Haydn: 2. Cellokonzert D-Dur ∙ hr-Sinfonieorchester ∙ Steven Isserlis ∙ Richard Egarr

[@destroygaryfunky7053]

The look on Steven's face when he knows he's nailed a difficult passage,........priceless.

[@StefanMihailescu]

what minute in the concert?

[@bartvandelint]

I have never ever in my life heard such a fascinatingly good performance of haydn in D, im in awe...

[@rnnyhoff]

Such an extraordinary cellist and equal presence (the hair or course) with his engaged, loving demeanor for the music. Steven Isserlis is the complete artist. Bravo! to his performance with a superb orchestra and remarkable conductor/harpsichordist Richard Egarr.

[@eugenevlassis7231]

Steven Isserlis performs Haydn's Concerto in D with such brilliance... I am enamoured with his stage presence, much like an actor having such fluid expression immersed in the character of leading role. Such emotional sensitivity, exuberance and articulation is so rare! He conveys the sensitive and bold nature of this piece with excitement and virtuosity. As a cellist, its as pleasing to the ear as it is engaging to watch and learn. He is an artist whose performances I will continue to enjoy.

[@jenc1551]

This is pure joy to watch. I love how it really is a collaboration between the soloist and the orchestra. So often concertos don't come off that way. Wonderful performance, wow!

[@ollehedstrom3536]

Completely charming, wonderful cellist. A big advantage that you have begun recording and rendering in 4K. This is heaven to listen to. Fast wie im Paradies zu sein.

[@jonathanstallickhomeopathy]

What I love about Steven’s Haydn performances is his complete grasp of dialogue elements within the solo and with the orchestra. It’s like he is speaking lines in a play. Such intelligence alongside his effortless technique makes it truly a joy to listen to and, as s cellist myself, to watch.

[@c08lam]

His play is always hilarious and vivid, it is great to be able to watch this.

[@andrewmclellan1197]

We had the huge good fortune to witness Isserlis perform this concerto in Ireland last night. There was a huge storm overnight, and the concert could have been cancelled, but the hall was packed and Isserlis lifted us to joyous heights with his energy, the beauty and delicacy of his tone, the depth of his musicianship. A life affirming and unforgettable experience. A complete musician and a wonderful, warm human being. Thank you Steven Isserlis. Please come back to Ireland soon. And please play the Chopin sonata 😅 ❤❤❤❤

[@atai99999]

one of the greatest cellist of the times!

[@leekirkland7755]

Such a joy to watch and listen to Steven.

[@paolofrigeriomusic3691]

i've listened a lot of version of this concert and finally....a whole new level of interpretation and interaction with the orchestra.... i also enjoy the few moments in "duo" with the harpsichord. Really top one. Thanks for the upload. Paolo italia

[@valeriechapman1612]

Haydn: 2 Cellokonzert D-Dur - hr - Sinfonie orchester - Steven Isserlis - Richard Egarr. I’m enjoying listening to this lovely piece of Cello music. What a joy to listen to talented musicians who can perform this delightful piece so well. I’ll definitely listen to this piece of music again. Thank You for sharing this music with me tonight. Truly enlightening. Absolutely divine.

[@sueveal4856]

A perfect, interactive relationship with this amazing ensemble! A sublime performance.

[@stephenjablonsky1941]

Haydn was amazing. It doesn't get better than this. Great performance.

[@santiagoulart]

The most perfect right hand technique that I have seen! ♥️

[@jonathanstallickhomeopathy]

And left hand technique, perfect balance and relaxation

[@santiagoulart]

@@jonathanstallickhomeopathy Indeed!

[@a-aron6133]

It always amazes me how little he looks at his instrument while playing. He’s got the technique down, so he can just relax, have a good time, and enjoy the music. 😁

[@zamfully]

There is nothing to look at in playing the cello. A cellist learns all the positions and they are in your head.

[@michaelrosa2015]

Actually, Isserlis addressed the issue of looking as he plays at a Juilliard masterclass. He said one should not be looking at their instrument (down) but out into the audience. He said something to affect about connecting with the audience even if not looking directly at someone. Otherwise, the tendency of many students to put their head down as they perform suggests of can be interpreted by the audience to the audience a sense of disconnect. My personal belief is that he is experiencing all the sensory aspects of playing the cello in the moment.

[@gena4745]

Rostropovich looks at his instrument, Shafran closes his eyes.

[@michaelrosa2015]

@@leonardoiglesias2394 So then since you have an issue with Steven Isserlis philosophy on performance practice, I suggest you take it up with him. As a former musician, I can attest to the fact that what he preached to a student in the master class is something that I was never advised to do. I always looked down at the fingerboard and my cello bow as i practiced and performed. Isserlis is renowned as a prestigious instrumentalist with credentials as a pedagogue to match. Ppl are interested in what he has to say on issues relevant to music and performance art. Isserlis clearly is comfortable as it were in his own way of doing things be it naturally derived or a function of his experiences and musical training. In other words, it works for him. He has many a devoted fan (and disciple, no less) who find his artistry compelling. One needn't look any further to the Julliard master class he conducted in 2018 in which he enunciated his perspective. The students who performed in the masterclass that day chose works he is renowned for - what does that tell you? They are extremely savvy to what he has to offer particularly in terms of performance art and interpretation.

[@michaelrosa2015]

@@leonardoiglesias2394 And you referenced his hairstyle, facial expressions, proclivity for smiling and aspects of the way he looks when he performs which I did not address bc he did not mention them as it pertains to comments made during the class. I frankly could care less about any of that. Most performances I listen to our not taken from videotape or live televised performances. The performers could be buck naked for all I know or care. I do know that where Isserlis is concerned, his interpretations are spot-on with respect to his knowledge of the composer, periodic style, and score. There is a method and in the Julliard masterclass and elsewhere, Isserlis is able to reconcile for the listener novice or seasoned virtually everything he does cellistically from left hand to right hand to the artistic and how each inform one another. His tutelage regarding both the Schumann Concerto and his online discussion regarding performance practice and the Beethoven Sonatas for cello and piano are evidence of that. I wish more musicians would take the time to express their perspective in regard to these matters especially as it relates to mentoring the up and coming generation of performers who are well positioned to benefit from what Isserlis has to offer. I'll leave it to you and others to concentrate on what they consider aesthetically relevant as it relates to personal appearance.

[@fekixrudolfbischof]

❤❤just sublime!

[@notaire2]

Wunderschöne und lebhafte Aufführung dieses perfekt komponierten Konzerts mit mildem doch gut phrasiertem Ton der technisch perfekten Solocellos sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt traumhaft. Der intelligente und geniale Cembalist/Dirigent leitet das kompakte und ausgezeichnete Orchester im gut analysierten Tempo und mit sorgfältig kontrollierter Dynamik. Wundervoll vom Anfang bis zum Ende!

[@mrgrinch8540]

If you think you have stage fright. a good way to avoid it is enjoying yourself on stage. If your happy in what your doing the fear pretty much leaves

[@nickyork8901]

How wonderful, looks like Christmas has come early!! I remember Richard Egarr when he was a student, bashing his way through a piano accompaniment (at sight) for me at a university orchestra audition...he's come a way since then.

[@kittikhunsodprasert5841]

Fantastic cadenza......!❤❤❤

[@jaroslavkulhan4077]

Fantastic , infectious joy , Stevens playing is quite efortless, wonderful orchestra. BRAVISSIMO!!!!!

[@karlheiden1168]

Steven Isserlis ist sichtlich verliebt in sein Instrument und die Musik, die ihm gekonnt entlockt wird: Es ist eine Freude, ihm zuzuhören und dabei auch zusehen zu können! 😄🌻

[@leonardoiglesias2394]

Man kann sich einbilden was man will…..

[@onthebrink4735]

@@leonardoiglesias2394 Apparently you can't ! Simple man that you are.

[@stevegebhart8388]

To play this concerto requires that you sing it joyfully. This performance is the best, most joyful I have heard. Bravo, Isserlis. Keep it coming for us admirers.

[@johnreynolds5407]

Glorious. Thank you so much.

[@Mo.Ba.41]

Wunderbar

[@claudiaochoacruz]

BRAVISSIMO!! 🎶💙🎶 Thank you so much for sharing! 🤗

[@Myung_sung]

0:07 1. Allegro moderato 12:19 Cadenza 14:29 2. Adagio 19:37 3. Rondo. Allegro

[@axelox8026]

Which Cadenza is this? Gendron?

[@johnalexander4946]

So great. “In Gut We Trust!”

[@andrewmclellan1197]

😂

[@marmeecruz6191]

Beautiful! Wonderful cellist! 🤩

[@SleepyCello]

Amazing cello music..! 💗💗💗💗💗💗💗

[@СветланаФадеева-ъ3ш]

relaxing music.wonder...the teacher of greatest...thanks from spb.викингам привет

[@svenjonascarlson3515]

Fantastic! Isserlis in great form with this great orchestra.

[@AdysondaSilvaDiogenes]

Beautiful. Thank you!

[@ceciliaholm1840]

What a joy to listen to Isserlis konsert! Wonderful!

[@ginunescello]

The best performance of all KZbin!

[@4nkur5ahamusic]

Heavenly interpretation!

[@henriquemarioamorim5811]

Desempenho maravilhoso ! Soberbo !

[@88jackie72]

Thank you for the greatest performance. I enjoyed so much.

[@kn9ioutom]

MAJESTIC !!!

[@matelotjoe]

Just fist class playing, a true showman.

[@Discovery_and_Change]

1st movement 0:07 begins | 12:07 energy | 13:59 ending 2nd movement 14:28 begins 3rd movement 19:38 begins | 24:14 ending

[@王維中-e1f]

第一次聽到海頓大提琴協奏曲in D還加入鍵琴的版本真的很👍👍

[@rubenravier]

Magnifique ! 🤩👏👏🔥🎻

[@Johnluthecomposer]

5:38 what a sweet, sweet moment

[@albusdumbledore6578]

so beautiful, so charming

[@Y4gmilo]

Evde kaos olduğunda son ses dinliyorum. Müthiş bir parça, sanatı seviyorum. İşte tam da bu nedenle suan masamdayım ve ders calısıyorum.

[@alexfranciscocello]

Bravo. Amazing !!!!

[@alysrodriguez]

toca. con el corazon......

[@bcjohnson3]

1. Where is the audience?? Are those open seats due to the pandemic? But more importantly, 2. Jacqui du Pre was looking down from heaven and smiling. Truly, bravo!

[@redbrian3655]

yes Covid

[@zamfully]

A marvelous musician and cellist.

[@einarkazakov8436]

Thank you!

[@nainposteur55]

Merveilleux...

[@dennispientak]

Wow! Fantastisch.

[@paolorumignani5418]

Fabulous

[@jeanpralica462]

So much joy...

[@СветланаФадеева-ъ3ш]

super.simply haydn

[@gasparocelloman9852]

Fabulous!

[@JoseSilva-hp6ob]

wonderful

[@tue-hainguyen3632]

Passionately charm

[@MiguelCasado7]

Best version of Haydn d

[@mArc0-k4x1h]

Bellissimo😍😍😍😍

[@biancavonmuhlendorf2608]

very good

[@djloera1]

I’ve only listened to 5mins of the piece and I wonder why the auditorium is empty? It’s a great performance; the symphony along the soloist are very musically disciplined!

[@matelotjoe]

The 'soloist ' ! He's only one of the greatest cellist this country has to offer. 🤩😇

[@djloera1]

I finally was able to listen to the performance. Superb musicianship across the stage!

[@matelotjoe]

@@djloera1 🤗

[@vgalea]

At 7:23, is the conductor/harpsichordist really checking his cell phone?

[@stevenhu5601]

No, it's his face mask

[@seanmusicianinklang2411]

YES, WITH HARPSICHORD! 😭

[@4nkur5ahamusic]

Why u so sad about the harpsichord bro? 🧐

[@seanmusicianinklang2411]

@@4nkur5ahamusic Sad by saying yes????🤣🤣🤣

[@4nkur5ahamusic]

@@seanmusicianinklang2411 Oh I see 😂😂

[@whosaysitmatters]

Particularly lack lustre harpsichord playing

[@aidenbielefeld5005]

@@whosaysitmatters That's how harpsichord works, no dynamics. Really only one tone quality to be produced

[@StephenBryen]

A triumph.

[@fitwise-health]

The hair gives him talent and power, the hair is hairing

[@mannysilva3417]

On par with the performance I have heard from the late great cellist Jacqueline Du Pre.

[@petercrosland5502]

Sadly way better, Ms Du Ore's performance was great but the orchestra wasn't. Her hubby never really got Haydn.Once described as conducting with the ease of a man holding his wife's handbag.

[@petercrosland5502]

A young David Mitchell on violin, where I have always though he belonged. Lovely piece, a freebie as far as anyone knows, to departing first cellist, rest of massive 20-odd piece orchestra joins in the fun. Typical Haydn, glass three quarters full but you need an orchestra that knows this.

[@petercrosland5502]

@Alcina Hi Alcina, 1st sentence only makes sense if you are in UK. 2nd. It was supposedly written as a gift to the first cello who was leaving to take up a better job and I suppose as sort of CV. as this one is still on the tricky side. He had done the same thing years earlier - No 1 in C. Any help?

[@petercrosland5502]

@Alcina Don't know, I did say a young David Mitchell! As for the concertos it's all a long time ago and both were thought lost until the 1960's. There is supposed to be one still missing, with another of doubtful origin still out there.I tthink the orchestra largely stayed together with Haydn and Beethoven, even after the were officially disbanded.

[@sangayoon3152]

02:46 aww 15:51

[@gulkaiyrtaalaibekkyzy1308]

👏👏👏😍😍

[@paul-wieting]

Didn't know that Sir Simon also plays cello ;-)

[@jakeranaudo3006]

It's Steven Isserlis! Not Simon Rattle!

[@PROD4LOOP]

Crazy

[@Jayvyn-sz1sx]

Anyone know where I can find the cadenza for the first mvt?

[@michaelrosa2015]

I tweeted Isserlis that very question and he didn't answer. My guess is he wrote it. Your thoughts...

[@CelloHub]

Yes, he wrote it. Tell me your email and I can send it to you :)

[@cellopera]

@@CelloHubcould you also send me a copy?

[@brynneberry7443]

Is there sheet music for this anywere? If yes, how can I get it? It is beautiful:)

[@hyundal.]

1:40

[@axelsohn1454]

Isserlis is a great cellist and always thoughtful about the music, its narrative, and intention, but this interpretation seems, at least to me, a bit mannered and overdone- and maybe sometimes a bit too casual, and with that a bit sloppy- including the facial expressions. My opinion only, and anyway what do I know? There are many ways to interpret a work and one should always seek a better understanding of a work and different ways to express its underlying meaning and expressive qualities each time one revisits it. Perhaps, my sensibility is because when a youth, I was greatly influenced by Gendron's rendition and cadenza, and years later by Harvey Shapiro teaching, and also by Starker's discussion of the piece.

[@michaelrosa2015]

Does anyone know what cadenzas he uses?

[@LCMM2150]

Kommentar, um den Kanal zu helfen.

[@spectator4066]

The fast passages too rough for my taste. Unmatched Maurice Gendron with his wonderful cadenza ….

[@normannwozzhoff]

Warum ist der Saal so leer? 🥺

[@xy43214]

Pandemic my dear, unfortunately.

[@kingchubbythe1541]

7:25

[@ILikeBirds]

22:10 23:15

[@pedroruiz193]

That's funny, he plays also with the other cellos the orchestral introduction.

[@leonardoiglesias2394]

Muchas veces me despierto en la mitad de la noche por ataques de risa que me dan acordandome de que el toca la introduccion con la orquesta! Mi mujer esta por echarme de la casa.

[@kingchubbythe1541]

17:36

[@사아누]

26:12

[@timothypage5482]

Is that 21st position where he almost goes off the fingerboard? LOL

[@Cellosong2007]

3:10 Auf der heide… what

[@정풍해정]

하프식 코드라니 미라인 코드뫄 ~~ㅎㅎ

[@winglow7615]

The soloist had to wear long hair and men of the orchestra were not allowed to wear long hair?

[@LloydRMaes]

Overly romanticized rather unHaydnesque if there is such a word. Seems like performances are of one extreme or the other. George Cleve conducted this works so fast that it was practically impossible for The soloist to play.

[@elaineblackhurst1509]

Haydnesque is the correct adjective for Haydn just as Mozartian or Beethovenian is for Mozart and Beethoven; un-Haydnesque (with or without hyphen) is good, as is un-Mozartian and un-Beethovenian. Actually, I think the whole piece is un-Haydnesque, never mind the performance, it has almost none of the characteristic Haydnesque sense of direction, forward momentum and purpose, but instead just meanders along in a very odd manner; additionally, ‘Here we go gathering nuts in May’ (if I might irreverently label it as such) is also a most un-Haynesque melody.

[@KBMars]

Beautiful playing, especially by the orchestra, the cadenza does not fit the piece and composer

[@LorenzoDeLeon]

Great technique, but for some reason I can’t put my finger on, I don’t like his playing. There is something hollow, a lack of gravity… If playing music is telling a story, I would say I can’t follow his storyline, I get lost very easily. Really weird…

[@merino1869]

So I listened to some of this and thought it was pretty good. Then I listened to Bruno Delepelaire play it with the Berlin Philharmonic and now I find this Isserlis version nearly unbearable. It's skilled and unique and lively but it's not Haydn. Delepelaire's interpretation is absolutely clean, with an angelic pure tone and precise intonation and totally Classical. The sliding into notes and overwrought vibrato and scratchy/scrubby tone here is not period-appropriate and turns it into some late-Romantic mutant. Vastly prefer Delepelaire or Mischa Maisky.

[@andrewmclellan1197]

With great music, there is room for many wonderful interpretations. Music is not a competitive sport. Thankfully. We have no recordings from the 18th century and so we have no idea, in truth, how Antonin Kraft played the piece. ❤

[@andrewmclellan1197]

The only questions are, is this beautiful, passionate, moving. Has the cellist studied and understood the music. Yes it is. Yes he has ❤

[@pedroruiz193]

1:56 That flourish is not in the score. The guy really can't wait to get to the cadenza to start showing off. This concerto is often conducted by the soloist himself. I am amazed he didn't insist in conducting himself also.

[@michaelrosa2015]

How is the opening 'flourish' not in the score? Haydn's manuscript is available online and anyone can see for themselves every note Isserlis played is included in the manuscript. Isserlis himself has said he is not a conductor but on certain occasions he will lead an orchestra while playing the solo part. He and the conductor in this recording, Richard Egarr, have a long-standing relationship which harkens back to concerts they did together as a cello-harpsichord duo.

[@pedroruiz193]

@@michaelrosa2015 It's not in the score. It's even out of style for Haydn. It was the classicism. How in the world was he, Haydn, going to write such a flourish? Listen to other performances, the guy just made it up.

[@pedroruiz193]

@@michaelrosa2015 Ok, 2 triplets. I had a simplified score.

[@michaelrosa2015]

@@pedroruiz193 I just compared what Isserlis played to a copy of the original manuscript which is available btw online. It was note for note. If you're talking about 1:56 he plays B natural quarter note tied over to sixteenth note sextuplet grouping (B held over, D, C#, C, B, B-flat) to an A which comes on the 3rd beat. He fingers it 1-on the B tied over, to three on the D, 2 on the C#, then, I believe, 1 on the C natural before shifting although it happens very quickly and is hard to see clearly the actual fingering. There other performances online which are identical with respect to that opening solo statement. Here is the manuscript copy - kzbin.info/www/bejne/jWfNp5hpr5dljM0

[@michaelrosa2015]

@@pedroruiz193 What I am interested in knowing is the cadenzas he used which I have been unable to identify...did Isserlis write them or at least abridge somebody else's work? I think the argument can be made that stylistically they are departure from that period what with snippets of motives juxtaposed against one another and then developed with great efficiency. I have heard other performers do something similar. Certainly, it sounds different and one can quibble with authenticity with what would have been written during Haydn's time. But I find these which Isserlis is using interesting.

[@fitwise-health]

The hair is hairing

[@andrewmclellan1197]

😍😍😍😍

[@waindayoungthain2147]

Dead or alive 😀for noble reason 🎁😸aggression🙏🏻Swe dim support if’s Julian died😹🙏🏻? Noble for 😹?

[@playermartin286]

Too agogic for my taste.

[@MrFpam]

What a shame you have such a narrow taste, or are you just trying to be clever?

[@GiaMeziridis]

He is right! not to compare with Gendron, Casals tempi are ideal.

[@leonardoiglesias2394]

Agonic, yes.

[@jonathanstallickhomeopathy]

Noooo! Agogic accents allow fluidity and flexibility of line without becoming mechanical. So many cellists play 4 square! Boring imo! I studied with Jane Cowan, Steven’s teacher and agogic accents were a cornerstone of her teaching !

[@jonathanstallickhomeopathy]

Noooo! Agogic accents allow fluidity and flexibility of line without becoming mechanical. So many cellists play 4 square! Boring imo! I studied with Jane Cowan, Steven’s teacher and agogic accents were a cornerstone of her teaching !