Take 5 Piano Quintet - JEAN SIBELIUS Piano Quintet in G minor, JS 159 (1890)
ฝัง
- เผยแพร่เมื่อ 30 ก.ย. 2024
- Take 5 Piano Quintet Series Concert XII
24 May 2015, 7.30pm, Esplanade Recital Studio
Lim Yan, piano
Foo Say Ming, violin
Lim Shue Churn, violin
Chan Yoong Han, viola
Chan Wei Shing, cello
I. Grave-Allegro
II. Intermezzo. Moderato 11:32
III. Andante 16:32
IV. Scherzo. Vivacissimo 26:41
V. Moderato-Vivace 29:46
00:03 Grave - Allegro
11:33 Intermezzo
16:32 Andante
26:42 Scherzo (Vivacissimo)
29:47 Moderato - Vivace
Thank you for this wonderful performance.
Love the concentrated, powerful tone of this violist.
... fantastic ...
There are sometimes a few reminders to me of Shostakovich. I wonder if these composers ever met or what they thought of each other's music.
This dates from 1890 and Shostakovich was born in 1906. I am not sure Shostakovich was influenced by Sibelius at any point (or even knew his music).
@@brkahn of course Shostakovich was familiar with Sibelius's music. There's a quote from Lemminkäinen suite in DSCH's 12th Symphony. Still I agree that it was not Sibelius who influenced DSCH most (because it was Mahler obviously)
@@ИванДмитриенко-х6г Thank you for this insight. I just listened again to Sh's 12th symphony but could not find the quotation from Lemminkäinen. Can you point it out? (Lemminkäinen is quite long, too.)
@@brkahn It is believed that the second theme from the 1st movement (starting from bar 30) is Lenin's theme based on the motive from Lemminkäinen in Tuonela. Conductor Vasily Petrenko mentioned it in a interview:
"There’s a three-note theme representing the people, while Lenin is heard in a two-note theme (I subscribe to the view that he denotes a brutal leader or anti-human force in two note themes, and “humanity” in three-note ones). You can hear how Lenin moves the people towards catastrophe in the first movement. He then follows Lenin to Razliv in Finland, where he reflects on his strategy.
We hear a theme from Sibelius’s Lemminkäinen in Tuonela which deals with the hero’s death, when he is cut into pieces and thrown in a river - later his mother pulls out the pieces and only by her tears is he restored again. The message is clear. It’s one of the most clever calculations he made: firstly, to quote Sibelius - the necessary people would understand the message - and to put in the revolutionary songs as a cover. You can sense how songs start with a clear intention but are altered and warped."
@@ИванДмитриенко-х6г I agree that there is a similarity between the theme at the beginning of Sh's 12th and that in Lemminkäinen in Tuonela, but they are different: the first one is DFEGD and the second is CDEFC. So it is not a quotation (in the way he quotes Tchaikovsky's Manfred in another symphony, I forgot which one). Whether it is a 'twisted' allusion, as Vasily Petrenko thinks, or a mere coincidence, is not clear to me.
that was fucking amazing lol you need to have some wine with this... like it was intended...!
fucking amazing again, lol