10 ай бұрын
4 жыл бұрын
4 жыл бұрын
Пікірлер
@gustavopalma9451 6 күн бұрын
Subime!
@gustavopalma9451 6 күн бұрын
Portentoso, como debe ser.
@edwardadams5226 12 күн бұрын
Amazing clarity
@newdigitalremasters 21 күн бұрын
李白 (Li Bai) (701-762CE) 《悲歌行》 悲來乎，悲來乎！ 主人有酒且莫斟，聽我一曲悲來吟。 悲來不吟還不笑，天下無人知我心。 君有數斗酒，我有三尺琴。 琴鳴酒樂兩相得，一杯不啻千鈞金。 悲來乎，悲來乎！ 天雖長，地雖久，金玉滿堂應不守。 富貴百年能幾何，死生一度人皆有。 孤猨(猿)坐啼墳上月，且須一盡杯中酒。 悲來乎，悲來乎！ 鳳皇不至河無圖，微子去之箕子奴。 漢帝不憶李將軍，楚王放却屈大夫。 悲來乎，悲來乎！ 秦家李斯早追悔，虛名撥向身之外。 范子何曾愛五湖，功成名遂身自退。 劒是一夫用，書能知姓名。 惠施不肯干萬乘，卜式未必窮一經。 還須黑頭取方伯，莫謾白首爲儒生。 悲來乎 悲來乎 主人有酒且莫斟 聽我一曲悲來吟 悲來不吟還不笑 天下無人知我心 君有數斗酒 我有三尺琴 琴鳴酒樂兩相得 一杯不啻千鈞金 悲來乎 悲來乎 天雖長 地雖久 金玉滿堂應不守 富貴百年能幾何 死生一度人皆有 孤猿坐啼墳上月 且須一盡悲中酒
@newdigitalremasters 21 күн бұрын
KZbin assessed this upload a "loudness penalty" of -31%. To restore this upload to its original loudness, please increase your volume by 3.3dB. KZbin claims its loudness normalization does not affect the dynamic range, it only lowers the volume of an upload if it exceeds -14 LUFS, a loudness level KZbin deems suitable for computer speakers and mobile devices. My uploads are often set to a volume just below the onset of distortion / clipping, and/or just a hairline below permanent hearing damage-- "PHD minus epsilon".
@user-dh4mi6ir2m Ай бұрын
What measure numbers are at 2:54, at 12:52, and at 23:11?
@user-dh4mi6ir2m Ай бұрын
What measure # is @ 0:37?
@lorrainechamberlain7818 Ай бұрын
I wore this album out in the 60s! Glorious.♥️🎶♥️
@jorgeraulmanfredini9226 Ай бұрын
Es la mejor version de esta magnifica obra, para mi!
@newdigitalremasters Ай бұрын
Glad you enjoyed it. Other great E minor symphonies featured in this channel are: Brahms' fourth Rachmaninov's second Tchaikovsky's fifth.
@tylercuddletail Ай бұрын
A Clockwork Orange brought me here!
@joedeegan3870 2 ай бұрын
Composed about the same tme as Beethoven's 9th. Is it heresey to consider it the equal af Beethoven's, or even the better of the two?
@newdigitalremasters 2 ай бұрын
Not at all. Beethoven lived to 57, Schubert to 31 and already Beethoven's equal.
@myfiftydodge Ай бұрын
WHO SAID "compare it to Beethoven's9th?" Taken on its own it is a star in the heavens.
@fmoll2509 3 ай бұрын
🥰
@stefanufer608 3 ай бұрын
Bloody excellent - I've never liked chamber music until this!
@newdigitalremasters 3 ай бұрын
Although I credited Mravinsky and Szell, KZbin still misidentified this as by Evgeny Svetlanov and Hans Müller-Kray. Google's AI? What AI?
@SteffLoui88 4 ай бұрын
Well...here I am...Conker the King...King of all the land...and who'd have thought that?
@wallentin76 4 ай бұрын
I am number 200. I celebrate with a clockwork orange and milk...
@alecsachs9082 4 ай бұрын
15:33
@newdigitalremasters 4 ай бұрын
BIS blocked all its Suzuki 鈴木雅明 and Bach Collegium Japan recordings 'Worldwide" on KZbin until recently. This remaster was made in February 2012. Suzuki's Bach Collegium Japan (BCJ) concert pitch is a' = 465, derived from measuring pre-Leipzig organ pipes. Today's standard concert pitch is a = 440, thus a# = 466.164, which is below JND from BCJ's a = 465.
@liltick102 6 ай бұрын
Right right?
@milly5688 6 ай бұрын
movement 2- 7:10 movement 3- 10:00 movement 4- 11:08
@newdigitalremasters 6 ай бұрын
"Music: Strauss' Four Last Songs. For the profundity that is achieved not by complexity but by clarity and simplicity. For the purity of the sentiment about death and parting and loss. For the long melodic line spinning out and the female voice soaring and soaring. For the repose and composure and gracefulness and the intense beauty of the soaring. For the ways one is drawn into the tremendous arc of heartbreak. The composer drops all masks and, at the age of eighty-two, stands before you naked. And you dissolve." (From Philip Roth's "Exit Ghost") "Musik: Strauss' Vier letzte Lieder. Für die Tiefe, die nicht durch Komplexität, sondern durch Klarheit und Einfachheit erreicht wird. Für die Reinheit des Sentiments über Tod und Abschied und Verlust. Für die lange melodische Linie, die sich dreht und die weibliche Stimme emporsteigt und Für die Ruhe und Gelassenheit und Anmut und die intensive Schönheit des Aufsteigens Für die Wege, die man in den ungeheuren Bogen des Leids zieht Der Komponist lässt alle Masken fallen und steht im Alter von zweiundachtzig Jahren nackt vor Ihnen. Und du löst dich auf. " (Aus Philip Roths "Exit Ghost")
@newdigitalremasters 6 ай бұрын
"Music: Strauss' Four Last Songs. For the profundity that is achieved not by complexity but by clarity and simplicity. For the purity of the sentiment about death and parting and loss. For the long melodic line spinning out and the female voice soaring and soaring. For the repose and composure and gracefulness and the intense beauty of the soaring. For the ways one is drawn into the tremendous arc of heartbreak. The composer drops all masks and, at the age of eighty-two, stands before you naked. And you dissolve." (From Philip Roth's "Exit Ghost") "Musik: Strauss' Vier letzte Lieder. Für die Tiefe, die nicht durch Komplexität, sondern durch Klarheit und Einfachheit erreicht wird. Für die Reinheit des Sentiments über Tod und Abschied und Verlust. Für die lange melodische Linie, die sich dreht und die weibliche Stimme emporsteigt und Für die Ruhe und Gelassenheit und Anmut und die intensive Schönheit des Aufsteigens Für die Wege, die man in den ungeheuren Bogen des Leids zieht Der Komponist lässt alle Masken fallen und steht im Alter von zweiundachtzig Jahren nackt vor Ihnen. Und du löst dich auf. " (Aus Philip Roths "Exit Ghost")
@newdigitalremasters 6 ай бұрын
From Philip Roth's "Exit Ghost": "Music: Strauss' Four Last Songs. For the profundity that is achieved not by complexity but by clarity and simplicity. For the purity of the sentiment about death and parting and loss. For the long melodic line spinning out and the female voice soaring and soaring. For the repose and composure and gracefulness and the intense beauty of the soaring. For the ways one is drawn into the tremendous arc of heartbreak. The composer drops all masks and, at the age of eighty-two, stands before you naked. And you dissolve." Aus Philip Roth's "Exit Ghost": "Musik: Strauss' Vier letzte Lieder. Für die Tiefe, die nicht durch Komplexität, sondern durch Klarheit und Einfachheit erreicht wird. Für die Reinheit des Sentiments über Tod und Abschied und Verlust. Für die lange melodische Linie, die sich dreht und die weibliche Stimme emporsteigt und Für die Ruhe und Gelassenheit und Anmut und die intensive Schönheit des Aufsteigens Für die Wege, die man in den ungeheuren Bogen des Leids zieht Der Komponist lässt alle Masken fallen und steht im Alter von zweiundachtzig Jahren nackt vor Ihnen. Und du löst dich auf. "
@newdigitalremasters 7 ай бұрын
Some prefer the 1963 recording. That's why I uploaded both. 1965 recording: kzbin.info/www/bejne/mpfGk4mPi8ibjJo
@pakopakomama754 7 ай бұрын
11:25〜 God Save the King 😊
@peterquennellnyc 7 ай бұрын
This is where in 1960 Gould & Bernstein and the NY Philharmonic record the Bach keyboard concerto in D minor, I presume? Combined KZbin views around 5m now. If yes might you put something out about that? I think many suppose it was at Lincoln Center, which wasn't yet built, or at a main CBS studio or at Steinway Hall. Googling all over the place finally landed me here. (I heard the full Goldberg Variations played 2 weeks ago without sheet music by Cameron Carpenter on the incredible new monster of an organ at Geffen Hall. Beat a path to hear that organ guys...)
@newdigitalremasters 8 ай бұрын
Rachmaninov's Piano Concerto No. 2 was voted number 1 in Classic FM Hall of Fame's top 300 on 10 April 2023, and the top 1 or 2 positions since 1996. Beethoven's Piano Concerto No. 5 (known as the "Emperor Concerto" in the English speaking world) came in at number 6. The Classic FM Hall of Fame is an annual compilation of the most popular 300 classical works as polled by listeners of Classic FM through a public vote. With more than 200,000 voters, each choosing their three favourites in order of preference, Classic FM claim their Hall of Fame is the world's most comprehensive poll of classical music tastes. (Wikipedia)
@coryjorgensen622 8 ай бұрын
The Ninth may well be the greatest piece ever conceived by the human mind. I got to perform it in college. Mind blowing experience.
@kcr7860 8 ай бұрын
Dankeschön.
@newdigitalremasters 8 ай бұрын
To play the entire album, please go to my ''playlist''.
@newdigitalremasters 8 ай бұрын
Excerpted from Richard Powers' 1991 Novel, "The Gold Bug Variations" Chapter XXVII, pp 577-578: _The Goldberg Variations_ Its published name is wildly unassuming: “Keyboard Practice, Part IV. Composed for music lovers to refresh their spirits." One of only a handful of his thousand compositions to be published in his lifetime, in a form he never cared for, although perfected here. Bach's first biographer tells the story, already thirdhand, of how Count Kaiserling, former Russian ambassador to Saxony, employed a young harpsichordist named Goldberg, one of Bach's star pupils. Goldberg's duties included making soft music in an adjoining room on those frequent nights when the Count had trouble sleeping. The Count commissioned Bach to compose for Goldberg something “of a soft and somewhat lively character," to assist against this periodic insomnia. A musical calmative, a treatment that now consists of two tablets and the low drone of talk radio. Theme and variations, a form limited to "the sameness of the fundamental harmony" throughout, was just the ticket: sedative, soporific permutations jumping like counted sheep over a stile. From beginning to end, the Goldbergs were conceived, if not as an attempt to sing the listener to sleep, as a catalog that would at least keep the sleepless sufferer company, to hold at theme’s length the nightmare of wakefulness. The best one can be is either doctor or musician. Both, if possible. For this work, legend has it, Bach was rewarded with a goblet of one hundred gold louis, more than he was paid for scores of other works combined. The ambassador got off cheaply, taking possession of one of the supreme works in music history. Throughout the rest of his life, he referred to the piece as if it were his own composition. “Dear Goldberg, do play me one of _my_ variations.“ So much for the reading tale. The stuff any librarian can turn up. As for the architecture: the Goldbergs are twice as long as any previous variation collection. They form the most virtuosic and demanding piece for solo keyboard in any form until middle Beethoven. The set is built around a scheme of infinitely supple, proliferating relations. Each of the thirty is a complete Ontogeny, unfolding until it denies that it differs at conception from all siblings by only the smallest mutation. Together they achieve a technical inventiveness and profundity unsurpassed in the rest of music, a catalog hinting at every aspect of tonal experience. And the whole archive is hatched from an insipidly simple theme. One musicologist tried to convince a fellow scholar that the germ aria, a heavily ornamented period piece, was not even Bach's own. The eminent colleague disappeared into his study, emerging some time later (like Von Neumann affirming the obvious) shaking his head. “You're right. It's a piece of French fluff," Bach's first act out of the block is to strip down this aria bacterium to its even simpler bass. For the longest time, until Ressler pointed it out, I couldn't hear how the wayward offspring had anything to do with parent. That's because the variations aren't descended from the aria per se. Rather. the aria itself is just another variation, built upon the all-generating, sarabande Base:.....
@newdigitalremasters 9 ай бұрын
KZbin assessed this upload a "loudness penalty" of -38%. To restore this upload to its original loudness, please increase your volume by 4.1dB. KZbin claims its loudness normalization does not affect the dynamic range, it only lowers the volume of an upload if it exceeds -14 LUFS, a loudness level KZbin deems suitable for computer speakers and mobile devices. My uploads are often set to a volume just below the onset of distortion / clipping, and/or just a hairline below permanent hearing damage-- "PHD minus epsilon".
@mikematics 9 ай бұрын
Wirklich toll gespielt, aber der Sound ist schrecklich. Viel zu viel Hall. Ich bevorzuge den natürlichen Klang eines Klaviers/Flügels, wie man ihn z.B. auf den Aufnahmen von Gould hört.
@lionelthiebaud7081 9 ай бұрын
Inégalable et inégalée Schwarzkopf dans ce lieder de Strauss, ou sa voix fait absolument merveille, une fragilité consentie et une poésie unique, merci surtout à Strauss pour ce chef d'œuvre absolu
@newdigitalremasters 9 ай бұрын
1 minute 34 seconds of Serenity Effortless yet perfectly controlled voice, hauntingly beautiful horn solo. "Langsam tut er "Slowly he closes die müdgeword'nen Augen zu." his weary eyes." kzbin.info/www/bejne/qpOpZXmJisShrsk&ab_channel=NewDigitalRemasters
@theophilos0910 10 ай бұрын
Playing the great Sebastian Bach on a huge modern Steinway grand piano tun’d to A=440 Hz (and not on an 18th century harpsichord or clavichord with the proper well-temperaments set Bach’s own A= 425Hz) is a little like performing Beethoven’s Ninth Symphony using only kazoos - it is a case of grossly misplac’d energy and despite Gouid’s ‘mechanicus’ artistry it does not quite work…more’s’ the pity
@fridericusrex9812 10 ай бұрын
What? That's utter nonsense.
@theophilos0910 10 ай бұрын
@@fridericusrex9812 - try listening to the Great Sebastian Bach on period instruments and the specific tuning he himself would have recognized and for which he composed his Klavier & organ compositions - then compare the mush that Gould foists on the general public who simply does not know any better-if the great Bach wanted to write for a monster 88-keyed modern Steinway Grand Concert Piano at A=440Hz with ‘equal 12-tone temperament’ he would have written very very different music - Now you think on THAT.
@DoomrodKilgard 10 ай бұрын
@@theophilos0910 No one knows what Bach would have composed had he had a piano, and a piano vs. a band of kazoos is a ridiculous analogy. It's nice that you prefer period recreations, but let other people enjoy what they prefer.
@theophilos0910 10 ай бұрын
@@DoomrodKilgard - I will have to admit that there are probably a sizeable group of people who would ONLY listen to Beethoven’s Symphonies played by eight 12-year olds playing Kazoos - or as Johann Joseph Fux wrote in his famous contrapuntal treatise Gradus and Parnassum (1725) de Gustu (‘When it comes to the subject of Taste all I can tell you, my very dear Joseph, is the old axiom from Cicero ‘for those who like that sort of thing, that’s the sort of thing they like…’ [de gustibus non disputandum est…’] is sadly, all too true these days…alas.’ Fux then goes on to relate an amusing story of a French nobleman (‘Mssr Bellegarde’) who abandoned his tree-lin’d chateau because he couldn’t bear the sound of the larks - and mov’d into a shack near a secluded swamp where only frogs could be heard croaking day & night - which to his mind was more beautiful & exquisite a sound than any musical composition written by any composer living or dead…’ LoL
@newdigitalremasters 10 ай бұрын
Equal-temperament and Well-temperament are not synonymous. There are still lively debates about the temperament of Bach's "Well Tempered Clavier". Bach has been played from period instruments to accordions to digital synthesizers. For Bach, there are no limits, no obstacles. You need to provide references to your support claims. Here are my references: • Masaaki Suzuki, who has recorded the entire Bach-Werke-Verzeichnis with his Bach Collegium Japan (BCJ), and was a visiting professor at Princeton, visited Leipzig about 40 years ago and measured the lengths of pre-Leipzig organ pipes concluded that a' = 465, and used this as BCJ's concert pitch. Current ''Standard'' concert pitch is a' = 440, thus a#' = 466.164, which is below JND from BCJ's a' = 465 • Some idea of the variance in pitches can be gained by examining old pitchpipes, organ pipes and other sources. For example, an English pitchpipe from 1720 plays the A above middle C at 380 Hz, while the organs played by Johann Sebastian Bach in Hamburg, Leipzig and Weimar were pitched at A = 480 Hz, a difference of around four semitones. In other words, the A produced by the 1720 pitchpipe would have been at the same frequency as the F on one of Bach's organs. (Wikipedia) • Many modern ensembles which specialize in the performance of Baroque music have agreed on a standard of A = 415 Hz.[2] An exact equal-tempered semitone lower than A = 440 would be 440/21/12 = 415.3047 Hz; this is rounded to the nearest integer. In principle this allows for playing along with modern fixed-pitch instruments if their parts are transposed down a semitone. It is, however, common performance practice, especially in the German Baroque idiom, to tune certain works to Chorton, approximately a semitone higher than A-440 (460-470 Hz) (e.g., Pre-Leipzig period cantatas of Bach). (Wikipedia)
@newdigitalremasters 10 ай бұрын
KZbin assessed this upload a "loudness penalty" of -23%. To restore this upload to its original loudness, please increase your volume by 2.3dB. KZbin claims its loudness normalization does not affect the dynamic range, it only lowers the volume of an upload if it exceeds -14 LUFS, a loudness level KZbin deems suitable for computer speakers and mobile devices. My uploads are often set to a volume just below the onset of distortion / clipping, and/or just a hairline below permanent hearing damage-- "PHD minus epsilon".
@mendax1773 10 ай бұрын
Oh, this is good. The tempo at the beginning is a bit slow for my taste but the scherzo, the "fugue from hell", amply makes up for it. It is monstrously violent, loud, and wickedly brutal and should be played with such ferocity that strings may break and that's what you hear here. Shostakovich's Fourth is a monsterpiece. Compare with Gavriil Popov's First Symphony, another monster of a symphony, first performed a bit before Shostakovich wrote his Fourth with Shostakovich in the audience. It's clear he was influenced by it.
@とうろう-y3i 10 ай бұрын
2:34
@newdigitalremasters 10 ай бұрын
In terms of buying power, the 1955 movie ticket price $3.50 is now worth $40 in 2023.
@newdigitalremasters 10 ай бұрын
KZbin assessed this upload a "loudness penalty" of -26%. To restore this upload to its original loudness, please increase your volume by 2.6dB. KZbin claims its loudness normalization does not affect the dynamic range, it only lowers the volume of an upload if it exceeds -14 LUFS, a loudness level KZbin deems suitable for computer speakers and mobile devices. My uploads are often set to a volume just below the onset of distortion / clipping, and/or just a hairline below permanent hearing damage-- "PHD minus epsilon".
@newdigitalremasters 10 ай бұрын
In terms of buying power, the 1955 movie ticket price $3.50 is now worth $40 in 2023.
@newdigitalremasters 10 ай бұрын
Shostakovich - How to Compose Music Despite: kzbin.info/www/bejne/g3Tbq4CPi9t7eMk&ab_channel=Tantacrul
@newdigitalremasters 10 ай бұрын
Shostakovich - How to Compose Music Despite: kzbin.info/www/bejne/g3Tbq4CPi9t7eMk&ab_channel=Tantacrul
@newdigitalremasters 10 ай бұрын
Shostakovich - How to Compose Music Despite: kzbin.info/www/bejne/g3Tbq4CPi9t7eMk&ab_channel=Tantacrul
@newdigitalremasters 10 ай бұрын
Shostakovich - How to Compose Music Despite: kzbin.info/www/bejne/g3Tbq4CPi9t7eMk&ab_channel=Tantacrul
@newdigitalremasters 10 ай бұрын
CT scan lights up with Richard Strauss' Four Last Songs: kzbin.info/www/bejne/rJDWgpKcl8SAZ7M&ab_channel=DavidBruceComposer
@newdigitalremasters 10 ай бұрын
KZbin assessed this upload a "loudness penalty" of -29%. To restore this upload to its original loudness, please increase your volume by 3dB. KZbin claims its loudness normalization does not affect the dynamic range, it only lowers the volume of an upload if it exceeds -14 LUFS, a loudness level KZbin deems suitable for computer speakers and mobile devices. My uploads are often set to a volume just below the onset of distortion / clipping, and/or just a hairline below permanent hearing damage-- "PHD minus epsilon".
@newdigitalremasters 10 ай бұрын
Ashkenazy defected from the USSR in 1963*, Kondrashin defected in 1978. All their works were immediately banned in the USSR and they became non-persons, as if they've never existed. Ashkenazy defected to the West for his artistic freedom, Kondrashin defected for the love of his life-- the Dutch Musicologist Nolda Broekstra. *Russia's Ashkenazy e Can't (Won't) Go Home Again. (New York Times. Jan. 23, 1972) www.nytimes.com/1972/01/23/archives/russias-ashkenazy-he-cant-wont-go-home-again-russias-ashkenazy.html
@smurf3084 11 ай бұрын
having listened to his 1955 in extensive detail, hearing these other takes is pure gold, the slight variations in his trills especially. Not sure why I love it so much buttido
@newdigitalremasters 10 ай бұрын
The 2000 Murray Perahia has the best trills. kzbin.info/www/bejne/nKLCYqOllMyIaZY&ab_channel=NewDigitalRemasters