贝多芬第三交响曲《英雄交响曲》 - 卡拉扬 / Beethoven's Symphony No. 3 "Eroica" - Herbert von Karaja_哔哩哔哩_bilibili
youtubeHerbert von Karajan conducts Beethoven's Symphony No. 3 "Eroica"Berliner PhilharmonikerThe great Beethoven specialist Herbert von Karajan leads the Berliner Philharmoniker in a on, 视频播放量 88715、弹幕量 257、点赞数 1789、投硬币枚数 334、收藏人数 2817、转发人数 705, 视频作者 大艺术家马学友, 作者简介 “Live and let others live”，相关视频：[不朽传奇] 指挥帝王 赫伯特·冯·卡拉扬 遗产保全录 （终极资源），贝多芬 命运交响曲 每次听都那么震撼 要命的节奏，【全程高能】古典音乐史上最著名的100个旋律排名，前三名雷打不动，100首你曾听过而不知其名的曲子，为何世间再无人能超越贝多芬？叛逆的英雄，传奇的命运，250年来光环从未散去的音乐巨匠！，最脍炙人口的古典音乐Top100（全曲版）（完坑）（进度：100%！）(持续修复中），比才《卡门序曲》（卡拉扬 指挥），贝多芬月光奏鸣曲 第三乐章 Valentina Lisitsa，【纪录片】伟大的城市和作曲家 第一季 04，肖邦：夜曲（钢琴巨匠鲁宾斯坦演奏）
Gustav Mahler - Symphony No. 3 (Lucerne Festival Orcherstra, Claudio Abbado)
Recorded live at the Lucerne Festival, 19 August 2007
KKL Luzern, 19 August 2007
Lucerne Festival Orchestra
Women of the Arnold Schönberg Choir, Vienna
Tölz Boys Choir
Anna Larsson - contralto
Chapters:
0:00 PART I
0:50 I. Kräftig, Entschieden
33:55 PART II
34:10 II. Tempi di Menuetto. Sehr mäßig
43:26 III. Comodo. Scherzando. Ohne Hast
59:44 IV. Sehr langsam. Misterioso. Durchaus ppp "O Mensch! Gib Acht!"*
1:09:14 V. Lustig im Tempo und keck im Ausdruck "Es sungen drei Engel einen süßen Gesang"**
1:13:37 VI. Langsam. Ruhevoll. Empfunden
*Text by Nietzsche: Also sprach Zarathustra
**Text: Des Knaben Wunderhorn
***
"Blissful trust"
Those who were able to be there in person are unlikely ever to forget the occasion. Whenever Claudia Abbado conducts Mahler, especially when he is at the head of his own Lucerne Festival Orchestra, the whole is more than just the sum of its parts thanks to a process that one is tempted to call magical. The present live recording of an acclaimed performance of Mahler's Third Symphony at Lucerne's Culture and Convention Centre on 19 August 2007 provides lasting proof of this and allows us to see that with Abbado ecstasy is never achieved at the expense of musical and rhetorical clarity: a powerful emotional charge is held in check by calm contemplation. Never for a moment does Abbado give undue emphasis to subjective mawkishness or an overtly theatrical sense of worldweariness: Abbado's Mahler is precisely calculated and at the same time intuitively felt.
The musicians of the Lucerne Festival Orchestra were meeting for the Orth time when they assembled in Lucerne in the summer of 2007. Among them were not only a number of distinguished soloists but also experienced principals from the world's foremost orchestras: the leaders were Kolja Blacher and Sebastian Breuninger, while the rank-and-file violin sec-tion behind them included players of the eminence of Mirijam Contzen and llya Gringolts. The cellos ware led by Jens Peter Maintz and Natalia Gutman sitting alongside Valentin Erben of the Alban Berg Quartett and Clemens Hagen, whose sister, Veronika, was a member of the viola section under Wolfram Christ and Diemut Poppen. The woodwind section in-cluded the flautist Jacques Zoon and the ciarinettist Sabine Meyer, while prominent among the brass was the trumpeter Reinhold Friedrich.
All the plavers are friendly with one another es weil as sharing a special affinity for chamber music, which famously makes the greatest demands in terms ofthe need to listen closely to one's colleagues. And it is here thatthis orchestra is unique, a uniqueness clear from the present performance. The large concert hell seerned literally to vibrate with psychic energy, and the intensity with which the musicians responded to even the tiniest fluctuations in the music reached the point where all the players seemed to surpass themselves. "The goal is clear and is shared by all the participants," wrote the critic ofthe Neue ZürcherZeitung; "it seems that in advancing towards this goal, the players achieve a high degree of individual responsibility, while the conductor encourages each and every one ofthem ... to realize his or her potential in orderto benefitthe collective— an example of successful leadership in a highly specialized context. As such, this is more or less the opposite of what people normally assume to be the job of a conductor. What we saw here was emphatically not self-promotion ata stroke butthe experience that something special arises only when people have space in which to develop."
Abbado first recorded Mahler's Third Symphony in 1980, following it up with a second recording in 1999, both of them demonstrating the conductor's particular affinity with the work. His unerring feel tor the narrative structures of this rich and varied score finds expression in an extraordinary sensitivity, aliowing hirn to respond with particular vividnessto a workthat deals with nothing lass than the origins ofthe universe. [...]
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Beethoven 9 - Chicago Symphony Orchestra - Riccardo Muti - YouTube
On May 7, 1824, Beethoven shared his 9th Symphony with the world even though he could never hear it. On May 7, 2015 celebrate the anniversary of Beethoven’s most glorious and jubilant masterpiece with Riccardo Muti and the Chicago Symphony Orchestra and Chorus. An exhilarating testament to the human spirit, Beethoven’s Ninth bursts with brooding power and kinetic energy and culminates in the exultant hymn, “Ode to Joy.”The video is now available free on demand for all to enjoy! - See more at: http://cso.org/beethoven9 #sharethejoy
