@@ZAWARUD00The negative one is archaic. As I said, almost nobody uses "terrific" negatively, unless being sarcastic of course. I assumed you might not speak natively which is why I explained it.
Took my friends in their 20's to Hollywood Bowl to listen to this. To this day they remember this and learned what musical sounds are and how they work. I wish our educational system would teach a class on classical music in Elementary and Jr High. We used to go to field trips but those days are long gone.
can't believe no one is talking about the TUBA playing in this group, particularly in mars! unsure of who this tubist is in particular, but playing over the whole orchestra with a single tubist is astonishing. BRAVO
@@Eric-hf9zb In this work, Holst calls for a "Tenor Tuba in Bb" which in this context is a Euphonium not a baritone. While closely related a Euphonium has much more conical tubing than a true baritone. In this performance they are using a Euphonium.
Absolutely sensational - what a performance and what an incredible piece! It has lost nothing over the years, in spite of the coming of space flight, Star Wars and the like. The sheer power of the orchestra is breathtaking. A joy!
I lived in Frankfurt and went to the Alte Oper many times. This is my heartfelt orchestra. They play so well, they move with emotion. It deserves a place among the great ones. And Hugh Wolff was always an underrated conductor. A wonderful piece to hear and see.😊
I love the way the audience members pointing here and there when the wordless chorus came, trying to find out their location. I wish it was their first time experiencing this moment.
This is absolutely gorgeous... I've learned by now that everything from hr-Sinfonieorchester is. 🤭23:00 took my breath, though. It's a big wish of mine to see this orchestra perform in real life.
My Grandfather introduced me to this great work and Classical Music in general when I was around 10 years old by playing me this recording on an old reel to reel tape on his home stereo. The tape had a splice half way through Mars and I still remember the place. I was captivated by the recording and have been a lifelong listener and supporter of classical music. This is one of the great works and this performance is one of the best I have ever heard. Wolff lets each movement develop as it should and the performance is phenomenal.
Neptune is scored for the wordless chorus,so it needs to be included. At the time of composition, this was unusual, except having been used by Debussy.
It is never played without the chorus, which is an integral part of the score. However, the chorus is hidden and wordless (and female voices only, in six parts) so may imperceptably become part of the overall soundscape and not be recognized as a 'chorus', as such. In this performance, however, it is too loud (and one hears it stop, which should be imperceptible, as if going on for ever). However, a great performance and fantastic audience reaction. We Brits think our music doesn't travel, but clearly this does! Vielen Dank aus England für den wunderbaren Auftritt eines hervorragenden Orchesters und Dirigenten.
I hear so many different things when listening to this. Obviously many composers took inspiration from this suite. I can make out themes from Star Wars, Legend of Zelda, I hear some things that resemble works by Joe Hisaishi from Studio Ghibli, Nobuo Uematsu for Final Fantasy and so many others. This suite is about 50 minutes long but it's packed to the brim with awesomeness.
The influence this single opus had on modern movie soundtracks cannot be overstated. Zimmer, Williams, Goldsmith, and Horner all borrowed at least a line or two from these songs.
I've heard a few times about people asking if there were special/modified musical instruments in order to perform this symphonic suite. And, surprisingly, Holst scored this masterpiece with conventional instruments of the time! The celesta keyboard (heard in the "Neptune"suite) was around & utilized by many composers of the period.
I have heard this piece, in particular Mars, many, many times. And unsurprisingly FRS does far greater than simple justice to the work. Coming back to Mars, however ... I have never heard it played in such a way that took hold of my imagination and emotions so. My sincerest thanks to *EVERYONE* involved in the creation of this performance.
I ADMIRE SO MUCH ANYONE WHO IS SUCH AN EXPERT ENSEMBLE TECHNICIAN AS TO BE ABLE TO BRING TO LIFE THIS ENORMOUS SCORE, WITH SUCH EXCELLENTLY BEAUTIFUL SOUND, AND---- WITH SUCH, GREAT TASTE!!!! BRAVISSIMO, MAESTRO !!!!!!!!!!!!!!!!!!!!!! THANK YOU, TO ALL INVOLVED IN THE PRODUCTION !!!! THANK YOU, GUSTAV HOLST !!!! THANK YOU, YOU TUBE !!!!
Listening to this renowned composition, where the unmistakable airs of British imperial self-assuredness pervade, conducted by an American maestro and performed by a German orchestra, elicits a certain sense of delight.
Eine in ihren leisen Stellen subtile, raffinierte und ihren lauten Stellen gewaltig kraftvolle Aufführung, die von der Spielfreude aller Beteiligten getragen wird. Herzlichen Dank für den Upload!
Genau meine Gedanken, als ich die Aufführung hier hörte. Ich suche seit längerem eine adäquate Orchesteraufnahme eines kleinen Teils von Gustav Holsts Planeten für ein Filmprojekt. Ich habe mir Dutzende Aufnahmen von den größten Orchestern der Welt angehört. Ja, überwiegend gut, technisch okay. Aber als ich gerade auf diese Aufnahme gestoßen bin, liefen meine Tränen. Das ist es! Jetzt fühle ich die Musik...
@@nikolaus1691 Das Gustav Theodore Holst, geboren in Cheltenham in Gloucestershire, ein deutscher Komponist war, darf angezweifelt werden. Tatsächlich hatte Holst baltisch-deutsche Vorfahren, er war aber ganz klar Brite.
I was there that evening with my father, who first introduced me two years ago to Holst. It was wonderful to finally hear it live. The only thing that bothered us, was that they played Saturn from the beginning too slow (as a lot of other recordings). But besides that it was absolutely magnificent, also the first hour when they started with Icarus and Carolin Widmann . One day have that night again.
Such an astonishing, exciting, and unique performance! I've heard this pieces many times, and even played excerpts from it during high school, and this interpretation really breathes new life into it. I was struck by the last chord of "Mars", for example - I've never heard it so short! It sounded so shockingly definitive, cruel, without any sentimentality - just like war. And the beginning of "Uranus" - this piece has never stood out to me before; usually folks listen for Mars and Jupiter, and forget the rest. But I loved what the orchestra did here with Uranus; those opening chords were so connected and phrased so well!
The other movements are interesting too. «Venus» is deliciously orchestrated, «Mercury» has its quirky moments and the climax in «Saturn», when the death knells suddenly ring, is absolutely shocking, the coda instead very peaceful. Finally, «Neptune» is harmonically really strange.
This is one of the finest live recordings (or recordings, period) of The Planets I've ever heard! If Maestro Wolff ever tours near me, I'll have to go!
This is not a bad version by any means but there are better ones IMHO, even here on RU-vid. This interpretation lacks a bit of energy and dare I say passion. Here are a couple of (IMO) better ones: Andrew Manze - NDR Radiophilharmonie ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-8mJQliEacCI.html Conrad Van Alphen - Rotterdam Simfonia ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fVrVjeEtDMU.html
The greatest recording of The Planets ever (according to many music lovers and little me) is Karajan's 1961 version with the Wiener Philharmoniker (not to be confused with his version with the Berliner Philharmoniker). It was fairly recently remastered and is superb! Happily, it's now on RU-vid: just type in Gustav Holst - The Planets, Op. 36 / REMASTERED (Ct.rc.: Herbert von Karajan, Wiener Philharmoniker). Enjoy!
@@SvetlanaVladimirova8590 obviously we all have different tastes but IMO that Karajan version is just not very good. I have the remastered CD and of the 20e-ish versions I have it’s probably the least listened to, expect from the dreadful Hickok. There are so many better recordings such as Vernon Handley and the absolutely stunning Steinberg / Boston SO. IMO the Karajan is overrated as is the Dutoit. Just my opinion of course, YMMV, happily we all have different tastes 🙂
@@fyvewytches Thanks for replying, Ian. Yes, we all have different tastes - just letting you and anyone else who reads my comment of a recording held in high regard. Take care and happy listening!
Wunderschöne und majestätische Aufführung dieser perfekt komponierten Suite mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente sowie durchsichtigen und gut harmonisierten Stimmen des ausgezeichneten Frauenchors. Der vierte Satz klingt besonders majestätisch und echt begeisternd. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Einfach wunderbar!
Naja, Ihre permanenten Lobeshymnen in allen Ehren aberich finde Dynamik und Tempi an manchen Stellen eher fragwürdig. Herr Wolff kachelt durch einige Passagen doch ziemlich durch und verschleppt andere, sodass es echt langweilig klingt. Auch der Chor ist m.M. am Anfang zu laut und wird am Ende abgewunken, bevor er auch nur ansatzweise "in der Ferne verschwindet", wie es in der Partitur gewünscht ist. Alles in allem eher eine gute Aufführung mit super Orchester, wie man es vom hr kennt, aber die Interpretation war doch ein etwas liebloser Standard, der dem Stück nicht gerecht wird.
This orchestra always comes up trumps. Love to hear them live! This has to be the absolute best recording of Holst's wonderful work. Absolutely adore last movement - when choir comes in always gives me goosebumps!
Great piece. Never were the composers so free to use whatever material, techniques and inspiration from so many sources! A composer to follow, as much as my revered Paweł Szymański.
Splendid performance by the Orchestra and Hugh Wolf who I take my hat off to not least because I was a fiddler in the Bilbao Symphony in 1984 when he conducted Dvorjak Cello concerto with Rostropovich. We had lunch together. That's my 5 mins of fame . He is a talented pianist and was deputy conductor of the Seattle I think it was.
Great performance! But where's the organ glissando in "Uranus"? Completely inaudible (not the first time I've encountered this in several performances), but when Holst wrote "fff" and "full organ" I think he knew what he wanted...
Yeah, well, that's why live music is so great! It's human, with human musicians who make mistakes. I heard it, too, but had forgotten all about it by the end of this production.
Talking about orchestral music in general, I find it hard to understand how a composer can 'orchestrate' so many elements. It's like an alien language to me: How does everyone know the precise timings? They are so subtle. If it's down to the conductor I don't understand that language either. Blows my mind. I guess that is what makes it so incredible. When you can't work out how something is done, it feels amazing. That is what it's all about, for me. It makes me feel like there's a reason to be alive. Or a reason to enjoy being alive at least: that we are not all just animals. There are people who can express beauty in a way that transcends normal animal behaviour. And in a way we can understand.
Excellent performance. I have never really noted the essential stillness and peace of the final choral ending. Beautifully done. Please come back and conduct The Hymn of Jesus, I am sure it would also be a wonderful performance.
What an amazing depiction of the wars of history! And they all point with dying fingers to the final culmination at Armageddon, the final and most cataclysmic of all rebellious humans. Destruction surrounds us, then suddenly the sky lightens with the approach of the Son of God (Rev. 19). At least these are my impressions of this music. It is breathtaking, marching as an army with banners.
