Prom 13: Beethoven Cycle — Symphonies Nos. 7 & 8
Beethoven – Symphony No. 7 in A major, Op. 92
1 – Poco sostenuto — Vivace
2 – Allegretto
3 – Presto — Assai meno presto (trio)
4 – Allegro con brio

West-Eastern Divan Orchestra
Daniel Barenboim, conductor
Royal Albert Hall, 24 July 2012

Canal de Josep489

Gran presentación del director norteamericano Leonard Bernstein, conduciendo a la Orquesta Filarmónica de New York interpretando la Sinfonía No. 5 de Dmitri Shostakovich en la localidad japonesa de Bunka Kainan, Tokio en el año 1979.

Great presentation of american conductor Leonard Bernstein with the New York Philharmonic, playing the Symphony No. 5 of Dmitri Shostakovich at a 1979 live perfomance on Bunka Kainan, Tokyo, Japan.…



Michael Tilson Thomas conducting the San Francisco Symphony Orchestra in a very high-powered 4th movement of Tchaikovsky’s Symphony No. 4 in F minor.

Compare this with Barenboim’s version also on my channel, and you’ll see two excellent performances, similarly high energy levels, but very different styles of conducting.

some oane


Lasse Zäll

At TED, Boston, Benjamin Zander conducts Beethovens 5th Symphony

GreggaryPeccary·291 videos

A light-hearted ditty, for a change

Written in 1925, it was premiered at his infamous 1927 Carnegie Hall Concert which also debuted the Succès de scandale Ballet Mécanique. It was originally intended to be used in Paul Whiteman’s Experiment in Modern Music (which famously premiered George Gershwin’s Rhapsody in Blue) concerts, but was deemed too radical. Scored for a massive instrumentation of 2 oboes, 2 clarinets, soprano saxophone, alto saxophone, tenor saxophone, 3 trumpets, 3 trombones, tuba, various percussion, 2 banjos, 3 pianos (including one soloist), and full string section.

For convenience, he reorchestrated the work in 1955 for a much more conservative ensemble, a version which also rids itself of the many dissonances and noises of the original.

It was performed by the Harlem Symphonietta conducted by W.C. Handy, and was complimented by the likes of Gershwin and Aaron Copland. Despite this critical success, it was overshadowed by the spectacle of the main work, Ballet Mécanique. The work can be seen with Gershwin’s Rhapsody in Blue and Darius Milhaud’s La Création du Monde as one of the first classical works with a successful and overt jazz influence. Furthermore, while Gershwin’s piece is more influenced by big band and swing, Milhaud’s and Antheil’s works can be seen as reinterpretations of the large freeness of Creole and New Orleans and cutting-edge New York jazz.

Auf dem Grunde des Rheines·209 videos

Mahler started his work on his Tenth Symphony in July 1910 in Toblach, and ended his efforts in September the same year. He never managed to complete the orchestral draft before his premature death at the age of fifty from a streptococcal infection of the blood.
Mahler’s drafts and sketches for the Tenth Symphony comprise 72 pages of full score, 50 pages of continuous short score draft (2 pages of which are missing), and a further 44 pages of preliminary drafts, sketches, and inserts. In the form in which Mahler left it, the symphony consists of five movements:
1. Andante — Adagio: 275 bars drafted in orchestral and short score.
2. Scherzo: 522 bars drafted in orchestral and short score.
3. Purgatorio. Allegro moderato: 170 bars drafted in short score, the first 30 bars of which were also drafted in orchestral score.
4. Scherzo. Nicht zu schnell]: about 579 bars drafted in short score.
5. Finale. Langsam, schwer: 400 bars drafted in short score.
The parts in short score were usually in four staves. The designations of some movements were altered as work progressed: for example the second movement was initially envisaged as a finale. The fourth movement was also relocated in multiple instances. Mahler then started on an orchestral draft of the symphony, which begins to bear some signs of haste after the halfway point of the first movement. He had gotten as far as orchestrating the first two movements and the opening 30 bars of the third movement when he had to put aside work on the Tenth to make final revisions to the Ninth Symphony.
The circumstances surrounding the composition of the Tenth were highly unusual. Mahler was at the height of his compositional powers, but his personal life was in complete disarray, most recently compounded by the revelation that his young wife Alma had had an affair with the architect Walter Gropius. Mahler sought counselling from Sigmund Freud, and on the verge of its successful première in Munich, dedicated the Eighth Symphony to Alma in a desperate attempt to repair the breach. The unsettled frame of Mahler’s mind found expression in the despairing comments (many addressed to Alma) written on the manuscript of the Tenth, and must have influenced its composition: on the final page of the short score in the final movement, Mahler wrote, “für dich leben! für dich sterben!” (To live for you! To die for you!) and the exclamation “Almschi!” underneath the last soaring phrase.

Conductor: Leonard Bernstein & Wiener Philharmoniker.

ARv·42 videos

Faces of Classical Music

Pyotr Ilyich Tchaikovsky (1840-1893)

Symphony No.6 in B minor, Op. 74, “Pathétique” (1893)

i. Adagio — Allegro non troppo
ii. Allegro con grazia
iii. Presto: Allegro molto vivace
iv. Finale: Adagio lamentoso — Andante

Simón Bolívar Youth Orchestra of Venezuela
Claudio Abbado

Lucerne Festival at Easter
Lucerne Culture and Congress Center (KKL), 2010

Rhapsody in Blue- Michael Tilson Thomas Pianist

Arionia Tellus·552 videos

Gustav Mahler Symphony No 9
Claudio Abbado Mahler Jugendorchester
Andante comodo (D major)
Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb (C major) 24:38
Rondo-Burleske: Allegro assai. Sehr trotzig (A minor) 39:55
Adagio. Sehr langsam und noch zurückhaltend (D-flat major) 52:49

Andrew Ford·8 videos

Andrew Ford’s first symphony, composed in 2008. The Orchestra of the Australian National Academy of Music, conducted by Brett Dean. Scored for 3 flutes (all doubling piccolo), 2 oboes, 2 clarinets (II. doubling bass), 2 bassoons (II. doubling contra), 2 horns, 2 trumpets, 1 tuba, piano, 1 percussion, timpani (+ roto-tom and bass drum), strings.

Program note:

Nobody today writes a symphony — especially not a first symphony — without having to explain why they have adopted the title.

Ten years ago, my friend and colleague Martin Buzacott told me he thought I should compose ‘a symphony in D minor’. At first I thought he was joking, but he was perfectly serious. I was never convinced about the ‘D minor’ bit, but the idea of the symphony has nagged away at me ever since. So, from time to time, has Buzacott.

I have never counted my ‘opuses’. By now, I suppose there must be about a hundred of them. All but three of these pieces have descriptive titles, rather than generic labels. The exceptions are my first string quartet (1985) and my first and fourth chamber concertos (1979 and 2002). But in recent years, I have become aware that in most cases there’s quite a gap between the music I have written and the name I have called it by. In Snatches of Old Lauds, for example, there is no discernible connection between the five-minute solo for bass clarinet, and the quote from Hamlet I’ve pinched for its title. The musical ideas have seemed to be striving for their independence, and therefore my writing roughly 20 minutes of music entitled simply ‘Symphony’ is an acknowledgement of this.

Is this, then, a piece about the music only? Not quite. More than any musical term I can think of, ‘Symphony’ comes with the baggage of all the great symphonies of the past. Even so great a symphonist as Brahms found himself paralysed by the example of Beethoven. But one can’t simply put the history of the symphony out of one’s mind, or why call it a symphony at all? Why not use one of those generic no-names so beloved of composers in the 1960s: Music for Orchestra? Piece No 12?

I felt that if I was going to call piece ‘Symphony’ — and I even toyed with ‘Symphony No 1’, but that just seemed to be tempting fate — then there had to be a real reason for it. Just as you wouldn’t call a poem ‘Sonnet’ and then write 23 lines that didn’t scan, if you take on the word ‘Symphony’, you must deal with first subjects and second subjects, developments and recapitulations, scherzos and slow movements, key relationships and codas. You may choose to reject these things, but you’d better have a good reason. I chose to keep them all, even though they are not laid out in a conventional manner. Within the single movement span, however, you will find clear traces of the component parts of a standard symphony. They tend to interrupt each other and occasionally they superimpose themselves; things come in the wrong order; what sets out as something like a first subject later returns as something like a scherzo; the slow movement and the coda are one and the same: but it’s all there. There is even a hint of D minor.

There are three more influences I ought to mention. One is my wife, Anni, to whom the Symphony is dedicated. She told me she wanted a long tune at the end, and she has it. There’s also a secondary dedication on the final page: ‘in memoriam Ralph Vaughan Williams’. I have listened to a lot of his music this year (the 50th anniversary of his death) and especially the nine symphonies, so strong and personal and, to my ears, ever more impressive. I am not aware of his musical influence on this work, but I would not be unhappy to discover it.

Finally there is the Australian National Academy of Music, its staff and students and its artistic director. I wrote this piece for them to play and for Brett Dean to conduct, and I am very grateful to them for their efforts and for their art.

SuperTheseus·378 videos

Tchaikovsky Symphony NO.6 (Full Length) : Seoul Phil Orchestra
차이코프스키 교향곡 제6번 “비창”
Conuctor : 정명훈 Chung Myung-Whun
(Seoul Phil Orchestra Music Director & Permanent Orchestra Conductor)
Seoul Philharmonic Orchestra
16th,May,2011. Korean Art Centre Concert Hall, Seoul Korea.

★ Select The Movement at your pleasure.
1st – [00:28]
2nd – [20:58]
3rd – [28:40]
4th – [37:15]

The Daily Beethoven·419 videos

(Make sure “Annotations” is ON to see section labels)

Bartók – Concerto for Orchestra, Sz. 116, BB 123
I. Introduzione. Andante non troppo – Allegro vivace @0:00
II. Giuoco Delle Coppie. Allegretto scherzando @9:58
III. Elegia. Andante non troppo @16:00
IV. Intermezzo Interrotto. Allegretto @24:00
V. Finale. Presto @28:16

Fritz Reiner and the Chicago Symphony Orchestra

This analysis was derived in part from David Cooper’s analysis in the Cambridge Guide to Bartok’s Cto for Orch.

Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.

For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):

magischmeisjeorkest·513 videos

SuperGMajor7·168 videos