@@cdtj1265 uberhaupt nich, ich habe vom Sinn des stuckes gesprochen. Nicht von der execution. Bitte schohn, denken sie daruber nach, ich mag gerne Ernest Bour. Wenn mann Mozart verhunzt, weil zu schnell, zu viel énergie, kann mann ihn nicht verstehen. Wie Beethoven eigentlich. Lesen was Nietzsche uber Mozart vs Beethoven schreibt. Vortrefflich.
Wow, the audio quality is crystal-clear and allows us to hear Mozart’s beautiful orchestration in great detail! And well-nyanced performance as well, bravi tutti!
You know... these are pretty dark times right now. But instances like this show the good that humanity is capable of. Truly inspiring. Peace and health to you all!
Maestro Orozco takes his time between the first and second movements. Probably savoring in the beauty of the performance. The conductors hear the music too!
I've been really enjoying all the performances of this Orchestra under the baton of Conductor Andrés Orozco-Estrada. The Beethoven symphonies and now this Mozart Symphony. Such high quality performances and video and sound quality is amazing. I feel privileged. Well done, everyone!
I have watched this video twice, about a year apart. I think maestro Orozco-Estrada has done amazing things this far in his career. His Mozart 40th is as good as you'll hear anywhere today. He ignores neither the technique nor the beauty of Mozart.
OMG! I love so much the Andante that I have to listen twice at least. And such a spectacular sound achieved by the recording engineers. For all these reasons and for its wonderful musicians and conductor is why this is my favorite orchestra in Europe!!! Thank guys. A supernatural pleasure to listen and watch. HR FRANKFURT Sinfonie the best!!!
Der zweite Satz war sehr schön und besonders gefallen die Holzbläser im dritten Satz mir sehr gut. Insgesamt ist es wunderbar. Danke schön! Viele Grüße aus Montreal, Kanada.
Mais uma maravilha da orquestra HR de Frankfurt e Andrés Orozco-Estrada. Atualmente a orquestra que mais traz-me performances surpreendentes de excelência. Interpretação minuciosa, diferenciada. Uma preciosidade!!! Para ver e rever. BRAVO!!!👏👏👏👏👏👏👏
One has to appreciate how Frankfurt Radio Symphony under Orozco-Estrada's tenure draws heavily on historical performance when interpreting Mozart and Beethoven. Even though only the valveless horns are truly historical, the sparing vibrato and the fast decay on the modern instruments still bring a lot of clarity to the phrases and the counterpoint - a sound likely more familiar to Mozart and Beethoven. Fascinating still that Orozco-Estrada and co. sound like a completely different orchestra when they play Brahms or Tchaikovsky.
Wunderschöne und spannende Aufführung dieser perfekt komponierten Sinfonie mit gut phrasierten doch perfekt synchronisierten Tönen aller Instrumente. Der zweite Satz klingt besonders schön und auch lyrisch. Der letzte Satz klingt besonders spannend und auch inspirierend. Der geniale Maestro dirigiert das ausgezeichnete Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
Überragend finde ich die beiden Naturhörner, z.B. im Zusammenspiel im 3. Satz. Kleiner Wermuthstropfen ist die temperamentvolle Beinarbeit von Maestro Andrés O-E. bei praktisch allen seinen Dirigaten, das Dirigentenpodium überträgt das Geräusch der Schuhe gnadenlos (über Kopfhörer), vor allem vor Forte-Einsätzen.
@@hansjuergenkohlhaas871 Perhaps these little noises are a good thing in that they make you feel like you are there in the concert hall - if only that were possible for all of us!
Ist nicht ein zu schnellen Tempo? Ist nicht zu viel Dynamik? hr-Sinfonieorchester klingt sehr gut, aber Maestro's hektischen Bewegungen, seine Aufregung? Was denkt ihr?
@@MM-111 Das Tempo ist zwar ziemlich schnell, aber nicht zu schnell. Was die Dynamik anbetrifft, alles gehöht zum Geschmack jedes Zuhörers. Mir ist die Dynamik nicht zu viel. Der Maestro manchmal scheint mit dem Orchester zu tanzen. Das kommt vielleicht aus seinen südamerikanischen Rhythmen.
Man spürt bei dieser Aufführung den Ernst und die Hingabe des Orchesters und des Dirigenten an diesen besonderen Moment, in dem nach langer Pause, und, wie wir jetzt wissen, vor einer weiteren langen unfreiwilligen Unterbrechung, dieses Live-Konzert mit der g-Moll-Sinfonie im Zentrum der drei letzten Mozart-Sinfonien möglich war.
Giving the downbeat to this group is like engaging the accelerator of a Mercedes … you can feather it or mash it to the floor, it doesn’t matter. Precision, fire, subtlety, passion; they have it all. And German audio production is the best in the world. My goodness!
Probably my favorite orchestra currently performing ( I do love Paavo Jarvi's work, and the Oslo symphony does magnificent work too!) and every time I find they've done a song I love it's an immediate watch,
I love the tempo. The first movement is labeled "molto allegro", and I've heard it described as a kind of "aria agitata", so tempos that are much slower than this don't make much sense to me; they can't convey the sense of urgency in the music. The audio quality is one of if not the best I've ever heard, and the conductor & orchestra perform with such passion and precision. Amazing recording of the greatest masterpiece of all time.
The sound engineers. God damn it! How do you folks do it? I can hear every single instrument! It's amazing to hear Mozart like this! Thank goodness that technology has it's positive sides. 💜
@ Alexandru Gheorghe: Well no, you and the 29 people who agree with you as of this writing can't hear every single instrument nor should you because the finest orchestras -- which this orchestra is -- play with perfect intonation. The perfect blending of instruments, just like with a well-trained Chorus that sings with perfect intonation. You should only hear "every single instrument" when one or more of the musicians are playing a solo. (Didn't mean to spoil your fun).
This may be the result of social distancing of players and instruments. While they play together as one orchestra as intended, the clarity appears improved. Maybe the pandemic will result in more separation of players and instruments. The sound is incredible.
This is always a debating point between audiophiles and music lovers. While music lovers like the blending, audiophiles likes the clarity and positioning of the instruments. As an audiophile, I like to pick up an instrument in a recording and follow it along. There are so much enjoyment in this approach. The music become a new piece every time I hear it. An instrument can be lost in the blended approach. Advancement of audio technology can bring out another side of music that was not know to those 250 years ago.
I normally do not like Mozart pieces played fast, especially when it is fast and overly neurotic. Orozco-Estada's faster-than-average tempo maintains the purity, perhaps partially due to the use of period wind instrument, and feels right.
Not a fan of it either. And for me, all in all, it doesn't really work here. Two things, specifically: while the first and third movements work with the faster tempo, the second movement is completely dysfunctional because of it. It's neurotic and loses its depth. Also, since they play the allegro assai in the right tempo, that diminishes the drama of different speeds in case of the previous movements.
The first time i heard Conductor Andres Orozco - Estrada when he conducted the pieces Tchaikovsky Violin concerto in D major with Hilary Hahn and I was very impressed.
Joachim Sickenberger was? Geht der? Habe ihn erst neulich auf utube entdeckt mit bartoks music für Streicher, Percussion & Célesta, die mich vollkommen umgehauen hat, knackig , präzise, demystifizert, einfach wunderbar , und seitdem höre ich alles sprachlos, was Orozco macht mit dem HR Orchester .und jetzt sagst Du, bis bald? Oh weh! Wohne 1,5 h von FRA und wollte mir das baldmöglichst anhören - habe ich noch eine Chance?
Magnifica interpretación de una de las más célebres sinfonías del compositor austriaco nacido en Salzburgo sin duda junto a Beethoven y Tchaikovsky los tres más importantes de la historia de la música clásica desde mi punto de vista.
@@victormiranda.123 Eso está claro, pero él hablaba de los tres más grandes, en ese caso serían Mozart, Bach y Beethoven. Claro que Tchaikovsky y otros compositores como Wagner, Liszt, Verdi, Chopin, Shubert, Bhrams (y muchos más) fueron enormes en la música y su obra es grandiosa también.
Leopold Koželuch: Symphony in G minor, 1787. , Mozrt No 40.1788. Similar to Mozart's Symphony No. 41 Scholars are certain Mozart studied Michael Haydn's Symphony No. 28 in C major, which also has a fugato in its finale and whose coda he very closely paraphrases for his own coda. Charles Sherman speculates that Mozart also studied Michael Haydn's Symphony No. 23 in D major because he "often requested his father Leopold to send him the latest fugue that Haydn had written." The Michael Haydn No. 39, written only a few weeks before Mozart's (Symphony No. 41), also has a fugato in the finale, the theme of which begins with two whole notes. Sherman has pointed out other similarities between the two almost perfectly contemporaneous works. The four-note motif is also the main theme of the contrapuntal finale of Michael's elder brother Joseph's Symphony No. 13 in D major (1764)
Love the lively tempo of the opening. I feel it lightens the dramatic angst of this most famous of Mozart’s symphonic first movements. So very unique in its profoundly simple concept. So fitting for his penultimate symphony. PWG
