Schmidt: 4. Sinfonie ∙ hr-Sinfonieorchester ∙ Paavo Järvi
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- เผยแพร่เมื่อ 31 พ.ค. 2024
- Franz Schmidt:
4. Sinfonie ∙
(Auftritt) 00:00 ∙
Allegro molto moderato 00:25 -
Adagio 14:40 -
Molto vivace 27:12 -
Tempo I° 34:18 ∙
hr-Sinfonieorchester - Frankfurt Radio Symphony ∙
Paavo Järvi, Dirigent ∙
hr-Sinfoniekonzert ∙
Alte Oper Frankfurt, 27. April 2018 ∙
Website: www.hr-sinfonieorchester.de ∙
Facebook: / hrsinfonieorchester - เพลง
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Wunderschöne Interpretation vom hr sinfonie orchester und Paavo Järvi !!!
Diese Symphonie ist so schön!
Danke
Congratulations on winning the Grammophone award for the Schmidt symphonies recording.
I love this symphony with all my heart and I am deeply moved by this performance: conductor, orchestra, recording engineers. Thank you so much, all of you
I'm in agreement with Peter Lunow!. This is a wonderful symphony conducted with great expertise and performed by this great orchestra!
This is wonderful on so many levels... very very well done. This is one of the finest symphonies of the 20th century to be sure
That is the best interpretation I've ever figured. A beautiful peace of work in an extraordinarily good interpretation.
extraordinary work, a composer grieving for his daughter who died not long before . This is a great orchestra and a great conductor. Lucky Frankfurters!
I didn't know the backstory. As someone who lost a 11 day old daughter 26 years ago, I shall listen to this with different ears. It is a superb creation.
I had this on LP played by Mehta and the VPO. It's a very powerful and moving piece. What a fine performance here by Jarvi .and the orchestra. Well deserved shouts and applause for the principal cellist.
This piece gives to me such a similar feeling as Mahler's 10th. And I say that with great happiness, as I thought Mahler's 10th, at least in my mind, lived on a very special island all by itself. I'd never heard of Schmidt before stumbling across this piece, and it makes me so happy to find another great composer offering such richness to delve into. As usual, great performance by the FRS :)
exactly
This symphony is a work of genius, and given a magnificent performance. Fantastic!
The compositional skill on display here is absolutely off the scale, if you'll pardon the pun!
Tolle Musik, eindrucksvolle Interpretation. Die Musiker scheinen selbst bewegt, was nicht so oft vorkommt!
The most inspiring and moving rendition of this masterpiece I ever heard , I am deeply, deeply moved.
Great symphony and amazing principal trumpet.
Nobby? Yes, he's a star!
Do you like Nihon gin?
One of the greatest Symphonies of all times. I'm not an expert on different performances of this, but it seems to me that this performance leaves nothing to be desired. MAny thanks for this priceless upload !
I would have to agree. What is so great about this is not just the orchestration but the thematic material is nothing short of spectacular, and it fills every beautiful measure of the piece. I have a Solti performance on my iPod and Järvi's work is its equal in every way. I would be hard pressed to overestimate this symphony.
@@aarondyer.pianist You have to hear this symphony in live performance to understand just how phenomenally skilful the orchestration is.
@@aarondyer.pianist Schmidt's orchestration is out of this world! I have heard this work performed by various orchestras (including a student band) in various venues (including a cathedral), and its orchestration is so skilful that it seems to work in any performing environment. In Bruckner (with whom Schmidt is often, and not always favourably, compared) the strings are often swamped by the brass during the climaxes, but this never happens with Schmidt.
Quite apart from the superb instrumental balance, Schmidt creates such wonderful sonorities and colours!
That chord at 42:24 - yeeowza! Amazing performance; certainly one of the best I've heard.
How he harmonizes the opening solo at the end is just breathtaking. Not one note is changed, yet through the harmonization, the melody doesn't sound bleak and sad anymore.
Schmidt was a master harmonist. Indeed, his works are tours de force of compositional technique. You have to hear this work in the concert hall to appreciate fully the consummate skill of the orchestration.
I've had this on my iPod for years. Before I knew the history of the piece, I always heard this last statement not as a transformation of the theme after all that preceded it, but as a revelation -- at the very end -- of what the theme really is...as if this was its first and only complete appearance.
Schmidt had a genius for "repurposing" musical material. He often made opening gestures also function as closing ones, as here (with the harmonisation you refer to that alters the mood and meaning of the material) and, e.g., in the first movement of the A major String Quartet.
Agreed. Transfigured?
@@annakimborahpa As in "Night"? Definitely!
A lovely work. Needs to be played live more often.
I agree. Sadly orchestra's perform only mainstream Composer's!
But here this composer is being played no ? So what you're saying is not true.
@@Alix777. Played live "more often". What bit of that do you not understand?
Surely this opening is any trumpeter's Finest Moment. And he gets to close the symphony on his own, too. What more can a musician ask for !?
And to top it off it is one of the most speaking solos ever. Not just music but a statement.
@@Quotenwagnerianer Yes. The entire thematic material of the symphony is woven from the trumpet's 23-bar solo melody!
Agreed. Along with the cello solo in the second movement, there is a depth of expression that keeps me returning like a well whose bottom I yearn to glimpse, but never see. I am forever haunted by this work.
Der klare Ton der Solotrompete am Anfang klingt echt mysteriös und bedrohlich. Die seidigen Töne aller Streicher und milden Töne aller Holzbläser sind bewundernswert. Insgesamt wunderbar!
helemaal mee EENS groetjes aus WINTERSWIEK niederlande
Danke!
A majestic musical work interpreted with brilliance and great professionalism.
Thank you for this artistic sharing of great quality.
Cordially .
One of the most sadly haunting trumpet solos informs and permeates this masterful symphony, expounding upon the beauty of life, grief of loss, the relentless tread of destiny, and the acceptance of, and resignation to it. A more intensely expressive work is hard to imagine, or a more meaningful and touching tribute to the composer's beloved daughter, who died in childbirth. This is Schmidt's greatest symphony, but his first three symphonies are also fine works which have thankfully also been recorded (I especially like the Second - hopefully the FRSO has it in consideration?) Thanks to all for this wonderful performance.
ronald b woodall I too like the 2nd Symphony. Especially in the recording by Neeme Jarvi.
As it turns out, Deutsche Grammophon just released all four symphonies with Paavo Järvi and the Frankfurt Radio Symphony, including this exact performance, in absolutely _stunning_ sound.
@@miro.georgiev97 and I have just ordered a copy.
The Third Symphony was Schmidt's personal favourite among his own symphonies. It has yet to receive the recorded performance that it deserves, although there are some worthy efforts.
I am glad that the music of . schmidt has come, after all those years, again in the open. It is a great rewardance for the alderly music lovers who had in their young live no knowledge of him. His "intermezzo" is really remarquable; one of the most beautiful by melody also. Invites you to listen over and over again.
True. But think of the generations of music lovers, now dead, who were deprived of hearing and coming to know Schmidt's extraordinary music as a result of the institutional avant garde which held unchallenged sway for about 30 years after the end of WW2.
I just went and listened to the intermezzo for the first time. So beautiful! It is reminiscent in a small way of Korngold's film music, and that is a very good thing.
And Korngold, child prodigy though he was, would only have been about 4 or 5 when Schmidt wrote it!
@@aarondyer.pianist It is, but the Intermezzo was written before Korngold even emerged as a child prodigy!
@@neilsaunders9282 Prescient, then...
I have not heard of this symphony before, but somehow fate brought me to this tonight. Today was another horrible mass shooting, this time in Texas where 20 elementary school children were shot and killed by a crazed 18-year-old. The agony of the parents of these children must be unimaginable. I often turn to music to find solace, especially when there are not enough thoughts and prayers to comfort this small Texas town. This symphony by Franz Schmidt influenced by the death of his daughter so eloquently captures the sorrow he must have felt. Somehow, this piece is what I needed to listen to tonight.
This is powerfully redemptive music.
Lovely symphony!
Allegro molto moderato - 0:25
Adagio - 14:43
Molto vivace - 27:12
Tempo I° - 34:18
Thank you !!!
I didn't know about Franz Schmidt, but I like this symphony.
You owe it to yourself to find out more about him; he is a towering figure who, because of the cultural politics of the immediately postwar era, has suffered decades of thoroughly undeserved neglect.
The best performance of this symphony ever
I agree, it's so clear and neat
Certainly one of the very best.
Meine Tochter (16) würde sagen: "DAS FLASHT!"... Dem hätte ich nicht viel hinzuzufügen! Außer... ach, lassen wir das, ... es flasht! ...Habe mir gleich die CD´s mit allen Sinfonien zugelegt!
This is a requiem without words.
Was für eine schöne Entdeckung heute für mich. Toll!!
Wie wäre es für Euch die Symphonien von Allan Pettersson!?
The harmonies are very distinct and quite different from Mahler and other post-romantics...quite wonderful. Kind of a revelation. And there's an ambiguous tension in this music that appeals greatly to me...a kind of mysteriousness and incredible beautiful.
I will hear live in two days so wanted to hear it first. Will be enjoyable and Brahms first piano concerto which is exciting.
A fantastic programme, although my ideal would be Brahms's Double Concerto, the Schoenberg First Chamber Symphony and this work.
@@neilsaunders9282 It would pair well with the Berg Violin Concerto, too.
43:11 Magnifique !!! Ça me rappelle un peu la fin du Rossignol de Stravinsky.
That's an interesting (and unexpected) comparison!
A great performance of the greatest symphony of the 20th century. J. S. Bach languished in obscurity for decades after his death, regarded as outmoded (if acknowledged at all), while lesser but more fashionable composers were lionised; the same has happened with Franz Schmidt.
leaving aside all of the great russians and rvw. to name but a few????........schmidt's music was rather old-fashioned ..............notre dame is worth a listen.............this is not
@@johnholmes912 Certainly the greatest symphony in the Austro-German lineage.
Incidentally, you must back up Olympian pronouncements (e.g. "schmidt's [sic] music was rather old-fashioned", "notre dame [sic] is worth a listen (...) this is not") with actual arguments and evidence to support them.
@@johnholmes912 Maybe it is worth two listen or three or more...
@@norbertflorianschuck9300 Don't encourage the man. He's an idiot.
Thanks. Again.
Na contemporaneidade de Richard Strauss, Franz Schmidt o sequencia em influência de estilo e em criatividade politonal e também polimelódica; e contradiz os experimentalistas à época adeptos do dodecafonismo agonizante. Schmidt foi um gênio na combinação do contrapontismo melódico e da engenharia multi-instrumental .
The trumpet solo at the beginning should be on every orchestra's trumpet audition list, but I'll bet it isn't.
DANKESCHÖN
14:44 Le sublime Adagio
Buena sinfonía de Franz Schmidt aunque no se oye como las sinfonías de Bruckner y muy poco a las sinfonías de Mahler.
Its shape is much like that of a Bruckner Symphony (although Bruckner preferred to place his Adagios third in the running order), but its orchestration and harmony are far more sophisticated.
Schmidt had a complex and often fractious professional relationship with Mahler, but I think you will hear some echoes of Mahler's Ninth (especially the Andante comodo). You will also hear a hint of Richard Strauss, early Schoenberg and even Alban Berg.
Bruckner merece plenamente su lugar en el repertorio. Mahler, que también fue desatendido inmediatamente después de su muerte, ahora es quizás demasiado prominente en los programas de conciertos.
Sin embargo, espero que, como Mahler, el "tiempo" de Schmidt llegue. Está muy atrasado.
Am I right that the tempo of the trumpet solo is slower than the orchestral development? It seems to be the case with all the performances I hear. Jarvi of course doesn't beat time for the solo and so isn't setting the basic tempo, other than what they probably agreed in rehearsal. In the short score on another posting, I didn't see a change of tempo marked here.
@@ComposerJan-PeterdeJager I just wondered whether this is performance practice rather than an explicit instruction from the composer.
@@karldelavigne8134 It is performance practice. See the score here: th-cam.com/video/AIAzkO60sWc/w-d-xo.html
If you enjoy Franz Schmidt you might be interested in these interviews: th-cam.com/video/jkCSTO8QClc/w-d-xo.html
The third movement of this symphony is all about the number THREE. Its high point is the three notes played solo by the 3rd trumpet, 32:31 in this video. The moment appears totally lost on Jarvi.
Well spotted! This important point of articulation is highlighted by the expansion of the metre from 6/8 (duple) into 9/8 (triple!). It is the second great disruption of the prevailing metre in this symphony after the whole-bar quintuplet (against a prevailing 3/4) in the first movement (it recurs towards the end of the work) which Neil Saunders referred to somewhere on these Franz Schmidt threads as "a musical cardiac arrhythmia" (Schmidt already had heart problems when he wrote the symphony). In fairness to Jarvi, though, this is a difficult moment to bring off cleanly, but sounds amazing when it is!
@@Khayyam-vg9fw Thanks for pointing out the 6/8 to 9/8. I haven't seen the score for almost 40 years! Interesting about the heart arrhythmia idea! But old mafia Jarvi makes no gesture towards Trumpet 3 to embolden him. Maybe he will next time after reading these comments haha!
@@nickbamber268 You can now get the full score on IMSLP, plus the bizarre piano-solo arrangement by Frotzler (although it's better than the hash he made of the Third).
@@Khayyam-vg9fw Thanks for the tip. Cheaper than buying from the Austrian National Library.
@@nickbamber268 Over 30 years ago I actually travelled from London to Vienna to buy the full score of Schmidt's Second Symphony!
A l'extrême fin de l'Oeuvre, l'ultime résolution résonne comme une résignation.
Esta sinfonía tiene una belleza insufrible.
Is it me or 1979 Alien movie's main theme copies the beginning of this symphony?
I know the section you mean but I think it's Jerry goldsmith. However I believe he must have heard this piece.
Yes. Film composers are notorious pasticheurs, if not outright thieves!
Still, if you're going to steal, steal from the best!
The beginning could have been an Inspiration for jerry goldsmiths main theme for 'alien'
I think you're right.
🥰
Bravo Balázs Nemes!
Mahler se equivocó despreciandole. Schmidt probablemente acabe siendo su más digno sucesor, especialmente en esta sinfonía. Hay más comunión de sentimientos entre ambos que entre Mahler y Strauss. Doy las gracias al impecable seguimiento de la cámara a los instrumentistas, lo que permite destacar la elegancia de esta maravillosa partitura. Y decir que a estas alturas la hija del compositor ya hubiera muerto físicamente de todos modos. Murió muy pronto pero sigue viviendo ya de otra manera. Algo parecido había ocurrido con los Kindertoten lieder y luego la pérdida de Manon.
Yes, both Mahler and Berg are pertinent reference points for Schmidt's Fourth Symphony, even if the Berg Violin Concerto was still a year away from appearing. Mahler was right to perceive Schmidt as a serious rival (as a composer), but wrong - morally and artistically - to use his power and influence to suppress "Notre Dame" (Schmidt's second major work after the First Symphony, which had - to Mahler's chagrin - won the Beethoven Prize).
But, after all, Mahler was Mahler, and was still a great man and a great composer! Had he lived another 20 years or so, he would surely have come to recognise and acknowledge the genius of Franz Schmidt as a composer (and, remember, Mahler did call Schmidt "the most musical man in Vienna"!).
Eu acordo. There are definitely echoes of Richard Strauss’ Four Last Songs. Some soaring, poignant chords where dissonance and harmony blend in an astonishing sweep of emotion. One can sense the composer trying to ask “why?”, and working through his angst and loss to find some hope, some light. This is a piece I never heard until today. As I am also working through an unfolding tragedy, it feels very appropriate.
@@judeirwin2222 There are certainly Straussianisms in the music (for example, the tumbling triplets at ca. 6:13), but Schmidt died in early 1939, well before the Four Last Songs appeared.
Strauss certainly knew Schmidt's music, so maybe he was echoing Schmidt!
Das Adagio ist ganz vorzüglich....
meraviglioso Paavo Järvi
Who is Schmidt?
Didn't know him as well: en.wikipedia.org/wiki/Franz_Schmidt
Woolookologie wook sound sir
He is best known for the "Intermezzo" of his opera "Notre Dame", a very beautiful piece wich I have allways liked since I was a child, and allways have been in recordings catalogs...
He was lucky to have died just a half year before the outbreak of WWII.
Indeed...
It is said that Schmidt adhered to the Viennese classic-romantic sensibilities of his predecessors (such as Brahms and Bruckner), however his use of modern musical syntax can be heard throughout this music. While he avoids descending into the same tonal nihilism so many of his contemporaries embraced, he sits at the nadir of the modernist movement before it moved fully into an obsession with cacophony. In this symphony, I hear a lean toward the post-modern emptiness in which sound becomes a substitute for music, emotion, and meaning. By the end of the final movement, all I hear is a kind of capitulation to irrelevance. Read his biography.
So, in your opnion, Schmidt avoids "nihilism" only to be ensnared by "irrelevance".
I think you need to listen a bit harder to this music (although you are certainly correct in discerning, as far too many do not, that Schmidt's musical language is rather more complex than that of Brahms and Bruckner) and with fewer preconceptions.
Well I couldn't disagree more. This a work of great tragedy. if tragedy is irrelevant to you then where is the lack?
フランツ・シュミット 交響曲第4番
שובארט הסימפוניה התשיעית
Yes. Like Bruckner, Schmidt is firmly in the Schubert lineage.
so pensive..
Ach der alte Schmidt... mit so einem ausgefallen Namen, da kann man ruhig auf den Vornamen verzichten !
Schmidt didn't need a flamboyant name; he was a genius.
If you can compose music at this level, the associations of your name - "fancy" or otherwise - are beside the point.