last 60 or 70 years of historically informed playing of the baroque era, has been woven into the modern orchestral performance of these pieces! Slowly but surely! Amazing performance with a baroque aura on modern instrumentarium 🎉🎉
Lol it still sucks compared to actual historically informed ensembles
@@remifasolla5324 of course, nothing can replace baroque bows, gambas, harpsichord and cohorts of four or five-keyed oboes and bassoons, but for a modern orchestra, this is a step forward. Maybe it's my frustration from those Rameau and Charpentier recordings from decades ago that speaks in such awe of this performance, but again, for modern instruments, pretty good and close!
Your analysis is wrong because the Baroque period was rediscovered by the Romantics a few decades later. *LM*
@@LucienMarine I know, but in the years of the 50s, 60s, 70s and the 80s of the 20th century, mostly up until now, non-period instrument modern symphony orchestras haven't played baroque pieces in historically informed way. I am talking about non-period instrument ensembles, ergo symphony orchestras, I am not talking about baroque ensembles. In the time of Mendelssohn they have probably played Bach and Telemann in a much different way, more style accurate than a symphony orchestra in 1960s! Of course!
@@msg776
My musical commentary aims to recall the historical context of this composition by Jean-Baptiste Lully and the means implemented at the time. It is regrettable to note that the symphony orchestras of yesterday and today play on a register that does not belong to them. The Baroque period has nuances and colors that deserve its own instrumentation. I think that this conductor Klaus Mäkelä has great qualities but has difficulty controlling his impetuosity. Youth obliges! Hoping to have met your expectations. *Lucien*
Moliere et Lully à Oslo, top ! Magnifique interprétation de la turquerie du Bourgeoise Gentilhomme. Bravo Klaus Makela
Tous Les Matins Du Monde'
Yes, but that version is not close to reality. th-cam.com/video/WnuTjZgn4t8/w-d-xo.html
So great to hear a real orchestra play this music
A real orchestra? LOL
Excellent version. The conductor and the orchestra are absolutely sure that they are absolutely right. Bravo!!!
Best thing I've seen Makela do; on point musically and theatrical. Hope he does more French baroque...
Yes~ new version! Thank you Oslo!
lully was a true master, his melodies are extremely catchy ...brilliant!
SIR you are real MAESTRO 🎶🎵 much love and respect ❤❤❤❤🖤
Played with vigor and delicate precision! Lovely!
Bravo!! Great work as always from the Oslo Philharmonic and Klaus Mäkelä!🩵🩵
cok güzel caldiniz, love from Turkey♥
SPLENDIDE ! BRAVISSIMO ! BELLE INTERPRÉTATION !
😇😇😇🥰🥰🥰😍😍😍😁😁😁😇😇😇❤❤❤🙏🙏🙏
❤❤❤🎉🎉🎉😊😊😊
El jovencísimo Mäkelä es todo un espectáculo. Fuerza, convicción, empatía, sensibilidad, bonhomía, todo se une en este director de excepción. Los músicos, sensibles y virtuosos.
Klaus Makela y la Filarmónica de Oslo son mi combinación favorita, nunca me decepcionan!! Magnífica y divertida interpretación me hace viajar a la época de su compositor
The March for the Turkish Ceremony (Marche pour la cérémonie des Turcs) was written by Jean-Baptiste Lully in 1670. It is taken from the ninth comedy-ballet entitled « Le Bourgeois Gentilhomme » by the playwright Molière. Comedy-ballet is a combination of spoken comedies, singing, and dancing. This form was desired by King Louis XIV in order to sew together theater, music and dance without breaking the thread of the piece. Context: The King received the emissary of the Grand Turk represented by Suleiman Aga in 1669 but the diplomat's clumsiness and casualness turned into a caricature. It was then that the famous « Turkish ridiculous ballet » was born. The comedy-ballet is a veritable reservoir of the processes that Lully will find in lyric tragedy. She is entirely instrumental and is intended to be danced. So it’s ballet music. To heighten the irony of this scene, the composer employs all the instruments at his disposal and also uses percussion with oriental sounds. The march is structured around two repeated musical phrases. From the first notes, everything is done to create a solemn character as the key of G minor, the dotted rhythms similar to opera overtures and supposed to represent the march of the Sun King. This colored piece also includes a small tessitura of which the repetitions offer a journey of exploration of the timbre in the score. *Lucien*
Grand merci pour vos informations de contexte !!
@@enguerranddemarigny
Merci ami de la Musique ! *LM*
Merci!! C’est très intéressant de savoir. Salutations depuis Belgique
Thanks, I didn't know about that.
@@elainethomson7146
This is the history of France! The oldest country in Europe.
Impecable y original versión de esta joya de Lully. Y qué bien queda la batuta del barroco, el bastón de madera de este grande, que marca con tanta fuerza los compases.
wonderful…Love the Baton❣️🩵🧖♀️✨✨🌷
Delightful performance indeed bravo bravo congrats, music is our family and we will never be apart anymore 💋👍🥂💎👍👏🎁🍀
Très belle interprétation et quel dynamisme
class, culture, beautiful. thank you from Australia
다양한 시도 다양한 레퍼토리~ 메켈레 음악 인생에 브라보!
Une merveille mes amis ! Soyez bénis
This is by far one of the most "living" version I've heard in my life !
Beau travail !!!
Needs piccolo or sopranino recorders doubling at the octave.
Maestro, sublime as ever. And the Oslo Philharmonic as well. Lully is applauding no doubt! Probably seated but applauding!
One of those rare moments where a baroque piece doesn't sound terrible when played with modern instruments.
BRAVO!!!!!!!
Merci !
Absolutely beautiful! Well done! :D
Beautiful!
Fabulous! Thanks for posting. Congrats Klaus and OP!!
Thank you for sharing.
Love it.
So cool !
What an epoch France enjoyed. With a King who saw himself as Jupiter and producing genius like Lilly! Unlike today's France. A scoundrel for a president and a nation in ruins.
Lully!!!!
Lully !!!
@@christinellorens6161 merci misspelled, I guess? typo error.
Jupiter or Sun - "Le Roy (Roi) Soleil" (Sun King)
Another version I didn't know yet.
But beautiful
awesome
Bravo
There is a little mistake in the first name of Lully. It's Jean-Baptiste* 😉😘
very good!
Impossible stop listening
참 좋습니다
Louis XIV, shouts out: I want the best composer of Europe...!! Lully: please hold my beer....
That was fun!
Version très pédagogique qui commence par la percussion, les basses, puis les parties intermédiaires avant d'ajouter la mélodie. Style parfait.
Cette interprétation est absolument sidérante, et allant crescendo en intensité, ça prend aux tripes ! Merci pour vos précieux détails et informations ! Makela a même respecté la direction au bâton !
@@enguerranddemarigny 🖐
Bravo!
👏👏👏👏👏👏🎶🎵
Better stolen well then thought badly… ;) Nice performance!
I love te faces!
❤❤❤
Mais.... que reviennent nos musiques d'antan et leurs créateurs ...
Klasse!!!!😊
오스만투르크 Ceddin deden 투르크 군가 같은 리듬 같기도 하고,Jean baptise Lully가 작곡한 바로크시대 발레음악이라니 신기해요 ...루이14세가 발레하는것같기도합니다😊
He is so full of the energy if music it literally bursts out of his inner being:
Excellent version from a French
Funny & brilliant! Where is the audience Louis XIV? ^_^
This is a very modern performance.
Please release Makela's performance of Shostakovich Symphony no 5 please please please pleaseeee
Not bad 🔥
👏🏻👏🏻👏🏻👏🏻
❤❤❤👍🏼👍🏼👍🏼👍🏼
I'd be so glad if anyone could tell me which instrument the percussionist on the left uses with his right hand. I can't find it anywhere. The sound is so good. It may be part of his bigger instrument which I also can't find.
💐👌🏼
Now we understand why Jean-Baptise Lully died from conducting as he hurt his foot with his staff and finally died of gangrene.
Mind your step!!
What a talent this man is!
Muy obcuro duro "marcado"
En fin...
VIVRE LA FRANCE
Klaus is gorgeous. Sorry… had to be said.
Au dessert, euh pardon...au programme : une omelette norvégienne, froide comme les espaces scandinaves et chaude comme les contrées turques.
Et Lully, dans tout ce mélange de pays ? eh bien l'habitué Lully, Florentin devenu Français lui, il est resté de marbre (de Carrare, of course) où son buste a été sculpté pour Versailles 😂
Manquerait plus qu'il ne tape pas en mesure ! 😂
I love this It now has me running to listen to Rameau's Indes Galantes Rondeau (th-cam.com/video/RKvd4tMkFHc/w-d-xo.html), Jean-Joseph Mouret's Rondeau (th-cam.com/video/GZib08sHrwE/w-d-xo.html), Charpentier's Te Deum (th-cam.com/video/iwU37osOkQA/w-d-xo.html), and Couperin's Barricades Misterieuses (th-cam.com/video/Z-LV4_mem6Q/w-d-xo.html)
Dude watch your foot
Le falta fuerza.... el báculo debe sonar con imponencia...
😂🎉😂🎉😂🙏🙏👍🫡🫡😂🔝😂😂are you very sure,that they were not,,friends,,behind the curtains,like the,,advocates,,in a judgement court!!!??????😂🔝🫡👍🙏👏👏👏👏the BAROQUE vibes,were and are still anUNIVERSUM for ALL!!!!so LIFE and MUSIC is for ALL!!!they were in a,,huge,SHOW,,a positive one for all of us!!!but their personal art&work was very hard!!;!😂😂😂✊💯💯✌️💯😂🎶🎶🎶💫💫👏👏👏👏👏👏👏👏👏❤️❤️❤️🥂🌿🥇
TÜRK YOK MU
Continuo instruments missing!!!
HA-HA "Amazing" conductor, when the conducting dont work for the orchestra, the knoking with the big rod will fix the discipline of the orchestra !!! 😆
I dare say the orchestra would play just as well without him!
Spot on, Stevie. Lully is the father of the professional orchestra, capable of performing under any circumstances. That’s exactly the point.
@@rastislavdemko6682 It's a myth. An orchestra needs a director, the 0,0001% chamber orchestras playing without a one is an illusion, the first violin is giving the tempo and entries.
Heeft Klaus achteraf zijn tenen geteld?
Pourquoi se mettent-ils tous à l'interpréter comme F.-X. Roth ? 🙄
La version de Roth est bien meilleure! En fait, ses deux versions sont meilleures.
They need a more impressive Turkish Crescent... :>)))
Indeed!
Is it just me or does this performance sound strange? It's kind of dull, and the melody is not heard clearly. Also, the flat video format?
Exécrable interprétation. On s'emmerde en l'écoutant.
stolen from the army band of Devlet-i Aliyye, sorry i mean impromised
Too much of the same strings... Where are the wind instruments? Not as good as François-Xavier Roth's 2min41sec version.
These string orchestral players that move all over the place while playing are so annoying. If it is the concertmaster I understand, it's suposed to do that. All the others stay still and play whatever you have to play.
Attento a battertelo sul piede come lully che sul Te Deum mori di setticemia un mese dopo.
❤❤❤