Anton Webern - Im Sommerwind | WDR Sinfonieorchester | Jukka-Pekka Saraste

Anton Weberns "Im Sommerwind, Idyll für großes Orchester" spielte das WDR Sinfonieorchester unter der Leitung seines damaligen Chefdirigenten Jukka-Pekka Saraste am 13.06.2015 in der Kölner Philharmonie.
WDR Sinfonieorchester
Jukka-Pekka Saraste, Leitung
► Mehr zum Sinfonieorchester, zu Konzerten und aktuellen Livestreams gibt es bei www.wdr-sinfonieorchester.de
► Das WDR Sinfonieorchester bei Facebook wdrsinfonieorchester

[@carmenperalesgarrido3695]

Lo he escuchado esta mañana en la radio.Me ha encantado

[@jeanninevaquie3666]

Qu'estce que j'aime. Qu'est ce que cela m'appaise tout en m'émouvant profondement !

[@WDRKlassik]

Merci! 🤗

[@barreaugloria7743]

Si on connaît un peu Webern, on est confronté à une double surprise. Surprise de la découverte d'une musique post-romantique très affirmée, intrigante dans la façon dont le compositeur mène la mélodie, avec des arrêts, des lignes brisées, parfois avec une force à la Brückner, souvent avec des motifs délicats soutenus par un orchestre qui semble divisé en deux ou trois orchestres de chambre ( la leçon de Mahler). Surprise de ne pas du tout reconnaître le Webern moderniste, disciple de Schoenberg, musicien dodécaphoniste, rigoureux, minimaliste par moment. C'est peut-être dans cette rigueur de composition, dans le sens de la surprise par le minimum d'effet, que l'on peut trouver ici un lien avec le Webern qu'on connaît, et aussi dans le lyrisme contenu.

[@gudrunblanke3004]

Hat sehr gefallen

[@alexavakov7686]

Génial!!!!!!

[@WDRKlassik]

🤗

[@starxsirius1429]

different and intriguing

[@jessenowells2920]

I dare you to compose something at least as interesting.

[@barreaugloria7743]

J'oublie l' interprétation: elle est superbe de finesse et délicatesse dans les timbres.

[@WDRKlassik]

Merci beaucoup!

[@user-ms3uk3zf8o]

千賀子好

[@bomcabedal]

Okay, perhaps this will offend some people, but I think _Im Sommerwind_ is an _okay_ piece. Nothing less, nothing more, and it's clear that it mainly owes its airtime to the historical significance (and ultimate tragedy) of its creator. Or perhaps more cynically: people want to play Webern because he was so historically significant but they also want to listen to something less thorny than his mature works. This is a well-organized and beautifully orchestrated work, but it is also a bit dull in the end, and for an orchestral piece from this period (1904) it's most of all quite run-of-the-mill. I can easily sum up a half-dozen works from the same period that achieve similar results. That doesn't mean that it shouldn't be played, but it probably shouldn't be played for the reasons that it is. And yes, you can probably say the same about Schoenberg's _Verklärte Nacht_ with the proviso that at least _Im Sommerwind_ has its brevity going for it.

[@ChrisBreemer]

Not sure I agree with you. For one thing, I find the ending of sublime beauty, and not in the least "a bit dull". For another thing, does context really matter so much ? Ask yourself : had you listened blind to this, not knowing the year and composer, would you still have dubbed it run-off-the-mill and "okay but nothing more" ?

[@bomcabedal]

@@ChrisBreemer I wasn't talking about the ending of the piece so much as my conclusion after listening to all of it (... in the end). Apologies if that was phrased somewhat ambiguously. And regarding your second paragraph: yes, I probably would have. There are so many examples of this type of symphonic poem that it really needs to stand out. And sorry, but to me this doesn't. In the same year (1904), Hausegger wrote Wieland der Schmied, Lazzari produced Effet de Nuit, and Usandizaga Dans la Mer. I prefer either of those to Im Sommerwind. Again, not because it's bad but more because it feels a tad generic.