Tschaikowsky: Rokoko-Variationen ∙ hr-Sinfonieorchester ∙ Anastasia Kobekina ∙ Anja Bihlmaier

[@marikateeaar-leesment8884]

Anastasia, you are my favorite cellist !!!

[@ElosoDelacueva-ge2qw]

Que sorpresa verte hay, te extrañamos, buena suerte, saludos desde Colombia.

[@davidumlauf1997]

This lady is absolutely "the stuff" What a dazzling performance

[@paulkoza8652]

A wonderful performance that highlights the entire range of this instrument. One of my favorite orchestras. I love to listen while preparing my evening meal. It is inspiring.

[@x27d9528449xp]

I like her ambitious interpretation. She is trying to show us a side of this famous song that no one has shown before. Although it doesn't always work out, she is willing to make this effort even with different songs.

[@dandee9692]

The caliber of Anastasia's technique is utterly otherworldly and of the highest definition. Bravo.

[@francy100173]

Semplicemente splendida

[@fabiusgraco5296]

Sensacional. Que belíssima interpretação desta icônica obra. Não há nada mais gratificante que ouvir uma boa música executada de modo perfeito. É por isso que amo esta orquestra.👏👏👏👏👏👏

[@LucienMarine]

The Variations on a Rococo Theme were originally composed for cello and piano. The cellist of German origin Wilhelm Fitzenhagen, professor at the Imperial Conservatory of Moscow, was the dedicatee. Tschaikowsky thanked him for having participated in the creation of his String Quartets. But Fitzenhagen considered this composition clumsy enough to correct it, the composer accepted structural modifications of the piece with this eminent cellist. The order of the variations as well as their registers were upset. The new version now consisted of an introduction, a theme and eight variations. The score testifies to the composer's attachment to the baroque and classical worlds. Italian sinfonia, French gallant style, and Viennese entertainment are skillfully brought together. The work appears to be representative of Russian academic post-romanticism. The orchestration corresponds to a formation with wind music stands in pairs and no percussion. A musical discourse borrow from Mozart, moreover, the romantic expression then seems more Germanic than Slavic. For the soloist, the partition is very technically demanding. She represents a catalog of the virtuosity of the cello in the mid-19th century, particularly for the high register of the instrument. Doing things right is better than just saying them *Lucien*

[@mariaesperanza6548]

Thank you for your comments, I didn’t know the circumstances

[@hpscottcard124]

That is all lovely. You forget to mention that Tchaikovsky sent the score to Fitz who dramatically changed the piece and then sent it off to the publisher. When Tchaikovsky got the final version back, he was horrified with what had been done but the print plates were made and that was it. Lesson is to never let a cellist have the final word.

[@LucienMarine]

@@hpscottcard124 I know the misadventure of this piece! Respect to Tchaikovsky. Comparing the two versions reveals that the original has some clumsiness, but that it is more inventive and closer to the spirit of the serenade. On the other hand, Fitzenhagen's edition follows the rules of the romantic concerto. The interpretation is certainly more rewarding for the soloist. *Lucien*

[@PhilippeColpaert]

She's coming in Brussels this year in Elgar concerto, divine, a great talent

[@SergPaul62]

Какая молодец...! :)

[@bens_dinner]

Wunderbar! Das Konzert für unsere Schule in Bruchköbel war auch ganz fantastisch. 🙏🏼

[@mariaesperanza6548]

Nice to see first flute Clara Estrada 😊

[@hansjuergenkohlhaas871]

From the back of my head - her name is Clara Andrada de la Calle. Please verify in the hrSO musicians list available in the orchestra's homepage.

[@philthefox1948]

You made a mix between Clara Andrada and conductor Orozco-Estrada😊.

[@mariaesperanza6548]

@@philthefox1948 oh yes! 😂

[@notarbolz926]

Sensationelle Interpretation dieses neoklassischen Meisterwerks durch die virtuose Solocellistin und das erfahrene hr-Sinfonieorchester. Die begabte Dirigentin leitet das Ensemble im veränderlichen doch gut gewählten Tempo und mit gut phrasiertem Tempo. Wahrlich wunderbar!

[@drgustavbakter4735]

'Begabte' only, not 'geniale'. I have taken a course on hermeneutical Notariologie to conclude that accirding to Notatre the conductor sucks.

[@gabrielangelherreramedina8566]

Great performace, the precision does not influence on the interpretation, you are vividly inspired by the music and you achieve to communicate that emotion.

[@closmartins]

The first rendition of this piece without any noticeable technical errors in the last variation since Yo-Yo Ma in the earl early 90's. Hitting perfectly these octaves is hard as hell, since almost everyb ody has had troubles in trying it. Rostropovich himself never hit it in recording

[@thatfreestyleguy]

Truls Mörk….

[@notaire2]

Wunderschöne und spannende Aufführung dieser romantischen und fein komponierten Variationen mit mildem doch gut phrasiertem Ton des genialen und technisch perfekten Solovioloncellos sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Die intelligente und ebenso geniale Dirigentin leitet das ausgezeichnete Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!

[@farimamosaddegh7586]

O my god very good ❤🎉

[@2leftfield]

I commented about the sound balance of the Schumann 4th symphony played at this same concert, and much the same problem is audible here: there is a woodwind spot mic that is too loud and causes the flutes to sound shrill. The cello solo spot mics are also a bit loud and bright, probably to overcome the over -loud woodwinds. This is not a performance issue--these fine players know how to play with proper acoustic balance. It is a recording balance issue--there are lots of spot mics in use, and the way they are interacting is unpleasant to the ear. This is not usual for Frankfort radio videos--usually the balance and perspective is pretty good. But in this concert, it almost sounds like there are no main pickup mics but everything is being done with spot mics. I say "almost", as I am sure are overhead mics for overall orchestra pickup, but the balance engineer has allowed the spot mics to overwhelm their signal. The result is strident and 2-dimensional sounding. I am sure this can be fixed (maybe the balance engineer had a cold? That can affect the hearing badly....) The performance is certainly very good, as we expect from this orchestra.

[@anonymeanonyme4634]

Every time inhear that piece of lovely music all the souvenirs ofmy childhood emerge from a deep ocean that i used to forget volontarily

[@anonymeanonyme4634]

deep ocean.

[@tomatehostil]

❤

[@chang2624]

16:32

[@Daniel-8im]

Does anyone know which strings she is using?

[@azecece1]

Hello, can we ear this capture on a physical media ? (CD, 33rpm)

[@cinziacallegari8675]

Strepitosa Nastya!

[@Will67267]

The performance was okay and not particularly in her best form. She sounded nervous and tight. Good job nevertheless.

[@turquisestones]

Female conductors don't have enough expressive power. This lack becomes quickly obvious in the performance of the orchestra they are conducting. All in all, music gets unnesessarily two soft.

[@c08lam]

Does she support Putin?

[@RZi-sk1co]

Look at "Konzert für Menschlichkeit und Frieden" from Künstlerhaus Boswil and you will get an astonishing answer even if you do not understand German.

[@jonatankaszkowiak]

@c08lam hope so

[@Zoorty_]

Why is this relevant?

[@ВладиславНовиков-э4у]

Плевать

[@danmahler9063]

You seem like a bright person @c08lam. Surely you can discern the answer in her playing.

[@chiarodiluna3163]

You should not allow a situation in which representatives of a criminal nation waging a cruel war have the right to travel around Europe and give concerts.

[@mizaelparedesvielma8221]

She is not representing more than herself and her art.

[@chiarodiluna3163]

@@mizaelparedesvielma8221 Is this exactly the same case as the case of Nazi Herbert von Karajan? Such nice justifications and absolutions indirectly fuel all this evil. They should have no right to travel around Europe or the world. Let her play in Moscow.

[@LaLaLaLa-qt9ft]

Sorry, but this is not fair to her. She was one of the first Russian artists to condemn the war against Ukraine. Please google her and do some research before condemning anybody based on their nationality.