This is far and away my favorite performance of Le Sacre that I've found. Valery Gergiev is the best living interpreter of Stravinsky's ballets. I saw him in the States conducting the Mariinsky Theatre Orchestra performing Mahler's 5th. Thank you very much for putting it all up in one video.
La versión es impresionante. Gergiev es un genio y los músicos de la London responden admirablemente ante la descomunal composición de Igor Stravinsky. Ahora que la Tierra está tomando derroteros destructivos porque nosotros colaboramos en ello con nuestra contaminación y abuso de los bienes que nos otorga la Madre Naturaleza, no está de más recordar una y otra vez esta gran obra y "consagrarnos primaveralmente" en su recuperación antes de que sea demasiado tarde.
Watching symphonies on RU-vid is a new discovery for me. That was fascinating to watch and a great performance. One of my favorite Stravinsky pieces. I really like Gergiev as conductor. I wish they would sync the music with the video. The sound is about a beat behind. I recommend watching Gergiev conduct Stravinky's Firebird on RU-vid. It's the entire piece not the suite and is 47 minutes long. Gergiev was much younger then, but still amazing to see the energy, animation, and endurance.
The bassoon solo at the beginning is absolutely stunning, and the Dance of the Maidens is at a speed that I have never heard it.... But it works!!! Gergiev = the Master of Russian music
For all people saying this performance is too fast, it clocks in at 33 minutes and 32 seconds. But what I notice is that nearly every performance I can find online of the Rite clocks in at 33:3#. 33:31 (Barenboim), 33:35 (both Salonen and van Zweden), etc. The conductors take all different tempos but somehow it constantly ends up being nearly the exact same length. Weird, coincidence, or what?
There are passages that are played excessively fast, so fast that you can't hear the details in the instruments. Then there are passages that are very slow.... I think if you listen to enough of these performances you will get a since in your mind what would should be a natural pace but that being said, its a free performance and I enjoyed it.
Yeah I know I'd think there's a ton of variation in time due to all the seemingly hundreds of passages and the tempos they can be taken at, and each recording seems to mix them up differently. Yet somehow it drives me up a wall how almost all of them come out to 33 minutes and 30-something seconds. There's one RoS out there which an older Stravinsky himself conducted that was less than 32 minutes, yet that was mainly due to the slower and quieter parts being taken quickly and not drawn out. But yes, some passages can be taken too fast or too slow.
ecoRfan you have remember that's it's a ballet and you really shouldn't over drive the passages because they can't be danced to. I think most conductors will adhere to this and so you don't get much variance in overall time. But this performance treats the piece not as danceable music but a concert piece to be stretched and compressed at will. I generally like the conductor and own many recordings from him but this one is a bit unorthodox. I wouldn't pay money for it but there are interesting parts.
@@twinwankel obviously, he conducts it much slower when it's danced. As for attention to details, it depends on your attitude - whether the detail itself is valuable for you or in conjunction with something else ( same principle as when you bake a cake). Pretty sure Gergiev likes more when it's clashed and boiling ( when it matches the music). And despite the swift tempos he always lets the instrumentalists express themselves ( ex. 19:45 - we can feel all the beauty of changing meter at this place).
Efectivamente al audio le falta una muy leve sincronía con el vídeo. Sin embargo la versión es impresionante. Gergiev es un genio y la London responde admirablemente.
What did Stravinsky write in his score? Lento, quarter = 50; tempo rubato. To me this fits the bill more than any other performance I've heard. The bassoon is meant to be emulating an old Russian folk tune, very drawn out and intentional, almost a little bit strained. That's why he wrote it to be played slowly, with rubato, and with a bassoon rather than an oboe or english horn.
Of course, but I'm talking about those who says "Is this music?" for Stravinsky, yes it is actually music, there is a production. And you have to know something about atonality, neoclassicism and about development of music in 20th century before judging this compositor. I do like Stravinsky but not because of the sound, I like the way he uses music and his technical accomplishments.
Aynı anda birden fazla saz çalınırken, başka sazın sesini duyan sazendeler, kendi sazlarını icra ederken nasıl şaşırmıyor. Çünkü sesler iç içe ve çok karmaşık. Notaları takip etmeleri de çok zor, diğer sazların seslerini takip etmeleri de...
I know! He's jumping around like a punk rocker, with his hair flying everywhere! And it's no where cool, I mean seriously! He's flippin' his "bangs" all the time, and that's all the people look at! When ever they would show a shot of him, I would be dying laughing inside! X )
To me, this performance seemed a bit messy, suprising considering the LSO is a such top-tier group, he must've worked them too hard with the rehearsals. The San Francisco Symphony did a flawless job when they did this.
Actually, Gergiev was notorious for not showing up to rehearsals, not knowing repertoire, winging it on the night... A lesser orchestra than the LSO wouldn't have stood a chance, it's a miracle they played this well. You should hear them now with Noseda or Rattle, it's a world class sound.
@@nelsonsweatyballs3835 you forget how much times he played it in his life .This piece for him is kinda wake me up at 4 a.m. I'll play it as if I myself wrote it. And you're not right specifically about this concert - I watched the video from the rehearsal that lasted for 4(!!!) hours. And he looked very involved and explained them very patiently why he wants it like this and not the way, they used to play it.
It's RU-vid that messes up the synch for some videos that have a separate audio track (I had to purposely synch the audio differently from the video to get the video to synch on RU-vid).
The first part was exceptional, with Gergiev pushing them hard. Too much, really, because they sounded spent in the second part and didn't have enough left in the tank.
@@Trenton.D my point is that Stravinsky had to fit his tempos to ballet-dancers . When you play it without them , you can play with tempos , to emphasize smth. that seems you really important in the score .
Love the precision and the concentration, but perhaps some of the maestros in the 30´s and 40´s had a point in the idea that something gets lost when you are TOO precise. The last two minutes of this piece shouldn´t sound precise, but more chaotic, terrified or whatever.
I prefer MTT's rendition, especially of the Sacrificial Dance. Valery conducts the final dance a bit too slow for me. The version I have of Stravinsky conducting himself on CD is much faster and I believe it to be the ultimate interpretation; who better than the composer?
allora la velocità dell'intro la recupera nel finale rallentando, della serie: la media delle velocità è giusta. ha riesumato i pizzicato cancellati da Stravinsky in seguito a nervoso causa orchestrali imbranati. almeno una nota positiva finale. mamma che stress questo ascolto. devo rifarmi con Bernstein perchè non posso terminare così.
Good performance, but they overtempoed it in various parts (mainly the Augers of Spring). Loses the pulse if you rush it. And it palpably feels rushed. Also you lose the many fine details you need an even pacing for your ears to fully process. At least they didn't go too slow, or that would have been vastly worse.
I don't know if this is just me, but I think the other recordings of Sacrificial Dance are better (ex. San Francisco - MTT - and Los Angeles - Salonen)
The augurs of spring part seems rather sped up... the Spring Rounds and everything after that is just about right though... the intro to the 2nd part is entirely too fast... tempo is good after that... a bit too slow after that one... clarinet trill... I must say, he does the adoration of the chosen one rather well. Overall a good performance, but not mr favorite, with some parts being too fast or too slow for my tastes.
@@ediccartman7252 But Stravinsky wanted (in his interview) performance and not interpretation, that is good for Schubert. What he wrote must be rendered. Yes the first bar is "colla parte" then it is not.
@@shonnyno it also says solo ad libitum and tempo rubato . You have the rest of the score when you need to be performer and not interpreter (actually smth. what can't be done for 💯 ).
@@ediccartman7252 If he wanted anarchy (anarchy is always beautyful and...much easier), why he wrote (bar 4th) a difficult (and never good performed) triplet into a triplet into a binary bar? music for the eyes only? ;) I am glad with this anarchy, because I can play Le Sacre even with a marching band :)) so many trubles of Strav. for Free improvisations! ;) Obviously not all whay he wrote respect his point of view: a lot of final metronome number has been established by the orchestra, because S. wanted the final part of part I much more fast (even 184) than his actual printed metronome, but orchestra is orchestra; ...and pizzicatos on the very final dance (pizzicato were wonderful with oboe toghether), but it were even more difficult therefore the last revision of the score deleted all pizzicatos. In my opinion Rubato refers to agogic only, rubato never means "you are allowed to change the rhythmic pattern". 7 years ago I added other comments on this video.
I've heard probably two dozen versions of the Sacre, and Gergiev + the Mariinsky Theatre Orchestra is BY FAR the best. This LSO performance is almost offensive by comparison. The bassoonist's clicking pads at the beginning make my ears bleed! Anyhow, on the other end of the spectrum, the worst (live) performance I've ever seen was the Toronto Symphony Orchestra in Spring 2011 - it was so heinous I felt compelled to initiate an orchestral riot, but I instead just left halfway through.
bene alla fine non aveva più margini per il crescendo...capita....ce lo siamo bruciati, almeno è rimasto sulla carta dai! poi prima del finale non poteva fare uno spuntino?? il tempo che si è preso nelle pause glielo avrebbe consentito. altro dettaglio: ha diretto senza stuzzicadenti. quindi gli mancava il portafortuna. scusate devo riprendermi (mi ci vorrà molto tempo).
