Thank you for sharing this treasure! But the date is not correct definitely - this concert was much earlier than 1983. Victor Lieberman sitting on concertmeister chair here, has emigrated from the USSR to Holland in 1979. Georgy Kneller,the next 1st violinist after Lieberman, is at the 2nd desk here. French horn solo is played here by Vitaly Buyanovsky, in 1983 already Andrey Glukhov was playing principal horn in Tch.,5. This time my teacher Vladimir Kurlin was first oboist in this orchestra, here another oboist plays. Even Mravinsky himself is too young here. I remember him in 1983 - he was older and conducted sitting. I suppose this recording belongs to 1972-74.
A powerhouse precise performance, with instrumental sound - especially the violins - slicing like razor blades to bring the full force of the music to our ears. I am curious about the lack of applause from some members of the audience in the closing shots here. Don't they realise how fortunate they are to have witnessed this rendition by a great orchesta and its legendary conductor?
Hands down the greatest interpretation and performance of this work I have ever heard. And WHAT a room. The perfect amount of reverb for an orchestra in my opinion. I love that because the audio recording approach wasn't overly complicated, you can really hear the orchestra in the hall. This is the closest to being there we could possibly get, I think. Man man man man man. Thanks so much for posting!!
I love this powerful interpretation of this piece. I also can’t help but appreciate the beautiful film work. There is so much focus of the hall and not just the orchestra. It adds so much to the experience of the music just as it might if I were sitting in Leningrad and present at its performance
Fürtwangler could not have given us a better rendition of this T-5th. A measured Tempo in both conductors is very similar and they use it in a fashion so as to give the audience the opportunity to grasp the exact and full details of the melodic structure of the composition and to delect and engorge in it.
Since I first heard his DG recording when a teenager in the 1970s this has never been challenged in my view. I can see why many consider it incomparable and in its own class. Many thanks for this deeply appreciated post. Sorry I never got to see the Maestro live
My first DG was Tchaikovsky Piano Concerto #1. The reverse side had the Nutcracker Suite. It was a golden record and I treated it like gold. Handling it by the edges and not letting anyone touch it. It was 1965 and all my friends were into The Beatles and they thought I was strange. I still listen to all of the Tchaikovsky symphonies.
Ah, the 1980s... when a concert registration would rarely show even a single person performing, you know, the actual music. It's hilarious how there is a separate camera aimed at the conductor's backside (34:00) but none at the orchestral players. Karajan's were almost worse since you often even didn't get to see his arms.
definetly best conducting, if you listen to other conductors: they're just too affected/artificial at all and after all. This one is minimalist, far from over-done, easy-going, but yet just one brilliant powerful take
Too many shots of the audience and not enough of sections of the orchestra. Where is the brass section? I don't think it was isolated one time in this video. It was nice to see Mravinsky, but this is a poor production from a video perspective.
Дата неправильная, Виктор Либерман не мог сидеть концертмейстером в 83 году, он уехал в 79. Потом очень низкий строй, почти на тон ниже, оркестр в те годы строился очень высоко, иногда ля 446, это возможно исправить?
@@siukola1 Ah, I know what you mean. Given that this is an analog recording, compared to other period recordings, I think it was played back a bit slow during the digitization process or possibly the orchestra transposed it in this performance, although I doubt the latter. Did Tchaikovsky use a different frequency for A instead of 440 Hz?
@@jeromeglick I don't know, but the Vienna Philharmonic plays now at 444 Hz. German orchestras often at 443 or 442. In the Baroque period music was played at 415, in the Classical period at about 420, in the romantical period 430, but this could change. So, also today, performances with historical instruments, at 415. The great tenor Schipa didn't sing in Vienna, because the frequency was to high. Original Verdi would be 432, that would be much better for the voice and sound better. But orchestras, especially strings sound more brilliantly at a higher frequency. So it is probable that original Tchaikovski was at about 430.
@@siukola1 Interesting. Thank you for sharing your knowledge! That would explain why different recordings of the same work (even on CD) can have different pitches. With analog recordings, however, sometimes it is a matter of a speed miscalibration on your turntable or tape deck.
@@jeromeglick That,s true. In the Schellack time it was even so, that some singers recorded arias and songs lower. People could than play it a bit faster and as a result higher. There exists some research about the tenor Fernando de Lucia about that.
Thank you for sharing this treasure! But the date is not correct definitely - this concert was much earlier than 1983. Victor Lieberman sitting on concertmeister chair here, has emigrated from the USSR to Holland in 1979. Georgy Kneller,the next 1st violinist after Lieberman, is at the 2nd desk here. French horn solo is played here by Vitaly Buyanovsky, in 1983 already Andrey Glukhov was playing principal horn in Tch.,5. This time my teacher Vladimir Kurlin was first oboist in this orchestra, here another oboist plays. Even Mravinsky himself is too young here. I remember him in 1983 - he was older and conducted sitting. I suppose this recording belongs to 1972-74.
Sorry, Kneller occupies the assistant place at 1st desk of 1st fiddles.
Киксанул Буяновский,боятся все валторнисты,этого места
This was 1978 in Leningradskoj Philharmonii.
A powerhouse precise performance, with instrumental sound - especially the violins - slicing like razor blades
to bring the full force of the music to our ears. I am curious about the lack of applause from some members
of the audience in the closing shots here. Don't they realise how fortunate they are to have witnessed this
rendition by a great orchesta and its legendary conductor?
Hands down the greatest interpretation and performance of this work I have ever heard. And WHAT a room. The perfect amount of reverb for an orchestra in my opinion. I love that because the audio recording approach wasn't overly complicated, you can really hear the orchestra in the hall. This is the closest to being there we could possibly get, I think. Man man man man man. Thanks so much for posting!!
Thanks! The original audio was of poorer quality. I have improved it a bit
Divine,Divine,Divine interpretation,Millions Thank you for posting this video.
Fantástica interpretación....!!!! es como si fuera la primera vez que escucho la 5a de Tchaikovsky.....MUCHAS GRACIAS
I love this powerful interpretation of this piece. I also can’t help but appreciate the beautiful film work. There is so much focus of the hall and not just the orchestra. It adds so much to the experience of the music just as it might if I were sitting in Leningrad and present at its performance
Oh and that horn solo is so wonderful (I personally don’t mind a little vibrato on the French Horn, I think it sounds beautiful)
I just listened to my double CD of Mravinsky with Leningrad Philharmonic conducting 3 Tchaikovsky symphonies, 4, 5 and 6
I have the same double cd… love These recordings soo much.
Fürtwangler could not have given us a better rendition of this T-5th.
A measured Tempo in both conductors is very similar and they use it in a fashion so as to give the audience the opportunity to grasp the exact and full details of the melodic structure of the composition and to delect and engorge in it.
Since I first heard his DG recording when a teenager in the 1970s this has never been challenged in my view. I can see why many consider it incomparable and in its own class. Many thanks for this deeply appreciated post. Sorry I never got to see the Maestro live
My first DG was Tchaikovsky Piano Concerto #1. The reverse side had the Nutcracker Suite. It was a golden record and I treated it like gold. Handling it by the edges and not letting anyone touch it. It was 1965 and all my friends were into The Beatles and they thought I was strange. I still listen to all of the Tchaikovsky symphonies.
Vitali Michailovitsh Buyanovski solo horn.
My past friend.
Vesa
42:05 Moment of truth! Great Mother Russia is here, in every single note. Thank you for posting it !
Ah, the 1980s... when a concert registration would rarely show even a single person performing, you know, the actual music. It's hilarious how there is a separate camera aimed at the conductor's backside (34:00) but none at the orchestral players. Karajan's were almost worse since you often even didn't get to see his arms.
definetly best conducting, if you listen to other conductors: they're just too affected/artificial at all and after all. This one is minimalist, far from over-done, easy-going, but yet just one brilliant powerful take
I think that this perfomance was at the 70's
Too many shots of the audience and not enough of sections of the orchestra. Where is the brass section? I don't think it was isolated one time in this video. It was nice to see Mravinsky, but this is a poor production from a video perspective.
Unfortunately, some concerts in the USSR, with Mravinsky, were filmed like this.
th-cam.com/video/Jtf_0TL9gGc/w-d-xo.html
You sure this is 1983? Marvinsky looks sorta young here compared to his other performances in the '80s.
Yes, it was recorded on 19-3-83 and appeared years later on the TELDEC/NAXOS label.
www.amazon.com/Tchaikovsky-Symphony-No-Pyotr-I/dp/B000005E85
Дата неправильная, Виктор Либерман не мог сидеть концертмейстером в 83 году, он уехал в 79. Потом очень низкий строй, почти на тон ниже, оркестр в те годы строился очень высоко, иногда ля 446, это возможно исправить?
Oi Arkashenka, a vi bi chego xoroshego skazali :)) , a La popravit mojno, tolko vot tak igrat nikto bolshe ne budet, xorosho cto xot eto ostalos :)
То есть , это претензия к Мравинскому?)
is this performance transposed? the second movement doesn't sound like b minor at all...more like a flat minor
probably just because of audio recording quality. Was recorded before digital existed, so speed of the tape plays a factor here lol.
Good Point, whole recording was a key lower, which I encountered in some soviet recordings. quite weird
35:44
ピッチが低いような。
Starting at the wrong pitch! Too low!
By today's standards. But not wrong, just lower.
@@siukola1 Ah, I know what you mean. Given that this is an analog recording, compared to other period recordings, I think it was played back a bit slow during the digitization process or possibly the orchestra transposed it in this performance, although I doubt the latter. Did Tchaikovsky use a different frequency for A instead of 440 Hz?
@@jeromeglick I don't know, but the Vienna Philharmonic plays now at 444 Hz. German orchestras often at 443 or 442.
In the Baroque period music was played at 415, in the Classical period at about 420, in the romantical period 430, but this could change. So, also today, performances with historical instruments, at 415.
The great tenor Schipa didn't sing in Vienna, because the frequency was to high.
Original Verdi would be 432, that would be much better for the voice and sound better.
But orchestras, especially strings sound more brilliantly at a higher frequency.
So it is probable that original Tchaikovski was at about 430.
@@siukola1 Interesting. Thank you for sharing your knowledge! That would explain why different recordings of the same work (even on CD) can have different pitches. With analog recordings, however, sometimes it is a matter of a speed miscalibration on your turntable or tape deck.
@@jeromeglick That,s true. In the Schellack time it was even so, that some singers recorded arias and songs lower. People could than play it a bit faster and as a result higher.
There exists some research about the tenor Fernando de Lucia about that.
сначала спустился к оркестру, потом с оркестром в зал - вот так !!!
14:40