Nielsen's music, really starting with the Fifth Symphony, is full of conversations or confrontations, of the kind initiated here by the snare drum. These can be droll, threatening or ambiguous. Nielsen was very interested in questioning traditional formal procedures. Unlike the classical procedure from Haydn to Shostakovich, for example, the composer often ends a symphony in a key that is not the one in which it began. The acquisition of the final tonality is the crux of the symphonic drama. The essential characteristic of Nielsen's style is giving it the name « progressive tonality ». Nielsen knew that listeners can respond to the events themselves, to unexpected juxtapositions, departures and returns to sources. It is to this faculty, to this unconscious memory, that he addresses in his symphonic dramas. B major is the tonality he soars into for the opening of the second movement, and it’s a long, bold leap after the first movement’s journey. Here we enter the world of truly energetic allegro. It is also and always is a world of obsessions, the B of all the strings and timpani, the return of that ticking of the first movement. Then there are two richly imitative sections, one very fast-paced and on a subject that can't seem to move beyond its initial optimism, the other on a carefully advanced but leisurely and exploring theme. Finally, Nielsen makes a return that resembles the opening music. It provides the entrance to the resolution of the drama in a grandiose triumphant assertion. All the power and beauty are magnified in this music. *Lucien*
Apart from the very strange 6th which I can’t really understand, I love all the symphonies of Nielsen. For far too long his music was kept in the shadows, however like Sibelius back in the 1950’s , he is finally being recognised as the important composer he certainly was. Thanks for the upload. 😊
Carl Nielsen’s symphonic oeuvre, often initiated through the auditory portals of the "Inextinguishable" or "Espansiva," may eclipse the symphony featured in this recording, which receives less patronage, or, at least garners less auditory attention. My own acquaintance with this particular symphony was, until recently, rather limited. Yet, the rendition captured herein is one of considerable heft and merit in the history of modern symphonies. The conductor deftly navigates the orchestral landscape, eliciting a palette of sonorous hues with commendable finesse, which has achieved considerable artistic acclaim.
You are right that your knowledge is limited about this symphony and probably about Nielsen's work. It's necessary to reread you because you are completely contradictory in your proper comment. It is very damage ! The Fifth Symphony is considered a modernist piece of music in every sense of the word. His writing shapes revolutionary distortion, introductory-coda framework, episodes in developmental space, various strophic/sonata hybrids and multi-movement forms in a single episode. Its fragmented nature, unpredictability and sudden synchronization at the end also indicate a self-conscious modernist aesthetic including organicism and diatonicism, playing an essential role. This piece is the most innovative at the dawn of the 20th century. When we talk about music, do we still have to know what we're talking about. To meditate! *Lucien*
@@LucienMarine I appreciate your dedication to this discourse. Could you elucidate which segment of my exposition appears self-contradictory? Far from repudiating the significance of Nielsen’s 5th symphony, I merely posited that its renown suffers from relative obscurity, and its performances are infrequent at lease in comparison with the "Inextinguishable" or "Espansiva." To cast aspersions on my statement, one you claim I never made, is to engage in puerile censure. Such an act betrays a deficiency in comprehension. It is you who court mortification by expending effort on this matter. Meditate on your own.
@@LucienMarine Nothing concrete. It is you who fails to grasp the statement; moreover, it is you who lacks the requisite capacity for comprehension. Enumerate, with precision, the loci of inconsistency within my statement.
Though it seems plausible, the core issue is LucienMarine's inability to respond. It merely touches upon the meaning of its own statements, revealing a deeper powerlessness in not answering questions posed by those "powerless." Ultimately, its statements amount to baseless claims. There is no need for further involvement.
@@doromamire I don't give up! I realize bitterly that you have not yet understood anything about this Fifth Symphony. You have a permanent fixation on the aforementioned works while the main subject is this famous piece. Inextinguishable or Espansiva in no way eclipses the work presented since it is a much more elaborate piece of writing. Is your first mistake! The second from the outset is to blur the lines because the audience is not necessarily connoisseur like music lovers. Above all, you should not write in half tone because you give the impression of taking one step forward and two steps back. I am the nature of not being a teacher or a student and even less entering into controversy (Ave). From there all doors are open. What are you really looking for a balance of power with narcissistic words. Poor type!!! That's well what I saw in you during the exchanges. My musical knowledge will always be greater than yours because you have a lot to learn in the way of writing musically. On this subject, no one appreciated your redaction. What do you want, the natural selection does in sort that there is leaders and followers. As God is beneficent! Why delete your comments since you constantly seek to demean the debate, not musical but that of others in the occurrence my person. I forbid you to call me a coward because it demonstrates your nature short of arguments. You are egocentric and sociopath: Coward to the point of blocking me! The formula 'Polemic is the puissance of the powerless' sticks well to you. By learning music we understand human nature better. You'll learn it the hard way sooner or later. People like you have no place serving music. *Lucien*
many thanks for this deeply appreciated post. Finally saw Lintu when he made his NYPhil debut. Hope to get more chances to see him.
Nielsen's music, really starting with the Fifth Symphony, is full of conversations or confrontations, of the kind initiated here by the snare drum. These can be droll, threatening or ambiguous. Nielsen was very interested in questioning traditional formal procedures. Unlike the classical procedure from Haydn to Shostakovich, for example, the composer often ends a symphony in a key that is not the one in which it began. The acquisition of the final tonality is the crux of the symphonic drama. The essential characteristic of Nielsen's style is giving it the name « progressive tonality ». Nielsen knew that listeners can respond to the events themselves, to unexpected juxtapositions, departures and returns to sources. It is to this faculty, to this unconscious memory, that he addresses in his symphonic dramas. B major is the tonality he soars into for the opening of the second movement, and it’s a long, bold leap after the first movement’s journey. Here we enter the world of truly energetic allegro. It is also and always is a world of obsessions, the B of all the strings and timpani, the return of that ticking of the first movement. Then there are two richly imitative sections, one very fast-paced and on a subject that can't seem to move beyond its initial optimism, the other on a carefully advanced but leisurely and exploring theme. Finally, Nielsen makes a return that resembles the opening music. It provides the entrance to the resolution of the drama in a grandiose triumphant assertion. All the power and beauty are magnified in this music. *Lucien*
Great, I was in Utrecht. Especially the combination Sibelius/Nielsen in the same concert was nice.
Apart from the very strange 6th which I can’t really understand, I love all the symphonies of Nielsen. For far too long his music was kept in the shadows, however like Sibelius back in the 1950’s , he is finally being recognised as the important composer he certainly was. Thanks for the upload. 😊
21st Century music. This symphony should be called The Snare Drum Syphony!
This is fantastic. And the camera work is amazing. Thanks so much for sharing it.
Indeed, they know the score!
❤ 🎵 🎶 ♡ 🎶🎵 💜
Carl Nielsen’s symphonic oeuvre, often initiated through the auditory portals of the "Inextinguishable" or "Espansiva," may eclipse the symphony featured in this recording, which receives less patronage, or, at least garners less auditory attention. My own acquaintance with this particular symphony was, until recently, rather limited. Yet, the rendition captured herein is one of considerable heft and merit in the history of modern symphonies. The conductor deftly navigates the orchestral landscape, eliciting a palette of sonorous hues with commendable finesse, which has achieved considerable artistic acclaim.
You are right that your knowledge is limited about this symphony and probably about Nielsen's work. It's necessary to reread you because you are completely contradictory in your proper comment. It is very damage ! The Fifth Symphony is considered a modernist piece of music in every sense of the word. His writing shapes revolutionary distortion, introductory-coda framework, episodes in developmental space, various strophic/sonata hybrids and multi-movement forms in a single episode. Its fragmented nature, unpredictability and sudden synchronization at the end also indicate a self-conscious modernist aesthetic including organicism and diatonicism, playing an essential role. This piece is the most innovative at the dawn of the 20th century. When we talk about music, do we still have to know what we're talking about. To meditate! *Lucien*
@@LucienMarine I appreciate your dedication to this discourse. Could you elucidate which segment of my exposition appears self-contradictory? Far from repudiating the significance of Nielsen’s 5th symphony, I merely posited that its renown suffers from relative obscurity, and its performances are infrequent at lease in comparison with the "Inextinguishable" or "Espansiva." To cast aspersions on my statement, one you claim I never made, is to engage in puerile censure. Such an act betrays a deficiency in comprehension. It is you who court mortification by expending effort on this matter. Meditate on your own.
@@LucienMarine Nothing concrete. It is you who fails to grasp the statement; moreover, it is you who lacks the requisite capacity for comprehension. Enumerate, with precision, the loci of inconsistency within my statement.
Though it seems plausible, the core issue is LucienMarine's inability to respond. It merely touches upon the meaning of its own statements, revealing a deeper powerlessness in not answering questions posed by those "powerless." Ultimately, its statements amount to baseless claims. There is no need for further involvement.
@@doromamire
I don't give up! I realize bitterly that you have not yet understood anything about this Fifth Symphony. You have a permanent fixation on the aforementioned works while the main subject is this famous piece. Inextinguishable or Espansiva in no way eclipses the work presented since it is a much more elaborate piece of writing. Is your first mistake! The second from the outset is to blur the lines because the audience is not necessarily connoisseur like music lovers. Above all, you should not write in half tone because you give the impression of taking one step forward and two steps back. I am the nature of not being a teacher or a student and even less entering into controversy (Ave). From there all doors are open. What are you really looking for a balance of power with narcissistic words. Poor type!!! That's well what I saw in you during the exchanges. My musical knowledge will always be greater than yours because you have a lot to learn in the way of writing musically. On this subject, no one appreciated your redaction. What do you want, the natural selection does in sort that there is leaders and followers. As God is beneficent! Why delete your comments since you constantly seek to demean the debate, not musical but that of others in the occurrence my person. I forbid you to call me a coward because it demonstrates your nature short of arguments. You are egocentric and sociopath: Coward to the point of blocking me! The formula 'Polemic is the puissance of the powerless' sticks well to you. By learning music we understand human nature better. You'll learn it the hard way sooner or later. People like you have no place serving music. *Lucien*