The Boston Philharmonic Orchestra reinvents the classical music experience for people of all ages and familiarity by presenting high caliber classical music concerts and by enabling our community to develop a personal connection to our conductor, musicians, and the music.
As so often the professionalism of the orchestra makes up for deficiencies in conducting decisions. Esp. true with the awkward pickups at the start and with the big chords in the middle - I would have had to guess my entry in that situation. Allegro lacks urgency: faster tempo needed. Muti with the Vienna Phil is much clearer as a conductor and the music has more drive. I would say the orchestra is a little too large. I prefer a leaner and cleaner sound. However the magisterial approach can be justified given the 'Masonic' ideas in the opera itself.
The orchestra is beautiful I played in it when the came to SA. I was from CGSM I played the clarinet, it was the best experiences of my LIFE. Enjoy your trip and have fun ❤️❤️❤️❤️❤️
33:20 when anyone 'elavates' someone to tears with their art whether the vehicle is music, or the spoken word; they have achieved the ultimate goal. Music exists largely because words cannot always accurately convey the depth of feeling. People like Benjamin Zander are an absolute gift to the arts and the world outside of that, the problem is that people don't truly 'hear' what these rare human beings say.
Thank you, Mr. Zander, for the cogent analysis of Brahms Symphony 1. Your talk greatly enhanced my enjoyment of this symphony and Brahms as a musician and a man suffering from personal conflicts. You reminded me of Leonard Bernstein talking to his young audiences during his years conducting the New York Philharmonic, sometimes demonstrating at the piano himself, during the historic "Young People's Concerts" and the "Omnibus" series.
The violinist and pianist performed beautifully, but Benjamin Zander's recommended tempo and interpretation of the Sonata really took this performance to an even higher level. He brought light and energy (that really engages the listener), to what might otherwise be sleepy salon music, and as a, result the performers communicated greater energy, excitement, and suspense. I've added this Masterclass to my list of favourite Masterclasses.
Brahms' 2 with Oistrakh. Full voice at times but always your "beautiful" And the real Brahms music shines through, not what a performer thinks Brahms to be. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-n4n9kUbzmGY.html
I've just been listening to Leonard Rose play Brahms 1. I was exposed to much Brahms through my formatory years. Then at a lesson with William Pleeth in the early 1960s he was wanting me to dramatize Brahms 1. I tried to adapt but I don't feel myself to have "clicked" to Pleeth really. And maybe with his Bach bowings.
This is a puzzle for me, where my Brahms came from. I didn't know my grandfather but he was overseas for a while wth Godowski. When he came back my mother would have heard his interpretations presumably from Brahms to Godowski. And as I grew she was constantly playing the Ballades and Intermezzi and various songs
I really like this tempo as allegro con brio, but it feels like Zander has to drag the orchestra along with him. At the beginning they even seem to have some trouble articulating the motif. 😳
I hate his unnatural exalted singing. And it is completely wrong since the beginning how he's insiting on the bass line. "To D. To D. To D and to C". How wrong. If the double bass was playing that strong in an orchestra, the conductor would crucify them. No regard for the 2 parts intricated in the trebles. The more I see masterclasses, the more I agree with Celibidache that most of professional musicians are illiterate.
