Now i am watching to a super giant flutist and definitely he is one of the most brilliant flutists in the world with super technic and super feelings. Million bravo. Thanks for uploading.
Concert halls are often full of people who don't either know how to listen to music or don't care to. Culture vultures that just want to be seen and unfortunately heard. Programme rustling is another favorite attention getter.
Alex You may well be right, but the competition ain’t great. It’s very odd that throughout the history of music, almost no composer has managed to write a flute concerto of the stature of the great concertos written for almost every other mainstream instrument of the orchestra. The flute finds itself in only a slightly better situation to the viola and bassoon, and one or two other instruments.
@@andrewseaman7012 No, they wrote in very different style to CPE Bach, who is an early Classical composer. Vivaldi is definately a baroque composer, an exceptionally skilled one, but baroque.
Maravillosa orquesta, director y flautista. ¿Cómo es posible que Adorján sea tan poco conocido en relación a otros flautistas, si él es tan bueno o mejor? El comercio sin duda opta por patrones estéticos específicos.
The flautist has the most beautiful sound. And that’s why I keep coming back to this video; no other performance does it for me. If I must listen to this piece (and I absolutely must) then this is the performance that I need.
И для меня тоже.Слушаю эту прекрасную флейту в исполнении этого музыканта.Звучание его флейты непревзойдённое.И вдобавок приятно смотреть на его чувства во время исполнения.Это шедевр!
One of the finest concertos written for the flute. Sounds better on his wood flute than most others played on metal. The pitch is way over A440 more like A445 or more! too much! but then the Germans always did ignore the internationally agreed standard of A=440Hz. Last movement is too fast. At this tempo it' is rushed and frantic. In the score It is marked 'Allegro molto' not molto presstisisisimo!
@@veromaestro5194 Adorjan's tempo is just right, but the strings keep pushing the tempo faster in the first movement's _tutti_ passages. As a flautist who's played the part, this makes me nervous!
Carl Philipp Emanuel ist schon ganz anders als sein Vater. Er geht ganz deutlich Richtung Frühklassik, manchmal klingt schon Mozart an, der ja mit Carl befreundet war. Nie hätte der alte Bach solche Musik geschrieben, es sei denn, er hätte noch 20 Jahre länger gelebt. Und dennoch ist es Bach Vater, ein sehr sanfter Rückblick auf den Großmeister aller Komponisten.
I reiterate: This is a masterpiece, as much of realization as of composition. Bravissimo! The Old Periwig (Father J.S.) never expressed as much range of emotion, let alone with this much dignity and beauty of restraint. Polyphony is not chiaroscuro.
Just like the Nightingale in Edward FitzGeralds Masterpiece The Ruba'iya't of Omar Khayya'm. Beautiful - thank you all. Charles Mugleston Omar Khayyam Theatre Company
As much as I love and really prefer Bach's "authentic" perfomances and instruments I have to say that taking into consideration the lack of precise instructions in Bach documents and that nobody has survived since th.n...this correctness and authenticity is difficult to asses. Just say...
This reading might be too subtle, too sophisticated, for some. It is neither, for me. First, consider the musical psychology: CPE Bach's father was an "immortal" composer; his godfather, G.P.Telemann, was one of the most *productive* composers, ever; economically, CPE had to compete with a court chock-full of Galant (and still underappreciated) geniuses (Graun, Hasse, and yes, Quantz, etc.). Next, consider the challenge: The finale is utterly demanding of the soloist, particularly. This concerto is truly a masterpiece; and the performance does it as much justice as I have yet to hear, among several possibilities. Papa Haydn said it all: "He [CPE Bach] is the father; we are the children." PS: The choice of a wooden flute is a brilliant compromise between current and antique. The wooden Boehm flute, however, does not "speak" as does one in metal. Any flute-virtuoso worthy of the term would be VERY cautious to accept this commission! Adorján is every bit as good as his world-class rivals (Galway, etc.)!
F. Sarastre ‘Papà’ [Recte: Joseph] Haydn did not say that CPE was ‘...the father...’ Mozart did - and he was almost certainly referring to the Versuch and CPE’s keyboard playing. You are right though that CPE was in fact the only composer to whom Haydn ever acknowledged a debt.* It is difficult to imagine Frederick the Great ever managing to play or appreciate this work. Fed almost entirely on a diet of concerti written specifically for him by Quantz, this must have been a massive shock to the system for him to be confronted with this work from his continuo harpsichordist. One of the great tragedies of music is the 30 wasted years CPE spent accompanying the King’s performances of Quantz’s stream of about 300 rather one-dimensional works in Berlin, though at least it did leave him time to do his own things like writing the Versuch. * Haydn also acknowledged what he learned from the famous composer and teacher Nicola Porpora in singing, composition and the Italian language when he acted as his accompanist in Vienna in the very early 1750’s.
Dario Caporuscio It's basically a modern keyed cylindrical flute made of wood, but it doesn't share any of the qualities of the baroque flute unfortunately.
He did it because it's what works best. Opening phrase of solo line is so important to nail also, really sets tone for the concerto. Great performance Mr Adorjan!
While he is quite good really I can't put him in the same league as James Galway, there is just no comparison. That being said thia is still top notch stuff, but not masterful.
The subtle mastery of this performance is thrown away upon you, L.M. Either you lack the sophistication to distinguish between what to expect of a gold-metal flute and what to expect of its wooden counterpart, or you pretend as much, out of bad faith and cynicism. I am a flautist and composer of sufficient sophistication to *know* that Galway would do no better, on a wooden flute. Galway's most prominent teacher--Rampal--probably might; but "Dead men tell no tales." Moreover, what is "top notch" [sic] can scarcely fail to be masterful, as well. (What a nebulous, indolent criticism!) Your writing, L, lacks the sophistication it pretends to have, so as to justify the related critique.
OK, I am not a flautist nor an expert on flute playing. I do know what sounds good however and if performances are made on period instruments I will compare them to whatever else is out there. Perhaps this performance would have been great 250 years ago, it's not what I want to hear today.
Your "knowledge" exceeds your grasp.This performance is not about "period instruments". The wooden Boehm flute is here and now, Dear Heart--as is my critical thinking. All of this IS about choosing a fair instrumental/timbral compromise. The wooden Boehm flute does not speak as does its metal equivalent (and as I previously implied, diplomatically). That the performer could execute the finale in particular--with its rapid-fire chains of legato semiquavers--as flawlessly as he did is an accomplished work of performing art, well beyond your facile, shallow critical-posturing. (I wager that you yourself couldn't play a do-re-mi scale on ANY flute, let alone this virtuosic concerto!) AGAIN, I guarantee that Galway can do no better, on the same instrument. (He probably knows so, and has accordingly NEVER given a performance, or made a recording, on a wooden flute.) This performance transcends your musically-unintelligent "wants". Your taste is unworthy, if not merely vulgar: Thanks for at least admitting how little you know (more or less) of flutistic art. Such is evident, and altogether worthy of rebuke.
