Symphony No. 7: Dithyrambic abandon | Gardiner and the ORR on Beethoven's Symphonies
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- čas přidán 25. 06. 2020
- For this instalment of our Beethoven Symphonies Series we were unable to complete filming due to the COVID-19 pandemic, and the subsequent lock-down imposed in March. However, as we were committed to continuing this series, John Eliot Gardiner recorded his reflections on Beethoven’s Seventh from his home in Dorset, using an iPhone, and shares his insights on this magnificent, dance-inspired symphony. This film is accompanied by excerpts from our 2011 live recording of Beethoven’s Symphony No. 7 at Carnegie Hall, which you can buy here:
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Directed and edited by Richard Wilson. Produced by Bill Lloyd & Richard Wilson. Concert images from Carnegie Hall, February 2020, by Chris Lee and Richard Termine.
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The three Monteverdi ensembles - the Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique - are a leading force on the international music scene. World-class musicians and singers from many nationalities come together to share in the distinctive vision of our Artistic Director, Sir John Eliot Gardiner, in ground-breaking projects that span eight centuries of musical masterpieces.
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When a performance of this symphony takes flight, there's nothing to do but collect the melted puddle of what was once your face, and soar for weeks. Many thanks to this superb orchestra, Mr Gardiner, and the Big Man.
I know! I love it! The 4th movement reminds me of being inside a tornado, a wild vortex! and watching the insanity around you
“I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.”
― Leonard Bernstein
Again my congratulations on this new issue! Full of insights and packed with John Eliot‘s typical enthusiasm!! AWESOME!
I almost can’t bear the opening of the Allegretto (when it’s played in the “sweet spot”)….I’ve no idea if it’s the rumbling sonority combined with the insistent rhythm or if it’s the anticipation of the intense and absolutely unique development of the pattern to come, or both, or more. My heart swells and feels as though it’s going to burst from the joy the music gives me. I’ve played the flute part, and this is a wonderful symphony for the wind section, but I’ll also never forget learning about it in a form and analysis class when I was 19, to discover how a symphonic movement can be so utterly compelling, so utterly sublime, and never to find the answer since! Musical alchemy!
Love the 7th and John Eliot Gardiner's interpretation and viewpoints of this great symphony.
Wonderful series on Beethoven’s Marvelous Symphonies! Thank you so much Maestro Gardiner and ORR!
Great interpretation! Best for me
In the adagio, I hear a funeral procession coming closer and closer, passing by the window, and passing on. It's very dark
The works of art you present throughout the video are incredible! please don't cease to showcase paintings and other art forms in your content...
Thank for such great commentary on such a tremendous symphony.
Thank you Thank you Thank you!
Thanks
The third movement maestoso thing is unbelievable moving
So true, NYC - you can feel the energy in the air and underneath the ground
I am sometimes thrown off by the fast tempos he takes, but I thought he was spot on here. Especially in the finale, it was wonderfully energetic without losing any of the musical nuances.
Thank you, Merci, Gracias, etc....
Eduardo Poblete de Chile, gracias, eternas gracias, máster Gardiner, this great simphony is very important and great... congratuletions...
Once again, spot on Sir John Eliot!
Apparently the winds were doubled at the premiere because of the large hall and many strings (comparable to today's medium sized orchestras). That was the practice of that era.
Love the tempi. They were faster then than later in the 19th and 20th centuries when the orchestras were doubled in size and the influence of Wagner was high (even Wagner complained that his music was played too slowly - Norrington issued a CD in which overtures were played at the faster tempi and is called the revenge on romanticism. you can hear in the Over to die Meistersinger is played in 9 minutes instead of the dragging 11, Wagner wanted 8!) Gardner elsewhere says that Beethoven deliberately pushed the limits what instruments could do, and the result is explosive at times! Great!
Well said!
I’m really surprised Gardiner didn’t spend more time on the second movement, which has the most outwardly unimpressive repeated notes when viewed on the page, and to be shocked to hear the sheer inventiveness of what Beethoven does with one one repeated note, building and developing those few measures into a masterpiece of composition! Gardiner is only interested in the Bacchanalian dances of the other 3 movements, and says basically _nothing_ about the wonder of the second movement….such an immense letdown. Oh, well….this says much more about him than it does about the Allegretto, which is what Art does to the mortal man, especially when thinks he knows everything!
Where can we listen to the full performances featured in this video series? Has Gardiner made a new Beethoven cycle?
I'm pretty sure these videos were made in preparation for the ORR's Beethoven 250 tour, which I was fortunate enough to see in Chicago. I even got to meet Mr. Gardiner himself!
@@FictionWriter95 wow!!! What an experience!! I found Sir Eliot Gardiner when Handel’s Dixit Dominos came on CZcams. Wow he’s like a world treasure
@@katrinat.3032 unfortunately he was a bit of a jerk; not to me, but I overheard him complaining about someone who had sneezed _a couple times_ during the concert, acting as if it was blasphemy.
I want to hear JEG do this for every beethoven symphony
He has! You can watch them all here: czcams.com/play/PLFpa2wNImHFmNLdfvyCPCX-J4tmDsy0K2.html
@@monteverdichoirandorchestr9911 oh wow. thanks!
Art is not autobiographical - that's reducing art to tabloid