I see the greatest potential of this youth orchestra as well as the able guidance of the director-conductor Ulyses Ascanio. I wish them many more successful concerts. If they come to Rome to perform, surely I shall not miss them. It is so inspiring to see the disciplined youth can communicate so much of beauty and joy to the entire world. Sure You are a great inspiration to many. Maestro, every moment of yours is so commanding that you can get what you want from the performers. Good luck.
Excellent playing on these kids' part, but this conductor's conceptions - and I've seen him on other videos - are too overwrought and over intense for me.
Good conduction and good time, but I don't appreciate the rallentando that break the dance rhythm (e. g. 3:46 and at the end), after all it is a tarantella. Excellent young orchestra!
That extra ounce of speed sets this one apart, an exhilarating 5 min. The standard tempo of closer to 6 min has become so predictable and boring that it fails to excite. What else is new with most conductors as well as today's musicians in general. No guts, no emotion, just churning out copies of each other. Too bad I cannot say the same of the third mvt in this recording - a perennial pet peeve of mine - there is no reason to drag it out so much. This piece is about _motion_ and I find few are up to the task from 1st note to last. In fact, as of today, I would say no one is, having sampled endless _Italians_. No one dares stand out from the pack. Do today's conductors really think there is anything valuable in all sounding alike?
It's a different conception, for sure. But I feel that there are certain parameters to remain within if the piece as conceived is to retain its essence. There are other little things to enhance a work a conductor can do besides rush hectically, in my opinion the bane of much music making of today.. These are excellent players; absolutely no question about that, despite whoever may be standing on the podium wielding the baton. But I personally feel that the only virtue in having these youngsters maintain their technical fluency. And I do not agree about the third movement; I feel that its manner of presentation is altogether appropriate to what the music is about - who would want a speedy run through of the movement, anyway? - it sounds perfectly lyrical, just as it should be, and the same of the second movement. The first movement is far too high voltage for my taste; it frankly does not, at least in my opinion, need to run so frenetically. I have seen this conductor's work in other videos and have noted the same type of presentation. If he wants to try something a little different, he might consider some dynamic nuances or along those lines. But let me emphasize that nothing I'm saying here is of any reflection on how these kids perform, which is most impressive.
***** A very thoughtful post. It's interesting how, here are two people (you and me) who appear to have a fairly cultivated musical aesthetic, but come to some different conclusions. Unlike some, I feel personal taste in music is not a matter of great importance, so when I read a response, my reaction is to be grateful for a different perspective, and try to re-listen with a new appreciation, rather than argue too much. I have found musicians to have especially thin skins when confronted with a different opinion. My "addiction" to fast-moving Italian symphonies is probably not based on anything logical, but for me it is exhilarating. I think the 3rd mvt tempo is definitely an issue for others as well. I remember an American Record Guide overview of this symphony, with the comment "too slow" noted for the 3rd mvt of many of the recordings. I shouldn't be quoting them I suppose, since I have found that publication to be one of the more arrogant out there. To be sure, I should say that when I am in the right mood, a slower 3rd mvt can work for me. cheers
cchris874 I appreciate your response. Certainly mood can have some bearing - Brahms himself was reluctant to apply metronome markings to his works because he didn't always want to hear his works played the same way each time. But unless I misunderstand what you're saying, I feel that personal taste does play a part in our appreciation of a work and how it is performed. I have my preferences and you have yours, so who's to say which one has more validity or is closer to the truth? We each have our own truths which we apply when listening. However, there is one factor that I cannot emphasize enough when it comes to the ability to formulate an opinion or to decide what is valuable to us or is not, and that is listening experience. And incidentally, when I referred to our own personal truths a moment ago, I implied that when we hear a piece of music, we are forming our own images, the result of using our faculties - our own minds, our own ears, and our own eyes (assuming our examining a score and being able to hear mentally what the symbols on the page represent). We are doing this with our own faculties, and let me point out, not that of the composer's, nor can we ever fully enter the composer's mind. Even if we were told what inspired the composer to write the work as he/she did, that would be only incidentally interesting, and hardly welcome if it in any way gave us a picture widely different from that which we formed, which is in a sense what introduced us to the piece in the first place. We bring something of our own to a piece in the listening process, which can become more informed and insightful the more experience we bring to it, which in turn gives us the means to appreciate other works we might encounter at a later stage.
Amazing! Venezuela is producing thousands of such talented musicians. The entire world should recognize these amazing youngsters.
God bless them!
For me is the best version, congratulations!
es la mejor sinfonia mas linda de las que he escuchado.
amazing performance, these young fine artists deserve a ton of praise!
Unbelievable! Kudos to all the wind players! That was really an amazing performance!! :D
I see the greatest potential of this youth orchestra as well as the able guidance of the director-conductor Ulyses Ascanio. I wish them many more successful concerts. If they come to Rome to perform, surely I shall not miss them. It is so inspiring to see the disciplined youth can communicate so much of beauty and joy to the entire world. Sure You are a great inspiration to many. Maestro, every moment of yours is so commanding that you can get what you want from the performers. Good luck.
Non riesco a smettere di sentirla!!
In my humble opinion, this part is much more "hardcore" than any Slayer song. (By the way, I'm a huge Slayer fan.)
We played an arrangement of this in my high school clarinet choir, I was on contrabass - we didn't take it anywhere near this fast though!
😍😍😍😍😍
This is really quite good!
Браво
Very good conductor
arriba arriba✌
WOW!
Fast as all get-out, but it works. Fine talent among these youngsters, and Gustavo Dudamel liked it, which is quite a compliment.
The penny drops at 3:54
Excelente. Versión rápida pero muy musical.
Excellent playing on these kids' part, but this conductor's conceptions - and I've seen him on other videos - are too overwrought and over intense for me.
Somedy can suggest me some more of music like this please?
i don't think it's too fast, though it's faster than other versions i've heard. apart from the accidental percussionist, i love this performance :)
.... wow...
Good conduction and good time, but I don't appreciate the rallentando that break the dance rhythm (e. g. 3:46 and at the end), after all it is a tarantella. Excellent young orchestra!
That extra ounce of speed sets this one apart, an exhilarating 5 min. The standard tempo of closer to 6 min has become so predictable and boring that it fails to excite. What else is new with most conductors as well as today's musicians in general. No guts, no emotion, just churning out copies of each other. Too bad I cannot say the same of the third mvt in this recording - a perennial pet peeve of mine - there is no reason to drag it out so much. This piece is about _motion_ and I find few are up to the task from 1st note to last. In fact, as of today, I would say no one is, having sampled endless _Italians_. No one dares stand out from the pack. Do today's conductors really think there is anything valuable in all sounding alike?
It's a different conception, for sure. But I feel that there are certain parameters to remain within if the piece as conceived is to retain its essence. There are other little things to enhance a work a conductor can do besides rush hectically, in my opinion the bane of much music making of today.. These are excellent players; absolutely no question about that, despite whoever may be standing on the podium wielding the baton. But I personally feel that the only virtue in having these youngsters maintain their technical fluency.
And I do not agree about the third movement; I feel that its manner of presentation is altogether appropriate to what the music is about - who would want a speedy run through of the movement, anyway? - it sounds perfectly lyrical, just as it should be, and the same of the second movement. The first movement is far too high voltage for my taste; it frankly does not, at least in my opinion, need to run so frenetically. I have seen this conductor's work in other videos and have noted the same type of presentation.
If he wants to try something a little different, he might consider some dynamic nuances or along those lines. But let me emphasize that nothing I'm saying here is of any reflection on how these kids perform, which is most impressive.
*****
A very thoughtful post.
It's interesting how, here are two people (you and me) who appear to have a fairly cultivated musical aesthetic, but come to some different conclusions. Unlike some, I feel personal taste in music is not a matter of great importance, so when I read a response, my reaction is to be grateful for a different perspective, and try to re-listen with a new appreciation, rather than argue too much. I have found musicians to have especially thin skins when confronted with a different opinion. My "addiction" to fast-moving Italian symphonies is probably not based on anything logical, but for me it is exhilarating. I think the 3rd mvt tempo is definitely an issue for others as well. I remember an American Record Guide overview of this symphony, with the comment "too slow" noted for the 3rd mvt of many of the recordings. I shouldn't be quoting them I suppose, since I have found that publication to be one of the more arrogant out there. To be sure, I should say that when I am in the right mood, a slower 3rd mvt can work for me.
cheers
cchris874 I appreciate your response.
Certainly mood can have some bearing - Brahms himself was reluctant to apply metronome markings to his works because he didn't always want to hear his works played the same way each time. But unless I misunderstand what you're saying, I feel that personal taste does play a part in our appreciation of a work and how it is performed. I have my preferences and you have yours, so who's to say which one has more validity or is closer to the truth? We each have our own truths which we apply when listening. However, there is one factor that I cannot emphasize enough when it comes to the ability to formulate an opinion or to decide what is valuable to us or is not, and that is listening experience. And incidentally, when I referred to our own personal truths a moment ago, I implied that when we hear a piece of music, we are forming our own images, the result of using our faculties - our own minds, our own ears, and our own eyes (assuming our examining a score and being able to hear mentally what the symbols on the page represent).
We are doing this with our own faculties, and let me point out, not that of the composer's, nor can we ever fully enter the composer's mind. Even if we were told what inspired the composer to write the work as he/she did, that would be only incidentally interesting, and hardly welcome if it in any way gave us a picture widely different from that which we formed, which is in a sense what introduced us to the piece in the first place. We bring something of our own to a piece in the listening process, which can become more informed and insightful the more experience we bring to it, which in turn gives us the means to appreciate other works we might encounter at a later stage.
se nota el vigor de la juventud.
Too fast! The bounce is lost- silly conductor.
Tu lo que estás es loco jajaja!!!