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the best live action holmes

Absolutely fantastic channel! Got here because of Bruckner, symphony 5. Really feel I get to expand my knowledge - and appreciation for the work(s).

The Pastoral Symphony is my favorite piece of music of all time.

Great discussion! If you’ve never heard his Piano Quartet, Op.12, then I would encourage you to listen to it. It is absolutely divine - it reminds me a little of the Beethoven Op.90 piano sonata.

Are there any sources you can advice (books, articles etc.) ?

Extremely helpful, thank you so much!! :)

Thanks for this, our orchestra is playing this next week and I will get so much more out of it after this analysis. There is a lot I would miss in the music without your run through. I particularly like your description of the second subject in the funeral march as a "personal reminisce". That really changed the way I listened to that movement.

I played in this

Well, well, well! I've FINALLY found THE right person for a David Bowie ranking! Fantastic job, Vince! Almost straight away, we've got someone who "gets" the power & effective brilliance of PINUPS! I've loved that sonically marvelous record since I bought it w/my allowance in 1974 (I was 8 it was my second new purchase after discovering my sister's Ziggy record in 1973) And w/PINUPS, the cover art AND those killer "back cover" shots absolutely define the audio delights within! When I was 8, and first looked at the back cover, that iconically badass "right bottom corner" shot of Bowie leaning to the mic 🎤 WAS "Rosalyn" -- a perfect visual definition of that song. "See Emily Play" is my favorite track, and all of the rest play off of each other brilliantly! So, I knew right there, this guy here, is a real fan. But that was furthered by him actually talking through every album...going through all or most of the tracks, in detail. And highlighting great songs as well. Do I agree with all of these LPs being ranked where they are? Well, no...For me, YOUNG AMERICANS, LOW and ALADDIN SANE are all top 5 or 7 albums. And man, 'c'mon, "PANIC IN DETROIT" is a brilliant & wholly powerful track! That said, I do agree with most of what Vince said here (and I love certain "song comments" as well, like..."Sweet Thing, Chant of The Ever Circling Skeletal Family, WIN, Station To Station, All The Madmen, Black Country Rock, Lady Grinning Soul, Golden Years, Blackout, Beauty and The Beast," etc .) and that's because he truly knows, "gets" and understands DAVID BOWIE of the 1970s! ...So he should be ranking these albums!! I do agree that "Hunky Dory" is a flat out brilliant pop rock LP, and at times, i wish i could rank it at the very top, but it's got one flat spot...just one. The only 70s Bowie song that just never moved me an inch ("Song For Bob Dylan"). Not into that one at all. If only that Spiders era, later '71 version of "Holy Holy" or the brilliant "John, I'm Only Dancing" (ChangesOneBowie version) single was there instead. Then....yes! Anyway, the problem with "most" Bowie YT rankers (who I naturally call wankers) is that they don't really know David Bowie of the 1970s. And they just fake it by going off Wiki comments or just some supposed regulated opinions. Feh.... I'm honestly so sick of watching people who don't "truly know & understand" Bowie do ranking shows like this. Especially David Bowie of all great artists!! I mean, you know right off that their bottom choices are going to be the same/standard I'll informed as all the other regular, pattered on bullshit opinions and write ups out there. And while some of those are indeed at, or near the bottom, others certainly are not. And the real Bowie fans know this. **Also, I'd like to say that DAVID LIVE at The Tower Philadelphia is an incredible LIVE album. And I'm not just saying that because The Tower is one of my local venues. That Diamond Dogs-centric set is brilliant! Bowie killing it on vocals, and Earl Slick inspiring my future on spine-melting guitar! 🎸 Marc ⚡

Hey, how about analysing Peter Jan Marthé's Finale to Bruckner's 9th. Should be a giggle...

Can I get the notes for this piece?

You say the Scherzo is in classic A|B|A form but with the "A" section in ternary with "Development" -- does that mean it's Sonata form like in Beethoven's 9th Scherzo? I hear it as ABA|C(Trio)|ABA, but that "B" never sounded like much of a Development, but more a softer, lighter variation of "A." And there's only one theme, right? Or maybe I'm just way off base? ;) Cheers!

Did you know that the tune in 9:39 appears also once in the first movement during the last developing section? It is played by the trumpets before the climax.

Why did Mendelssohn insert the passages of fanfare and marching motifs, evoking a disciplined military activity? They seem so at odds with the ambience of the flowing waves, the passion of natural rhythms, the uncontrollable energy of the wild. What are the two themes doing in the same piece? Early on, you suggested that the fanfare might be the horns of passing boats, an idea that's appealing, but the fanfare leads to the marching motif, going beyond boat horns. I'm lost here. What's your take on this odd mix? I value anyone's input, thanks!

great analysis!

Thanks for this. i have a couple of pet "angry" ducks - I can't get in my head that they sound anything like the bassoons - nice try though. Now, the two trumpets do sound like my "angry" geese! If you hadn't mentioned it I would have missed the baby bassoon in the second part

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this is so funky i love it!! keep it up man, this bangs!!!

Great video. Love this album. It changed my life.

Thank you so much for this kind of content. I really enjoyed this story and this prepared me very well for going to the opera tomorrow!!

wow

Such a great symphony. The opening rhythm is Morse code, and the modal theme is in this air of mystery. I realized during one of your sound clips in the final movement that the clarinet always plays the role of trickster in Bruckner symphonies, like the Eb clarinet of Strauss's Till Eulenspiegel. This is also heard before the emphatic restatement of the opening theme in the first movement, when the clarinet tries to waylay the orchestra but the brass is having none of it. I know of three great recordings that have both the necessary precision and passion. Dresden Staatskapelle with Jochum Vienna Philharmonic with Stein Bavarian Radio live with Jansons

I enjoyed your video, thank you.

Hi fr Vincent I am samuel

Thanks for this. In recent years this delightful piece has become my most listened to Mozart symphony. Bit of a shame you dedicated less time to the finale that is a real jem and for the last year has been my main ring tone. The finale coda is full of humour in the line of Beethoven. I heartily recommend Klemperer with the Philharmonia. The tempo and playing are superb and a bonus is having the exposition repeat in the finale. Also interesting to note that no oboes are scored.

Well that was timely, we have this on the programme next month Another great analysis that really helps appreciation of this music You highlight several things I would miss otherwise Thanks for doing these

so glad to find someone so into the holy bible :D. i have no musical education but i've been always obsessed with music. i re-discovered the manics a month ago and got very obsessed with all their work, specially over the holy bible. i used to say live through this by hole was my all time favorite and now is the holy bible xD. i think this album is at the same level that the bible looool. great video. i love artworks with something new to discover every time we consume it

You make these awesome pieces indeed relateable. Thank you

ty for this video very nice

Excellent analysis and violin playing.

Big fan of your analysis of classical symphonies! Would love to see a few videoes on Schubert's symphonies. Great video either way!

Where Mozart left off, was almost like he made it to the top of the stairway to heaven. Time to go in…

Here in preparation for hearing this work on Friday afternoon at the Philadelphia Orchestra.

Interessante Analyse. Aber er braucht dringend einen Klavierstimmer.

Hi sir, u used to teach me music like 5 yrs ago lolll

Well done man

Nice one, Vince! And thank you! I'm off to listen to it now 🎶

i needed for the exam, very helpful thanks!

Took me 11 minutes to realise that wasn't a Turtles t-shirt. Great video, thanks.

Thank you!

Very instructive for one who has loved the music and the psychological drama of it since my twenties, many years ago.

Great video, super clear and easy to understand, while covering so much. Thanks for this, it’s really helping me with an essay I am writing about Wozzeck for my undergraduate program in London! ☺️

I just bought the Novak score, and I’m learning my way through this wonderful symphony. thank you very much for guiding me along the way. -Toby

I am going to see this opera and I hope it's really as good as everyone says. I'm sitting in the nosebleed seats as my grandmother would say. I am excited anyway. Just trying to watch as many videos as possible before the performance. Thank you for the analysis.

Good.

Thanks for putting this together. The storyline is fairly ghastly ... , and Berg has always gone over my head somehow but your analysis here suggests a Britten connection (who I AM a fan of) so maybe I can give it a try ... cheers.

Looking forward to this one!

Although Vincent reviews a 30,000 foot overview of the purported narrative around Mozart’s Requiem Fragment (see the autograph Codex 17.561a in the Vienna Hofbibliothek) - he neglected to mention Joseph Eybler’s contribution to the Dies Irae trope as far as bar 10 of the Lacrymosa at which point faced with blank sheets this respected student of Viennese contrapuntalist Albrechtsberger did not ‘wish to compromise his own mediocre musical talents with that of the great Mozart’ - Despite the contract we have signed by Eybler on 21 December 1791 (‘The undersigned hereby agrees to compose a completion of a Requiem on behalf of the widow Mozart begun by her famous husband by the following Lent’) - Eybler must have completed all he felt comfortable with as far as bar 10 of the Lacrymosa with 2 bars of ‘freikomposition’ of his own on the score around 10 January 1792 - so the task fell to Franz Suessmayr who wrote in his 8 February 1800 to the publishers Breitkopf und Haertel some 9 years later : ‘The completion of this fragment was handed around by the Widow to various composers to complete - some turned it down due to lack of free time, others because they did not want to stain the work with inferior material - so that finally the completion fell into my lap because I had often heard Mozart discuss his own completion that he often tested out in front of me on his pedal Klavier and that (more importantly) my own musical handwriting was very much like his (i.e. so The Anonymous could not tell where M. left off and the completion began) …’ Constanza had earlier spoken to Maximilian Stadler (one of the composers she had turned to originally and who was later to complete over 35 unfinished Klavier compositions of Mozart on behalf of the Widow) : ‘Late in December 1791 the Widow cleaning out her late husband’s stand-up writing desk found a pile of ‘zettelschen mit Musik’ (‘brief shorthand sketches of music’) and handed them over to Herr Suessmayr to guide his completion of the Mass but what music they referred to or what these sheets contained she did not know…’ So Suessmayr not only had ‘real audio-oral memories’ of the Lacrymosa bars 9-22 played by Mozart himself & also was also given drafts in Mozart’s own musical shorthand scribbles NB : see v.g. the single example discovered in the Berlin Hofbibliothek called the Berlin Sketch which contained (amongst about 8 different sketches) the incipit for the overture of the German Singspiel Die Zauberfloete (dated c. 24-25 September 1791) as well as the ‘Don Giovanni Commendatore Act I Death Scene descending dotted rhythm motif’ in g-minor which shews that the sketch leaf originally was a 4-sided sheet of 12-staves each (on La Clemenza di Tito Prague paper) but had been torn in half with the bottom two staves cut off with a sharp razor- Long story short, this Berlin Skizze also contained the opening 16-bars of an Amen Double Fugue in d-minor & in 3/8 time (also in shorthand) which PROVES that Constanza did in fact have skizze for the requiem from the period in question in Mozart’s own musical ‘scribble-shorthand’ -which by the way is VERY difficult to read unless you are very intimate (as Suessmayr surely must have been) and as such can easily be misread or misunderstood - All of which explains the murky situation with v.g. The Lacrymosa’s bars 9-22 which has more than a dozen musico-grammatical errors in the inner voices (Mozart used to sketch out the Canto & Basslines first for his choral music often leaving the Alto & Tenore lines blank for later ‘resimplage’ (‘filling out’) and that seems to have been the case with the Lacrymosa & much of the Sanctus & Benedictus sections … Interestingly the ‘hosanna in D’ starts out well-enough for exactly 16-bars, before degenerating into silliness so we may be safe in assuming Suessmayr had a 16-bar skizze in shorthand like the Berlin Sketch from which to work… So for anyone to claim that ‘the Lacrymosa from bar 9 is totally Suessnayr’s work’ cannot be true - he even wrote a white-lie to Breitkopf und Haertel in his now-infamous letter of 8 February 1800 ; ‘For the Lacrymosa Mozart was only able to set down in writing bars 1-6 thus my completion began in bar 7 with the words ‘ivdicandvs homo revs’ -whereas in fact M. broke off his clean-copy in the score neatly at the end of bar 8 complete in vocal part & bass & baseline -as with most of the rest of the score (Kyrie, Dies Irae, Tuba Mirvm (which provides some primo Violino parts as well), Rex Tremendae (ditto), Recordare (contains the opening bars for 2 cori di Bassetto, 2 fagotti & strings & in places snippets of the 1st violin part for the joins where the canto-alto-tenore-basso lines are at rest), the first violin part in addition to the choral parts for the Confutatis Maledictis & Oro supplex (which furnishes the 2 Corni di bassetto & 2 fagotti parts in addition to the choral parts and weird figured baseline); the Anen fugue 16-bar skizze was omitted by Suessmayr who merely slapped a silly plagal cadence on to the end of the Lacrymosa’s bar 24 when an 80-95 bar 3/8 double fugue in d-minor (using the inverted theme of the Introitus motif (d-c#-d-e-f) in Mozart’s own hand … Interestingly the string part accompaniment to the glorious Domine Jesu in g-minor was copied by Suessmayr verbatim from a completion attempt by Maximilian Stadler (after Eybler had given up c. early January 1792) I could easily go on for a long time more - if the serious student really wants to ‘get deeper into the weeds’ he may consult Christof Wolff’s Excellent book on the history of the Requiem published after 1992 in English - he is the clearest head I’ve found so far on this very murky subject !! 😊

Hi Vincent, I really enjoyed your commentary and your fingerings. I’m trying to learn the third movement the best I can, would you be able to share your fingerings with me?

A few years ago I saw an image film about VÖEST-Alpine steel works in Linz based on the second movement of Bruckner's ninth. It was really impressive.