Brahms - Tragic Overture, Op. 81 (Orchestre de Paris, Louis Langrée)
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- เผยแพร่เมื่อ 12 มิ.ย. 2024
- Louis Langrée conducts l'Orchestre de Paris.
Watch the full concert: bit.ly/OrchestredeParis-LouisL...
Orchestre de Paris
Louis Langrée - conductor
0:00 Intro
1:15 Johannes Brahms - Tragic Overture, Op. 81
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quelle osmose quelle puissance quel chef quel orchestre !!! bravo bravo à tous et merci
Thank you!
Please broadcast live,
I want to support you!!
Played 'con fuoco'...and with passion. Excellent! ( Gotta love Brahms' "sturm und drang"...so often in D minor!)
Superb, maestro.🙏
It is very indicative that what Brahms meant by Tragedy is in fact great "severity of spirit", and hence a heroic strength and austerity of character, amidst a coldness of heart that is not perhaps natural to the individual.
This is more properly understood as a Roman stoicism, and an accompanying absence of dramatic life-positive emotional forces - such as joyfulness, or celebration of another person's simply being alive, or the tremendous and constructive energies of the erotic, or pure childlike playfulness, or vast visionary insight.
Real tragedy, in contrast, is unstoppable sadness and heart-rending loss, often generated by the perversity and ill-fortunes of the world. The despair of Cleopatra who wrongly thought her lover Anthony was dead, and hence takes her life rather than be paraded through Rome by the insufferable prig Octavian. Or the agony and dejection and madness of King Lear, a ruler broken into ragged ignominy ("I am bound upon a wheel of fire" to quote the Bard's unmatched poetic and imagistic vigour). Partly because of his vain and irresponsible conceit about handing power to his plainly malicious and duplicitous daughters, despite indeed Cordelia's rather self-defeating warnings; and partly because of the lethal cruelty and plotting of these same two ungrateful vipers.
Or in one of the supreme and mind-rending modern examples, we have the mother Sophie, in William Styron's titanic political, historical and moral psychodrama, "Sophie's Choice".
She is condemned to Auschwitz with her two beautiful innocent young children. On arrival in this New Hell, she is prayed upon by the mocking SS Captain on the deathly unloading ramp - he who is the distillation of psychotic Nazi genocidal hatred. The jesting beast in crisp uniform cruelly mocks Sophie: "Chose which one will die now, or they will both die now! Did not Jesus say, suffer the little children to come unto me?". After begging fruitlessly with the deranged murderer, the sack of scum with his clicking boots, to let both of her gorgeous babies live, in horror and despair she releases her daughter to be immediately gassed and incinerated. Yet of course the promises of a Nazi gutter dwelling reptile amount to nothing, they are given only in taunt and perverted jest. She never sees her son again. He too is condemned to the flames of genocidal madness, to transference into incinerated nothingness, to undergo "vernichtung". What woman, what mother, what person with an ounce of morality or love, could continue after this to live her life with any balance? Thus the rest of her days, in a curious place known as Brooklyn, are an exercise in supreme tragedy, and a flight from her perception of hell and the ultimate insanity of the world.
Actually there is one work where Brahms displays a deep tragic sense of life - his horn trio, where it is clear that the death of his mother has evoked tremendous loos and despair.
It is a testimony to his extreme life-positivism, and counter-balancing cynical good humour of Brahms - the supreme analyst, constructivist and musical architect - that he does not ever really dabble in crushing darkness and life-negativity. No Manfred Symphony from his pen!
It has often been said how there is a rather Mediterranean delight in life's charming pleasures, and a Bergsonian life energy, ensconced in his Germanic classical formalism.
I expect the handsome youth, playing in the bars and bordellos of Hamburg, the brilliant pianist spinning virtuosic improvisations for money and beer, often ended up in bed, showered with kisses, and energetically between the delicious thighs of some eager, warm, wet and welcoming and erotically hungry barmaid! "Acchh Johannes, I like the depth of your crescendos. When I saw your hands on the keyboard, you know where I wanted them to be next, ehhh!"
He does indeed, especially in later works, aspire to a transcendental philosophical sense of existence beyond the human realm, a feeling of melting romantic dissolution of all human concerns, amidst a "ravishing profuseness of melodic intoxication", which is very evident infor instance the clarinet quintette.
Love, Andrea.
Bravo !
Wonderful sound and video !
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Música clásica me alimenta el alma,aumentan hormonas de la felicidad(Dopamina, Serotonina yendorfinas)tank You very mucho.
Me sería grato escuchar;a André riu con George Samir(flautista experto)Alondra de la Parra,Frank Pourcel,Arcano
Well played, the intensity, at times, almost unbearable!