Modern times . . . (modern!?)

Or

"I will listen to Celibidache's... so don't expect me for bedtime"

Dear Luca, Thank you for posting this interpretation of the Ninth.

The complete recording of the Beethoven symphonies conducted by Chailly with the metronome markings exactly as dictated by the composer has been one of the most important events - the most important! - within the scope of the most recent recordings of Beethoven's music and particularly, of course, of the symphonic corpus.

Not only a breath of fresh air in a very frequently performed repertoire, but also proof that those who detractors of the Bonn composer's ability to establish tempos were completely wrong.

Beethoven was right to dictate these tempos, and it was not an error due to his lack of mathematical understanding.

Beethoven's Ninth conducted by Chailly returns to us a masterpiece in all its freshness, dramatic intensity, beauty, and immensity.

The primordial chaos of the first movement, the orgiastic and Faustian rhythm of the second, the heavenly heights of the third movement and finally, the return to Earth, the place from which to set out to yearn for our need for freedom, joy, salvation, and utopia, are all brought into extreme relief and we are truly given a sense of such complexity: Truly with the Ninth, Beethoven tells us an inner and outer world. The world of our humanity.

I don't know what to do about it, the errors are not mine and I don't understand why it happens like this, I apologize

danielescarpetti wrote:

. The world of our humanity.

The world of his humanity or rather, his way of seeing humanity. Of course, we are not all the same, as was claimed in another topic. Especially since we are also living through different times.

It must be so!

But in many respects, I don't find that much has changed!

hi Ettore

Yes: the world of his humanity. Of course.

But it happens that in many works of art (any art) that 'something' of the creator's humanity infused within them arouses in many people the desire to see and re-see that particular painting or that particular fresco. It happens that that work stimulates criticism, discussions, interpretations, different readings...

And, as if by an emotional resonance, that painting begins to belong to me, says something about me, becomes "mine".

And if I am not the only one seduced by it, if something similar, albeit with different nuances depending on sensitivity and personal experience, happens to others as well (for certain works, millions of others)... then a timid plural - our humanity - we can dare. No?

. . . .

dear Daniele, Chailly's Beethoven appeals to me very much, as a whole. And the Ninth too. But I must admit that regarding the Adagio of the Ninth specifically, the more expanded pace of a Bernstein is... closer to me. Even if Beethoven himself were here to side with Chailly ... what can I do!?

It's the extra 5 minutes that Bernstein takes in the Adagio.

Undoubtedly there is a certain difference but, equally undoubtedly, the Adagio in Bernstein's hands has an enormous charm and, even on this, there is no doubt.

What would Beethoven have said? Who knows!! And who cares, I would say to you. W Chailly but also W Bernstein!

LucaCavaliere wrote:

But it happens that in many works of art (any art), that 'something' of the humanity of its creator infused within it arouses in many people the desire to see and re-see that particular painting or that particular fresco. It happens that that work stimulates criticism, discussions, interpretations, different readings...

And, as if by an emotional resonance, that painting begins to belong to me, says something about me, becomes "mine".

Let's see if I'm right: when you wrote this passage, were you thinking a lot about Klimt's "Beethoven Frieze"? True or not?

danielescarpetti wrote:

 

LucaCavaliere wrote:

 
 True or not?

. . . true! . . . but also to some poems dear to me