This is far and away my favorite performance of Le Sacre that I've found. Valery Gergiev is the best living interpreter of Stravinsky's ballets. I saw him in the States conducting the Mariinsky Theatre Orchestra performing Mahler's 5th. Thank you very much for putting it all up in one video.
La versión es impresionante. Gergiev es un genio y los músicos de la London responden admirablemente ante la descomunal composición de Igor Stravinsky. Ahora que la Tierra está tomando derroteros destructivos porque nosotros colaboramos en ello con nuestra contaminación y abuso de los bienes que nos otorga la Madre Naturaleza, no está de más recordar una y otra vez esta gran obra y "consagrarnos primaveralmente" en su recuperación antes de que sea demasiado tarde.
Watching symphonies on CZcams is a new discovery for me. That was fascinating to watch and a great performance. One of my favorite Stravinsky pieces. I really like Gergiev as conductor. I wish they would sync the music with the video. The sound is about a beat behind. I recommend watching Gergiev conduct Stravinky's Firebird on CZcams. It's the entire piece not the suite and is 47 minutes long. Gergiev was much younger then, but still amazing to see the energy, animation, and endurance.
The bassoon solo at the beginning is absolutely stunning, and the Dance of the Maidens is at a speed that I have never heard it.... But it works!!! Gergiev = the Master of Russian music
For all people saying this performance is too fast, it clocks in at 33 minutes and 32 seconds. But what I notice is that nearly every performance I can find online of the Rite clocks in at 33:3#. 33:31 (Barenboim), 33:35 (both Salonen and van Zweden), etc. The conductors take all different tempos but somehow it constantly ends up being nearly the exact same length. Weird, coincidence, or what?
There are passages that are played excessively fast, so fast that you can't hear the details in the instruments. Then there are passages that are very slow.... I think if you listen to enough of these performances you will get a since in your mind what would should be a natural pace but that being said, its a free performance and I enjoyed it.
Yeah I know I'd think there's a ton of variation in time due to all the seemingly hundreds of passages and the tempos they can be taken at, and each recording seems to mix them up differently. Yet somehow it drives me up a wall how almost all of them come out to 33 minutes and 30-something seconds. There's one RoS out there which an older Stravinsky himself conducted that was less than 32 minutes, yet that was mainly due to the slower and quieter parts being taken quickly and not drawn out. But yes, some passages can be taken too fast or too slow.
ecoRfan you have remember that's it's a ballet and you really shouldn't over drive the passages because they can't be danced to. I think most conductors will adhere to this and so you don't get much variance in overall time. But this performance treats the piece not as danceable music but a concert piece to be stretched and compressed at will. I generally like the conductor and own many recordings from him but this one is a bit unorthodox. I wouldn't pay money for it but there are interesting parts.
@@twinwankel obviously, he conducts it much slower when it's danced. As for attention to details, it depends on your attitude - whether the detail itself is valuable for you or in conjunction with something else ( same principle as when you bake a cake). Pretty sure Gergiev likes more when it's clashed and boiling ( when it matches the music). And despite the swift tempos he always lets the instrumentalists express themselves ( ex. 19:45 - we can feel all the beauty of changing meter at this place).
Efectivamente al audio le falta una muy leve sincronía con el vídeo. Sin embargo la versión es impresionante. Gergiev es un genio y la London responde admirablemente.
What did Stravinsky write in his score? Lento, quarter = 50; tempo rubato. To me this fits the bill more than any other performance I've heard. The bassoon is meant to be emulating an old Russian folk tune, very drawn out and intentional, almost a little bit strained. That's why he wrote it to be played slowly, with rubato, and with a bassoon rather than an oboe or english horn.
Of course, but I'm talking about those who says "Is this music?" for Stravinsky, yes it is actually music, there is a production. And you have to know something about atonality, neoclassicism and about development of music in 20th century before judging this compositor. I do like Stravinsky but not because of the sound, I like the way he uses music and his technical accomplishments.
Aynı anda birden fazla saz çalınırken, başka sazın sesini duyan sazendeler, kendi sazlarını icra ederken nasıl şaşırmıyor. Çünkü sesler iç içe ve çok karmaşık. Notaları takip etmeleri de çok zor, diğer sazların seslerini takip etmeleri de...
I know! He's jumping around like a punk rocker, with his hair flying everywhere! And it's no where cool, I mean seriously! He's flippin' his "bangs" all the time, and that's all the people look at! When ever they would show a shot of him, I would be dying laughing inside! X )
It's CZcams that messes up the synch for some videos that have a separate audio track (I had to purposely synch the audio differently from the video to get the video to synch on CZcams).
To me, this performance seemed a bit messy, suprising considering the LSO is a such top-tier group, he must've worked them too hard with the rehearsals. The San Francisco Symphony did a flawless job when they did this.
Actually, Gergiev was notorious for not showing up to rehearsals, not knowing repertoire, winging it on the night... A lesser orchestra than the LSO wouldn't have stood a chance, it's a miracle they played this well. You should hear them now with Noseda or Rattle, it's a world class sound.
@@nelsonsweatyballs3835 you forget how much times he played it in his life .This piece for him is kinda wake me up at 4 a.m. I'll play it as if I myself wrote it. And you're not right specifically about this concert - I watched the video from the rehearsal that lasted for 4(!!!) hours. And he looked very involved and explained them very patiently why he wants it like this and not the way, they used to play it.
Love the precision and the concentration, but perhaps some of the maestros in the 30´s and 40´s had a point in the idea that something gets lost when you are TOO precise. The last two minutes of this piece shouldn´t sound precise, but more chaotic, terrified or whatever.
The first part was exceptional, with Gergiev pushing them hard. Too much, really, because they sounded spent in the second part and didn't have enough left in the tank.
@@Trenton.D my point is that Stravinsky had to fit his tempos to ballet-dancers . When you play it without them , you can play with tempos , to emphasize smth. that seems you really important in the score .
I don't know if this is just me, but I think the other recordings of Sacrificial Dance are better (ex. San Francisco - MTT - and Los Angeles - Salonen)
I prefer MTT's rendition, especially of the Sacrificial Dance. Valery conducts the final dance a bit too slow for me. The version I have of Stravinsky conducting himself on CD is much faster and I believe it to be the ultimate interpretation; who better than the composer?
Good performance, but they overtempoed it in various parts (mainly the Augers of Spring). Loses the pulse if you rush it. And it palpably feels rushed. Also you lose the many fine details you need an even pacing for your ears to fully process. At least they didn't go too slow, or that would have been vastly worse.
allora la velocità dell'intro la recupera nel finale rallentando, della serie: la media delle velocità è giusta. ha riesumato i pizzicato cancellati da Stravinsky in seguito a nervoso causa orchestrali imbranati. almeno una nota positiva finale. mamma che stress questo ascolto. devo rifarmi con Bernstein perchè non posso terminare così.
@@ediccartman7252 But Stravinsky wanted (in his interview) performance and not interpretation, that is good for Schubert. What he wrote must be rendered. Yes the first bar is "colla parte" then it is not.
@@shonnyno it also says solo ad libitum and tempo rubato . You have the rest of the score when you need to be performer and not interpreter (actually smth. what can't be done for 💯 ).
@@ediccartman7252 If he wanted anarchy (anarchy is always beautyful and...much easier), why he wrote (bar 4th) a difficult (and never good performed) triplet into a triplet into a binary bar? music for the eyes only? ;) I am glad with this anarchy, because I can play Le Sacre even with a marching band :)) so many trubles of Strav. for Free improvisations! ;) Obviously not all whay he wrote respect his point of view: a lot of final metronome number has been established by the orchestra, because S. wanted the final part of part I much more fast (even 184) than his actual printed metronome, but orchestra is orchestra; ...and pizzicatos on the very final dance (pizzicato were wonderful with oboe toghether), but it were even more difficult therefore the last revision of the score deleted all pizzicatos. In my opinion Rubato refers to agogic only, rubato never means "you are allowed to change the rhythmic pattern". 7 years ago I added other comments on this video.
I've heard probably two dozen versions of the Sacre, and Gergiev + the Mariinsky Theatre Orchestra is BY FAR the best. This LSO performance is almost offensive by comparison. The bassoonist's clicking pads at the beginning make my ears bleed! Anyhow, on the other end of the spectrum, the worst (live) performance I've ever seen was the Toronto Symphony Orchestra in Spring 2011 - it was so heinous I felt compelled to initiate an orchestral riot, but I instead just left halfway through.
The augurs of spring part seems rather sped up... the Spring Rounds and everything after that is just about right though... the intro to the 2nd part is entirely too fast... tempo is good after that... a bit too slow after that one... clarinet trill... I must say, he does the adoration of the chosen one rather well. Overall a good performance, but not mr favorite, with some parts being too fast or too slow for my tastes.
bene alla fine non aveva più margini per il crescendo...capita....ce lo siamo bruciati, almeno è rimasto sulla carta dai! poi prima del finale non poteva fare uno spuntino?? il tempo che si è preso nelle pause glielo avrebbe consentito. altro dettaglio: ha diretto senza stuzzicadenti. quindi gli mancava il portafortuna. scusate devo riprendermi (mi ci vorrà molto tempo).
WUNDERBAR ! DANKE SEHR HERR VALERY GEORGIEV UND IHR ORCHESTRA
This is far and away my favorite performance of Le Sacre that I've found. Valery Gergiev is the best living interpreter of Stravinsky's ballets. I saw him in the States conducting the Mariinsky Theatre Orchestra performing Mahler's 5th.
Thank you very much for putting it all up in one video.
J adore cette musique je la trouve magnifique
Annette Senouf elle est horrible je trouve très désagréable pour les oreilles
La versión es impresionante. Gergiev es un genio y los músicos de la London responden admirablemente ante la descomunal composición de Igor Stravinsky. Ahora que la Tierra está tomando derroteros destructivos porque nosotros colaboramos en ello con nuestra contaminación y abuso de los bienes que nos otorga la Madre Naturaleza, no está de más recordar una y otra vez esta gran obra y "consagrarnos primaveralmente" en su recuperación antes de que sea demasiado tarde.
Watching symphonies on CZcams is a new discovery for me. That was fascinating to watch and a great performance. One of my favorite Stravinsky pieces. I really like Gergiev as conductor. I wish they would sync the music with the video. The sound is about a beat behind. I recommend watching Gergiev conduct Stravinky's Firebird on CZcams. It's the entire piece not the suite and is 47 minutes long. Gergiev was much younger then, but still amazing to see the energy, animation, and endurance.
Η ορχήστρα αποδίδει με άριστο τρόπο το μυστηριακό ύφος που θέλει να προσδώσει στο έργο ο Σραβίνσκυ. Πολύ καλή παρουσίαση. Μπράβο.
The bassoon solo at the beginning is absolutely stunning, and the Dance of the Maidens is at a speed that I have never heard it.... But it works!!!
Gergiev = the Master of Russian music
The Rite of Spring V.Gergeiv is very cool, it my fevorite version:), Lso is the best.
The very best performance of this I ever heard, including the not-so-well known rarities. All the "weird" interruptions now make sense.
Great Stravinsky, Thank You Gergiev
Magnifique ! comme toujours avec Gergiev.
For all people saying this performance is too fast, it clocks in at 33 minutes and 32 seconds. But what I notice is that nearly every performance I can find online of the Rite clocks in at 33:3#. 33:31 (Barenboim), 33:35 (both Salonen and van Zweden), etc. The conductors take all different tempos but somehow it constantly ends up being nearly the exact same length. Weird, coincidence, or what?
There are passages that are played excessively fast, so fast that you can't hear the details in the instruments. Then there are passages that are very slow.... I think if you listen to enough of these performances you will get a since in your mind what would should be a natural pace but that being said, its a free performance and I enjoyed it.
Yeah I know I'd think there's a ton of variation in time due to all the seemingly hundreds of passages and the tempos they can be taken at, and each recording seems to mix them up differently. Yet somehow it drives me up a wall how almost all of them come out to 33 minutes and 30-something seconds. There's one RoS out there which an older Stravinsky himself conducted that was less than 32 minutes, yet that was mainly due to the slower and quieter parts being taken quickly and not drawn out. But yes, some passages can be taken too fast or too slow.
ecoRfan you have remember that's it's a ballet and you really shouldn't over drive the passages because they can't be danced to. I think most conductors will adhere to this and so you don't get much variance in overall time. But this performance treats the piece not as danceable music but a concert piece to be stretched and compressed at will. I generally like the conductor and own many recordings from him but this one is a bit unorthodox. I wouldn't pay money for it but there are interesting parts.
Yeah honestly this one isn't my favorite run of Rite either. Something about it seems out of balance with tempos all over the place.
@@twinwankel obviously, he conducts it much slower when it's danced. As for attention to details, it depends on your attitude - whether the detail itself is valuable for you or in conjunction with something else ( same principle as when you bake a cake). Pretty sure Gergiev likes more when it's clashed and boiling ( when it matches the music). And despite the swift tempos he always lets the instrumentalists express themselves ( ex. 19:45 - we can feel all the beauty of changing meter at this place).
Gergiev es increible!
Beautiful and well paced basson solo.
The opening is the slow part, the rest of the song it was perfectly in tempo with the original reproductions of the nijisky ballet. Bravo!
Hier braucht man Geduld und Ausdauer, aber vor allem ein musikalisch geschultes Ohr.
Great conduction !
A lot of thanks
does anyone else notice that the audio isn't in sync with the video?
Efectivamente al audio le falta una muy leve sincronía con el vídeo. Sin embargo la versión es impresionante. Gergiev es un genio y la London responde admirablemente.
What did Stravinsky write in his score? Lento, quarter = 50; tempo rubato. To me this fits the bill more than any other performance I've heard. The bassoon is meant to be emulating an old Russian folk tune, very drawn out and intentional, almost a little bit strained. That's why he wrote it to be played slowly, with rubato, and with a bassoon rather than an oboe or english horn.
outstanding piece
Of course, but I'm talking about those who says "Is this music?" for
Stravinsky, yes it is actually music, there is a production. And you have
to know something about atonality, neoclassicism and about development of
music in 20th century before judging this compositor. I do like Stravinsky
but not because of the sound, I like the way he uses music and his
technical accomplishments.
Some tone color par excellence right here
When the Tambourine came I just said "nice bass drum you have there"
Interesting substitution of 2 washboards (quasi "guirra) for the original guerro called for in the score.
wooden guiros not loud enough to cut through perhaps?
Oh my.... I got dizzy on the Sacrificial dance, so slow... as if time starts to stretch as on LSD... Gergiev surprises here.
I hate the audio delay
always surprises me that interpretations of the same work can be so very different
The question is not "do you like tihs music" it's "do you understand it?"
Aynı anda birden fazla saz çalınırken, başka sazın sesini duyan sazendeler, kendi sazlarını icra ederken nasıl şaşırmıyor. Çünkü sesler iç içe ve çok karmaşık. Notaları takip etmeleri de çok zor, diğer sazların seslerini takip etmeleri de...
Nigel Thomas playing as Solo Timpanist with Antione Bedowei as 2nd timpanist
video is certainly a full second or more ahead of the music.
9.48 simply divine
maurice murphy playing the piccolo part on the c trumpet
29:00 sacrificial dance
05:20 Meraviglioso!
I know! He's jumping around like a punk rocker, with his hair flying everywhere! And it's no where cool, I mean seriously! He's flippin' his "bangs" all the time, and that's all the people look at! When ever they would show a shot of him, I would be dying laughing inside! X )
20:00, the clarinetist sitting like "Man, this is boring as hell!"^^
This music provoke the devil inside me...very demonic and instintive...
"HEarT, c'est la nuit :-D " Gad Elmaleh dancing :-D
Besides, what is a Kiss but long and drawn out? This beginning is called "A KISS OF THE EARTH".
Agreed! The Timpani and Drums were awfully weak in the middle!
Me gustaría saber como sincronizar el audio y vídeo de esta maravilla.
画面と音がずれてなければもっと笑えたんだけど。。。いや、すばらしい演奏です。
The part from 07:55 to 10:35 is so incredible...
If anyone knows the tempo this piece should be it is a Russian maestro ... those who complain, do a better job and post it here ...
.
+David T what does the fact of him being russian has to do with anything ?
SUPREME
Happy "Le Sacre Printemps" day to all!!
Are you only talking about the begining cause for me the speed was perfect.
who can also hear the basson changing the position during his solo from slightly right to straight left and back at about 3:00 :D
It's CZcams that messes up the synch for some videos that have a separate audio track (I had to purposely synch the audio differently from the video to get the video to synch on CZcams).
To me, this performance seemed a bit messy, suprising considering the LSO is a such top-tier group, he must've worked them too hard with the rehearsals. The San Francisco Symphony did a flawless job when they did this.
+Artemio Sandoval The LSO even claimed once that they were able to play the Sacre without conductor.
Actually, Gergiev was notorious for not showing up to rehearsals, not knowing repertoire, winging it on the night... A lesser orchestra than the LSO wouldn't have stood a chance, it's a miracle they played this well. You should hear them now with Noseda or Rattle, it's a world class sound.
@@nelsonsweatyballs3835 you forget how much times he played it in his life .This piece for him is kinda wake me up at 4 a.m. I'll play it as if I myself wrote it. And you're not right specifically about this concert - I watched the video from the rehearsal that lasted for 4(!!!) hours. And he looked very involved and explained them very patiently why he wants it like this and not the way, they used to play it.
I didnt know Bernie Kerick played timp.
that fucking cough at 0:50
Awesome performance... but waaaay to slow.
great! but can you sync the audio and video?
Stupenda esecuzione! Ma potreste sincronizzare? Il video è avanti di almeno 1 sec rispetto all'audio !! Grazie
Typical gergiev, slow start. Then BOOM
Agree, this is no slow.
Love the precision and the concentration, but perhaps some of the maestros in the 30´s and 40´s had a point in the idea that something gets lost when you are TOO precise. The last two minutes of this piece shouldn´t sound precise, but more chaotic, terrified or whatever.
The first part was exceptional, with Gergiev pushing them hard. Too much, really, because they sounded spent in the second part and didn't have enough left in the tank.
It was way too fast. It's a fucking ballet.
@@Trenton.D Did you see ballet-dancers here ?
Vova Hrenov Stravinsky kept their tempo the same whether there were dancers or not. In all his works for ballet. So your point is?
@@Trenton.D my point is that Stravinsky had to fit his tempos to ballet-dancers . When you play it without them , you can play with tempos , to emphasize smth. that seems you really important in the score .
I don't know if this is just me, but I think the other recordings of Sacrificial Dance are better (ex. San Francisco - MTT - and Los Angeles - Salonen)
24:00
patatrak!!! gambe per aria!!!
I prefer MTT's rendition, especially of the Sacrificial Dance. Valery conducts the final dance a bit too slow for me. The version I have of Stravinsky conducting himself on CD is much faster and I believe it to be the ultimate interpretation; who better than the composer?
Easter music.
Does anyone else hear the Firebird at 19:56 in the flute?
befor 3:47 is the video chunked? I guess a video problem...
Good performance, but they overtempoed it in various parts (mainly the Augers of Spring). Loses the pulse if you rush it. And it palpably feels rushed. Also you lose the many fine details you need an even pacing for your ears to fully process. At least they didn't go too slow, or that would have been vastly worse.
I think they synced to his conducting, not the players. It matches.
Really???
トロンボーンがかっこいい！
allora la velocità dell'intro la recupera nel finale rallentando, della serie: la media delle velocità è giusta.
ha riesumato i pizzicato cancellati da Stravinsky in seguito a nervoso causa orchestrali imbranati. almeno una nota positiva finale. mamma che stress questo ascolto. devo rifarmi con Bernstein perchè non posso terminare così.
And even more, there are two fermatas. Haha
14:01 is this staccato and marcato???
not at my home!
Yo that basson player has got to buy some new pads! He is clacking like hell!
19:48
Gergiev and the dictionary:
what means più mosso? slower or faster? ...hard question...hehe
slower or faster?.....
Can you tell me, which version is it?
13:44 is it a "modern" guiro or what else???
It's so funny to see everyone headbang at random intervals... Note to self, always sync the music with the video...
I dont find the mute in the score.
whats your edition?
Why do they need 2 gongs and 2 bass drums?
audio and video arent even close
ehhhm why the first note is one week long? and why at the second bar thet make error regarding the meter 2 vs. triplet??
Gergiev lets soloists play their own way as long as it doesn't ruin the shape of the whole piece.
@@ediccartman7252 But Stravinsky wanted (in his interview) performance and not interpretation, that is good for Schubert. What he wrote must be rendered. Yes the first bar is "colla parte" then it is not.
@@shonnyno it also says solo ad libitum and tempo rubato . You have the rest of the score when you need to be performer and not interpreter (actually smth. what can't be done for 💯 ).
@@ediccartman7252 If he wanted anarchy (anarchy is always beautyful and...much easier), why he wrote (bar 4th) a difficult (and never good performed) triplet into a triplet into a binary bar? music for the eyes only? ;) I am glad with this anarchy, because I can play Le Sacre even with a marching band :)) so many trubles of Strav. for Free improvisations! ;) Obviously not all whay he wrote respect his point of view: a lot of final metronome number has been established by the orchestra, because S. wanted the final part of part I much more fast (even 184) than his actual printed metronome, but orchestra is orchestra; ...and pizzicatos on the very final dance (pizzicato were wonderful with oboe toghether), but it were even more difficult therefore the last revision of the score deleted all pizzicatos. In my opinion Rubato refers to agogic only, rubato never means "you are allowed to change the rhythmic pattern". 7 years ago I added other comments on this video.
13 after 7: rallentando: it is Verdi or Puccini?
I've heard probably two dozen versions of the Sacre, and Gergiev + the Mariinsky Theatre Orchestra is BY FAR the best. This LSO performance is almost offensive by comparison. The bassoonist's clicking pads at the beginning make my ears bleed!
Anyhow, on the other end of the spectrum, the worst (live) performance I've ever seen was the Toronto Symphony Orchestra in Spring 2011 - it was so heinous I felt compelled to initiate an orchestral riot, but I instead just left halfway through.
The augurs of spring part seems rather sped up... the Spring Rounds and everything after that is just about right though... the intro to the 2nd part is entirely too fast... tempo is good after that... a bit too slow after that one... clarinet trill... I must say, he does the adoration of the chosen one rather well. Overall a good performance, but not mr favorite, with some parts being too fast or too slow for my tastes.
03:22 What do you mean slow?
SO SLOW!
The solo sounds painful considering how slow it is.
Orchestra and regent name ?
Cоnductor name is Valeriy Gergiev
bene alla fine non aveva più margini per il crescendo...capita....ce lo siamo bruciati, almeno è rimasto sulla carta dai!
poi prima del finale non poteva fare uno spuntino?? il tempo che si è preso nelle pause glielo avrebbe consentito. altro dettaglio: ha diretto senza stuzzicadenti. quindi gli mancava il portafortuna. scusate devo riprendermi (mi ci vorrà molto tempo).
3:59 before:
no trplet?
it is better that I stop hearing, otherwise I become nervous, when 2 = 3....bye bye Valery!
esu fjr d ay awg
way too fast for me
15 23 вход в другое измерение
I like the conductor, but man he should just shave it all off already.
O defeito deve ser teu que não percebes patavina
or
Not the best I ever heard, augurs is way to fast and everything else, especially the last movement, is way too slow
seems fake to me...woman in the video but no kitchen around
Dans son solo du début la (ravissante ) basonniste met un accent au beau milieu de la phrase, que je trouve inutile et malencontreux
far too slow for me
ç nuuuuuuullllll😠😠😠😠😠