Full Album available // Tchaikovsky: Symphonies Nos. 4, 5 and 6 "Pathetique" by Evgeny Mravinsky 🎧 Qobuz (Hi-Res) cutt.ly/EebZIodj Tidal (Hi-Res) cutt.ly/vebZIn6X 🎧 Apple Music (Lossless) cutt.ly/WebZPQY4 Deezer (Hi-Fi) cutt.ly/MebZINlu 🎧 Amazon Music (Hi-Res) cutt.ly/UebZOYSo Spotify (mp3) cutt.ly/tebZOyyq 🎧 TH-cam Music (mp4) cutt.ly/YebZO2dE 🔊 Discover our PREMIUM COLLECTION (Hi-Res MASTER - WAV uncompressed) classicalmusicreference.com/ Pyotr Ilyich Tchaikovsky (1840-1893) Symphony No. 6 in B minor, Op. 74 "Pathétique" 00:00 I. Adagio, Allegro non troppo (2024 Remastered, London 1960) 17:38 II. Allegro con grazia (2024 Remastered, London 1960) 25:46 III. Allegro molto vivace (2024 Remastered, London 1960) 34:08 IV. Finale. Adagio lamentoso (2024 Remastered, London 1960) Leningrad Philharmonic Orchestra Conductor: Evgeny Mravinsky Recorded in 1960 New mastering in 2024 by AB for classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon cutt.ly/ZezaldhI How can one better hear this terrible, morbid procession, this requiem for himself that Tchaikovsky composed with the Sixth Symphony? Tchaikovsky's emotional involvement in his music reached its peak in the last year of his life, with the magnificent and deeply moving "Pathétique" Symphony, composed in 1893. "Fundamentally subjective," as Tchaikovsky himself described it, it was a programmatic symphony with a theme so poignant and painful that he often shed bitter tears while composing it: the final movement is a cry of despair. This was the last music Tchaikovsky ever wrote. Less than a week after the premiere, he died. Mravinsky captivates and enthralls the listener from the very first notes. The drama is present at every moment, unrelenting. The third movement is a fantastic, overwhelming, and visionary march. The final movement is a true dark song of lamentation, akin, in its chilling intensity, to Böcklin’s Isle of the Dead. Mravinsky is truly the only conductor to give an organic unity to the triptych of the last three symphonies. This trilogy, marked by the theme of Fate and expressed as rarely heard so completely, constitutes not only one of the pinnacles of Tchaikovsky’s discography but also one of the finest recordings in history. It is not surprising that Russian orchestras have delivered the finest versions of Tchaikovsky's symphonies, with the Leningrad Orchestra under Evgeny Mravinsky standing as the absolute pinnacle of the genre. Mravinsky, born in 1903 and raised in Saint Petersburg, showed a great interest in music from a young age. Before he turned twenty, he became an accompanist at the Leningrad Ballet School, and at twenty-one, he entered the Leningrad Conservatory to study composition under Shcherbachov and conducting with Gauk and Malko. He remained a student at the Conservatory until 1930, by which time he had already conducted an orchestra (the previous year). From 1932 to 1938, he was primarily associated with the Leningrad Ballet and Opera Theatre, where he premiered Shostakovich's Fifth Symphony, the famous "response of a Soviet artist to justified criticism." He became an ardent advocate for Shostakovich's work. By the late 1930s, Mravinsky was firmly established among the Soviet Union's elite conductors, winning the USSR National Conducting Competition in 1938, before becoming the principal conductor of the Leningrad Philharmonic Orchestra that same year. Shortly after the devastating interruption of World War II, Mravinsky was quick to undertake international tours with the Leningrad Philharmonic, reaching the United States by 1946 and touring all over Europe by the mid-1950s. He was awarded the Stalin Prize in 1946 for his services to music in Russia, with the Lenin Prize following in 1961. Mravinsky had a long recording career. His first recording was a complete 78-rpm version of Tchaikovsky's "Pathétique" Symphony. Since then, Mravinsky and the Leningrad Philharmonic have recorded numerous musical works. For music as dramatic and emotional as Tchaikovsky's, Mravinsky's approach is particularly effective. While meeting the strictest demands of a frequently turbulent score, he also allows the listener to hear details of great beauty and sensitivity that the score possesses in abundance. Other Album available // Scriabin: The Poem of Ecstasy, Op. 54 by Evgeny Mravinsky 🎧 Qobuz cutt.ly/peOF5y1R Tidal cutt.ly/eeOF6Yxw 🎧 Apple Music cutt.ly/YeOF5ceP Deezer cutt.ly/leOGqgRA 🎧 Amazon Music cutt.ly/6eOF6sTD Spotify cutt.ly/deOF69Pw 🎧 TH-cam Music cutt.ly/xeOGqPD0 SoundCloud cutt.ly/ReOGq6YT Pyotr Ilyich Tchaikovsky PLAYLIST (reference recordings): th-cam.com/video/kcGMQE2Tpkc/w-d-xo.html
Mravinsky's "Pathetique" is a revelation. As I began my musical studies as a young woman (more than50 years ago), Tchaikovsky was the first composer I fell in love with. And the "Pathetique" the most cherished of all his work. Over the years, I've heard many interpretations. But I hadn't heard this. Thank you for posting this. It is my new favorite.
How can one better hear this terrible, morbid procession, this requiem for himself that Tchaikovsky composed with the Sixth Symphony? Tchaikovsky's emotional involvement in his music reached its peak in the last year of his life, with the magnificent and deeply moving "Pathétique" Symphony, composed in 1893. "Fundamentally subjective," as Tchaikovsky himself described it, it was a programmatic symphony with a theme so poignant and painful that he often shed bitter tears while composing it: the final movement is a cry of despair. This was the last music Tchaikovsky ever wrote. Less than a week after the premiere, he died. Mravinsky captivates and enthralls the listener from the very first notes. The drama is present at every moment, unrelenting. The third movement is a fantastic, overwhelming, and visionary march. The final movement is a true dark song of lamentation, akin, in its chilling intensity, to Böcklin’s Isle of the Dead. Mravinsky is truly the only conductor to give an organic unity to the triptych of the last three symphonies. This trilogy, marked by the theme of Fate and expressed as rarely heard so completely, constitutes not only one of the pinnacles of Tchaikovsky’s discography but also one of the finest recordings in history. It is not surprising that Russian orchestras have delivered the finest versions of Tchaikovsky's symphonies, with the Leningrad Orchestra under Evgeny Mravinsky standing as the absolute pinnacle of the genre. Mravinsky, born in 1903 and raised in Saint Petersburg, showed a great interest in music from a young age. Before he turned twenty, he became an accompanist at the Leningrad Ballet School, and at twenty-one, he entered the Leningrad Conservatory to study composition under Shcherbachov and conducting with Gauk and Malko. He remained a student at the Conservatory until 1930, by which time he had already conducted an orchestra (the previous year). From 1932 to 1938, he was primarily associated with the Leningrad Ballet and Opera Theatre, where he premiered Shostakovich's Fifth Symphony, the famous "response of a Soviet artist to justified criticism." He became an ardent advocate for Shostakovich's work. By the late 1930s, Mravinsky was firmly established among the Soviet Union's elite conductors, winning the USSR National Conducting Competition in 1938, before becoming the principal conductor of the Leningrad Philharmonic Orchestra that same year. Shortly after the devastating interruption of World War II, Mravinsky was quick to undertake international tours with the Leningrad Philharmonic, reaching the United States by 1946 and touring all over Europe by the mid-1950s. He was awarded the Stalin Prize in 1946 for his services to music in Russia, with the Lenin Prize following in 1961. Mravinsky had a long recording career. His first recording was a complete 78-rpm version of Tchaikovsky's "Pathétique" Symphony. Since then, Mravinsky and the Leningrad Philharmonic have recorded numerous musical works. For music as dramatic and emotional as Tchaikovsky's, Mravinsky's approach is particularly effective. While meeting the strictest demands of a frequently turbulent score, he also allows the listener to hear details of great beauty and sensitivity that the score possesses in abundance. Other Album available // Scriabin: The Poem of Ecstasy, Op. 54 by Evgeny Mravinsky 🎧 Qobuz cutt.ly/peOF5y1R Tidal cutt.ly/eeOF6Yxw 🎧 Apple Music cutt.ly/YeOF5ceP Deezer cutt.ly/leOGqgRA 🎧 Amazon Music cutt.ly/6eOF6sTD Spotify cutt.ly/deOF69Pw 🎧 TH-cam Music cutt.ly/xeOGqPD0 SoundCloud cutt.ly/ReOGq6YT
You've done it again-- found and restored another exquisite performance that I never would have tripped across. Thank-you, thank-you, thank-you for this and your illuminating notes. Bless you for this beautiful work you do. Bravo!!! 💐💐💐
Wunderschöne und spannende Interpretation dieser spätromantischen und perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt elegant. Im Gegensatz klingt der dritte Satz echt lebhaft und auch beweglich. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
I like its third movement. It reminds me of human effort and aspiration that challenges against one's destiny. But what makes this movement enjoyable is that the first and second movements preheated the tension and that the third movement itself also contains some gloomy foresight of the last movement. So it is always a pleasure to listen to the whole symphony by locating some time to enjoy them fully. One might have tried one's best to cope with the rough tides upsurging. But after the storm, what was left was only a deep blue sea that veils all the triumphant human endeavors. We offer flowers to the place, re-hanging the backpacks to shoulders, and moving forward to continue our journeys.
You know, knowing that this was Tchaikovsky "Swan Song" (no pun intended), the last movement is probably a how man dying sounds, in the case of Tchaikovsky, angry and sad, we all know he was gay and being gay in Russia has always been complicated, some people believe he killed himself, we'll never knew, but imagine creating a last movement that it's like announcing your death, the last bars are like hearing heart beats and fading away.
This version, one might say unsurpassed, has a point of comparison at the very same level, that indescribable version by Eugeni Svetlanov and the USSR Philharmonic in 1970 which won the first prize, the Paris Gold Disc. Only Russian conductors and orchestras can reach these sublime veins of Tchaikovsky's music.
Merci Alex de m'avoir permis de découvrir ces interprétations Mravinskiennes de Tchaïkovski (bien aimé), qui me bouleversent . Plus de "sirop pathétique", ici, mais une vibrante dissection de chaque fibre. Oh que ça fait mal ! De la confession intime on bascule dans la bataille échevelée, épique, tragique, dans quoi résonne Chostakovitch. Puis ces surgissements mélodiques comme des bouffées nostalgiques que l'on capterait en se retournant, au beau milieu d'un bal, en cherchant le regard d'un aimé absent. Oh, que de terribles présages hantent cette oeuvre fébrile qui nous brise le coeur, nous abat , nous déchire et nous laisse, finalement, morts. Je me surprends, en découvrant cette puissante interprétation de songer au Tristan und Isolde, qui est une longue entrée dans la mort parcourue de tourments et de soubresauts. Mais ici, pas de "rédemption par l'amour". Nous sommes sur le versant suicidaire du Romantisme. Bon, je range mon mouchoir. Merci pour cette conjonction sublime et infiniment sombre.
@@classicalmusicreference Merci à vous, en retour. Vous me flattez, ah ah ! Je ne suis qu'un modeste artisan avec une sensibilité et une petite culture "artistique" et je peux me promener dans diverses formes d'expression en sachant dire ensuite en quoi j'ai été affecté, concerné. Mais concernant la musique -certaines musiques- j'éprouve le manque de connaissance "pratique" pour aller un peu plus en profondeur dans les analyses. Je ne lis pas les partitions, je ne joue pas d'instrument, sauf un peu la voix, autrefois ! Aussi ne me sentirai-je pas légitime pour prétendre au titre de "critique". Même si j'éprouve un certain plaisir à écrire, je demeure suffisamment scrupuleux ("religieux") pour ne pas dépasser certaines "prétentions". Entre gens de musique on aime généralement à se vautrer dans les émotions, à les cultiver, à les éprouver en tant que tremplins vers le spirituel. C'est, pour ma part, ce dont je sais peut-être le mieux parler, par le fait d'un certain vécu émotionnel qui s'inscrit dans l'enfance. Je dois aussi dire que le propos tenu par Visconti, sur -et par- la musique, dans son "Mort à Venise" a contribué à ouvrir des portes en moi et à donner ordre et sens aux déferlements hormonaux qui traduisent en nous ces émotions, saintes et maudites. Ce double aspect n'était-il pas porté par la figure symbolique d'Orphée ? Beauté, chaos, passion, maladie, mort : des mots, des réalités qui ont toujours hanté les musiciens, les artistes. Si, bien modestement, je peux parfois exprimer mon respect et mon amour pour les musiques, certaines en particulier, c'est aussi pour avoir traversé certains enfers. J'écris... depuis ma sympathie religieuse ! Merci Alex. Ce que vous apportez par votre travail de "résurrection" des vibrations a beaucoup de sens pour les mélomanes, et bien au-delà encore.
Full Album available // Tchaikovsky: Symphonies Nos. 4, 5 and 6 "Pathetique" by Evgeny Mravinsky
🎧 Qobuz (Hi-Res) cutt.ly/EebZIodj Tidal (Hi-Res) cutt.ly/vebZIn6X
🎧 Apple Music (Lossless) cutt.ly/WebZPQY4 Deezer (Hi-Fi) cutt.ly/MebZINlu
🎧 Amazon Music (Hi-Res) cutt.ly/UebZOYSo Spotify (mp3) cutt.ly/tebZOyyq
🎧 TH-cam Music (mp4) cutt.ly/YebZO2dE
🔊 Discover our PREMIUM COLLECTION (Hi-Res MASTER - WAV uncompressed) classicalmusicreference.com/
Pyotr Ilyich Tchaikovsky (1840-1893) Symphony No. 6 in B minor, Op. 74 "Pathétique"
00:00 I. Adagio, Allegro non troppo (2024 Remastered, London 1960)
17:38 II. Allegro con grazia (2024 Remastered, London 1960)
25:46 III. Allegro molto vivace (2024 Remastered, London 1960)
34:08 IV. Finale. Adagio lamentoso (2024 Remastered, London 1960)
Leningrad Philharmonic Orchestra
Conductor: Evgeny Mravinsky
Recorded in 1960
New mastering in 2024 by AB for classicalmusicreference.com/
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon cutt.ly/ZezaldhI
How can one better hear this terrible, morbid procession, this requiem for himself that Tchaikovsky composed with the Sixth Symphony? Tchaikovsky's emotional involvement in his music reached its peak in the last year of his life, with the magnificent and deeply moving "Pathétique" Symphony, composed in 1893. "Fundamentally subjective," as Tchaikovsky himself described it, it was a programmatic symphony with a theme so poignant and painful that he often shed bitter tears while composing it: the final movement is a cry of despair. This was the last music Tchaikovsky ever wrote. Less than a week after the premiere, he died.
Mravinsky captivates and enthralls the listener from the very first notes. The drama is present at every moment, unrelenting. The third movement is a fantastic, overwhelming, and visionary march. The final movement is a true dark song of lamentation, akin, in its chilling intensity, to Böcklin’s Isle of the Dead. Mravinsky is truly the only conductor to give an organic unity to the triptych of the last three symphonies. This trilogy, marked by the theme of Fate and expressed as rarely heard so completely, constitutes not only one of the pinnacles of Tchaikovsky’s discography but also one of the finest recordings in history.
It is not surprising that Russian orchestras have delivered the finest versions of Tchaikovsky's symphonies, with the Leningrad Orchestra under Evgeny Mravinsky standing as the absolute pinnacle of the genre. Mravinsky, born in 1903 and raised in Saint Petersburg, showed a great interest in music from a young age. Before he turned twenty, he became an accompanist at the Leningrad Ballet School, and at twenty-one, he entered the Leningrad Conservatory to study composition under Shcherbachov and conducting with Gauk and Malko. He remained a student at the Conservatory until 1930, by which time he had already conducted an orchestra (the previous year). From 1932 to 1938, he was primarily associated with the Leningrad Ballet and Opera Theatre, where he premiered Shostakovich's Fifth Symphony, the famous "response of a Soviet artist to justified criticism." He became an ardent advocate for Shostakovich's work.
By the late 1930s, Mravinsky was firmly established among the Soviet Union's elite conductors, winning the USSR National Conducting Competition in 1938, before becoming the principal conductor of the Leningrad Philharmonic Orchestra that same year. Shortly after the devastating interruption of World War II, Mravinsky was quick to undertake international tours with the Leningrad Philharmonic, reaching the United States by 1946 and touring all over Europe by the mid-1950s. He was awarded the Stalin Prize in 1946 for his services to music in Russia, with the Lenin Prize following in 1961.
Mravinsky had a long recording career. His first recording was a complete 78-rpm version of Tchaikovsky's "Pathétique" Symphony. Since then, Mravinsky and the Leningrad Philharmonic have recorded numerous musical works. For music as dramatic and emotional as Tchaikovsky's, Mravinsky's approach is particularly effective. While meeting the strictest demands of a frequently turbulent score, he also allows the listener to hear details of great beauty and sensitivity that the score possesses in abundance.
Other Album available // Scriabin: The Poem of Ecstasy, Op. 54 by Evgeny Mravinsky
🎧 Qobuz cutt.ly/peOF5y1R Tidal cutt.ly/eeOF6Yxw
🎧 Apple Music cutt.ly/YeOF5ceP Deezer cutt.ly/leOGqgRA
🎧 Amazon Music cutt.ly/6eOF6sTD Spotify cutt.ly/deOF69Pw
🎧 TH-cam Music cutt.ly/xeOGqPD0 SoundCloud cutt.ly/ReOGq6YT
Pyotr Ilyich Tchaikovsky PLAYLIST (reference recordings): th-cam.com/video/kcGMQE2Tpkc/w-d-xo.html
Mravinsky's "Pathetique" is a revelation. As I began my musical studies as a young woman (more than50 years ago), Tchaikovsky was the first composer I fell in love with. And the "Pathetique" the most cherished of all his work. Over the years, I've heard many interpretations. But I hadn't heard this. Thank you for posting this. It is my new favorite.
How can one better hear this terrible, morbid procession, this requiem for himself that Tchaikovsky composed with the Sixth Symphony? Tchaikovsky's emotional involvement in his music reached its peak in the last year of his life, with the magnificent and deeply moving "Pathétique" Symphony, composed in 1893. "Fundamentally subjective," as Tchaikovsky himself described it, it was a programmatic symphony with a theme so poignant and painful that he often shed bitter tears while composing it: the final movement is a cry of despair. This was the last music Tchaikovsky ever wrote. Less than a week after the premiere, he died.
Mravinsky captivates and enthralls the listener from the very first notes. The drama is present at every moment, unrelenting. The third movement is a fantastic, overwhelming, and visionary march. The final movement is a true dark song of lamentation, akin, in its chilling intensity, to Böcklin’s Isle of the Dead. Mravinsky is truly the only conductor to give an organic unity to the triptych of the last three symphonies. This trilogy, marked by the theme of Fate and expressed as rarely heard so completely, constitutes not only one of the pinnacles of Tchaikovsky’s discography but also one of the finest recordings in history.
It is not surprising that Russian orchestras have delivered the finest versions of Tchaikovsky's symphonies, with the Leningrad Orchestra under Evgeny Mravinsky standing as the absolute pinnacle of the genre. Mravinsky, born in 1903 and raised in Saint Petersburg, showed a great interest in music from a young age. Before he turned twenty, he became an accompanist at the Leningrad Ballet School, and at twenty-one, he entered the Leningrad Conservatory to study composition under Shcherbachov and conducting with Gauk and Malko. He remained a student at the Conservatory until 1930, by which time he had already conducted an orchestra (the previous year). From 1932 to 1938, he was primarily associated with the Leningrad Ballet and Opera Theatre, where he premiered Shostakovich's Fifth Symphony, the famous "response of a Soviet artist to justified criticism." He became an ardent advocate for Shostakovich's work.
By the late 1930s, Mravinsky was firmly established among the Soviet Union's elite conductors, winning the USSR National Conducting Competition in 1938, before becoming the principal conductor of the Leningrad Philharmonic Orchestra that same year. Shortly after the devastating interruption of World War II, Mravinsky was quick to undertake international tours with the Leningrad Philharmonic, reaching the United States by 1946 and touring all over Europe by the mid-1950s. He was awarded the Stalin Prize in 1946 for his services to music in Russia, with the Lenin Prize following in 1961.
Mravinsky had a long recording career. His first recording was a complete 78-rpm version of Tchaikovsky's "Pathétique" Symphony. Since then, Mravinsky and the Leningrad Philharmonic have recorded numerous musical works. For music as dramatic and emotional as Tchaikovsky's, Mravinsky's approach is particularly effective. While meeting the strictest demands of a frequently turbulent score, he also allows the listener to hear details of great beauty and sensitivity that the score possesses in abundance.
Other Album available // Scriabin: The Poem of Ecstasy, Op. 54 by Evgeny Mravinsky
🎧 Qobuz cutt.ly/peOF5y1R Tidal cutt.ly/eeOF6Yxw
🎧 Apple Music cutt.ly/YeOF5ceP Deezer cutt.ly/leOGqgRA
🎧 Amazon Music cutt.ly/6eOF6sTD Spotify cutt.ly/deOF69Pw
🎧 TH-cam Music cutt.ly/xeOGqPD0 SoundCloud cutt.ly/ReOGq6YT
You've done it again-- found and restored another exquisite performance that I never would have tripped across. Thank-you, thank-you, thank-you for this and your illuminating notes. Bless you for this beautiful work you do. Bravo!!! 💐💐💐
Wunderschöne und spannende Interpretation dieser spätromantischen und perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt elegant. Im Gegensatz klingt der dritte Satz echt lebhaft und auch beweglich. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
I like its third movement. It reminds me of human effort and aspiration that challenges against one's destiny. But what makes this movement enjoyable is that the first and second movements preheated the tension and that the third movement itself also contains some gloomy foresight of the last movement. So it is always a pleasure to listen to the whole symphony by locating some time to enjoy them fully.
One might have tried one's best to cope with the rough tides upsurging. But after the storm, what was left was only a deep blue sea that veils all the triumphant human endeavors. We offer flowers to the place, re-hanging the backpacks to shoulders, and moving forward to continue our journeys.
You know, knowing that this was Tchaikovsky "Swan Song" (no pun intended), the last movement is probably a how man dying sounds, in the case of Tchaikovsky, angry and sad, we all know he was gay and being gay in Russia has always been complicated, some people believe he killed himself, we'll never knew, but imagine creating a last movement that it's like announcing your death, the last bars are like hearing heart beats and fading away.
No words to describe the terrifying deepness of this interpretation. 🙏
This version, one might say unsurpassed, has a point of comparison at the very same level, that indescribable version by Eugeni Svetlanov and the USSR Philharmonic in 1970 which won the first prize, the Paris Gold Disc. Only Russian conductors and orchestras can reach these sublime veins of Tchaikovsky's music.
Beautiful music. Thank you CM/RR
:)
Merci Alex de m'avoir permis de découvrir ces interprétations Mravinskiennes de Tchaïkovski (bien aimé), qui me bouleversent . Plus de "sirop pathétique", ici, mais une vibrante dissection de chaque fibre. Oh que ça fait mal ! De la confession intime on bascule dans la bataille échevelée, épique, tragique, dans quoi résonne Chostakovitch. Puis ces surgissements mélodiques comme des bouffées nostalgiques que l'on capterait en se retournant, au beau milieu d'un bal, en cherchant le regard d'un aimé absent. Oh, que de terribles présages hantent cette oeuvre fébrile qui nous brise le coeur, nous abat , nous déchire et nous laisse, finalement, morts. Je me surprends, en découvrant cette puissante interprétation de songer au Tristan und Isolde, qui est une longue entrée dans la mort parcourue de tourments et de soubresauts. Mais ici, pas de "rédemption par l'amour". Nous sommes sur le versant suicidaire du Romantisme.
Bon, je range mon mouchoir. Merci pour cette conjonction sublime et infiniment sombre.
Bonjour Franz, vous auriez pu faire un critique d'œuvres et de disques, votre message est pertinent. Merci pour ce partage :)
@@classicalmusicreference Merci à vous, en retour. Vous me flattez, ah ah ! Je ne suis qu'un modeste artisan avec une sensibilité et une petite culture "artistique" et je peux me promener dans diverses formes d'expression en sachant dire ensuite en quoi j'ai été affecté, concerné. Mais concernant la musique -certaines musiques- j'éprouve le manque de connaissance "pratique" pour aller un peu plus en profondeur dans les analyses. Je ne lis pas les partitions, je ne joue pas d'instrument, sauf un peu la voix, autrefois ! Aussi ne me sentirai-je pas légitime pour prétendre au titre de "critique". Même si j'éprouve un certain plaisir à écrire, je demeure suffisamment scrupuleux ("religieux") pour ne pas dépasser certaines "prétentions". Entre gens de musique on aime généralement à se vautrer dans les émotions, à les cultiver, à les éprouver en tant que tremplins vers le spirituel. C'est, pour ma part, ce dont je sais peut-être le mieux parler, par le fait d'un certain vécu émotionnel qui s'inscrit dans l'enfance. Je dois aussi dire que le propos tenu par Visconti, sur -et par- la musique, dans son "Mort à Venise" a contribué à ouvrir des portes en moi et à donner ordre et sens aux déferlements hormonaux qui traduisent en nous ces émotions, saintes et maudites. Ce double aspect n'était-il pas porté par la figure symbolique d'Orphée ? Beauté, chaos, passion, maladie, mort : des mots, des réalités qui ont toujours hanté les musiciens, les artistes. Si, bien modestement, je peux parfois exprimer mon respect et mon amour pour les musiques, certaines en particulier, c'est aussi pour avoir traversé certains enfers. J'écris... depuis ma sympathie religieuse !
Merci Alex. Ce que vous apportez par votre travail de "résurrection" des vibrations a beaucoup de sens pour les mélomanes, et bien au-delà encore.
録音：1960年11月7-9日、ウィーン楽友協会
❤
If this symphony finished at the end of third movement, poor Pyotr Ilyich might have lived longer.
Perfect. Russian composer Russian Orchestra Russian conductor
Perez Mark Clark Larry Hernandez Carol
is this on spotify
The links are in the video description.