Welcome to the Monteverdi Choir and Orchestras' RU-vid channel - the home of the Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique, founded by John Eliot Gardiner.
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Other videos I have heard on RU-vid of Gardner conducting Beethoven's 8th symphony have the symphony performed at a lot higher rate of speed than it is performed here. Does anyone know the reason for this? The cd I have of Gardner conducting Beethoven's 8th has the work performed at a faster rate of speed as well.
Very enlightening, but at 9:18, talking about the minuet, he says nobody in Mozart's or Haydn's time would have given such a fast tempo. Mozart was dead, but Haydn was still alive and kicking, and he wrote presto minuets in his Op.76 string quartets, published in 1799. Perhaps Haydn was the real revolutionary!
To Ginong Chance - I JUST listened to it in all its glory a month ago! That cantata is one of the reasons why you’re a VERY CLOSE second to your son, Alexander, as my favorite countertenor EVER!
(Please see my fuller comment on the fallacy of period instrument nostalgia in the segment of Mr. Gardiner talking about Beethoven's "Eroica" symphony.) As a long-time classical (concert) music lover, I hate to dampen anyone's interest, be it misguided or not, in listening to and enjoying classical music, but I must admit the fun I had reading one comment claiming this Gardiner/ORR version is the best Beethoven Fifth, and another crying "Beethoven speak through the instruments he knew especially the brass." The truth is that the ideal version is in the score, and the best performing version is the one (yes, any one) that sounds the "best" to you. As for the idea that "Beethoven speak through the instruments he knew," we know Beethoven had difficulty hearing (physically) the instruments of his day. Certainly, the historical background, including anything that could have influenced his music, is interesting, but not essential, in appreciating Beethoven. Ultimately, his music transcends historical minutiae, and it's the universal appeal of his music that counts, that we enjoy and appreciate-simply because his music enriches us all.
As someone who has been listening to, analyzing, and appreciating classical (i.e., concert) music for about 70 years now, I admire Gardiner's passion and effort in advocating using the so-called period instruments to play the "period" work like the "Eroica." Truth be told, however, this admirable sentiment is mostly a historical curiosity and sentimental fallacy. If Beethoven had had the modern instruments available to him, he would most likely have preferred the modern instruments instead of the "museum" oboes, clarinets, and flutes (to mention just a few) you see in this video. Had he (and Chopin) had access to the modern Steinway grand piano, for example, the Steinway would most likely be the choice, just as Beethoven himself preferred the fortepiano instead of the harpsichord for his 32 piano sonatas (including some that could not be played even by the fortepianos of his day). Yes, do listen to the "period" instruments for their historical, nostalgic tone colors, enjoy them, and imagine what Beethoven's audiences might have heard, but we can never truly go back to those days just as we can never truly dip our feet in the same river twice. Having said that, I thank Mr. Gardiner and the entire orchestra players for helping to shed more light on the beauty and power of the mighty Beethoven Third.
I use this series to introduce students Beethoven through his symphonies. He does such a wonderful job of communicating Beethoven's character and intent.
Sounds very exciting, but also blistering fast. Is this played at Beethoven's metronome mark? It feels like it's at the edge of what's possible for the orchestra.
Hi Silas. Were you the keyboard player on the Gardiner Cantata Pilgrimage in Bach year 2000? I heard some of the concerts in Scandinavia - simply brilliant and very beautiful - I still remember. We were a group of Danish choral conductors who were allowed “audience” with JEG after one of the concerts. Very exiting to hear him tell about the whole project. Thank You. Question no 2: are you the harpsichordist on the “Hanseatic Festival” CD with English Cornett & Sackbut Ensemble? It doesn’t say on RU-vid or Spotify. Listened to the Schildt “Paduana Lachrymae” (after Dowland) - I loved the interpretation but couldn’t find the name of the harpsichordist. I “googled” the ensemble and saw, that you have been a member, so maybe it’s you? Best regards from Erik, Danish organist and harpsichordist 👍
This is a wonderfull aria. The orchestration alone is delightful. This is a very good performance but John Nelson adopts slightly faster and more rhythmic delivery that I prefer.
G. F Handel was not a human being, but semi god... Indeed, he deserves to be called Handel the Messiah... I don't think there shall be any person born of a woman who can ever do what Handel did... He is among the Saints of the most high God... Thank you Jesus for having given us the Holy Spirit in Handel the Messiah who fed the whole world with powerful, wonderful and marvelous, uncountable songs that we are still feeding on until your second coming...🌹❤😍🥰😘🙇♀🙇♀🙇♀😢😊😊💪💪🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻🙏🏻
Wooo ! And indeed , Hooo ! When I hear singing as good as this I want every child in the world to be in a choir ! Most schools in the UK don't even have one. 🗣🎶💖
