Because I was unable to attend the Mozart After Dark concert that I was looking forward to seeing live, I was fortunate enough to find a concert through YouTube, which was titled “The Berlin Celebration Concert – Beethoven, Symphony No 9, Bernstein 1989.” This concert, which recreated Beethoven’s Symphony No. 9, was performed on December 25th, 1989 by an international cast of musicians and vocalist coming from groups around the world, such as: Symphonieorchester des Bayerischen Rundfunks, Members of the Staatskapelle Dresden, Members of the Kirov Orchestra, Leningrad, London Symphony Orchestra, Members of the New York Philharmonic and Members of the Orchestre de Paris; the conductor of this concert was Leonard Bernstein (SuperGMajor7). I have
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Other instrument types that can be heard are the violin, the viola, the double bass and the cello. The brass instruments used in the Allegro ma non troppo, un poco Maestoso, or the first movement would include the horn and the trumpets, and from the percussion instrument group the only instrument that was seen being used was the timpani. The music in the first movement started of with a slower tempo, beginning with pianissimo-like sound made up of primarily woodwind instruments, reminding me almost like birds singing in the morning, to an intense, climatic fortissimo, while not being too intense. The fortissimo in this movement gave me the feeling of watching a movie, where the viewer is yelling “Do not go in there!” and the character goes in there anyways and the viewer is waiting to see what the outcome is of the character going in there. The balance in the first movement is relatively even, for the most part in Bernstein’s conduction. Just in the first movement alone, Leonard Bernstein is so emotionally involved, making the production so much better. Throughout majority of the performance, Bernstein’s eyes were closed and viewers could see him slowly swaying as he was conducting, as if the music was talking through him. It is clear that he knew Beethoven’s Symphony No. 9. During the second movement, or Molto vivace, the instruments seen in the first movement are primarily the same. This particular movement was a bit more complex than the first movement, especially because the tempo was much faster. The exposition of the second movement repeated itself and moved on to a solo of the timpani. What really adds to this particular section in the performance is when the music slows down in the Molto vivace, before
Other instrument types that can be heard are the violin, the viola, the double bass and the cello. The brass instruments used in the Allegro ma non troppo, un poco Maestoso, or the first movement would include the horn and the trumpets, and from the percussion instrument group the only instrument that was seen being used was the timpani. The music in the first movement started of with a slower tempo, beginning with pianissimo-like sound made up of primarily woodwind instruments, reminding me almost like birds singing in the morning, to an intense, climatic fortissimo, while not being too intense. The fortissimo in this movement gave me the feeling of watching a movie, where the viewer is yelling “Do not go in there!” and the character goes in there anyways and the viewer is waiting to see what the outcome is of the character going in there. The balance in the first movement is relatively even, for the most part in Bernstein’s conduction. Just in the first movement alone, Leonard Bernstein is so emotionally involved, making the production so much better. Throughout majority of the performance, Bernstein’s eyes were closed and viewers could see him slowly swaying as he was conducting, as if the music was talking through him. It is clear that he knew Beethoven’s Symphony No. 9. During the second movement, or Molto vivace, the instruments seen in the first movement are primarily the same. This particular movement was a bit more complex than the first movement, especially because the tempo was much faster. The exposition of the second movement repeated itself and moved on to a solo of the timpani. What really adds to this particular section in the performance is when the music slows down in the Molto vivace, before