Ludwig van Beethoven Ouvertüre "Coriolan"op. 62 Wolfgang Amadeus Mozart Symphonie nr. 33 B-dur KV 319 Johannes Brahms Symphonie nr. 4 e-moll op. 98 Baerisches Staatsorchester Carlos Kleiber Kleiber's Legendary 1996 Munich concert
Simply magical music making. There is no question that Kleiber hangs on for dear life at the end of the Brahms. He is so exhausted physically that the orchestra helps him get over the finish line by sheer will. You will not hear more otherworldly interpreting than this. If you are sensitive enough to feel it, you are the lucky ones. People said Furtwängler was touched by God. But Carlos had his telephone number!
Absolutely. He is the conductor's conductor. The detail and drive. Everything is to the limits. His Brahms with VPO is fantastic. This is so good! And yes they go with him to the end.
54-18 I heard this piece as a very young man at the Salzburg festival and this passage made me feel as if I was floating out of my seat. I never thought to have that experience again, but I just did. (50years later)!
It is absolutely criminal to have all these adverts throughout this wonderful concert. Shame on you RU-vid - what an insult to the composers, the conductor, the orchestra and to us, the audience.
Such a joy and privilege to watch this maestro of maestros conduct with such joy and elegance, often minimal, producing such glorious playing of such glorious music. May he rest in peace.
I vividly remember this programme played in Ravenna, since M. Solti was unable to go there with the LSO. We bought tickets just before the concert and it was incredible, probably the best concert of my life. I till can see CK conducting Mozart only with his left hand, amazing...
A wonderful performance by the great Carlos Kleiber conducting Beethoven's Coriolan Overture, Mozart's Symphony No.33 and Brahms magnificent Symphony No. 4.
@@katrinat.3032 It is an astonishing rendition but, in my opinion, not as great as the Karajan Salzburg 1983 (??) cycle. Kleiber rehearsed to the absolute maximum, which meant he would often stop conducting and leave the orchestra to do it, whereas HvK often left things to chance in the performance. This is where the 'new' generation of conductors took over. Furtwangler (who, in my opinion, was a GOOD conductor but nothing special in the slightest), along with Erich Kleiber and many others, were totally eclipsed by C Kleiber, Karajan, Solti etc (I put the 'etc' there so people don't say 'but what about him and her and him!!!'
Kleiber is the greatest conductor to walk the planet. He had access to Flow, Depth, Nuance, Musical Sentences, Deep Architecture, "the Codes".........................the Bliss of it ALL, the Radical Void of Life.......................the Fullness, the Presence. ......Consciousness. Not just mind, emotion, body........The Beauty, The Aesthetic Itself anchored in Consciousness...................transtemporal/transspatial. End of story.
Stunning. I've never heard Beethoven's Coriolan or Brahms 4 performed with such intensity. Such great music making in the Hercules Hall in Munich. (I once conducted there...... unimaginable to think I even stood on the same stage as the genius that was Kleiber.)
These are the interpretations of a true genius! I particularly like the moment in Coriolan at 7:08 when he gives the cue to the French horns with a Heavy Metal sign in his left hand. I don't know whether he does this intuitively, or perhaps was a real Heavy Metal fan, but in any case, this place is so Heavy Metal-esque that leaves no doubt how it should be shown by a conductor...
There's not many conductor's that come close to Kleiber with Coriolan. Pure electrically charged performance that Beethoven would of been proud of. Bravo!
Nein, liebe target 9972, es ist nicht das Alter, es ist einfach Carlos Kleiber und die wundervolle Musik. Wir sind glueckliche Menschen mit Traenen in den Augen, stimmt??
I sincerely hope that the final sounds that I hear as I leave this planet will be my children promising not to fight over the will...and Carlos Kleiber conducting anything Beethoven. For a musician, observing Kleiber convey his thoughts through his baton and body language, provides all the necessary musical cues and nuance...that you feel Beethoven himself was up on the podium. Thank-you RU-vid.
One way for your children not to fight over your will is to appoint a corporate trustee over them as the executor. For example, a family accountant or estate lawyer would suffice with a notarized document appointing them that amends your current will. That way, your intended going away listening to Maestro Kleiber conduct Beethoven might be undisturbed, God willing.
This Coriolan ....... oh my God , oh my God .... this is so incredibly beautiful ..... this immediate violence , broken energy and sudden anger , hoffnungslose Rufe ............................. tragedy at every millisecond ..... Beethoven , Kleiber , and us , on the Titanic .......
Claudio Abbado called Kleiber "one of the greatest if not the greatest conductor of the 20th century" ("Carlos è stato uno dei più grandi, se non il più grande direttore del Novecento.")
Yo tuve la gran oportunidad de verle dirigir Beethoven, Brahms y Mozart y este talentudo-director, no ha tenido parangón, técnicamente perfecto conocedor de las obras que dirigía, en cambio en los ensayos, era casi la guerra. Que pena que artistas de tanta clase, se hayan ido para para siempre, aunque quedaron sus clases magistrales, recogidas en videos como estos, que siempre disfrutaremos. R.I.P.
0:43 Beginning/Exposition 1:00 m.15 1:35 B 1:54 2nd theme 2:41 C 3:19 D 3:31 Development 4:18 Recapitulation (E) 4:52 F (2nd Theme) 5:46 G 6:25 H (Coda) 7:17 I 7:37 Disintegration of the theme
Havia outros maestros extraordinários, mas Carlos Kleiber era o maior entre todos. Ele tinha uma compreensão/identificação com as obras que interpretava que o diferenciava dos outros grandes músicos. Abbado, Furtwangler, Talich, Bernstein, Gardiner. É pena que tenha gravado, relativamente, tão pouco. Talvez não nos quisesse presentear. Não nos achasse merecedores. Tinha razão...
1:04:32 to the end , ach Mensch , ist das grossartig und hoffnungslos .... Kleiber no more "conducting" this Brahms Symphony , but explaining us his own desperation and anguish , which is , of course , our personnal destiny too ......
Carlos Kleiber grandissimo bravissimo geniale direttore maestro: lui nella classifica dei migliori maestri direttori insieme Herbert Von Karajan, Leonard Bernstein , direttore Maestro italiano Riccardo Muti ancora presente attività in vita esercizio presente.
Kleiber is terribly nervous; you can see his hands shaking quite often and here especially at 56'30" and the end of the movement. Such an insecure titan and I miss him just every day of the week!! Dear Carlos, thank you for the music!!
I always became entranced by Ludwigs "5th" first movement and I my favorite piece regardless of it's infamous mainstream nature, yet I find OP. 62 slowingly overtaking it as my favorite piece all time, yet it seems Coriolan overture Op 62, the 5th first movement, and even Egmonts overture share very similar DNA, maybe that's why I keep going back to them more anything else.
43:15 .... every single moment here of the conducting of Carlos is a treasury , but here ...; could you ever dream of something better than this utterly and extreme beauty ?
true! but there’s another moment of extreme beauty, where Carlos is barely doing anything: the flute solo ensuing from 1:07:41 - what immense beauty of tone throughout the full range, what depth and passion, what phrasing! better than in the recording with the VPO… I’m lucky to live in munich: although I sadly didn’t witness Kleiber anymore, I get to hear this wonderful flute player from time to time in concert (he’s with the BRSO today)!
Yes, you are quite right. But Kleiber no more conducting the flute solo, but participating in it ..... and indicating to the young flutist : my friend, this is even more dramatic and more hopeless as you think, and as you're playing it ..... an incredible moment.@@durmiend0 Greetings from Strassburg, a small stupid village compared to Munich the Great, leave well !
It may be a tired Kleiber past his peak, but even in this video, his interpretation and baton technique still exceeds the vast majority of conductors at their prime. One of the greatest conductors who ever lived even in advanced age.
MariaCaIIas Very well noted. How can a conductor be past his peak ? An athlete, yes. An accountant, a writer even, yes. But it swarms in the music-history of conducters active till high age. Nowadays: Haitink and, even older, Blomstedt. Past their peak ? They have never been better than they are now; overripe, yes, but 'tasting sweeter and with an even nicer aftertaste' than before. One gets sick of all those morons listening with their eyes instead of with their ears. Beethoven could even hear withour ears, so why you, not deaf I hope, can not, having ears to listen with !! You could at least give it a try.
But listen to the orchestral playing. It's nowhere close to as well phrased and balanced as recordings in his youth. There are plenty of conductors who got better with age, but this recording is not an example of it.
Stephen Chun He'd obviously have more time to perfect things in a recording studio. You can see by his expression at certain parts that the orchestra isn't giving him exactly what his inner ear wants of them. His earlier recording of Brahms' 4th will always be beyond reach. Plus don't forget he was teamed up with the vienna phil for that.
There will never be another Kleiber, with a few exceptions to a few schools in the world that produce amazing conductors like Rice University. He's the supreme best, right up there with, well, no one else. He's in his own company.
don't know why, the first half of Brahms Symphonie No.4 - 4th movement, always reminds me of a scene in ''L'Assommoir''. It's about a dying little girl, lying on the bed, telling her alcoholic dad, who abused her day after day, ''now it's time to say goodbye'', serenely... as the wind of death filling up the room. Holy but profane, untrammeled but also suffocating.
Carlos was one of those rare artistic spirits who took classical music dead seriously and strove endlessly for perfection. Not so much in evidence these days. More and more concerts are incorporating film music, arcane contemporary works, and letting the great works of the canon receive desultory performances. Kleiber, Celibadache, von Karajan, and Toscanini wouldn't accept such decadence.
It is true that Furtwangler conducts this better. Kleiber is clearly a remarkable conductor but I believe that Furtwangler is the foremost genius among conductors. Yet we are spoilt for choice, especially now old recordings are often easily available.
In this recording of the Andante of 4th symphony there is a flute or woodwind that is both too loud, and sharp. I think it might be the young flautist.
.Question........Why did the Maestro grimace at 56:26 and 30? I have seen him make some pretty humorous corrections but this was out of the ordinary( if that word can ever be applied to Kleiber) for this fantastic musician.
+Maureen Nero I took a close look for you there with a score and I've decided he simply didn't want so much string sound over the Clarinet. One of the string players sound sort of "hung around" too long for him. I'd imagine it would stick out like a sore thumb on a recording.
*** Ludwig van Beethoven *** 00:00:44 __ Ouvertüre "Coriolan"op. 62 *** W. A. Mozart *** __ Symphonie Nº.33 in B-dur, KV 319 00:09:57 __ I. Allegro assai 00:17:19 __ II. Andante moderato 00:22:57 __ III. Menuett *** Johannes Brahms *** __ Symphonie Nº.4 in e-moll, op. 98 00:32:46 __ I. Allegro non troppo 00:46:23 __ II. Andante moderato 00:58:05 __ III. Allegro giocoso - Poco meno presto 01:04:33 __ IV. Allegro energico e passionato - Piu Allegro
