For more performances like this one, please visit the Benjamin Zander Center - www.benjaminzander.org/ Boston Philharmonic Youth Orchestra Benjamin Zander (conductor) Symphony Hall, Boston. March 2020.
I am 86...so have heard..listened to this piece many times by various orchestras/conductors..and never thought much about it..ok..nice [ interesting] etc...but now this version..wow..!!!..grabs you by the insides..not just the gorgeous sound..great master Ben...how he can get a bunch [ big ]...of young people to play like this...???
I'm with you on that. The children love what they're doing and I'd say most of it has to be the conductor. He's amazing just watching him in conversation. Benjamin Zander is one of my favorite people of all time.
As one of the front line physicians and healthcare leaders facing this public health crisis, I can tell you we are all afraid, uncertain, anxious... about our patients, the system, ourselves, our families. But this... this gives me faith that the world is in good hands. BRAVO! I will use this often in the coming days. Thank you for this absolutely tremendous gift. Stay safe and thank you for the many gifts you've given my family and friends over the last number of years...
I enjoyed this very much, well done to all and of course to Maestro Zander. And may I say to the young man in the first violins, 3rd row back: your enthusiasm caught my eye (2:34; 2:52) and you made my day, thank you so much!
While we no longer live in the Boston area, I still try to follow the Boston Phil, which we attended for many years. I have always been grateful to Maestro Zander for both his splendid performances and especially his educational pre-concert talks. Chazzak, chazzak - may you go from strength to strength. That said, I do have a bone to pick about the Nimrod RU-vid recording I listened to three times today. The performance was elegant and stately, but - to my non-UK sensibility - it lacked the heart-breaking quality I have always treasured in Nimrod. It felt too “vertical” and lacking forward motion. I imagine the idea was to use the magic of “suspensions” to convey the emotion, but to me it felt a bit over-controlled. Perhaps I would have understood, and therefore liked, the interpretation more, had I been able to hear a pre-concert talk. In any case, I would not want to miss even a performance I “disagree” with from Maestro Zander! Thank you for making it available to those of us who live far away. ❤
❤🌻🇻🇦✝️🇻🇦🌻DIEU ACCUEILLEZ DÉSORMAIS DANS VOTRE PARADIS🌿🪢🇻🇦✝️🇻🇦🪢🌿 L'ÂME IMMENSÉMENT CATHOLIQUE🇻🇦⛑🇻🇦 de Sir EDWARD ELGAR❤🌻🇻🇦✝️🇻🇦🌻❤🌼💐🌿💛✒💒📃🪅📚😇🍋⛑🦁🥰🇲🇬💮🧸🌸🎶🌻🌿🙋♂️ !!!
I don´t like "Nimrod" when it was played as a dirge or grandiloquent music, is not a sad piece, is a portrait of one of his friends and is a piece that sound better when you set sentimentalism aside and play it directly with that british humble dignity. My favorite performance are Toscanini, Rozhdestvensky y Temirkanov, for some reason, russians do it very well on that variation.
It is not a portrait of friend Jäger to whom the title alludes, but the treatment of a major event in Elgar's life where Elgar was at the bottom of his musical existence and Jäger pulled him out of that. I would not assume the British humble dignity to be guiding direction for interpretation in general, as the country has its fair share of pomp and circumstance, changing of guards and high drama. If Shakespeare has to be read with British humble dignity - imagine, you would fall asleep before you could throw your rotten tomatoes. Cultural differences are so incredibly difficult. In my culture I can tell you, you hit my car and we have to fill forms for our insurances to sort things out - no drama; try that around the Mediterranean and responses there would be called "theatrical personality disorders in the sense of psychiatry" in my country. Ravel walked out on a performance of his Bolero. He had written a "piece without music for a mechanical conductor." Another composer felt, after it is out there, published, I have no control over it. As to the Russians, Rachmaninoff played all works of other composers in the Rachmaninoff way - some loved it, some hated it. I have been to piano recitals where a Russian pianist played flawlessly, banged the crap out (pardon this younger old man for adolescent language, it makes the point extremely clear) of a Steinway D to play Romantic music and showed no emotion at that. Russian literature is full of humor but in translation nobody understands it and with their poker faces I would not "get it" when they told it to me. From my limited cultural perspective. Still, let's agree to disagree, you are entitled to your opinion, as long as you understand an appreciate that others, I, disagree in humble dignity. I'm not British, by the way - not partial to anything or anybody. Maybe the almost total absence of drama in my personal life in my culture of humble dignity calls for a bit more drama in these kinds of performances.
@@jpdj2715 I understand you, but, you now, I love historical recordings, so I have the 3 Naxos Cds devoted to Elgar conducting Elgar and the impression I get is that he conducted "Nimrod" as it wasn´t something special, the same with Richard Strauss and "Till Eulenspiegel", he simply stands in front of the Vienna Philharmonic and keep the tempo. Also Rachmaninov, I love his recording of his piano works, specially the 3rd, that almost any pianist start at very low and melodramatic tempo. No, he played very well articulated and with a fastest tempi. I believe that the latest romantic generation, wasn´t so romantic as we usually think. Also I'm 47, I'm uruguayan and we are described as grey and boring people, that's no true, we like colours, but we don´t like stridency, too much bright colours are not welcome, the same with food, our food is tasty but don´t expect to find highly spicy food.
@@pablov1973 Well as far as historical recordings go - the ones with Elgar are not accurate. Elgar played them faster because the pieces were being recorded on devices that had a _very_ limited amount of recording space.
