We are in heaven! I cannot decide what is it that makes this magical:is it the expressions in the faces? The mood they transmit? The performances? Or Schumann ? Thank you for sharing!
...agreed! I have a print of Brahms at the keyboard, and Radu's gestures and posture are so similar...I'd once completed a portrait of Brahms (a commission piece) because there are at least 5 early photographs of the composer, and that was enough for me to try for likeness. It helps, if one loves the music. And this Schumann piece, as it is here played, is so sublime...
Always a bit suspicious when " great conductors " have corresponding great charismas also. Is it their talent that has given them success or their charisma ? I once met Vasily Petrenko on the Liverpool underground and chatted with him for about 15 mins. It was clear he had great presence and seemed to have a whole haze of authority about him. He was always destined for " high office " !!
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Beecham was unique. Nobody can deny that! The way he handed out pronouncements was just as idiosyncratic as the way he made music -- not with politesse, but with everything he had. This film dates from 1958, near the end of his life……but still in process, or yet to be done, were some most exceptional recordings: the reorchestrated Messiah of Handel, the Beethoven Mass in C -- glorious things, just to name two. And I think there were a few stereophonic Delius items from those last years. Who was it that said “the art of Beecham remains one of the most precious discoveries of our time”? That’s from the truer words were never spoken department!
First movement Exposition 0:31 first subject (orchestra) 2:32 second subject (orchestra) 4:01 cello enters with first subject in the major 6:16 second subject (cello) Development 8:38 start of development section 9:51 cello enters with development of first subject Recapitulation ! 11:44 second subject recapitulated in B major 14:01 first subject recapitulated in B major 14:22 coda 15:32 Second movement A 15:32 main theme 16:04 cello enters with same theme B 18:17 introductory theme 18:30 cello enters with main theme B’(basically B but in B minor, if you consider the movement to be in ABBA form) 19:42 cello enters with accompaniment to the central part’s main theme A’ 21:26 main theme again 22:19 cello cadenza 24:51 coda ? 27:01 Third movement A 27:01 Introduction 27:38 first subject 28:48 second subject 29:05 cello enters with second subject 29:51 third subject 30:50 transition that takes us to… 31:22 second subject again 31:47 cello enters with second subject yet again 32:26 first subject again, played by the cello 32:43 orchestra transitions to… B 33:11 first subject 33:42 second subject 34:15 short bridge passage that announces the return of… 34:39 first subject again 35:05 second subject again (A again, somewhat) 35:18 part A first subject makes it’s triumphant return 36:02 bridge passage derived from part A first subject that takes us to… 37:01 coda
Played with style and even humor! You could see the bassoons chuckling around measure 100 when Isserlis drops his dynamic and kind of swaggers up the ascending line. He makes it look so easy. Good thing they caught this performance on film.
Thank you for sharing this. I listened to it for the first time after having heard so many interpretations of the piece. This one beats them all. It’s unique, second to none.
Indiana University School of Music is ranked second in the USA in the performing arts. It is very bit as highly regarded as Julliard, and exceeds it in certain areas (such as voice) in reputation. It is that good.
