Beethoven - Overture to "Egmont" op. 84 (Kurt Masur, Gewandhausorchester Leipzig)

Описание

From the Church of St. Nicolai, Leipzig, Germany (Starts at 1:30)
20 Years Peaceful Revolution - Leipzig commemorates the 9th of October 1989

Gewandhausorchester Leipzig
Conductor: Kurt Masur

Ludwig van Beethoven - “Egmont” overture, Op. 84

Watch the full concert here: https://www.youtube.com/playlist?list=PLBjoEdEVMABLHsPnmDHO3SGZ6YFNG5rqO

On 9 October 1989, 70,000 people staged a non-violent demonstration calling for more freedom and democracy in the GDR. Thanks to the claim “Peaceful Revolution”, initiated by Kurt Masur as one of six prominent citizens of Leipzig, everything proceeded peacefully. That evening, the Gewandhausorchester played under his baton Brahms’ Second Symphony at the St. Nicolas Church. The following regular "Monday Demonstrations", which came to be described as the “Peaceful Revolution”, became a major milestone on the way to open the Berlin Wall one month later on November the 9th in 1989 and paving the foundations for the reunification of the two German states.

Exactly 20 years later, the Gewandhausorchester and Kurt Masur commemorate the beginning of the German reunification by presenting the same symphony at the same location.

Beethoven - Overture to "Egmont" op. 84 (Kurt Masur, Gewandhausorchester Leipzig) скачать видео - Download

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Recorded live at the Lucerne Festival, Summer 2003 Culture and Convention Centre Lucerne, 21 August 2003 Eteri Gvazava - soprano Anna Larsson - mezzo-soprano Orfeón Donostiarra José Antonio Sainz Alfaro - chorus master Lucerne Festival Orchestra Claudio Abbado - conductor 1:18 I. Allegro maestoso (21:10) 22:26 II. Andante moderato (9:24) 32:18 III. [Scherzo] In ruhig fließender Bewegung (11:18) 43:48 IV. Urllicht. Sehr feierlich, aber schlicht (5:05) 48:42 V. Im Tempo des Scherzo. Wild herausfahrend - "Auferstehn" (37:25) Resurrection in Lucerne Lucerne Festival. 21 August 2003, 7.30 pm. The atmosphere in the large concert hall in the spectacular, steel and glass Culture and Convention Centre built on the shore of Lake Lucerne by the French star architect Jean Nouvel is electric. The event was sold out months ago. Here and there a throat is softly cleared, people settle in their seats, their faces alert and expectant. At last, doors open and the members of the newly founded Lucerne Festival Orchestra come on to the platform. There are many very well-known faces: the clarinettist Sabine Meyer and Emmanuel Pahud, the fleet-fingered first flute from the Berliner Philharmoniker, Natalie Gutman among the cellists, members of the Hagen and Alban Berg Quartets among the rank and file of strings, and other players include Albrecht Mayer (oboe), Kolya Blacher (violin) and Wolfram Christ (viola). Lucerne en fête What kind of orchestra is this, formed of the most famous instrumentalists, the most celebrated chamber-music players, the most experienced soloists from the world's best orchestras? With Claudio Abbado to conduct it, chief conductor of the Berliner Philharmoniker up until the previous year, for whom the Lucerne Festival Orchestra is the realization of a wholly personal dream? One answer, at least, is obvious: lt is an orchestra of superlatives. "After this first appearance", the press agreed, "there can be no argument: orchestral cultivation of this calibre is scarcely to be heard anywhere else." The Lucerne Festival has a long tradition of generating its own orchestras. The best remembered is probably the Swiss Festival Orchestra, which assembled "the best orchestral musicians of Switzerland" (to quote the Original memorandum of association) to give the concerts that formed the festival's backbone every year from 1943 to 1993. But the idea of an elite orchestra goes back further, to the summer of 1938. This was the year in which Arturo Toscanini dissociated himself from the Salzburg Festival for political reasons; a handpicked orchestra was formed for him to conduct in Lucerne (the members of the legendary Busch Quartet, banned frorn playing in Germany, sat at the first desks of the string section) and his "concert de gala" marked the moment when Lucerne was new-born as a festival city.

4 лет назад
Daniel Barenboim: Beethoven Piano Concerto No. 5 in E flat major Op. 73

Daniel Barenboim: Beethoven Piano Concerto No. 5 in E flat major Op. 73

From the Klavierfestival Ruhr in the Jahrhunderthalle Bochum, 2007 Daniel Barenboim, soloist and conductor Staatskapelle Berlin 0:00 I. Allegro (21:09) 21:00 II. Adagio un poco moto (8:09) 29:17 III. Rondo. Allegro (12:04) The world of music initially reacted less enthusiastically to Beethoven's Fifth Piano Concerto in E-flat Major, Op. 73. "The excessive length of the composition", wrote one reviewer, following the work's first public performance at a Gewandhaus concert in Leipzig on 28 November 1811, "reduced the overall effect that this glorious product of the composer's mind would undoubtedly otherwise have produced." On the one hand, the critic was not entirely wrong, for the Fifth Piano Concerto is Beethoven's longest piano concerto, and in its heroic "Eroica" key of E fiat major is certainly a "glorious product of the composer's mind". But with the best will in the world it is impossible to claim that it falls to produce an "overall effect". Quite the opposite, in fact. The Fifth is the most effective of Beethoven's five piano concertos and one of the most popular of all contributions to the medium. Outside the German-speaking world the work's special status is acknowledged by descriptions of it as the "Emperor", "L'Empéreur" and "Imperatore". This alternative name was not Beethoven's but probably derives from his friend and publisher Johann Baptist Cramer. In spite of its inauthenticity, it goes straight to the heart of the matter, for no piano concerto begins on a more majestic or a more resplendent note. Three times the full orchestra intones a radiant chord and three times the solo piano responds with a bravura cadenza before the orchestra introduces the main theme. At the climax of the development section, orchestra and solo instrument engage in a veritable battle fought out over harshly dotted rhythms from which they emerge as equals. And even in the soloist's cadenza, the orchestra refuses to fall completely silent but engages in a subtle dialogue with the piano. In none of his other piano concertos was Beethoven as successful in forging a novel synthesis between concertante writing and the gestural language of the symphony.

4 лет назад