Grazyna Bacewicz (1909-1969) : Symphony No. 3 (1952)

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  • เผยแพร่เมื่อ 6 มี.ค. 2013
  • Grazyna Bacewicz (1909-1969) (Pologne)
    Symphony No. 3 (1952)
    Dir : Roland Bader
    1- Drammatico (9.58)
    2- Andante (5.17)
    3- Vivace (5.14)
    4- Finale : Moderato (8.22)
    On collectionCB2, collectionCB3 and collectionCB4 we can also listen to Grazyna Bacewicz’s « Overture for orchestra » (1943), « Little Suite for chamber orchestra » (1946), « Folk Sketches » for orchestra (1948), « Piano Concerto » (1949), « Serenade for orchestra » (1950), « Cello Concerto No. 1 » (1951), « Symphony No. 4 » (1953), « Violin Concerto No. 5 » (1954), « Polish Overture » (1954), « Partita for orchestra » (1955).
    LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2, COLLECTIONCB3, COLLECTIONCB4
    and
    IDEAL "DISCOTHEQUE" OF MORE THAN 1,400 ORCHESTRAL WORKS OF FEELINGS :
    www.corentinboissier.net/
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ความคิดเห็น • 6

  • @LeoPurich
    @LeoPurich 2 ปีที่แล้ว +3

    1- Drammatico - 0:00
    2- Andante - 9:55
    3- Vivace - 15:10
    4- Finale : Moderato - 20:25

  • @ronaldbwoodall2628
    @ronaldbwoodall2628 5 ปีที่แล้ว +6

    After a pleasant but rather bland beginning, this turned out to be a very enjoyable impressionistic symphony with a strong, vivacious, witty finale. I'll be investigating more of Bacewicz's music.

  • @petegage
    @petegage 6 ปีที่แล้ว +1

    Fabulous- Thank you for all this Bacewitz music

  • @galiaweasley9075
    @galiaweasley9075 4 ปีที่แล้ว

    Can you correct this? I don't think it's accurate:
    1- Drammatico (9.58)
    2- Andante (5.17)
    3- Vivace (5.14)
    4- Finale : Moderato (8.22)

  • @sojarvoglarcrt4602
    @sojarvoglarcrt4602 2 ปีที่แล้ว +1

    The symphony is ok, with perfect structure and skillfuly orchestrated but nothing special. There is simply not enough inner energy to be memorable in long term.

    • @prototropo
      @prototropo ปีที่แล้ว +1

      I know what you mean. I just discovered Bacewicz so I should listen more before I trivialize her achievements, but beyond a genuine command of music theory, compositional tools and orchestration, her generativity lacks a single pivotal idea or sensibility. Yet there are tantalizing, propulsive moments--like 25:37.