Richard Strauss - Don Quixote op. 35 Maximilian Hornung, Violoncello Hermann Menninghaus, Viola Symphonieorchester des Bayerischen Rundfunks Bernard Haitink, Dirigent München, Philharmonie im Gasteig, Dezember 2012
0:42 Introduction 7:25 Don Quixote, der Ritter von der traurigen Gestalt 27:20 Variation VI 28:30 Variation VII These are just for me, if you have more I can add them
Excellent playing by soloists and orchestra. But for me, many of the tempos were a little too sluggish. Also the mic'ing was fairly terrible. The cello solo was way under-mic'ed. I can see a mic in front of him, but it almost sounds like it wasn't on. He sounds very distant compared to the orchestra. As for the camera work, well, there are already plenty of comments here about that...
The wind machine has a tough part in this thing but the rest is not so hard. Seriously, the playing is fine but,...the cinematography and the acoustics of the hall are horrible.
Si alguien es capaz de asociar esta música con "Don Quijote" le agradecería que me lo explicara. Hasta donde alcanza mi entendimiento debo suponer que el nuevo lenguaje musical de la época, -modernidad, vanguardia, Freud- y la personalísima impresión que al autor le causara la novela de Cervantes, o incluso conociendo a Strauss esconde el significado en una nota, un pasaje, o en toda la obra, o simplemente porque le da la gana, o para burlarse de todo el mundo. No obstante me gusta. Un saludo.
El cello es Don Quijote, la viola es Sancho , el concertino es Dulcinea, y si a Strauss le gustaba burlarse , a pesar de que todos sus poemas sinfónicos terminan en pianissimo.
Provavelmente é uma das obras mais estéreis que já ouvi. Arremedos de temas apresentados atabalhoadamente dentro de um contexto de peça concertante na qual o violoncelo solista não passa de um mero dobrador de linhas melódicas de outros instrumentos. Para mim que sou cellista é constrangedor ver um colega tão ocioso ocupando um pódio de solista quando poderia, com seus colegas d'abraccio' estar sentado como primeiro do seu naipe. Aconselharia a Strauss, se fosse possível, ter a humildade de acrescentar um narrador ao corpo sinfônico para, ao menos, tentar explicar um pouco desse caos orquestral que mais me parece uma trilha sonora de filme rebuscada e confusa.
What a stupid video cameraman: the viola solo started and he was holding cam on the cellist who did nothing! Then finally he moved camera on the viola soloist! Jesus Christ... How in the world did he get that job??
Orchestral concerts are not usually filmed with a cameraman making decisions on the fly. There is a director who has mapped out what the cameras - yes there must be more than one! - pick up. They've doing it like that since Toscanini's telecasts in the 40's. This is a bizarre non-professional filming.
Excellent performance by all concerned. 10/10 Most enjoyable, but... Abysmal camerawork by whoever was in charge of that. In fact, it is so bad, I would expect better from a ten year old child who at least might be inquisitive enough to point the camera to what is actually happening rather than showing a cello soloist doing nothing and yes, the cello soloist does have some quite lengthy rests during this piece. The problems include the Viola soloist all but ignored, orchestral soloists totally ignored; no attempt to show the truly remarkable things the orchestra has to do in this piece, no attempt to show even once the usual features of the orchestration such as the wind machine or the tenor tuba solo, or the perhaps worst of all, closing in on the conductors back - for what reason? Camera 0/10.
This has to be one of the all time most awful compositions of all time. No order what so ever. I’ve heard better music than this watching Tom and Jerry. At least with loony tunes I can listen to the overture of the Barber (rabbit) of Seville.
@@Zauberbratsche Nope, this sounds like someone gave some sheet music to Jackson Pollock. It’s about as annoying as daft punk or dub step. Give me some La traviata, four seasons, carminia burana, or even dream theater.
Oh dear, you really don't understand even the basics of this piece. It is a set of variations and since you make a ridiculous comment about giving some sheet music to Jackson Pollock, I won't attempt to explain any further. I do not think you would comprehend it. Your even more ridiculous comment about Tom and Jerry however does need to be challenged. Scott Bradley, who wrote all the early Tom and Jerry scores, knew extremely well the works of Richard Strauss, Schoenberg, to whom he even went for some advice, Mahler and a host of Hollywood studio composers. The techniques used by Strauss in such as Don Quixote underpin the amazing sounds that Bradley wrote for Tom and Jerry. Another reason why these orchestral techniques were imporant is that back in the 1930 and 1940, EVERYTHING you hear in the cartoon was recorded live and usually in one take because spilcing techniques were still rudimentary at best. It was not until after 1945 that magnetic recording tape became available and split-second splicing accuracy became routinely possible.
