With early instruments this may be exactly what the audience heard when Beethoven first performed this symphony. I can't imagine it sounding any better than this... a stunning performance beautifully captured. Thanks to everyone for this production. What a privilege to listen to it via TH-cam.
This is without a doubt the best performance of Beethoven's 7th that I have heard (and seen) in a L-O-N-G time - possibly ev-uh! What an orchestra! What a conductor! Bravissimo‼
After the excellent video of the 6th several days ago, this is yet another exemplary video that shows TH-cam is indeed a major medium for serious music listening. Details of the wonderful performance are captured by the excellent camera work and the sound recording so articulate and smooth. Thank you very, very much Maestro Savall and Le Concert des Nations, camera crew, tonmeisters and, of course Elbphilharmonie Hamburg for uploading this video. 数日前の6番に続きこの秀逸なビデオはTH-camが真剣に音楽を聴くメディアとなっていることを示す良い例です。この素晴らしい演奏は優れた カメラワークと繊細で滑らかな録音で余すところなく収録されています。マエストロ サバールと彼の率いるオーケストラ ル・コンセール・デ・ナシオン, カメラクルー、トンマイスターそしてエルプハーモニーに大感謝です。
Mille mercis de partager pour ceux qui n'ont pas eu la chance d'écouter en concert. Extraordinaire performance pleine d'intensité. C'est quand meme autre chose le son des instruments anciens.
Magistral ! Tout y est, l'esprit romantique, brut et fascinant comme il se doit d'être ! Beethoven ne pouvait pas l'entendre autrement en la composant !
Un privilegio escuchar esta regia interpretación de la 7ma Sinfonía de Beethoven. Bravo, maestro Savall y le Concerts des Nations. Saludos cordiales desde Colombia.
SUBLIME DIVINE...OH MAESTRO YOU HAVE BEEN HONORED WITH COMPLETE DEVOTION...SMILE UPON THIS BODY OF MAGICIANS! And to bear what simply is transcendent by these GREAT PERFORMERS:“I shall never write a symphony!” Brahms, nearing 40 and already one of Germany’s most famous composers, was adamant in the letter he wrote to a friend. “You can’t have any idea what it’s like always to hear such a giant marching behind you!” That giant was Beethoven, and the shadow he cast over Brahms was nearly inescapable. At the time when Brahms swore off symphonies, it had been almost 20 years since he had converted his first failed attempt into a piano concerto. Starting anew in 1862, he wrote and then abandoned themes for a symphony in the fateful key of C minor, the home key of Beethoven’s Fifth Symphony. When he wrote that letter in 1872, Brahms seemed ready to spare himself the anguish and humiliation of trying and failing again in the signature genre of his greatest hero. And yet, Brahms still returned to his First Symphony - it was the only way he could break out of Beethoven’s intimidating stride. Approaching the problem obliquely, Brahms made two major breakthroughs in 1873. One was the completion of his first pair of string quartets, another realm in which Beethoven’s achievements had long thwarted Brahms’ progress. The other was the release of his first major orchestral work without a soloist, the Variations on a Theme of Haydn. The novel format allowed Brahms to sidestep his symphonic hang-ups while still honing his skills of orchestration and large-scale structure. Building on that confidence, Brahms returned to his earlier draft of a C-minor Symphony, and worked on it from 1874 through 1876. He continued to tinker with the score during rehearsals for the debut that November, and he made further revisions in 1877, until he finally let his publisher release the long-awaited Symphony No. 1 in C minor, Op. 68. Brahms made no attempt to hide his charged relationship with Beethoven in the First Symphony. There are clear echoes of Beethoven’s Fifth Symphony in the harmonic journey from C minor to C major, and the unmistakable interval of a falling major third - the same drop that begins Beethoven’s Fifth - appears in particularly tense moments. In the finale, a chorale theme resembles the famous “Ode to Joy” of Beethoven’s Ninth. Brahms was hardly bashful about this public grappling with Beethoven; in response to a friend who noted the similarities, Brahms quipped, “Any[one] can see that!” The conductor Hans von Bülow was the first to call the symphony “Beethoven’s Tenth,” an honorific that acknowledges the surface-level parallels while also recognizing Brahms’ hard-earned mastery of Classical form and structure. In the end, Beethoven’s legacy acted on Brahms like a refiner’s fire, bringing out the purest and most precious aspects of his musical personality. A long time had passed since Robert Schumann, upon meeting the 20-year-old Brahms, predicted, “When once he lowers his magic wand over the massed resources of chorus and orchestra, we shall have in store for us wonderful insights into the secret of the spiritual world.” With the First Symphony, Brahms laid his demons to rest and unlocked those insights and secrets that still hold us in thrall. By Aaron Grad Tickets and more information here. Posted on May 27, 2015 READ MORE BEYOND THE STAGE SUPPORT YOUR SYMPHONY Help Keep the Music Playing. Please consider the role music plays in your life and make your gift today.
If we had been in the audience, we would undoubtedly have goose-bumps. What a joyous performance!!! Thanks for sharing this with those of us who didn't have the rare privilege of being in the auditorium on this occasion.
I've been in the audience for 6th to 9th in Barcelona and I can tell you in 7th and 9th gosebumps lasted entire minutes. Something I never experienced before
Debo confesar que nunca he sentido una atracción por esta sinfonía y nunca he encontrado una versión satisfactoria. Pero... también debo confesar que esta versión del maestro Savall... me deslumbró. ¡Bravo!
Por poco salto del sillón y me pongo a aplaudir, espléndida versión. El 4 movimiento expresa perfectamente esa especie de frenesí de la composición sin perder nunca la harmonía y la magnífica claridad de la orquesta.
What a huge performance bravo bravo bravo big big like congrats, the true vulcanic Beethoven spirit l love the most, the best Christmas gift to share those who are not yet your fans, looking forward for dating your new cyber supporters & enjoy such amazing concerts again, the best reason to visit Hamburg. ..super vulcanic power of a kind,🥂🥂🥂🍾🍾🍾🥳🥳🥳😘😘😀😀😀😀🍷🍷🍷🍷💯💯💯😍😍😍🎺🎺🎺🎺🎺💕💕💕💕🤩🤩🤩🥰🥰😉😉😉🤗🤗🤗🤗 Happy New Year awesome performers, wishing you everybody a new year this energizing
Excelente interpretación de esta orquesta y con la dirección del maestro Savall. Banquete musical en todo aspecto. Felicidades. Abrazos y bendiciones...
Sur le disque que j'avais acheté il y a plusieurs décennies de ça, on pouvait lire ce commentaire : "Un pauvre, un malheureux invente la joie pour la donner au monde" (Romain Rolland)
I don’t get involved in silly arguments about “authentic” or “modern” orchestral instruments; if the music is gorgeous and the conductor someone I admire, I’ll listen again and again, so I was really anticipating Maestro Savall’s whack at Beethoven. The 7th is my favorite symphony because the Allegretto movement is one of my favorite pieces of music EVER….profound, hypnotic, incredibly moving, a work of pure genius with such a spare, non-melodic theme. I’m a flutist, and much prefer modern metal flutes playing orchestral music simply because wooden period flutes are typically drowned out, as they they are here. And the wind section is incredibly important in these symphonies; I dk which is worse for authenticity: using special microphones, adding more flutists than originally intended, or using early metal flutes. I have always been capable of hearing every voice in orchestral music, and here I frequently could not pick out the flute, viola, and cello parts, especially the latter when the offbeat 3-note sequence pattern is prevalent. I waited for the singing highest reaches of this pattern, but it was muffled. Otherwise, I adored the sound Savall inspired the musicians to produce! The French horn sound is sublime, and the percussion section sounds absolutely perfect, along with the basses. I can’t wait to hear the rest of the symphonies!!!
the wooden flute has a more human, earthy timbre that the metal flute. It blends much better for my ears. The metal flute is made to pierce through large groups.
Interesting - but I can't hear any Beethoven. It's as though the 19th century and early 18th century had been abolished and we had been taken back to the Baroque period.
Jordi Savall is an outstading string player, but this performance is just horrible. The strings sound as ugly as Norrigton's, but without any of its clarity. You can't hear the motifs, or the phrasings. There's no sense of orchestral balance, and dynamics are all over the place. Not to mention they are sometimes out of sync and some absurd gimmicks such as applying too much pressure to the bow on purpose, in order to get that ugly sound when the wood touches the hair. I don't think any composer would ever like to hear that. I'm so sorry Savall is ruining his reputation doing this repertoire.
@@erstenorn Get yourself a new job and a new life so you can buy a quality brain on special, if you can afford it! معك يا سيدي ، يمكنك عادة قراءة المخلوق بالاسم إذا كان يُدعى إله الذباب ، المدمر ، الكذاب :)
With early instruments this may be exactly what the audience heard when Beethoven first performed this symphony. I can't imagine it sounding any better than this... a stunning performance beautifully captured. Thanks to everyone for this production. What a privilege to listen to it via TH-cam.
😅😅😅😂😂😂😂
This is without a doubt the best performance of Beethoven's 7th that I have heard (and seen) in a L-O-N-G time - possibly ev-uh! What an orchestra! What a conductor!
Bravissimo‼
After the excellent video of the 6th several days ago, this is yet another exemplary video that shows TH-cam is indeed a major medium
for serious music listening. Details of the wonderful performance are captured by the excellent camera work and the sound recording so articulate and smooth.
Thank you very, very much Maestro Savall and Le Concert des Nations, camera crew, tonmeisters and, of course Elbphilharmonie Hamburg for
uploading this video.
数日前の6番に続きこの秀逸なビデオはTH-camが真剣に音楽を聴くメディアとなっていることを示す良い例です。この素晴らしい演奏は優れた
カメラワークと繊細で滑らかな録音で余すところなく収録されています。マエストロ サバールと彼の率いるオーケストラ ル・コンセール・デ・ナシオン,
カメラクルー、トンマイスターそしてエルプハーモニーに大感謝です。
Phenomenal is an understatement.
Magnifique, fascinant, prodigieux chef-d'oeuvre! Merci du fond du coeur!
What a superb performance. It is so touching how all musicians are playing so intensely and completely in the music.
How such a small ensemble creates such a rich sound is nothing short of miraculous.
Mille mercis de partager pour ceux qui n'ont pas eu la chance d'écouter en concert. Extraordinaire performance pleine d'intensité. C'est quand meme autre chose le son des instruments anciens.
Magistral ! Tout y est, l'esprit romantique, brut et fascinant comme il se doit d'être !
Beethoven ne pouvait pas l'entendre autrement en la composant !
Un privilegio escuchar esta regia interpretación de la 7ma Sinfonía de Beethoven. Bravo, maestro Savall y le Concerts des Nations. Saludos cordiales desde Colombia.
And THE MAESTRO HAS LIFT-OFF🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉🎉
SUBLIME DIVINE...OH MAESTRO YOU HAVE BEEN HONORED WITH COMPLETE DEVOTION...SMILE UPON THIS BODY OF MAGICIANS! And to bear what simply is transcendent by these GREAT PERFORMERS:“I shall never write a symphony!” Brahms, nearing 40 and already one of Germany’s most famous composers, was adamant in the letter he wrote to a friend. “You can’t have any idea what it’s like always to hear such a giant marching behind you!” That giant was Beethoven, and the shadow he cast over Brahms was nearly inescapable. At the time when Brahms swore off symphonies, it had been almost 20 years since he had converted his first failed attempt into a piano concerto. Starting anew in 1862, he wrote and then abandoned themes for a symphony in the fateful key of C minor, the home key of Beethoven’s Fifth Symphony. When he wrote that letter in 1872, Brahms seemed ready to spare himself the anguish and humiliation of trying and failing again in the signature genre of his greatest hero. And yet, Brahms still returned to his First Symphony - it was the only way he could break out of Beethoven’s intimidating stride.
Approaching the problem obliquely, Brahms made two major breakthroughs in 1873. One was the completion of his first pair of string quartets, another realm in which Beethoven’s achievements had long thwarted Brahms’ progress. The other was the release of his first major orchestral work without a soloist, the Variations on a Theme of Haydn. The novel format allowed Brahms to sidestep his symphonic hang-ups while still honing his skills of orchestration and large-scale structure. Building on that confidence, Brahms returned to his earlier draft of a C-minor Symphony, and worked on it from 1874 through 1876. He continued to tinker with the score during rehearsals for the debut that November, and he made further revisions in 1877, until he finally let his publisher release the long-awaited Symphony No. 1 in C minor, Op. 68.
Brahms made no attempt to hide his charged relationship with Beethoven in the First Symphony. There are clear echoes of Beethoven’s Fifth Symphony in the harmonic journey from C minor to C major, and the unmistakable interval of a falling major third - the same drop that begins Beethoven’s Fifth - appears in particularly tense moments. In the finale, a chorale theme resembles the famous “Ode to Joy” of Beethoven’s Ninth. Brahms was hardly bashful about this public grappling with Beethoven; in response to a friend who noted the similarities, Brahms quipped, “Any[one] can see that!” The conductor Hans von Bülow was the first to call the symphony “Beethoven’s Tenth,” an honorific that acknowledges the surface-level parallels while also recognizing Brahms’ hard-earned mastery of Classical form and structure.
In the end, Beethoven’s legacy acted on Brahms like a refiner’s fire, bringing out the purest and most precious aspects of his musical personality. A long time had passed since Robert Schumann, upon meeting the 20-year-old Brahms, predicted, “When once he lowers his magic wand over the massed resources of chorus and orchestra, we shall have in store for us wonderful insights into the secret of the spiritual world.” With the First Symphony, Brahms laid his demons to rest and unlocked those insights and secrets that still hold us in thrall.
By Aaron Grad
Tickets and more information here.
Posted on May 27, 2015
READ MORE BEYOND THE STAGE
SUPPORT YOUR SYMPHONY
Help Keep the Music Playing.
Please consider the role music plays in your life and make your gift today.
Extraordinario.Maravillosa interpretación de la Séptima.Gracias
If we had been in the audience, we would undoubtedly have goose-bumps. What a joyous performance!!! Thanks for sharing this with those of us who didn't have the rare privilege of being in the auditorium on this occasion.
I've been in the audience for 6th to 9th in Barcelona and I can tell you in 7th and 9th gosebumps lasted entire minutes. Something I never experienced before
The sound is amazing. What a brilliant performance.
Wunderbar !
Debo confesar que nunca he sentido una atracción por esta sinfonía y nunca he encontrado una versión satisfactoria. Pero... también debo confesar que esta versión del maestro Savall... me deslumbró. ¡Bravo!
Staggering performance! Thank you SO MUCH for posting this. Riveting.
A sexta sinfonia foi espetacular! Ansioso por assistir a execução da sétima sinfonia. Belo presente para o domingo! 👏👏👏💐💐
Phenomenal and hair-raisingly exciting!
I just read Conductor's " About Beethoven " mentioned above. Maestro's mission more than well accomplished!
Awesome! 💐💐💐
Por poco salto del sillón y me pongo a aplaudir, espléndida versión. El 4 movimiento expresa perfectamente esa especie de frenesí de la composición sin perder nunca la harmonía y la magnífica claridad de la orquesta.
Sublime ; le paradis sur terre !😋
What a huge performance bravo bravo bravo big big like congrats, the true vulcanic Beethoven spirit l love the most, the best Christmas gift to share those who are not yet your fans, looking forward for dating your new cyber supporters & enjoy such amazing concerts again, the best reason to visit Hamburg. ..super vulcanic power of a kind,🥂🥂🥂🍾🍾🍾🥳🥳🥳😘😘😀😀😀😀🍷🍷🍷🍷💯💯💯😍😍😍🎺🎺🎺🎺🎺💕💕💕💕🤩🤩🤩🥰🥰😉😉😉🤗🤗🤗🤗 Happy New Year awesome performers, wishing you everybody a new year this energizing
Hermosa y bella pieza musical y que bello sonido el de los cornos
아름다운 베토벤 7번 교향곡
넘 잘듣고갑니다 귀호강했어요~
참 좋습니다(very good)!
from Busan, S.Korea.
This is very good indeed. Generally,I don't like conductors but with Maestro Jordi Savall I am happy to make an exception!
Bravo!! I listened to this performance. It has a very interesting sense of rhythm. This could be a new interpretation.
Браво! Великолепно!
Meraviglioso ❤️❤️❤️❤️
Ps: non sapevo che Leonardo di Caprio fosse anche violinista…
😂🥳BRAVISSIMIIIIIIII
Paola, sappi che da quel momento lo chiamo Leonhard von Caprio!!! 😜
Excelente interpretación de esta orquesta y con la dirección del maestro Savall. Banquete musical en todo aspecto. Felicidades. Abrazos y bendiciones...
Astonishing Concert des Nations, thanks for bringing Beethoven back to life!
You mean someone killed him?
Chapeau bas!
Magníficos estos músicos y el director
great performance!!! BRAVO!!!
Der Katalane reisst die "Nordlichter" zünftig mit! Bravissimo!
Bravissimo!!
Yeah! Great! 👍👍👍👏👏👏
outstanding!!!!!!
thank you
I'm a baroque player, but when I listen to Carlo Maria Giulini's 7th symphony I cry, when I listen to this I don't feel anything...
schade.
IM PRE SIO NAN TE. Una verdadera maravillla
Great performance. The brass after 25:00 :)
That bit at 25:00 is way faster than I've ever heard it!
playing begins at 00:46
Too bad the camera director doesn't know what instruments to film while they are playing.
This orchestra sounds like a huge army of invading mosquitos.
Is that Leonardo Decaprio as concertmeister?
I’m flattered, but no, that’s me 😃
I was not familiar with this conductor or the orchestra..hope to hear more from them
They specialize in Baroque music. This is new turf for them.
Sur le disque que j'avais acheté il y a plusieurs décennies de ça, on pouvait lire ce commentaire : "Un pauvre, un malheureux invente la joie pour la donner au monde" (Romain Rolland)
I don’t get involved in silly arguments about “authentic” or “modern” orchestral instruments; if the music is gorgeous and the conductor someone I admire, I’ll listen again and again, so I was really anticipating Maestro Savall’s whack at Beethoven. The 7th is my favorite symphony because the Allegretto movement is one of my favorite pieces of music EVER….profound, hypnotic, incredibly moving, a work of pure genius with such a spare, non-melodic theme. I’m a flutist, and much prefer modern metal flutes playing orchestral music simply because wooden period flutes are typically drowned out, as they they are here. And the wind section is incredibly important in these symphonies; I dk which is worse for authenticity: using special microphones, adding more flutists than originally intended, or using early metal flutes. I have always been capable of hearing every voice in orchestral music, and here I frequently could not pick out the flute, viola, and cello parts, especially the latter when the offbeat 3-note sequence pattern is prevalent. I waited for the singing highest reaches of this pattern, but it was muffled. Otherwise, I adored the sound Savall inspired the musicians to produce! The French horn sound is sublime, and the percussion section sounds absolutely perfect, along with the basses. I can’t wait to hear the rest of the symphonies!!!
the wooden flute has a more human, earthy timbre that the metal flute. It blends much better for my ears. The metal flute is made to pierce through large groups.
Sehr schön, nur zu viel Hall in der Laeiszhalle
Very nice, just too much reverb in the Laeiszhalle
Better be in shape as you play Beethoven
High quality! Historical praxis is not for me, though.
Wow! - well, if that doesn't help 2nd oboe to give birth, nothing will!!
굳
Interesting - but I can't hear any Beethoven. It's as though the 19th century and early 18th century had been abolished and we had been taken back to the Baroque period.
たいへん活気のある優れた演奏ですが、
奇声を発するのはどうかな。
Was Beethoven a Baroque composer writing for Baroque orchestras? I don't think so!
Where do you see a baroque orchestra on this video ?
And where is Pedro Estevan, for God's sake?!!! 😆
Eric Zemmour used this in his announcement that he is running for President of France.
Cringe candidate for cringe people.
@@korhonenmikko you look cringe dude but ok😂
Zemmour makes a poor use of this symphony. He doesn't seem to know in which context this was composed.
🇺🇳29:39 ^
hatalmas !
Jordi Savall is an outstading string player, but this performance is just horrible. The strings sound as ugly as Norrigton's, but without any of its clarity. You can't hear the motifs, or the phrasings. There's no sense of orchestral balance, and dynamics are all over the place. Not to mention they are sometimes out of sync and some absurd gimmicks such as applying too much pressure to the bow on purpose, in order to get that ugly sound when the wood touches the hair. I don't think any composer would ever like to hear that. I'm so sorry Savall is ruining his reputation doing this repertoire.
Too slow, lack of emotion and rigor. It is played as if it was a Mozart piece! Lack of coordination. 2 / 10
🤣
@@simonlomberg9633 🤡
@@erstenorn May be illiteracy is one of multiple problems that you seem to carry with pride!
@@erstenorn Get yourself a new job and a new life so you can buy a quality brain on special, if you can afford it!
معك يا سيدي ، يمكنك عادة قراءة المخلوق بالاسم إذا كان يُدعى إله الذباب ، المدمر ، الكذاب :)
i agree. But the room acoustic does'nt help, also.
All energy no soul.
I agree; nothing to compare with Furtwangler or Klemperer, who understood Beethoven's inner voice better than most.
🤣
@@simonlomberg9633
I think I'm going to vomit.