Richard Strauss (1864-1949): Ein Heldenleben Concertgebouworkest & Mariss Jansons, conductor Watch more videos free of charge on our website: www.concertgeb...
And this is WHY this orchestra is one of Europe's best. Any fullly professional orchestra can play this, the big problem is the number of musicians required ... their talent is never thought about, it's their job.
I heard THREE Heroes here : 1. Strauss 2. Jansons 3. Concertgebouw-ochestra:-)) thanks for the beautiful interpretation of this Masterpiece:-)))) thx for posting
Beautiful horn playing. Almost as good as Philip Farkas's performance with Chicago in 1954: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aaAI_Oa39Q8.html&ab_channel=ClassicalEssentials
Fantastisch hoe elke musicus van dit grandiose orkest een ander de ruimte laat te soleren... muziek van het hoogste niveau... musici spelen "in dienst" van elkaar... schitterend! Wederom met DANK! En wat hebben we veel moois aan Maris † te danken...
How thoughtful to preface the performance with information on the composition, illustrations of the themes, and about Mr Jansons. Bravo, Concertgebouworkest, for showing us not only what can be done to enhance our enjoyment of a work but also for sharing with us a most remarkable performance.
Beautiful version, and a fantastic prep for next Friday in Berlin...Season opening concert of the Philies and Petrenko in the Philharmonie playing....well...Strauss' Heldenleben. Occasionally life can still be good...
Señor Don Johan van Lersel: pocas veces se asiste a una obra, a mi juicio, tan poco conocida de Richard Strauss, bajo la batuta de uno de los 7 mejores directores del siglo XX y primera mitad del XXI. La genialidad del Sr. Janssons queda patente en sus grabaciones, impregnando, además, nuestros corazones para siempre. En cuanto a Vd. deje que le diga que su introducción me ha impresionado vivamente. Heel ergo bedankt. P.D.: all tose who love anda feel Art, especially that of the muse Euterpe, must pay tribute to all who participate in these musical events, also to you Mr. Lersel. A whole cast of virtuosity. Thank you.
Delightful introduction, thankyou: but Dutch people, on a virtual 100% basis speak better English than we do here in England, so I wonder why you did not address us in English? I am sure you are extremely fluent. Wonderful concert thank you. I have seen and heard the Concertgebou Orchestra many times, and you are among the very greatest in the whole world.
Can somebody confirm (or refute) these points? * All of the parts are very difficult * Because of this, live performances of this work are rare * Individual musicians often play their parts at auditions
Yes to all three. Parts are difficult, but part of the standard repertoire for a professional musician. Another reason it's played rarely is because it requires a large orchestra, which costs more to produce.
I don't think there is any doubt that it's not an easy work to perform and though performances might not be as frequent as say, "Don Juan," in Europe at least I wouldn't describe them as rare. Around 18 moths ago I heard the students of the RCM/London play this and they were absolutely amazing, I was in awe of their talent :-)
Performances are not rare because it's difficult (it takes a fully professional orchestra to perform - more difficult to play than the Rite of Spring (Stravinsky) or the Concerto for Orchestra (Bartok) - but some of the parts are used for auditions.
In addition to costs, a major consideration, is the philosophy, if you will, of a given orchestra, its management, chief conductor or music director, and players. Some are committed to performing more works from the Classical and Romantic periods, say; others attempt to program works from, say, Bach to Britten, occasionally perform late 20th century works and commission almost nothing; still others are committed to introducing newer works and to commissioning. Another factor is audience interest. Though orchestras do not pander to their audiences, they do have to bear them in mind. Far easier for Michael Tilson Thomas to have included much "new" music in his programs with the San Francisco Symphony, or Alan Gilbert with the New York Philharmonic, than Seiji Ozawa with the Boston Symphony. When Fritz Reiner was conductor of the Chicago Symphony Orchestra, works by Richard Strauss were regularly included in the programs. Now, he and the CSO had a recording contract with RCA-Victor, and Reiner was a noted Strauss conductor. Which conductors now make Richard Strauss a specialty? Finally, composers come and go in and out of fashion. I'm sure you can think of composers whose works, though interesting, even challenging, are likely to be performed only when the anniversaries of their births or deaths are marked. Then, too, some composers' works are more often performed in their native countries than elsewhere. Nielsen is probably performed more often in Denmark than in Germany; Sibelius in Finland, than in the Netherlands, for example.
Beautiful sound ! No social distancing in the audience -- nor in the orchestra. The UK should find how they get around the rules so that our orchestras can get back to work too.
For converting times, you can go to this web site and follow the directions: www.worldtimebuddy.com/ If that doesn't work for you, since this recording is being streamed on RU-vid, I believe you should be able to access it any time you reach the URL. Finally, there are apps that allow you to capture the videos (and audios) available on RU-vid. You should be able to capture a video for your own use without fear of violating copyright. If you're concerned about that, delete the video after having watched it. You should be able to find an app with any decent browser. Google isn't the only resource at your disposal.
21:25 - can someone tell me what instrument played this part? Is it the organ then? I actually just came back from a live performance of this piece and I don't think I saw any musician move during this part..
A most appealingly human and warm and beguiling performance from the "Amsterdam burgers". So very different and so much more engaging, than that Germanic perfectionism of the BPO under the "Whitewashed ex-Nazi court kapellmeister" Karajan. I really cannot stand his music-making - it smells of mea-exculpa in every note. As if by erecting an edifice of musical exactitude, his activities from 1932 to 1945 would be overlooked. Plus that ludicrously high-pitched voice, like a strangulated schoolroom-martinet. But let us return to Strauss and the Concertgebouw and Jansons. I love this work, it is Strauss at her most tender, most extravagantly virtuosic, most expressive of love, most ironically self-mocking, most bitchy in dismissal of her critics, and most justifiably celebratory of artistic triumph. En effet, it is Richard Strauss at her most rounded in humanity. The orchestra and Jansons perfectly match that generous but fallible morality and aesthetic and psychology. Stunning playing. There is almost nothing that Strauss could not say in music - she was after all "Richard III". There is definitely nothing written on a musical score that the Concertgebouw and Jansons cannot convey to the audience. The ideal orb and sceptre of magisterial transmission of artistic genius. Love, Andrea.
Mich respect for wonderful orchestra...but where Is the tenuto sound...must everything look so elegant?Where Is the spine?Is everything Lost with Karajan Mengelberg and Strauss himself?oh let me turn in despair to Golden Age despite the noise and crackle surfaces of old shellac that tell Is the Truth!
One of the greatest orchestras of the world. So together... like an organ. Cultural Heritage with a capitol C. Any composer would be thrilled to hear his/her piece being performed by these top professionals.
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Nederland kan en moet trots zijn op dit orkest en de fantastische plek van waaruit zij zoveel moois de wereld in spelen. Hulde, hulde! En bedankt Mariss Jansons, u wordt gemist.
il violino solo finale è il cuore dell'eroe morente,e la meravigliosa melodia si conclude con il colpo di grancassa,sche segna l'istante della morte dell'eroe.Grande Richard Strauss,grandi l'orchestra ed il suo Direttore,grandi il corno inglese ed il primo violino...💓👏👏👏
Playing 5th horn in Heldenleben as a wannabe student in the Aspen Festival in 1975 was one of the highlights of my life. Of the many passages, the Don Quixote theme always gets me. One of my horn buddies aptly used the term “electrified cello”…. And, of course, for my horn buddies who are unaware, check out “Ein Schmutzenleben”.
