Yes, it’s terrible! This is out of my control, since RU-vid’s mysterious “video processing” magically adjusts the audio of uploads. It sounded fine in the actual video file I uploaded. They also increased the volume of my voice for some reason, making it difficult to listen to the whole video without constantly adjusting the volume. I spend a lot of time getting these things right when I edit videos, so I definitely get upset when this happens. 😂
@@alextinlin4347 Pinning this comment so anyone who knows how to fix this (or prevent it in the future) can weigh in. I’d ask someone at RU-vid, but they’re probably too busy censoring wrongthink.
I've come to expect almost anything from French baroque music (especially after getting acquainted with Rebel's Elemens several years ago) but the chord at 11:33 really surprised me in the best way. Didn't know Naïs. Great video as always Richard!
Finally, drums get the attention they deserve! This video is a dream coming true, I will be looking forward to subsequent parts. On a similar note, have you ever considered doing a favorite tam-tam moments video? I think there would be enough material to justify it, it's such a colorful and atmospheric instrument.
My mind immediately goes to Shostakovich's 5th (and partly 7th) symphony's finale. And Zaïs' overture has definitely made it into my downloads. Rameau should be way more well known than he is. So innovative!
The overture to Zais is certainly one of my favorite bits of Rameau. As he notates in the score, the overture depicts the four elements being created out of chaos (very similar to the Rebel!), and four different themes are introduced throughout the piece representing earth, water, air, and fire.
As you mention also the use of cannon. I found this article from 1795 about a "war cantata": "Many Tutti voices are used, because the music is exceptionally beautiful and festively written. - - The Music will consist of the following Instruments: 2 Forte-Pianos; 36 First Violins, 36 Second Ditto; 12 First Alto, 12 Second ditto; 12 Violoncellos; 10 Bassoons; 10 Double Basses, 3 Sopranos, 2 Altos, 3 Tenors, 3 Basses, Solo Singers; 24 Sopranos, 24 Altos, 24 Tenores, 24 Basses, Choir-Singers; 4 Traversflutes, 4 Oboes, 4 Clarinets, 4 Piccoli, 4 Fagotti, 6 Cornu, 8 Serpents, 6 Tromboens, 8 Pipes, 8 Tambours-Infantry, 8 Trumpeters, 2 Timpaniers Cavallery, 8 Platoons, 8 Tambourins, Muskets-Fire, 8 Machines, 8 Large Drums and Canon Fire. Together 333 Musicians...."
@@Richard.Atkinson Martin Joseph von Böhm. There is almost nothing known about him. I found out, that in 1793 he composed a similar opera in Innsbruck, 1794 in Frankfurt, 1795 in Rotterdam. The fact is, after he gets not enough money to pay the musicians, he flees away with all the money and goes to another place to do the exact same thing.
Big drum is no joke. The scores and animations were super fun and well done. the historical details too. I loved the Handel and Rameau. Bach. I actually loved every minute of this. ❤
Great idea! Bass drum is probably one of my favorite instruments in a symphonic orchestra! For me one of the coolest bass drum moments must be in the 5th movement of Suk’s Asrael symphony just at the beginning of the fugato, where it always has a single quiet whack together with a harp (what a combination!😀) at the end of the melodic line. Hrůša with BRSO on BR klassik does a great job of producing this spectacular sound (5:03 minute)!
not sure when Part 2 will appear or what it will comprise, but one of my favorite timp solos happens in the development section of the scherzo to Beethoven's ninth. He contrasts the tutti orchestra with an empty measure with nothing but a timp solo. This pattern is repeated a few more times before the orchestra continues with the rest of the development. When I was young, I was at a university orchestra concert and they were doing the ninth. They were playing along in the scherzo, and I had a feeling something was wrong. Finally, I realized there was no timp solos. Don't know if the player froze or dropped the music or what, but I've loved that timp lick ever since.
This was fantastic, well done! I was so excited to see that this will not only have a sequel, but sequels! I assume that the classical era will be next, I can't wait!
Händels timpani voices are really fun to play. E.g. Dettinger Te Dum or from Isreal in egypt 'But the waters overwhelmed their enemies'. Also, Bach without mentioning the cantata BWV 214: 'Tönet, ihr Pauken! Erschallet, Trompeten!' ?! Parts of which where reused in the Christmas Oratorio. Includes one of the most famous timpani solos overall. Some other excellent timpani parts from my personal knowledge include (without specific order): Haydn: Nelson-Mass: Kyrie Haydn: Missa in tempore belli: Agnus Dei Graupners works including sometimes up to 6 kettles Druschetzky: Concerto for Oboe and Timpani Beethoven Symphony 7, especially the last movement Saint Saens Symphony 3, especially the last few bars of the second movement Holst: The planets And there are many more worth studying.
A fascinating video as ever; enjoyed with both appreciation and thanks for the effort put into producing it in equal measure. In spite of being quite familiar with Rameau, I cannot help with your specific question about the discrepancies in the scores, though I do think generally in the Baroque period, there was a greater degree of freedom given to the players regarding extempore contributions as is evidenced most obviously by the harpsichord continuo interventions. That said, Rameau’s scoring is so precise, ad libitum parts for drums, canons, and other Baroque special effects would have to be done very carefully indeed. Ideally, someone like William Christie will be subscribed to your channel!
Great great video again! I was for a long time collecting stunning musical loci to print on mugs, such as the 8b notation in Rigoletto finale, the bars in e sharp minor in WTC 1 C sharp major fugue, a parallel fifths from WTC 1 d sharp minor fugue, the f flat minor (or a flat flat major, instead?) chord in the D899 impromptu, the bass part of the Ring's opening (4 whole e flat notes under a slur, repeated a thousand times), the final chord of KV522, etc... but gosh, here you have included 6-8 ideas that are equally dense, magnificent, and stunning. So-so much mugable collection! I am loving it!
Adding "firing cannon rounds" in the recording of Acante et Cephis was undoubtedly a choice made by the performers to give the effect of a great festive salvo thundering from a battery for the end of the Overture. Indeed I would even have considered not to play the "rounds" in time, since it was hardly possible to fire a cannon in perfect timing. Had the opera taken place outside, they could have used real cannons (as it was, and still is, use in some festivals). Keep in mind that these scores are not to be taken strictly nor literaly, as many things were left to improvising or customs
The orchestra in the Paris opera was known to use explosives on a fairly regular basis though to represent thunder, so it’s maybe not so impossible that rameau wanted to include these directly in his score.
Great! I hope you also will include one of the bizarre 4- /5-timpani-cantatas by Graupner...! Also, one of my favorite moments from the classical period is the use of the timpani in the third movement of Johann Wilhelm Wilms's Clarinet Concerto.
17:01 This overture might've possibly been the earliest work to use the bass drum as a mock-cannon- the same practice later became very prevalent with romantic Italian operas- most notably Verdi's Otello(a large effects BD that also doubles as the thunder effect) and Puccini's Tosca. In fact this practice is occasionally done for 1812 as well!
PS The Acante er Cephise Overture also reminds me of the creepy climax of the 1st movement of Shostakovich's 15 symphony in which loud single strokes on the bass drum repeat menacingly over a flurry of dissonant strings, which in hindsight sounds very much like a brutally disfigured parody of Rameau's overture!
Amazingly informative video as always! My prediction for the next video is a shout out to Haydn's symphonies no. 100 and 103, with a possible reference to 94's surprise timpani strikes in the second and fourth movements. The 2020 Rameau recording sounds like they have a compression effect on the drum that makes it sound like an 80s Peter Gabriel song.
Regarding Haydn - but apart from the symphonies - the menacing timpani part in the Missa in tempore belli (1796) is probably top of the list; I think its powerfully dramatic impact was remembered more than once later by Beethoven. The second on the list for myself would be the great timpani solo from the finale of Act II of his opera L’infedeltà delusa (1773).
Just discovered your channel. Many congrats. I have been fascinated by your analysis of selected sections of some of Brahms’ symphonies; you know, I’ve been listening to Brahms since my early teenage years and was drawn to these compositions by the incredible counterpoint one can hear in them; I was baffled by many people (who should have known better!) exhorting me to leave off of Brahms who, by their estimation was dull and boring, and couldn’t score a symphony for toffee; I thought them fools then and doubly so now that I have absorbed your clever insights. Anyway what’s this got to do with the present video: I would just like to mention the opening to the first Cantata from Bach’s Christmas Oratorio - pretty good, eh? Postscriptum: I joined you in whistling the sections from the Mozart Concertos - hilarious!
I would like to hear your opinion on two things: 1) Beethoven's Concecration of the House op 104 fanfare ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qX2TTBUsjIQ.html and The Munich String and Percussion Ensemble rendition of Orff Carmina Burana ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JYyrCsTeA3Q.html
Believe it or not, I was originally going to include that exact moment in this video, but I decided to cut it since I'm almost certainly going to do an entire video about that movement someday.
I'm not really that familiar with French Baroque music at all or French music from any era before Debussy and Ravel for that matter. German Baroque and Italian Baroque, yes. Austrian, English, and Russian music from other eras on top of German and Italian, yes. But French, that's one of my biggest gaps in classical music knowledge, like I know the composer names, but not their music for the most part(Saint Saens from the Romantic Era being the biggest exception to that). So this gave me quite a bit of exposure. I'm excited for the next video in this series, wonder if you'll include the Battle movement of Beethoven's Wellington's Victory in that video, since that's more cannon usage. It's one of my favorite big percussion moments in Beethoven's music, that battle movement that goes from a powerful minor key fortissimo opening(marked Schlacht in the Breitkopf edition that I generally look at for Beethoven, comes after the trumpet calls) to a major key march(still fortissimo) to a quiet, peaceful moment that dies down to one of the quietest moments in Beethoven, just one final cannon shot, a couple woodwinds, and pizzicato strings at ppp before the triumphant D major symphony ending.
…yet another comment. I agree with what you say about Rameau’s unique approach to orchestration; his use of high flutes (piccolos) reminds me of Mahler’s use of high C clarinets in his symphonies which gives both composers a distinctive sonority which is easily recognisable.
Jesus, RU-vid interrupted this 20 minutes video three times for at least five commercial, cutting seconds of music and every time I had to re-set subtitles!
Thank you very much for this great video. I love to learn that I´m not alone with my adoration of Rameaus strange orchstration. If you are willing to go on in music history, I would love to see a similar analysis to one of my absolute favorites, absolutely unknown, the ouverture to Meyerbeers "Le Prophète" ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_4-OzwuKOHU.html the timpanies are used as melodic instruments. And this ouverture includes also a Stravinsky-moment, at 10:30. Love it!
I've always wondered how you would react to this fully orchestral version of the Große Fuge ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-LpYcL9nkP7Y.htmlsi=OF-XcHJ8gxgoHY6N It may sound kinda sacrilegious, but I think its orchestration is really interesting. It also has nice timpani moments
@@natheniel Yeah, that was the point I was trying to make (though maybe not very well). Also, with a last name like yours, you were destined to be a percussionist!
No Way, The Recording Is Just Like That, There Are Other Recordings That Are Totally Faithful to the Original Score of This Work Which Is in D Major Instead of Other Recordings Like This Which Are Off the Original Score in Completely Disjointed Key and In The Wrong Way Even!
@@Richard.Atkinson there are so many in the ring cycle I couldn’t even choose😂 id nominate the drumroll at the end of act 2 in parsifal and the verwandlungsmusik in Meistersinger between I think scene 4 & 5 in act 3 as a few that come to mind quickly
