European Royal Orchestra 4

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Clipul European Royal Orchestra 4 durează 43:19 și a fost văzut de 2.057 ori pe Clipmania, în categoria Muzica, din 2011.

A work full of contradictions that offers a glimpse into the composer's inner world. Johann Brahms was plagued by doubts when he composed his Fourth Symphony in E minor, Op. 98, in 1864/65. But anyone who hears French conductor Nathalie Stutzmann conducting the London Symphony Orchestra would find that hard to believe. The concert was recorded on 10 November 2022 at the Barbican Center, home of the London Symphony Orchestra.

(00:00) I. Allegro non troppo
(13:40) II. Andante moderato
(26:08) III. Allegro Giocoso
(32:29) IV. Allegro energico e passionato – Più Allegro

When it came to his symphonies, Johannes Brahms (1833–1897) reverently took cues from his great role model Ludwig van Beethoven. Some of his Romantic contemporaries, such as Franz Schubert, Robert Schumann, and Gustav Mahler also took inspiration in Beethoven's symphonies — in part to set themselves apart from the legendary composer. Brahms wrote to conductor Hermann Levi: "You have no idea how it feels to always hear such a giant marching behind you!" He was referring to Beethoven's looming presence over his works.

While contemporary critics of Brahms' Fourth Symphony claim that the composer still adhered to the form of the classical symphony in a conservative manner, others emphasized his innovations. The conductor Hans von Bülow (1830–1894) described Brahms' Fourth as "Beethoven's Tenth." And Arnold Schoenberg (1874–1951), founder of the atonal twelve-tone technique, later wrote in his essay "Brahms the Progressive" that, in his opinion, Brahms's motivic work paved the way for the dissolution of tonality.

This detailed motivic work is one of Johannes Brahms' stylistic devices. Right from the first movement of the Fourth Symphony, with its descending thirds, different motifs appear repeatedly. The second movement, the Andante, is dominated by dark wind sounds and delicate violin tones. Brahms is said to have viewed the future of classical music rather bleakly in light of the social…