Oh ho ho ho HO! What an orchestra. One hears all of the menace in this music when CSO plays. The way the trombones "open" up. Gosh! I have heard them live a few times (including the famous Shostakovich 7 conducted by Bernstein). The almost casual and frightening virtuosity of the playing of this orchestra is quite unlike any other that i have heard live or otherwise (at least from this period the late 70's till the early 90's). Many thanks. Hari
Como siempre, Gran Barenboim !!!! Lástima que no tengamos un vídeo como éste de Sir Georg Solti interpretando también Le Sacre du Printemps. Tanto en Barenboim como en Solti hay dos espectáculos: la orquesta y, yo casi diría mejor aún, el espectáculo del director. Sobre todo en esta partitura supergenial y superendiablada. Si no se ve, no se cree.
Nothing like the CSO sound that Reiner cultivated; incomparably rich, huge timbres perfectly suited to the primitive soundscape and world of "The Rite..."
When they can play something beyond amazing like this, I would love to hear them play some soundtracks from Ghibli films, especially using brass like some My Neighbor Totoro scenes. This is some monster piece performed perfectly with excitement every moment. :)
I believe the concert is from one of the performances from the CSO European tour in 1994. One of the players in this concert retired in 1997, and the next time this piece was played in concert overseas was in 2000. So it couldn't have been that year.
@@lokomateo Yes. You are correct. The year they took it overseas, Wayman Jerome Stover was playing second tuba along with Gene Pokorny. Stover was also on the tour of Europe. I heard the performance of The Rite of Spring live back in 2000. It was great then! 😁👍👏🎶🎻🎺📯🎼🎹🥁
@@paulybarr An orchestra needs a conductor to interpret the music, unless they're a conductor-less orchestra, in which case the musicians discuss and decide collectively how the music should go. I don't think that occurred here.
@@JOHNROBERTPRIBULA Where in the performance? 1:40, 1:52, 2:05, 5:24, 6:45, 7:14, 12:33, 14:00, 19:59, 20:57 - just to name a very few. I've played in orchestras for 60 years. I've played under Bernstein, Sinopoli, Copland, Muti, Mehta, Kleiber, Temirkanov, Giulini, Cleve, Pretre, Thomas, among many others. I'm also a composer, and I've studied Le Sacre Du Printemps. Yes, Berenboim was giving cues, but he didn't know this score intimately. And I do know something.
A lot of it was rushed, actually. Part of the majesty of this piece is the change in tempi AND dynamics at certain parts. I’m sure it was just to keep audience retention.
It's a matter of interpretation. The way it's played here is closer to how it is on the page. Bassoonists have traditionally stretched it out more, but it's not required.
