I closed my eyes. And I could see Igor Stravinsky. And he did not look happy. You have done a wonderful job with one of my household favourites. I listen to the Octet in my Honda and I haven't had a crash in 3.5 years. XX
It was said that the idea for Stravinsky's Octet came from one of his many, lucid dreams. Unfortunately for some of these players, it must have felt like a nightmare! The genius of Stravinsky partly comes from his orchestration and in the Octet there is nowhere to hide, every player is an integral part of the whole. I'm not sure if more rehearsal time was needed or that some of the players were not having a great day. It's a shame because there are some beautiful parts in this performance, the woodwinds and trombones listen well and play as an ensemble (apart from the slightly, slurry 2nd trombone in parts; can't quite remember that from the score?). Perhaps upping the tempo's a little may have helped to give it a little pep. This piece, because of it's unusual scoring really has to gel from the start. I know there was a conductor, who was on top of his game, but for me, a lot more eye contact was needed amongst the group. It's a neo-romantic piece but it still needs to be quite clinical in places with lots of air and movement in others. I don't wish to sound too negative but this is a great masterpiece and needs that respect when played. Bravo to all performers anyway.
Aaron Copland very much admired what he called the “dry” sound of Stravinsky’s orchestrations, and that sound-an effect of brass and wind with few or no strings, as well as allusions to modal counterpoint-is especially apparent in small ensemble compositions like this, or “L’histoire du soldat.” It may be a generalized conceit shared with the other neoclassical composers, at least Ravel and Prokofiev, but also neotonalists such as Britten, Barber, Hindemith and Respighi. I think of Ravel’s Menuet from “Tombeau du Couperin” as another iconically dry but endearing gem wrung from upended expectations and sparse resources.
I also had the pleasure of conducted this piece in my senior year at the Juilliard. Of course I have the score still which was back then inexpensive. I find this a very fine piece from his neo-classic phase. t Unfortunately the performance must be more French than Spanish.
Stravinsky tells that the distribution with trumpets and trombones comes from a dream he had. Of course, the sense of tone of Stravinsky is needed to make a coherent music with that unbalanced ensemble. This neoclssical score does no "return to". It is composed in line with the neoclassical manner of Stravinsky, that's all. I have some basic hesitations about the neoclaccism as a valid source for the music of XXth century, but I must confess that I love the virtuosity with which this score is written.
Las cámaras deben enfocar a todos y cada uno de los integrantes. Es muy desagradable que solo enfocan al divo que necesita que nosotros veamos sus virtudes y belleza física. Como músico quería ver a los colegas. Pero nó, el Octeto es solo Javier Fajardo. Hay mujeres tocando en esta maravillosa Obra? Bien por "Narciso " Fajardo....
Is the conductor really necessary? All he is doing is acting out what the superb instrumentalists are doing. And the camera is on him far too much of the time. STOP IT.
I closed my eyes. And I could see Igor Stravinsky. And he did not look happy.
You have done a wonderful job with one of my household favourites. I listen to the Octet in my Honda and I haven't had a crash in 3.5 years. XX
what the fuck does this mean
Perfect tempo in my opinion. Well done all - I enjoyed the performance, thank you!
You guys did a great job, I hope to keep listening to your great outputs
Tempos are spot on, well done! It is very easy to rush in this piece.
I love this piece.
This piece is deceptively difficult. Nice recording!
German Yagüe is a good producer!
And beautiful
It was said that the idea for Stravinsky's Octet came from one of his many, lucid dreams. Unfortunately for some of these players, it must have felt like a nightmare! The genius of Stravinsky partly comes from his orchestration and in the Octet there is nowhere to hide, every player is an integral part of the whole.
I'm not sure if more rehearsal time was needed or that some of the players were not having a great day. It's a shame because there are some beautiful parts in this performance, the woodwinds and trombones listen well and play as an ensemble (apart from the slightly, slurry 2nd trombone in parts; can't quite remember that from the score?). Perhaps upping the tempo's a little may have helped to give it a little pep.
This piece, because of it's unusual scoring really has to gel from the start. I know there was a conductor, who was on top of his game, but for me, a lot more eye contact was needed amongst the group. It's a neo-romantic piece but it still needs to be quite clinical in places with lots of air and movement in others.
I don't wish to sound too negative but this is a great masterpiece and needs that respect when played. Bravo to all performers anyway.
Absolutely beatiful.
The instrumental responses to the conductor in the first few phrases freaked me out
Aaron Copland very much admired what he called the “dry” sound of Stravinsky’s orchestrations, and that sound-an effect of brass and wind with few or no strings, as well as allusions to modal counterpoint-is especially apparent in small ensemble compositions like this, or “L’histoire du soldat.”
It may be a generalized conceit shared with the other neoclassical composers, at least Ravel and Prokofiev, but also neotonalists such as Britten, Barber, Hindemith and Respighi.
I think of Ravel’s Menuet from “Tombeau du Couperin” as another iconically dry but endearing gem wrung from upended expectations and sparse resources.
I also had the pleasure of conducted this piece in my senior year at the Juilliard. Of course I have the score still which was back then inexpensive. I find this a very fine piece from his neo-classic phase. t Unfortunately the performance must be more French than Spanish.
Stravinsky ❤️ 💙 💜
Stravinsky tells that the distribution with trumpets and trombones comes from a dream he had. Of course, the sense of tone of Stravinsky is needed to make a coherent music with that unbalanced ensemble. This neoclssical score does no "return to". It is composed in line with the neoclassical manner of Stravinsky, that's all. I have some basic hesitations about the neoclaccism as a valid source for the music of XXth century, but I must confess that I love the virtuosity with which this score is written.
OTTETTO
0:07 Sinfonia
04:17 Yema con variazioni
12:31 Finale
Brilliant.
9:21
1. 0:07
2. 4:17
3. 12:39
The young conductor is genius.
I really like the font you used in your video. What font is it please?
I use it too, for titles on my scores. ;)
Jörgen Häll having beautiful font for score titles is a must!
it almost preludes a drama..it seems like i viewing
3:09
1.
2. 4:19
Las cámaras deben enfocar a todos y cada uno de los integrantes. Es muy desagradable que solo enfocan al divo que necesita que nosotros veamos sus virtudes y belleza física.
Como músico quería ver a los colegas. Pero nó, el Octeto es solo Javier Fajardo.
Hay mujeres tocando en esta maravillosa Obra?
Bien por "Narciso " Fajardo....
very french
Buona esecuzione, tempi lenti, troppo lenti
Is the conductor really necessary? All he is doing is acting out what the superb instrumentalists are doing. And the camera is on him far too much of the time. STOP IT.
@@germanyague He is very stiff and uninteresting.