To all the people criticizing this interpretation and the cadenzas: All within your rights, I won't argue that. But I for one, will take any attempt at freshness, at newness, even dissonance.... because to me it's exciting and if I want to hear the same interpretations and cadenzas I'll go to the other 10,000 concerts or recordings that do that. My ears, for one, thirst for anything new. And would Beethoven cringe? I can't believe he's so precious that he would really care if people took massive leaps at an occasional concert. Life's not so serious y'all. Go with the flow, let art, even interpretive art, stretch.....for gods' sake, more of this pleasse!
I doubt Beethoven would disagree with it (not completely, at least), considering his own choices for the cadenza in the piano version of this concerto. But we will never know...
@@rbd168 sometimes i do. for an occasional change. although my most successful involvement in a shakespearean production was when i composed tangos for the underscoring and the director had no stage set except chairs to be moved around and the actors wore suits. the vernacular however was original.
Doch, doch, absolut passende sensationelle Kadenz, meisterhaft gespielt von einer Geigerin, die ich noch gar nicht auf dem Schirm hatte! Und das fein abgestimmte Orchesterinstrument mit dem kongenialen Sir Simon. Ein absolutes Leckerbissen! Gratulation!
BRAVO!!! Ein dreifaches Bravo für Frau Eberle und das Orchester unter Sir Simon Rattle zu dieser phantastischen Aufführung. Und was ist es für eine Wohltat, das Beethovensche Violinkonzert endlich mal wieder ohne die Kreisler-Cadenzas hören zu dürfen. Die Widmannschen Cadenzas sind exorbitant gut und eine 4-min-Cadenza im Larghetto ist ohnehin eine Novität. Herzlichen Dank an alle Mitwirkenden.
Sie halten die Cadenzas für "vollständig unpassend", ich sie für "exorbitant gut". Das ist vollkommen in Ordnung so. Und nun? Wer hat gewonnen? Das Dumme bei der Bewertung von Kunstwerken ist nur, dass man nicht 1/1000mm oder Sekundenbruchteile bemühen kann, sondern nur Geschmack und Sympathie. Also bleibt das stets subjektiv. Wie beim Eiskunstlaufen: Drei mal in der Weltmeisterschaftskür auf's Maul gefallen, aber trotzdem Weltmeister geworden. Übrigens habe ich vor meinem Kommentar zur Geisterstunde Ludwig van gefragt, wie es ihm gefällt. Er fand es gut, vielleicht hätte er auch so etwas geschrieben, nur ist es ihm gerade mal nicht eingefallen. Für Sie persönlich hätte ich ne Lösung: Auf TH-cam gibt es derzeit 135 verschiedene Geiger, die das Konzert spielen. Suchen Sie sich eines aus, das Ihnen besser gefällt; schon haben Sie Ihren Frieden zurück. Innige Grüße.
@@jomasch9106 Ein erstaunlicher Wortschwall... Während Sie schreiben, dass die Kadenzen "exorbitant gut SIND", schreibe ich, dass ich sie für "vollständig unpassend HALTE". Fällt Ihnen wenigstens der Unterschied auf? - Sie brauchen sich übrigens nicht um meinen "Frieden" Gedanken zu machen und auch nicht nach "Lösungen" für mich zu suchen, auch benötige ich keine "innigen Grüße". Genießen Sie gern, wodurch Sie sich bereichert fühlen, und leben Sie wohl.
Laa cadencias no son composicion de betoveen y si hay algo muy desagradable es que tanto orquestas como solistas en todos los instrumentos en piezas clasicas les hagan figuras que no estan en la obra original pues esto ya es de compositores y musica barata que se escucha en nuestros dias
Surprises aside, the soloist, the conductor, and the orchestra delivered a superb concert. I enjoyed the surprises. I thought I was going to hear another of the same traditional concert. I really liked it because the surprises were in very good taste. We cannot change the notes that Beethoven wrote, but the cadence, why not? No one can stand hearing the same thing every day, let alone for 2 centuries. Beethoven was a bold man and musician, he would certainly support it .
The music "transfered me" in times as I was a young student in Munich die Weltstadt mit Herz.I cannt forget what I lived.The music with passion deep in my heart.
Expertly done and provocative. For me, these unorthodox cadenzas crack open the time capsule and contribute the laudatory approbations and accolades of reflective music and experiences of different places and/or times, among other things. All has its place … and time. Bravo!
Fabulous cadenza - I really mean it ! If you always want favorite concertos played the same favorite way, listen to your favorite record instead… If any concerto suits for taking this kind of liberties it’s this. Great job Eberle ! And listen to the piano version too. Nino Gvetadze highly recommnded.
Wow. That cadenza! It evoked Paganini, Sarasate and some jazz. I don’t know if I would have enjoyed the performance if it was an audio recording only. Seeing the soloist perform helped me appreciate it more. I feel this one more technically demanding that the usual cadenza. Maybe this variation should be nicknamed “credenza”.
I am aware that in Beethoven's time and in the 19th century soloists made extensive excursions in their cadenzas, mostly improvised. But I am not sure what cadenzas quite as extensive as these achieve. Eventually one says 'Oh not again!' as one tries to follow some kind of musical logic in the eccentricities. It feels rather like the kind of novelty one expecxts in party games. Provocative? Yes. Interesting? Yes. Beyond that ??? This is not in any way to fail to appreciate the superb technical and musical performance of Veronica and the orchestra, which is breathtaking! I think what I am saying is that these cadenzas don't extend one's experience of the music beyond the notes as played. They are addenda.
The piano transcription of this piece (Op. 61a if anybody wants to find it) has a cadenza, by Beethoven, for piano and timpani. Beethoven’s cadenzas never adheres to one style and the one for the second piano concerto sounds as out of place as the Widmann one if seen from a historical context. to debate what would Beethoven think is quite futile as evidenced by that one cadenza actually for timpani and soloist…
Bravo 🎉! A refreshing release from the straitjacket of conformity- stimulating and challenging even though it is still only practiced spontaneity, it opens the door to so many possibilities.
OK. I'm speechless. Veronika-may I be so bold? Foot stomping in the last movement cadenza? Flipping the bow hair to the opposite side? Involving the double bass, tympani, concert master in your "cadenza." I called up my friend Ludwig Van Beethoven. (special hot line.) Know what he said? "I thought cadenzas were IMPROVISATION." I get it. We've got Schnittke and a host of others who have abandoned that model. So now why not extend the "'we-don't-improvise-anymore-anyway-no-how-no-way- school-so let's take it to the next level?" So, yes, this is an extrapolation from other new approaches to the literature of cadenzas for Beethoven's violin concerto. New wine in old bottles, or some such. Sure. I get it. I think. Why stifle new composers who want to be creative? We ok, so far? But what about the tone, the mood, the jarring effect these cadenzas have. Are you sure this is not startling-just to shock? The final moments of the 1st movement, so tender, reflective, poignant-isn't the point that a contemplative moment is about to pass into the scales and fanfare, but Beethoven has taken us on an emotional journey. But what does this cadenza do? It overrides that. It substitutes creativity that doesn't belong here. (Sure, in a separate piece with the same urge to express--go for it.) And I am not so priggish as to believe an interpreter can't add his/her new take on the classic. But, is there no limit? Sir Simon Rattle is a conductor whose seriousness is beyond reproach. You, also, are clearly committed and dedicated to this interpretation. Of course I respect all of you. I don't mean to challenge your earnestness in offering the public something new. Perhaps, with further listening I may change my mind. But this is NOT Stavinsky Firebird Suite--Booed in the turn of the last century only to be vindicated by history. Of course, maybe I'm wrong. Perhaps the decades to come may change some ears. And if I am wrong-I await that correction. That said, as a former violinist, you got my attention. It took a few hops and jumps from a short video where TH-cam knows my algorithm. I looked you up. Great credentials. So, from the PR department-well done. Having been somewhat critical, allow me to offer up an olive branch. I looked up Joerg Widmann, the composer. Again, a distinguished, serious German composer. I even listened to a piece he wrote that I liked. So kudos for supporting an esteemed German Artist. And Ms, Eberle, may I conclude--Chapeau bas for the very fine playing! I wish you continued success in your long, bright, and innovative future.
Pay attention at 13:00. Then Beethoven says all his sorrow of seeing his brothers die at Young age being a kid him self. The beating and abuse lack of love by his father. So you see the face of the performer. She becomes Beethoven, for minutes.
This is the second version I listened where the soloist tried to do 'more' in the cadenza and I have no objection to that at all - after all Beethoven did leave the cadenza for the soloist so it's absolutely in their right to come up with their own version. However the only thing is that, do it at concert level: without the music sheets please!
I appreciate the pacing. Nice to hear a performance where the virtuosity of the performer serves the majesty of the composition, rather than the other way around -- that is, up until the cadenza, which made me think of the late great John Belushi's samurai Beethoven schtick on SNL : )
This is why I always insist that the Kreisler cadenzas should be considered as an integral part of the work. Stylistically they are completely compatible, even more so than the outlandish affairs Beethoven himself wrote for the piano version of this work.
I personally find the Kreisler cadenzas to be boring and unimaginative scale exercises, so I'm glad they're not part of the concerto itself. Ideally I would prefer musicians to improvise all cadenzas, but that is its own topic. It is also quite the bold stance to judge Beethoven's choices for his own music...
Forse una esecuzione un poco personale rispetto a quelle di riferimento della mia esperienza personale, ma bella, trascinante, esaltante come sempre in uno dei più bei concerti per violino della storia della musica, anzi direi del più bello!
Cadenzas were meant to be improvised, or so I thought. This technically isn't one, since she's playing with a timpanist. Still, the whole thing is very effective. Why not?
Cadenzas in all three movements totally ruined for me, what was otherwise a very smooth performance by an accomplished soloist and fine ensemble. They were completely at adds with Beethoven and insufferably long. I’ve always appreciated Ms. Eberle’s playing and she very good here too when playing the concerto.
" at odds" not "adds". But I agree with you. It's gotta be difficult to add an interesting, fresh cadenza, but the insistence on dissonance here is annoying.
It should be entitled "Variation on the theme of Beethoven". An excellent theme and performance. A superb violinist and a great orchestra. I wonder --Who is the composer of the Variation?
Likely to be Eberle. See her bio in wiki. Simon Rattle is a flamboyant conductor, and pianist, retired. I don't think he has the mind of composing such piece for Beethoven or anybody.
Я, думаю, дискуссия по этому поводу бесполезна, сколько ,, ушей", столько и голов, мнений. Время идет... многое претерпевает / совершенно оправдано, естественно/изменения, этого отменить не получится. Да здравствует свобода Выбора . А, Людвиг ван Бетховен , почти уверенна , только улыбнулся бы этим ,, баталиям" : ,, пусть шалят, мне нет до этого никакого дела... "
é mais um violinista que joga no cesto a Obra do Grande Mestre Beethoven. esse concerto não é para qualquer um mesmo. até hoje, só conheci um verdadeiro virtuose, que tocou esse concerto sem quebra lo.
This rendition is loaded with gimmicks from both the conductor and the violin player. I like great intonation, great phrasing, and a good (preferably unique) sound - like Heifetz. Just play it like Heifetz does and everything will be fine. No gimmicks please.
46:37 en definitiva, Verónica será muy virtuosa pero esta versión es para el total olvido. No hay derecho a semejante insulto a la memorio de uno de los más grandes compositores de la historia 48:59
Yes perhaps the cadenzas would be better suited to the proms. It shocked the stuff shirts out of their skins.....anyway she plays beautifully her tone reminds me of the great violinists of the 1940s......well done and good luck!
We always want each cadenza to be individual. If not, change jobs.❤🎉😮😊good job ever Paganini and modern music are not music, but public trash. It seems like they are protesting about that.
It's a psychotic break then slowly climbing back out of the pit of madness. As if the music is saying....aren't we glad that's over? Oh.. but it's not. It's not. It's a separate piece entirely.. ripping holes in a structure just when you thought all was safe. But yah gotta try new things..
I think that this two cadenzas, because of its extravagances, are similar to fashion shows: what is presented there are costumes to be seen, never worn.
Even though these cadenzas are so far from Beethovenian language, the soloist score composed by Beethoven is absolutely played with good taste, specially when you are comparing it with such awful experiments like Kopatchinskaya approach to this Concert
The cadenza has too many dissonant chords, and the entrance has also been revised. Beethoven wouldn't like that, and neither would I. A piece can be made hard in many ways. Bach Air in G by Roman Kim is a good example of a virtuoso solo work without sharing it with the orchestra member.
The cadenzas are just too jarring; maybe they should be played separately as an encore piece. As for the two main performers, both the violinist and the conductor seem displaced, disoriented, wandering without a sense of mission. A totally disorganized effort. Sorry. Try the version with Daniel Lozakovich conducted by Valery Gergieve, who put together a coherent, sensitive, and caring performance, with unerring sense of mission.
Such an interesting industria. haha??? Such an INSPIRING person playing on the violin.. We feel Inspired. I just wanna pick up the violin and Plays it.
Totally bastardized performance of a great masterpiece! I can’t believe it was allowed in the country of Beethoven’s birth. I am stunned that this was allowed in the hall of a great orchestra in fine conductor! Vial and disregard of Beethoven’s music which was interrupted by crass nonsense that was nothing but gibberish!
Great playing, but no, I don't like this cadenzas... too many reasons. The lush and beautiful melodies from the second movement are sublime and touching. Cadenzas need to be shorter to respect orchestral musicians.
It was nice to hear an original cadenza...in theory. But this was just beyond good taste. Parts of it were by Schoenberg, perhaps? Over the top. Thumbs down!!!
@antoniocordon4564 Aber nun machen Sie mal einen Punkt! Wissen Sie überhaupt, was Sie da schreiben? Wenn das "Ketzerei" ist, müssten Sie ja jetzt den Scheiterhaufen anzünden. Wollen Sie wirklich, dass diese großartigen Musiker bei lebendigem Leibe verbrannt werden, nur weil sie einen anderen Geschmack haben? Wegen solchen Menschen wie Sie wird es niemals Frieden geben auf dieser Welt. Pfui!!
I think it is brilliantly done! They kept the melody and feel. A bass solo you don’t see everyday. Cadenzas have been used to show off your ability, and that’s just what this does. In Paganinis time people would say the same about his theatrics. Now you are revered for being able to play Paganini.
Horror. No masterpiece is safe from the vandals who hate beauty, taste and elegance and want to replace it by ugliness, vulgarity and gratuitous showmanship. At least I know of an orchestra, a violinist and a violinist whose concerts I will never book.
To all the people criticizing this interpretation and the cadenzas: All within your rights, I won't argue that. But I for one, will take any attempt at freshness, at newness, even dissonance.... because to me it's exciting and if I want to hear the same interpretations and cadenzas I'll go to the other 10,000 concerts or recordings that do that.
My ears, for one, thirst for anything new. And would Beethoven cringe? I can't believe he's so precious that he would really care if people took massive leaps at an occasional concert. Life's not so serious y'all. Go with the flow, let art, even interpretive art, stretch.....for gods' sake, more of this pleasse!
I doubt Beethoven would disagree with it (not completely, at least), considering his own choices for the cadenza in the piano version of this concerto.
But we will never know...
True. Most music critics are essentially useless and go down in history completely forgotten. It's the artists who give meaning to a piece of score.
You should like Shakespeare in street vernacular.
@@rbd168 sometimes i do. for an occasional change. although my most successful involvement in a shakespearean production was when i composed tangos for the underscoring and the director had no stage set except chairs to be moved around and the actors wore suits. the vernacular however was original.
Все возможно, и это заслуживает интереса!
Beautiful and risky to play such an iconic piece like that. Bravo
Eine großartige hörenswerte kadenz-ich bin begeistert!!
Auch über den Mut von Frau eberle !
Doch, doch, absolut passende sensationelle Kadenz, meisterhaft gespielt von einer Geigerin, die ich noch gar nicht auf dem Schirm hatte! Und das fein abgestimmte Orchesterinstrument mit dem kongenialen Sir Simon. Ein absolutes Leckerbissen! Gratulation!
BRAVO!!! Ein dreifaches Bravo für Frau Eberle und das Orchester unter Sir Simon Rattle zu dieser phantastischen Aufführung. Und was ist es für eine Wohltat, das Beethovensche Violinkonzert endlich mal wieder ohne die Kreisler-Cadenzas hören zu dürfen. Die Widmannschen Cadenzas sind exorbitant gut und eine 4-min-Cadenza im Larghetto ist ohnehin eine Novität.
Herzlichen Dank an alle Mitwirkenden.
Was ist an diesen Kadenzen "exorbitant gut"? Ich halte diese akrobatischen Einlagen für vollständig unpassend.
Sie halten die Cadenzas für "vollständig unpassend", ich sie für "exorbitant gut". Das ist vollkommen in Ordnung so. Und nun? Wer hat gewonnen? Das Dumme bei der Bewertung von Kunstwerken ist nur, dass man nicht 1/1000mm oder Sekundenbruchteile bemühen kann, sondern nur Geschmack und Sympathie. Also bleibt das stets subjektiv. Wie beim Eiskunstlaufen: Drei mal in der Weltmeisterschaftskür auf's Maul gefallen, aber trotzdem Weltmeister geworden. Übrigens habe ich vor meinem Kommentar zur Geisterstunde Ludwig van gefragt, wie es ihm gefällt. Er fand es gut, vielleicht hätte er auch so etwas geschrieben, nur ist es ihm gerade mal nicht eingefallen.
Für Sie persönlich hätte ich ne Lösung: Auf TH-cam gibt es derzeit 135 verschiedene Geiger, die das Konzert spielen. Suchen Sie sich eines aus, das Ihnen besser gefällt; schon haben Sie Ihren Frieden zurück. Innige Grüße.
@@jomasch9106 Ein erstaunlicher Wortschwall... Während Sie schreiben, dass die Kadenzen "exorbitant gut SIND", schreibe ich, dass ich sie für "vollständig unpassend HALTE". Fällt Ihnen wenigstens der Unterschied auf? - Sie brauchen sich übrigens nicht um meinen "Frieden" Gedanken zu machen und auch nicht nach "Lösungen" für mich zu suchen, auch benötige ich keine "innigen Grüße". Genießen Sie gern, wodurch Sie sich bereichert fühlen, und leben Sie wohl.
@@Pitborn Bravo for this response. Sie haben Recht.
Laa cadencias no son composicion de betoveen y si hay algo muy desagradable es que tanto orquestas como solistas en todos los instrumentos en piezas clasicas les hagan figuras que no estan en la obra original pues esto ya es de compositores y musica barata que se escucha en nuestros dias
The wonderfulness and gracefulness and Beauty of her performance are out of this world, and beyond description
Surprises aside, the soloist, the conductor, and the orchestra delivered a superb concert. I enjoyed the surprises. I thought I was going to hear another of the same traditional concert. I really liked it because the surprises were in very good taste. We cannot change the notes that Beethoven wrote, but the cadence, why not? No one can stand hearing the same thing every day, let alone for 2 centuries. Beethoven was a bold man and musician, he would certainly support it .
The music "transfered me" in times as I was a young student in Munich die Weltstadt mit Herz.I cannt forget what I lived.The music with passion deep in my heart.
Expertly done and provocative. For me, these unorthodox cadenzas crack open the time capsule and contribute the laudatory approbations and accolades of reflective music and experiences of different places and/or times, among other things. All has its place … and time. Bravo!
Haters gonna hate... This is the best Beethoven VC recording of all time. The cadenzas are insanely epic and fun!
Yes ! 🙌🏼
Let's not exaggerate now.
It is such a joy to watch sir
Simon Rattle conducting,very beautiful and excelent the violin.Thanks.
Très beau violon quelle belle âme bravo l'artiste
I agree. From Japan🇯🇵, JST、2:00分
37:00 cant imagine how beautiful a duet/cadenza in the middle of one of the best vc's in history coulda been before i listened to this
sublime BEETHOVEN
I agree with you. From Japan 🇯🇵, JST、19:46分
Fabulous cadenza - I really mean it ! If you always want favorite concertos played the same favorite way, listen to your favorite record instead… If any concerto suits for taking this kind of liberties it’s this. Great job Eberle ! And listen to the piano version too. Nino Gvetadze highly recommnded.
Со́гласен
精湛的詮釋貝多芬D 大調小提琴協奏曲令人驚豔讚嘆！
🎼🎻🎼🌹
I agree. From Japan🇯🇵, JST、1:59分
Refreshing.
I agree with you. From Japan 🇯🇵, JST、19:47分
Beatiful surprise
훌륭한 연주 감사합니다~^^❤
동의합니다. 일본 🇯🇵보다, JST、2:01分
A welcome surprise, so refreshing and such beautiful playing!
You have to have ears to play those cadenzas :-) Bravo!
Many thanks for uploading!
This is what I call quality.
BRAVO!!!!!!!!
Espetacular essa cadenza
Wow. That cadenza! It evoked Paganini, Sarasate and some jazz. I don’t know if I would have enjoyed the performance if it was an audio recording only. Seeing the soloist perform helped me appreciate it more. I feel this one more technically demanding that the usual cadenza. Maybe this variation should be nicknamed “credenza”.
I am aware that in Beethoven's time and in the 19th century soloists made extensive excursions in their cadenzas, mostly improvised. But I am not sure what cadenzas quite as extensive as these achieve. Eventually one says 'Oh not again!' as one tries to follow some kind of musical logic in the eccentricities. It feels rather like the kind of novelty one expecxts in party games. Provocative? Yes. Interesting? Yes. Beyond that ??? This is not in any way to fail to appreciate the superb technical and musical performance of Veronica and the orchestra, which is breathtaking!
I think what I am saying is that these cadenzas don't extend one's experience of the music beyond the notes as played. They are addenda.
I' l be on board with that.
Thank you from Miscow.
The piano transcription of this piece (Op. 61a if anybody wants to find it) has a cadenza, by Beethoven, for piano and timpani. Beethoven’s cadenzas never adheres to one style and the one for the second piano concerto sounds as out of place as the Widmann one if seen from a historical context. to debate what would Beethoven think is quite futile as evidenced by that one cadenza actually for timpani and soloist…
I would sooner have the Kreisler cadenzas adapted for piano than what Beethoven wrote.
Bravo 🎉! A refreshing release from the straitjacket of conformity- stimulating and challenging even though it is still only practiced spontaneity, it opens the door to so many possibilities.
Wunderbar!
Allein die brutale Werbeunterbrechung ist ein Ausbund an Kulturlosigkeit.
Thanks to the courageous to play this cadence. It was very much great nice espetacular
Great
OK. I'm speechless. Veronika-may I be so bold? Foot stomping in the last movement cadenza? Flipping the bow hair to the opposite side? Involving the double bass, tympani, concert master in your "cadenza." I called up my friend Ludwig Van Beethoven. (special hot line.) Know what he said?
"I thought cadenzas were IMPROVISATION."
I get it. We've got Schnittke and a host of others who have abandoned that model. So now why not extend the "'we-don't-improvise-anymore-anyway-no-how-no-way- school-so let's take it to the next level?" So, yes, this is an extrapolation from other new approaches to the literature of cadenzas for Beethoven's violin concerto.
New wine in old bottles, or some such. Sure. I get it. I think.
Why stifle new composers who want to be creative?
We ok, so far?
But what about the tone, the mood, the jarring effect these cadenzas have. Are you sure this is not startling-just to shock?
The final moments of the 1st movement, so tender, reflective, poignant-isn't the point that a contemplative moment is about to pass into the scales and fanfare, but Beethoven has taken us on an emotional journey.
But what does this cadenza do?
It overrides that.
It substitutes creativity that doesn't belong here.
(Sure, in a separate piece with the same urge to express--go for it.)
And I am not so priggish as to believe an interpreter can't add his/her new take on the classic.
But, is there no limit? Sir Simon Rattle is a conductor whose seriousness is beyond reproach. You, also, are clearly committed and dedicated to this interpretation.
Of course I respect all of you.
I don't mean to challenge your earnestness in offering the public something new.
Perhaps, with further listening I may change my mind. But this is NOT Stavinsky Firebird Suite--Booed in the turn of the last century only to be vindicated by history.
Of course, maybe I'm wrong. Perhaps the decades to come may change some ears.
And if I am wrong-I await that correction.
That said, as a former violinist, you got my attention. It took a few hops and jumps from a short video where TH-cam knows my algorithm. I looked you up. Great credentials. So, from the PR department-well done.
Having been somewhat critical, allow me to offer up an olive branch.
I looked up Joerg Widmann, the composer. Again, a distinguished, serious German composer. I even listened to a piece he wrote that I liked. So kudos for supporting an esteemed German Artist.
And Ms, Eberle, may I conclude--Chapeau bas for the very fine playing! I wish you continued success in your long, bright, and innovative future.
What do you say?
Pay attention at 13:00. Then Beethoven says all his sorrow of seeing his brothers die at Young age being a kid him self. The beating and abuse lack of love by his father. So you see the face of the performer. She becomes Beethoven, for minutes.
Mein Gott Veronika, Sie spielen grossartig!
Bravo!
Υπεροχο οι πιο απλές λέξεις
Στην Αιθουσα Ηρακλειδων των Ανακτόρων του Μονάχου.
This is the second version I listened where the soloist tried to do 'more' in the cadenza and I have no objection to that at all - after all Beethoven did leave the cadenza for the soloist so it's absolutely in their right to come up with their own version. However the only thing is that, do it at concert level: without the music sheets please!
I appreciate the pacing. Nice to hear a performance where the virtuosity of the performer serves the majesty of the composition, rather than the other way around -- that is, up until the cadenza, which made me think of the late great John Belushi's samurai Beethoven schtick on SNL : )
Hate the cadenza for what it’s worth, but the remainder is beautiful!!!!
처음 듣는 카덴차에 놀랐어요!
This is why I always insist that the Kreisler cadenzas should be considered as an integral part of the work. Stylistically they are completely compatible, even more so than the outlandish affairs Beethoven himself wrote for the piano version of this work.
I personally find the Kreisler cadenzas to be boring and unimaginative scale exercises, so I'm glad they're not part of the concerto itself. Ideally I would prefer musicians to improvise all cadenzas, but that is its own topic.
It is also quite the bold stance to judge Beethoven's choices for his own music...
bravo. best rendition for a lot of reasons. and i am from baltimore, so i am biased toward hillary hahn
멋진 카덴짜에 반해서 구독과 좋아요 남깁니다 ㅎㅎ
Wow ! !
Forse una esecuzione un poco personale rispetto a quelle di riferimento della mia esperienza personale, ma bella, trascinante, esaltante come sempre in uno dei più bei concerti per violino della storia della musica, anzi direi del più bello!
Cadenzas were meant to be improvised, or so I thought. This technically isn't one, since she's playing with a timpanist. Still, the whole thing is very effective. Why not?
Virtually no cadenzas are improvised anymore. Soloists pick the written version that they prefer.
Beautiful performance! However, la cadenza sera corta! Otherwise it seems as if the concerto comes at the second place.
Beautiful sounds! Better than a lot of famous violinists 😂❤❤
Cadenzas in all three movements totally ruined for me, what was otherwise a very smooth performance by an accomplished soloist and fine ensemble. They were completely at adds with Beethoven and insufferably long. I’ve always appreciated Ms. Eberle’s playing and she very good here too when playing the concerto.
" at odds" not "adds". But I agree with you. It's gotta be difficult to add an interesting, fresh cadenza, but the insistence on dissonance here is annoying.
I would have enjoyed a little bit more volume of the excellent violin playing
21:11 la cadenza no es la original. Es muy virtuosística, pero distorsiona al concierto de Beethoven
Beethoven zenéje értelmet ad az életnek , gyönyörködtet, szórakoztat (laikus zene rajongó)
お誕生日おめでとうございます。慈愛に満ちた 時間をありがとうございます。 マエストロのご多幸、ご健康を お祈りしております。
It should be entitled "Variation on the theme of Beethoven". An excellent theme and performance.
A superb violinist and a great orchestra. I wonder --Who is the composer of the Variation?
I wonder the same thing. Eberle, Rattle, both, or who?
Likely to be Eberle. See her bio in wiki. Simon Rattle is a flamboyant conductor, and pianist, retired.
I don't think he has the mind of composing such piece for Beethoven or anybody.
37:01 inexplicable. Creo que Beethoven, aun sordo, se removería en su tumba
Я, думаю, дискуссия по этому поводу бесполезна, сколько ,, ушей", столько и голов, мнений. Время идет... многое претерпевает / совершенно оправдано, естественно/изменения, этого отменить не получится. Да здравствует свобода Выбора . А, Людвиг ван Бетховен , почти уверенна , только улыбнулся бы этим ,, баталиям" : ,, пусть шалят, мне нет до этого никакого дела... "
é mais um violinista que joga no cesto a Obra do Grande Mestre Beethoven. esse concerto não é para qualquer um mesmo. até hoje, só conheci um verdadeiro virtuose, que tocou esse concerto sem quebra lo.
This rendition is loaded with gimmicks from both the conductor and the violin player. I like great intonation, great phrasing, and a good (preferably unique) sound - like Heifetz. Just play it like Heifetz does and everything will be fine. No gimmicks please.
Cadenza First Movement: excellent score for soprano sax and circus band. But to be honest, don’t we hear here Beethoven in all his madness?
46:37 en definitiva, Verónica será muy virtuosa pero esta versión es para el total olvido. No hay derecho a semejante insulto a la memorio de uno de los más grandes compositores de la historia 48:59
Yes perhaps the cadenzas would be better suited to the proms. It shocked the stuff shirts out of their skins.....anyway she plays beautifully her tone reminds me of the great violinists of the 1940s......well done and good luck!
Si va ovunche con la musica
Scosate ovunque
Let's cut to the chase and just vote on the cadenzas, shall we?. 👍or 👎?
We always want each cadenza to be individual. If not, change jobs.❤🎉😮😊good job ever
Paganini and modern music are not music, but public trash. It seems like they are protesting about that.
Ahmedooooooo😊
❤вам нравится музыка?- же, мне Лица Движения и Мысли исполнителей: дирижёра Соло и Оркестра!😢😅
30:16
and DOES Sir Simon Rattle?
It just doesn’t work, not at all, the cadenza, that is.
It's a psychotic break then slowly climbing back out of the pit of madness. As if the music is saying....aren't we glad that's over? Oh.. but it's not. It's not. It's a separate piece entirely.. ripping holes in a structure just when you thought all was safe. But yah gotta try new things..
一😊❤@@philwohlrab7588
I think that this two cadenzas, because of its extravagances, are similar to fashion shows: what is presented there are costumes to be seen, never worn.
Even though these cadenzas are so far from Beethovenian language, the soloist score composed by Beethoven is absolutely played with good taste, specially when you are comparing it with such awful experiments like Kopatchinskaya approach to this Concert
I think Kopatchinskaja's' version is my favourite, or at least when it comes to cadenzas
The cadenza has too many dissonant chords, and the entrance has also been revised. Beethoven wouldn't like that, and neither would I. A piece can be made hard in many ways. Bach Air in G by Roman Kim is a good example of a virtuoso solo work without sharing it with the orchestra member.
The cadenzas are just too jarring; maybe they should be played separately as an encore piece.
As for the two main performers, both the violinist and the conductor seem displaced, disoriented, wandering without a sense of mission. A totally disorganized effort. Sorry.
Try the version with Daniel Lozakovich conducted by Valery Gergieve, who put together a coherent, sensitive, and caring performance, with unerring sense of mission.
Such an interesting industria. haha??? Such an INSPIRING person playing on the violin.. We feel Inspired. I just wanna pick up the violin and Plays it.
Totally bastardized performance of a great masterpiece! I can’t believe it was allowed in the country of Beethoven’s birth. I am stunned that this was allowed in the hall of a great orchestra in fine conductor! Vial
and disregard of Beethoven’s music which was interrupted by crass nonsense that was nothing but gibberish!
Well, different anyway....
Great playing, but no, I don't like this cadenzas... too many reasons.
The lush and beautiful melodies from the second movement are sublime and touching.
Cadenzas need to be shorter to respect orchestral musicians.
I thought she was going to break the violin in the cadenza.
Cadenza is so unnatural to the spirit and style of Beethoven. Totally unnecessary!
It was nice to hear an original cadenza...in theory. But this was just beyond good taste. Parts of it were by Schoenberg, perhaps? Over the top. Thumbs down!!!
No, that's not Schoenberg. It's Jörg Widmann.
Impresentables cadenzas
Herejía mezclar esos experimemtos con tan exceso concierto. Una pena
@antoniocordon4564 Aber nun machen Sie mal einen Punkt! Wissen Sie überhaupt, was Sie da schreiben? Wenn das "Ketzerei" ist, müssten Sie ja jetzt den Scheiterhaufen anzünden. Wollen Sie wirklich, dass diese großartigen Musiker bei lebendigem Leibe verbrannt werden, nur weil sie einen anderen Geschmack haben? Wegen solchen Menschen wie Sie wird es niemals Frieden geben auf dieser Welt. Pfui!!
😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊😊
I think it is brilliantly done! They kept the melody and feel. A bass solo you don’t see everyday. Cadenzas have been used to show off your ability, and that’s just what this does. In Paganinis time people would say the same about his theatrics. Now you are revered for being able to play Paganini.
Scusate ancora
카덴차 본인이 작곡???😮
cadenza; Jörg Widmann
@@송재경-n6i 찾아보니 전체적인 구조는 베토벤 본인 편곡 피협 카덴차에서 따왔군욥
Her wonderful performance is the cat’s pajamas
Bussen!!!I
카덴짜가 아닌 주접
カデンツァというより
トリオだ？
Jones Carol Robinson Jennifer Brown Timothy
Hernandez Ronald Allen Jessica Jackson Kevin
Мдааа.... 😮
Horror. No masterpiece is safe from the vandals who hate beauty, taste and elegance and want to replace it by ugliness, vulgarity and gratuitous showmanship. At least I know of an orchestra, a violinist and a violinist whose concerts I will never book.
ˋ
😴
Kinda mornization of violin concerto
Horripilante,no puedo decir más
Great playing. Horrible cadenza. Period.
A terrible performance! I don't want to listen her any more.
Not the best interpretation