Mozart Symphony No.41 Kazuo Yamada NHKso 4th mov

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Uploaded by on Jul 25, 2008

Mozart Symphony No.41
Conduct:Kazuo Yamada
Orchestra:NHKso

Japan SuntoryHall 26.11.1990

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Music

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  • I LOVED his reaction right when the fugue ends in the coda. The fugue is the best thing about this symphony and is probably the greatest fugue ever, but so much tension is built up during those 20 seconds, so that when homophony is restored, the listener feels a sense of relief. It's just masterful music. It's Mozart at its best. And this conductor feels every note of it.

    This is a very good performance. Reminds me of one of Boehm's recordings with the BPO that I own.

  • excellent. Mozart is the greatest!!

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All Comments (19)

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  • ¡Como disfruta el director dirigiendo música de Mozart!

    ¡Fantastico!

  • @UlfenDaddy In performance a conductor seeks not only to direct musicians to bring out what they've practiced, but to engage audience Especially those less familiar with it, into the full beauty of pure Sound. A certain "cue" tells player one thing, but also hints to how a part relates to the central concept, the Conductor's. Audience's inclusion is aural but VISUAL too; the 'ka-ta' is invaluable to show details of tension, phrase, dynamics. AND meter. MORE than Just a time-beater, but not Less.

  • @contrerados Yes, but it's the RESULTS, the Sound. There are some great clips of men such as v. K rehearsing, showing How they achieve what they do. A plebian view of a conductor as a kind of metronome is typical but misleading, but so is the idea that flash and style on the podium makes a "great" maestro. An observant pal of mine (who's tone-deaf but a 3rd degree black belt) attended 1 of my concerts said, They way you do that is almost like a 'Ka-ta,' and I think he's quite right.

  • Bravo direttore per questo capolavoro che per me e' vertice assoluto della musica strumentale!

  • Bravo direttore per questo capolavoro assoluto che ha la potenza di una bomba atomica!

  • love to play to marybeth

  • Beating time is not conducting; mannerisms and the elegance (or bluntness) make or break conductors. Look at Carlos Kleiber and von Karajan. Whatch them closely, and listen to the wonders they extract out of the orchestra without being mathematical and mechanical with tempos.

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