What is 'this'?

@@DenianArcoleo his romance with Hanna Fuschs-Robettin, and the hidden references to her in the Lyric Suite

You are very welcome, and I'm glad YT allowed me to share it with you. A friend recently informed me that the Stradivarius she's using here was later stolen in 1995 and is still at large: www.fbi.gov/investigate/violent-crime/art-crime/fbi-top-ten-art-crimes/theft-of-the-davidoff-morini-stradivarius

You are SO welcome!

Enjoy!

I thought so too when I found it. I am glad that YT is still letting me share it with you nice folks.

Absolut !!!

Die Trompeten sind durchweg der Horror. Geht schon bei ca. 13:00 los. Von irgendeiner Blaskapelle abgeworben ?? 😅

Ich habe früher Geige als Laienmusiker in Laienorchestern gespielt. Ich habe niemals an eine Musikkarriere gedacht, denn ich war tiefst überzeugt, nicht gut genug zu sein. Deshalb habe ich eine technische Karriere gemacht und nur noch aus Spaß gespielt. Nicht vorbereitete Stellen kamen häufig vor, bei vielen Musikern, aus irgendwelchen Gründen: Keine Zeit zu Üben, Klausuren am nächsten Tag, musste spät abends arbeiten, oder was auch immer... Als Nicht-Profimusiker hätte ich aber nie gedacht, dies würde auch unter Profimusikern aus Prestige-Orchestern vorkommen! Aber um fair zu sein: Ich schätze mal, man habe den Burschen in der letzten Minute aus Not geholt, weil der 3. Trompete krank sei, und er solle als ihn ersetzen, und in einer Stunde sei die Probe avec le chef Pierre Boulez! Dies soll häufiger vorkommen, als man denkt! Herr Kapellmeister Christian Thielemann - er nennt sich selbst so, denn er mag den Namen "Dirigent" nicht sehr - erzählte in einem Vortrag, dass Musiker fürs Konzert oder gar für die Oper am gleichen Abend geholt, um Werke vom Blatt zu spielen, die sie nie zuvor geprobt haben! So nach dem Motto "Hol dir eine CD und frage einen Kollegen, wie die Stellen zu spielen sind!". Orchester haben sowieso immer weniger Zeit, zum Proben! Maestro Riccardo Muti hat sich mehrmals drüber beschwert...

I think you mean Ashdown Forest.

Thank you. The original subtitle text was used as found in the original file. I have made corrections.

You're welcome

I do understand and sympathize with where you're coming from. My Dad shared a similar point of view one day years ago when he heard me listening to the opening of the Poulenc Organ Concerto (relatively tame stuff compared to the Berg and Boulez in this video). He listened quietly for a minute or two and then flatly stated "That's not music. Music is supposed to have a pleasing sound." I pointed out that this judgement is completely subjective, as I happened to believe that it was not only music, but really quite pleasing music at that. But I didn't have time to fully explain *why* I thought so - and I'm not entirely sure he would have been interested to know right then anyway with fortissimo extended tertian organ and string sonorities driving him from the room. In those days I confidently thought that I could easily understand why my Dad didn't engage with Poulenc's lovely French dissonance, and that it was because I possessed something he lacked: a working and ever-growing knowledge of the history and practice of Western music from a composer's perspective. Not having a framework within which to understand WHY such music "sounds the way it does", I reasoned that I could thus understand HOW my Dad could easily dismiss it as just some kinda junk non-music not worth suffering through long enough to experience its peculiar charms. That was the unwitting snobbery of the well-informed enthusiast on my part. "If you only knew more about it, you'd probably appreciate it more". I've thought about this for a long time. How wrong I was. The thing is, it wasn't that my father was just "ignorant". Over time I came to realize that he could have undergone the exact same musical training and experience as I had and STILL come out in favor of Freddy Fender over Ferrucio Busoni. With such training he would probably not have said that the Poulenc wasn't music, but it would have been equally useless to him AS music. Hell, I myself have been trying to understand the allure of Anton Bruckner for decades, but no matter how much I read or hear of it, his music always leaves me like a cold bored lump of potato. I may never understand it, but I am irritated that it still keeps its secrets from me. I now believe that, for any given piece of music - no matter what the style - there will always be some segment of the human population which, upon hearing it will instantly love and embrace it *without ever needing to be told how or why it came about*. It instantly speaks to them, and that's all they should need to know about it. However, as with so very many other things, the reciprocal is equally true - and valid. There's always going to be folks who will experience a visceral rejection of certain sounds they are exposed to from the very start, and not even be willing to consider it as something within the realm of music. Are they wrong to think so? Well, strictly speaking, if we take the Standard Modern Definition of Music as "Organized Sound", yes: They are in fact wrong about that. But music in this particular context - and how we use music to help us live our lives - always ends up much like Joseph Campbell's fine definition of God: "A metaphor for an experience of transcendence". So, one way or another, it seems like you either see The Light, or you don't. Or, maybe, like me with Bruckner, if you study hard enough for long enough you can eventually dimly make it out like a low magnitude star - if you know *exactly* where to look. I figure so long as you don't pity or hold enmity with those who cannot or will not join in the rituals of your Musical Holy Places, this can be a teaching moment for other intersections of our lives where we can't understand how others can possibly be nourished by food we cannot even see. I really wished that the Poulenc Organ Concerto was something which my Dad and I could have shared, enjoyed and discussed together, but some mysteries are outside the present reach of our ability to understand, and may always be so. If, in the end, music is nothing more than "Organized Sound", its enduring power is nevertheless a very deep mystery.

Glad you enjoyed it!

Yes, it's quite surprising to us a quarter-century later, but even the Berlin Philharmonic only allowed women to be offered auditions in 1982. Hell, Switzerland didn't even allow women to *vote* until *1971* - so this sort of European "progressive consensus" is par for the course in that era, and radical change is long overdue. Being an understandably long-time cynic, I imagine that one of the unspoken reasons why we see so many women in orchestras now is because they are likely being paid less.

SCHLACHTE FRAGE.💩

i believe the VPO might have had a single female at this point but you don't really see her face. this would be Anna Lelkes, the harpist. the video around 38:06 shows the hands of a harpist which look decidedly feminine. she'd been an adjunct since 1974 and was majority voted in (along generational lines) in 1998. as of 2019 they have 15 female members. not sure how many more in the last 5 years.

You are quite welcome. Boulez was a most fascinating (and often divisive) musician. There's a link in the description if you want to purchase the video. I found it in some shop in Greenwich Village around 2006.

Oui en effet. Boulez était un artiste singulier, mais il faut ce genre de compétences pour atteindre ce niveau de création musicale. Merci pour le commentaire. Thanks Google Translate!

I am glad you liked it!