I heard this piece this morning on a radiostation for classical music. They didnt introduce the piece, so afther a while I thought I was listening to some piece of Beethoven I didnt know. I was amazed to hear it was Louise Farrenc, I never heard from here. I like it very much.
Today was another one of those days when I discovered how little I know about music, or anything else for that matter. Here is a symphony that works well from beginning to end and I never heard of Louise Farrenc until today. The men of the music business did a very good job of keeping this highly talented lady a secret. I know of many symphonies by men from the mid-19th century that do not compare with this work. The only thing feminine about this piece is the absence of trumpets and trombones, the roughnecks of the orchestra. The sweetness of the work reminds me of Mendelssohn whose music is often quite feminine in nature. Now I must explore the rest of her repertoire and add her to the list of major talents to be celebrated from the dark recesses of music history.
@@sunkintreeshould not be a problem...but I don't know if it makes really sense....the references are so subjective and coloured by ideas that someone has about what is feminine or male....I am not sure it makes sense here....
Farrenc is new to me. I must hear more of her music. Beautiful. And people have said Music is a Man's World. Utter foolishness. Powerful and engrossing!
This is the first time I have heard of Louise Farrenc and my word this Symphony is glorious! Who said this is a man's world!! Farrenc shows the way! Wonderful performance!
Hadn't heard of her before this week, when I caught two of her symphonies (1,3) on the radio. What a treat. Got to hear more of her. I hope there's a revival of her works--a missing master!!!
This is a hell of a symphonie, an absolute masterpiece from an outstanding French composer, the French Beethoven you could called her. My personal heroin, and one of the biggest names in French music. It's a shame that the quality sound is too poor and monoaural. Nevertheless, this must be a ver pride and joy for any music lover, and specially for French people. 1. Adagio - Allegro (01:23) 2. Adagio cantabile (14:29) 3. Scherzo. Vivace (25:15) 4. Finale. Allegro (31:34)
Of course the score must be in the public domain. But there must be copyright issues on the modern printed version. I don't know if outside France could be some printed score available, but in Mexico I'm pretty sure theres is none. I think her symphonic music has never been played outside Europe, so the opnly way is to acquire a French printed copy and make the job to her first American (I mean for the continent, nont only for the USA) premiere. It would be fantastic.
zoltan902 Hi, the symphonies by Louise Farrenc are not online, but print edition is published. noetzel-verlag.de/uploads/media/Farrenc-Edition.pdf It’s very expensive....
Thank you for this wonderful compliment to Louise Farrenc. On the other hand, the French are ignorant in classical music and much more with their composers. Out of 172 French composers of the 19th century, there are only 7 women. What social injustice. There I am ashamed to be French.
What great find! I can't believe I never heard of her before. She was brilliant. A real prodigy. Many cultural difficulties kept her from flowering to her fullest, I would bet.
It was so fricking gooood ! Every bit are amazing ! Why i didn't hear that earlier ? I mean i know why, and I'm angry about it but i really enjoy discovering this artisit !
A delicate and brilliant symphony from start to finish, composed by a woman, Louise Farrenc, better than works by dozens of more famous men. Yes my friends, my world was turned upside down after hearing this tonight, how much talent and how much injustice.
Delighted upon my first hearing of this symphony! Farrenc shows the dramatic power, mastery of formal processes, long-range harmonic control, and sparkling orchestration of a true symphonic artist. I especially enjoyed the scherzo in this orchestra's virtuosic reading. But all the movements are strong -- and the conducting and playing of wonderful string and/or wind passages is exceptional (hear the principal clarinet in the first movement). I've listened to her main orchestral compositions and as yet don't find her as original as Schubert, Berlioz, Mendelssohn, or Schumann. Otherwise she is in their league and I look forward to re-hearing these works plus those in other mediums.
Es ist meine erste Gelegenheit, dieses Werk zu hören. Erstaunlich perfekt komponiert und wunderschön gespielt mit gut harmonisierten und perfekt vereinigten Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt romantisch. Der intelligente Maestro dirigiert das ausgezeichnete Orchester im gut phrasierten Tempo und mit perfekt kontrollierter Dynamik. Alles ist bewundernswert!
zoltan902 and Peter Fender: You seem to have little experience watching orchestra conductors. They regularly turn their backs to the cello section, the first violins... their sides to the winds or percussion... depending on the moment in the music, and to whom they're connecting. It's normal. As for sitting--that too is normal. Perlman sits all the time, for obvious reasons (and yes, he conducts as well as being the amazing violinist that he is). In rehearsal, many conductors, perhaps the majority, sit most or much of the time. Opera conductors usually sit, in the pit. There is no extra artistic impact, no extra brownie points, for standing. Franck is not "lucky" to conduct this group. He got this gig on merit. There is a wonderful empathetic complicity between Franck and his musicians; just look at their faces as they perform--glowing. This cannot be faked and it cannot be achieved by a conductor who disrespects the music, the players, or the podium.
On the contrary, I have a lot of experience of watching conductors, and it is not normal to turn your back on a section in the way this conductor does. It's nothing to do with standing or sitting. Perhaps Franck is wonderful in lots of ways, but this is not one of them. Non-muisican friends of mine who saw this guy conducting live in Rome where aghast at how much he turned his back on the cellos.
If you did not know a woman composed this, would you have though, "Wow, the sensitivity of those lines, how feminine", nop. That being said, I am happy that we are all here to appreciate this beautiful symphony.
Louise Farrenc had first the privilege to be a woman composeramng sopme "happyè few": Elisabeth Jcquat de la Guerre, Lili Boulanger, Germaine Taillefrerre, and nowadays Katia Saariaho, of a Finnish origin who adopted Paris, and who perfectly knows all the most recent muiiscal techniques to make a fascinating synthyesis of her own. In addition, LF, as a few other composers such a Boellmann, wrote most of her quite serious music at a time when Offenbach was the king of a quite superficial Paris and France. Some of her top quality chamber music begins to be known, but her symp)honies are excellent too, and have an original writing of its own (for sure, the Mozart, Haydn and above all Beethoven teachings are indeed here, but quite discreet and assimilated into a personal language). The architecture is perfect too. If we leave Berlioz aside, during that superfiial time of the French music, she "saved the honor" together with the very original sympnony of Boelllmann, which you should absolutely hear here on TH-cam.
Symphonie tout à fait inspirée malgré les influences; on en reprendrait! Performance: 1er et 2ème mouvements imprécis (entrées, justesse) mais les 3ème et 4ème semblent réparer les choses. Les tempi sont bons sauf le 4ème mouvement, un tantinet trop rapide (144 au lieu de 126, c'est une marge) - mais rien de rhédibitoire. Le défaut de cette interprétation est comme des milliers d'autres: lisse, convenue, avec des équilibres d'intensités mal compris ou travaillés. La vaste majorité des chefs d'orchestre «mainstream» n'ont jamais mis les pieds devant une console de mixage et ça parait!
Debes decirnos cuál es la mejor interpretación y versión de dirección orquestal y ejecución de orquesta que conozcas de esta sinfonia, y, por favor, pon el enlace, si lo tiene, o cita dónde se puede escuchar la versión que recomiendes. Esta es destacadamente enérgica, en extremo fuerte, manífica, gran sinido, precisa continuidad y concirdancia de ejecución de instrumentos. Soberbia. De haberla más viva, furiosa y perfecta, re ruego me la señales.
The only so-called neglected composer who continues to amaze me is Louise Farrenc. Let's hope that in a few years, we won't be able to call her "neglected" anymore. For the record, I prefer the recording by Christoph König and the Solistes Européens Luxembourg. This one is kind of mezzoforte all the way through.
Un grand lyrisme et un ardent désir d'égaler Beethoven ou Schubert. On y retrouve quelques uns des parfums des vieux lions mais encore une fois pas d'unité ni de véritable mélodie. Seuls des rythmes arrachés à telle ou telle des 9x2 symphonies et recollés ça et là, mais aucune architecture vaillante, juste une volonté farouche et un amour de la musique patent. C'est déjà énorme. Louise Farrenc mériterait une bien meilleure place au panthéon des "fous de Ludwig" que d'autres bien moins doués qu'elle et infiniment moins honnêtes lui on ravit. Malgré cela on ne retombe pas dans l'oubli sans véritable raison.
3 ปีที่แล้ว +2
Alors vous dites que la compositrice n'a pas de mélodie et en même temps imite deux des compositeurs les plus mélodiques, mais n'est-ce pas vous qui n'avez pas d'unité et pas vraiment de perspicacité ?
@ Je persiste en disant ceci : Un imitateur n'est jamais qu'un plagieur, si vous ne parvenez pas à lire et comprendre un texte rédigé en bon français je vous conseille un petit retour en classe primaire. Quand j'aurais besoin de vous je vous sifflerai et vous sortirez de sous la table Ok?
3 ปีที่แล้ว +1
@@sheldonbazinga3985 Si vous mordez assez longtemps dans une idée fixe, vous finissez par y croire de plus en plus. Pour moi c'est juste très original et beau.
@ Si vous retournez vos sous-vêtements sans cesse vous ferez des économies de lessive mais vous y perdrez en honnêteté. Pour moi je trouve cela également joli mais ma vie ne suffit déjà pas à écouter les oeuvres des 5 principaux génies de la musique, je ne pourrai donc pas m'attarder sur l'oeuvre de Madame Farrenc. J'ai eu tort de m'attarder ne serait-ce qu'un instant sur cette page.
3 ปีที่แล้ว +2
@@sheldonbazinga3985 En effet, ce serait bien si je ne vous retrouvais pas sur une page concernant Mme Farrenc.
On ne peut vraiment rien attribuer de pur à ce compositeur qui n'a cessé de plagier ses grands camarades. Clairement c'est du scherzo de la 3e de Beethoven que madame Farrenc a voulu s'inspirer..Quitte à emprunter à quelqu'un autant que ce soit d'un original pas d'une copie.
First movement is great, but the orchestra has a bit of a wrong tone. Too much legato, too much softness, too little rhythmic emphasis and sforzatos. Not that the playing is bad, I thoroughly enjoy it, but it would need to be even more dramatic. Tempo is almost correct, just a tiny spec faster might be good
Bizarre! Useless for the back desks of string players, and really rude to the cello section on whom he turns his back. He's luck he has such a good orchestra to work with!
If you tried to learn before you condemn, you would find that he has a disabling back injury www.scena.org/columns/lebrecht/040527-NL-Franck.html Further, he does stand quite a bit, although he starts out sitting. Did you only watch the beginning.
@@jamesobuntu7877 I had no idea about his back problem but the problem is not that he sits but principally how he stands, where he stands, and the angle at which he stands. No, I didn't just watch the beginning.
@Simon Lomberg Good point about the back desks! It will probably then be desk 3 that has no sight line. Ok in a string section you don't spend all your time watching the conductor, but it's nice to be able to see them a bit :). Professional orchestras are indeed not in the business of making their members' lives hard - but neither should professional conductors make players' lives hard!
3 ปีที่แล้ว
@@PeterFender42 There's a chair on the podium, so he stands next to the podium. As simple as that.
![30 ชั่วโมงคนเดียว บนรถไฟชั้น 3 โซเวียต [Around The World Ep. 2]](http://i.ytimg.com/vi/MlE9boAVqDA/mqdefault.jpg)
I heard this piece this morning on a radiostation for classical music. They didnt introduce the piece, so afther a while I thought I was listening to some piece of Beethoven I didnt know. I was amazed to hear it was Louise Farrenc, I never heard from here. I like it very much.
Today was another one of those days when I discovered how little I know about music, or anything else for that matter. Here is a symphony that works well from beginning to end and I never heard of Louise Farrenc until today. The men of the music business did a very good job of keeping this highly talented lady a secret. I know of many symphonies by men from the mid-19th century that do not compare with this work. The only thing feminine about this piece is the absence of trumpets and trombones, the roughnecks of the orchestra. The sweetness of the work reminds me of Mendelssohn whose music is often quite feminine in nature. Now I must explore the rest of her repertoire and add her to the list of major talents to be celebrated from the dark recesses of music history.
"feminine in nature" ugh unnecessarily gendered
Superbe interprétation au passage
@@felissylvestris6557 I was born politically incorrect in 1941.
@@felissylvestris6557 It's perfectly valid to interpret things along lines of masculinity/femininity. I really do not see the problem.
@@sunkintreeshould not be a problem...but I don't know if it makes really sense....the references are so subjective and coloured by ideas that someone has about what is feminine or male....I am not sure it makes sense here....
You said it all, sir.
So I tried one of her symphonies and it turned into a four-hour Farranc-athon!
Farrenc is new to me. I must hear more of her music. Beautiful. And people have said Music is a Man's World. Utter foolishness. Powerful and engrossing!
This is not even her best symphony, in my view: the First is even more exciting.
Bro it's because you discovered her just now after all the other guys that people said music is a man's world!
This is the first time I have heard of Louise Farrenc and my word this Symphony is glorious! Who said this is a man's world!! Farrenc shows the way! Wonderful performance!
THIS is a man's world AND a wowen's world. Stupid otherwise 🥲
Farrenc never disappoints! She's one hell of a composer!
Hadn't heard of her before this week, when I caught two of her symphonies (1,3) on the radio. What a treat. Got to hear more of her. I hope there's a revival of her works--a missing master!!!
Slow movement is so luscious and sick. Truly one of the great 19th century slow movements. Louise is such a boss.
Very nice masterpiece. Thanks Louise Farrenc. The conducter and the orchestra are fantastic.
Just heard this on the radio and looked this up here. I love it! First time I've heard of her!
This is a hell of a symphonie, an absolute masterpiece from an outstanding French composer, the French Beethoven you could called her. My personal heroin, and one of the biggest names in French music. It's a shame that the quality sound is too poor and monoaural. Nevertheless, this must be a ver pride and joy for any music lover, and specially for French people.
1. Adagio - Allegro (01:23)
2. Adagio cantabile (14:29)
3. Scherzo. Vivace (25:15)
4. Finale. Allegro (31:34)
Agreed. I'm looking everywhere online for the conductor's score. Should be in the public domain. Do you have any leads?
Of course the score must be in the public domain. But there must be copyright issues on the modern printed version. I don't know if outside France could be some printed score available, but in Mexico I'm pretty sure theres is none. I think her symphonic music has never been played outside Europe, so the opnly way is to acquire a French printed copy and make the job to her first American (I mean for the continent, nont only for the USA) premiere. It would be fantastic.
zoltan902 Hi, the symphonies by Louise Farrenc are not online, but print edition is published.
noetzel-verlag.de/uploads/media/Farrenc-Edition.pdf
It’s very expensive....
Thank you for this wonderful compliment to Louise Farrenc. On the other hand, the French are ignorant in classical music and much more with their composers. Out of 172 French composers of the 19th century, there are only 7 women. What social injustice. There I am ashamed to be French.
others say the french beethoven was Onslow
I. Adagio-Allegro @ 1:22
II. Adagio cantabile @ 14:27
III. Scherzo @ 25:14
IV. Finale @ 31:33
Just so BEAUTIFUL. Thank you so much for placing this on youtube.
What great find! I can't believe I never heard of her before. She was brilliant. A real prodigy. Many cultural difficulties kept her from flowering to her fullest, I would bet.
It was so fricking gooood ! Every bit are amazing ! Why i didn't hear that earlier ? I mean i know why, and I'm angry about it but i really enjoy discovering this artisit !
A delicate and brilliant symphony from start to finish, composed by a woman, Louise Farrenc, better than works by dozens of more famous men. Yes my friends, my world was turned upside down after hearing this tonight, how much talent and how much injustice.
Marvelous symphony!
Just discovered her on Public Radio. Wow. Good stuff!
Beautiful. Bravo!
Does anybody else hear a snippet of the Happy Birthday tune at 27:50? Maybe this was the symphony that inspired Mildred and Patty Hill...
Wow, it's almost exactly the same.
Delighted upon my first hearing of this symphony! Farrenc shows the dramatic power, mastery of formal processes, long-range harmonic control, and sparkling orchestration of a true symphonic artist. I especially enjoyed the scherzo in this orchestra's virtuosic reading. But all the movements are strong -- and the conducting and playing of wonderful string and/or wind passages is exceptional (hear the principal clarinet in the first movement). I've listened to her main orchestral compositions and as yet don't find her as original as Schubert, Berlioz, Mendelssohn, or Schumann. Otherwise she is in their league and I look forward to re-hearing these works plus those in other mediums.
Es ist meine erste Gelegenheit, dieses Werk zu hören. Erstaunlich perfekt komponiert und wunderschön gespielt mit gut harmonisierten und perfekt vereinigten Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt romantisch. Der intelligente Maestro dirigiert das ausgezeichnete Orchester im gut phrasierten Tempo und mit perfekt kontrollierter Dynamik. Alles ist bewundernswert!
On ne pourrait mieux dire! Wunderbar!
Great music!
Oh and that timpani player... 😍
Good 8:10 masterpiece!
Great players. Woderful! South Korea. Classicjoa.
bravo! heard some of her music lets get more played at concerts
zoltan902 and Peter Fender: You seem to have little experience watching orchestra conductors. They regularly turn their backs to the cello section, the first violins... their sides to the winds or percussion... depending on the moment in the music, and to whom they're connecting. It's normal. As for sitting--that too is normal. Perlman sits all the time, for obvious reasons (and yes, he conducts as well as being the amazing violinist that he is). In rehearsal, many conductors, perhaps the majority, sit most or much of the time. Opera conductors usually sit, in the pit. There is no extra artistic impact, no extra brownie points, for standing. Franck is not "lucky" to conduct this group. He got this gig on merit. There is a wonderful empathetic complicity between Franck and his musicians; just look at their faces as they perform--glowing. This cannot be faked and it cannot be achieved by a conductor who disrespects the music, the players, or the podium.
Can I please have some background information?
On the contrary, I have a lot of experience of watching conductors, and it is not normal to turn your back on a section in the way this conductor does. It's nothing to do with standing or sitting. Perhaps Franck is wonderful in lots of ways, but this is not one of them. Non-muisican friends of mine who saw this guy conducting live in Rome where aghast at how much he turned his back on the cellos.
The movements are:
I. Adagio - Allegro
II. Adagio cantabile
III. Scherzo: Vivace
IV. Finale: Allegro
Bonne idée de poster les concert
Reminds me of Weber but a pleasant discovery - thanks to Classic FM radio.
So underrated. Even Schumann praised her.
Sublime
Musique magnifique,orchestre et chef Au top niveau
, Simon Bernardini du Berliner comme 1* violon , merci pour ce moment béni et vive Louise farrenc
Merci pour votre commentaire !
One of the top French music composers, with the Female sensitivity on the lines...creating a masterpiece Symphony No. 3!!!
If you did not know a woman composed this, would you have though, "Wow, the sensitivity of those lines, how feminine", nop.
That being said, I am happy that we are all here to appreciate this beautiful symphony.
Playing this with the Paducah Symphony on Saturday (9/18/2021). Very cool peice!
Louise Farrenc had first the privilege to be a woman composeramng sopme "happyè few": Elisabeth Jcquat de la Guerre, Lili Boulanger, Germaine Taillefrerre, and nowadays Katia Saariaho, of a Finnish origin who adopted Paris, and who perfectly knows all the most recent muiiscal techniques to make a fascinating synthyesis of her own. In addition, LF, as a few other composers such a Boellmann, wrote most of her quite serious music at a time when Offenbach was the king of a quite superficial Paris and France. Some of her top quality chamber music begins to be known, but her symp)honies are excellent too, and have an original writing of its own (for sure, the Mozart, Haydn and above all Beethoven teachings are indeed here, but quite discreet and assimilated into a personal language). The architecture is perfect too. If we leave Berlioz aside, during that superfiial time of the French music, she "saved the honor" together with the very original sympnony of Boelllmann, which you should absolutely hear here on TH-cam.
Like muscular Mendelssohn. Terrific.
Symphonie tout à fait inspirée malgré les influences; on en reprendrait! Performance: 1er et 2ème mouvements imprécis (entrées, justesse) mais les 3ème et 4ème semblent réparer les choses. Les tempi sont bons sauf le 4ème mouvement, un tantinet trop rapide (144 au lieu de 126, c'est une marge) - mais rien de rhédibitoire. Le défaut de cette interprétation est comme des milliers d'autres: lisse, convenue, avec des équilibres d'intensités mal compris ou travaillés. La vaste majorité des chefs d'orchestre «mainstream» n'ont jamais mis les pieds devant une console de mixage et ça parait!
?
Debes decirnos cuál es la mejor interpretación y versión de dirección orquestal y ejecución de orquesta que conozcas de esta sinfonia, y, por favor, pon el enlace, si lo tiene, o cita dónde se puede escuchar la versión que recomiendes.
Esta es destacadamente enérgica, en extremo fuerte, manífica, gran sinido, precisa continuidad y concirdancia de ejecución de instrumentos.
Soberbia.
De haberla más viva, furiosa y perfecta, re ruego me la señales.
Nothing like a conductor whose downbeat is an upbeat.
The only so-called neglected composer who continues to amaze me is Louise Farrenc. Let's hope that in a few years, we won't be able to call her "neglected" anymore. For the record, I prefer the recording by Christoph König and the Solistes Européens Luxembourg. This one is kind of mezzoforte all the way through.
Gorgeous
One hears the voice of Mendelssohn; and that is a good thing.
lived at Napolean as Emporer time
Un grand lyrisme et un ardent désir d'égaler Beethoven ou Schubert. On y retrouve quelques uns des parfums des vieux lions mais encore une fois pas d'unité ni de véritable mélodie. Seuls des rythmes arrachés à telle ou telle des 9x2 symphonies et recollés ça et là, mais aucune architecture vaillante, juste une volonté farouche et un amour de la musique patent. C'est déjà énorme. Louise Farrenc mériterait une bien meilleure place au panthéon des "fous de Ludwig" que d'autres bien moins doués qu'elle et infiniment moins honnêtes lui on ravit. Malgré cela on ne retombe pas dans l'oubli sans véritable raison.
Alors vous dites que la compositrice n'a pas de mélodie et en même temps imite deux des compositeurs les plus mélodiques, mais n'est-ce pas vous qui n'avez pas d'unité et pas vraiment de perspicacité ?
@ Je persiste en disant ceci : Un imitateur n'est jamais qu'un plagieur, si vous ne parvenez pas à lire et comprendre un texte rédigé en bon français je vous conseille un petit retour en classe primaire. Quand j'aurais besoin de vous je vous sifflerai et vous sortirez de sous la table Ok?
@@sheldonbazinga3985 Si vous mordez assez longtemps dans une idée fixe, vous finissez par y croire de plus en plus. Pour moi c'est juste très original et beau.
@ Si vous retournez vos sous-vêtements sans cesse vous ferez des économies de lessive mais vous y perdrez en honnêteté. Pour moi je trouve cela également joli mais ma vie ne suffit déjà pas à écouter les oeuvres des 5 principaux génies de la musique, je ne pourrai donc pas m'attarder sur l'oeuvre de Madame Farrenc. J'ai eu tort de m'attarder ne serait-ce qu'un instant sur cette page.
@@sheldonbazinga3985 En effet, ce serait bien si je ne vous retrouvais pas sur une page concernant Mme Farrenc.
Glowing faces around 18:00 --19:00 plus.... and elsewhere...
En français svp
Sa biographie
Biographie
Laissez tomber...Ils ne disent que des âneries et de surcroît ils n'ont aucune oreille...
Hello Beethoven Cello Sonata!
pourquoi si bon orchestre sonne fade ????.... il n'y a pas de perspective dans la sonorité ... pourrait on comprendre?
Scherzo 25:16 Puro Mendelssohon !!!
On ne peut vraiment rien attribuer de pur à ce compositeur qui n'a cessé de plagier ses grands camarades. Clairement c'est du scherzo de la 3e de Beethoven que madame Farrenc a voulu s'inspirer..Quitte à emprunter à quelqu'un autant que ce soit d'un original pas d'une copie.
First movement is great, but the orchestra has a bit of a wrong tone. Too much legato, too much softness, too little rhythmic emphasis and sforzatos. Not that the playing is bad, I thoroughly enjoy it, but it would need to be even more dramatic. Tempo is almost correct, just a tiny spec faster might be good
I agree. Frankly, this is a boring performance of a work that deserves better.
Too good for the podium, eh?
Bizarre! Useless for the back desks of string players, and really rude to the cello section on whom he turns his back. He's luck he has such a good orchestra to work with!
If you tried to learn before you condemn, you would find that he has a disabling back injury www.scena.org/columns/lebrecht/040527-NL-Franck.html Further, he does stand quite a bit, although he starts out sitting. Did you only watch the beginning.
@@jamesobuntu7877 I had no idea about his back problem but the problem is not that he sits but principally how he stands, where he stands, and the angle at which he stands. No, I didn't just watch the beginning.
@Simon Lomberg Good point about the back desks! It will probably then be desk 3 that has no sight line. Ok in a string section you don't spend all your time watching the conductor, but it's nice to be able to see them a bit :). Professional orchestras are indeed not in the business of making their members' lives hard - but neither should professional conductors make players' lives hard!
@@PeterFender42 There's a chair on the podium, so he stands next to the podium. As simple as that.
¿La Beethoven francés? Por muy mujer que sea...no le llega a Beethoven ni a la B.
I agree that calling her "the French Beethoven" is a little silly, but she was a great composer. This performance doesn't do her justice.