Favorite finales?
Favorite finales?
Sometimes I find myself listening through a work - concerto, symphony, whatever - eagerly awaiting its final pages. There are a few exceptional ones for me - care to opine about yours?
Here are just three:
In first place and for me the most powerful finale of them all is the last part of Mahler's Second (Resurrection) Symphony. From the Urlicht - to the silent entry of the chorus - through the soloists joining in and briefly separating from and floating above the massed voices - and then the acceleration in a crescendo to the "Auferstehen!" after which the tension builds almost unbearably until it all breaks open - with bells, organ - to a majestic finish.
In Ravel's orchestration of Mussorgsky's Pictures at an Exhibition when Baba Yaga flies off into the final scene - The Great Gate of Kiev - the transition send chills through me and then that majestic theme fills and fills. Amazing!
(PS - it's powerful, too, in the original piano version - especially for me in Richter's reading of the work - but I'll default to the full orchestral version most times.)
On a smaller scale I would mention Brahms' Academic Festival Overture. It bubbles along bumptiously and quotes student songs (drinking songs, we are told) until a slow segue into "Gaudeamus Igitur" which puts a triumphant exclamation point onto the piece.
So - three two of my choices. Yours?
Here are just three:
In first place and for me the most powerful finale of them all is the last part of Mahler's Second (Resurrection) Symphony. From the Urlicht - to the silent entry of the chorus - through the soloists joining in and briefly separating from and floating above the massed voices - and then the acceleration in a crescendo to the "Auferstehen!" after which the tension builds almost unbearably until it all breaks open - with bells, organ - to a majestic finish.
In Ravel's orchestration of Mussorgsky's Pictures at an Exhibition when Baba Yaga flies off into the final scene - The Great Gate of Kiev - the transition send chills through me and then that majestic theme fills and fills. Amazing!
(PS - it's powerful, too, in the original piano version - especially for me in Richter's reading of the work - but I'll default to the full orchestral version most times.)
On a smaller scale I would mention Brahms' Academic Festival Overture. It bubbles along bumptiously and quotes student songs (drinking songs, we are told) until a slow segue into "Gaudeamus Igitur" which puts a triumphant exclamation point onto the piece.
So - three two of my choices. Yours?
Re: Favorite finales?
A few of many:
Sibelius' Sym. No.5
Brahms' Sym. No.2
Rachmaninoff's Sym.No. 2 and PC # 3
Shostakovich's Sym.No.5
Barber's VC and Beethoven's VC
Beethoven's Piano Sonata No.31,Op.110, and Scriabin's 4th Piano Sonata
Sibelius' Sym. No.5
Brahms' Sym. No.2
Rachmaninoff's Sym.No. 2 and PC # 3
Shostakovich's Sym.No.5
Barber's VC and Beethoven's VC
Beethoven's Piano Sonata No.31,Op.110, and Scriabin's 4th Piano Sonata
Re: Favorite finales?
Good ones.
That brilliant episode for horns in the last movement of Sibelius No.5 is another top of my list.
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Re: Favorite finales?
Last movement of Beethoven's 5th symphony where the whole orchestra storms the heights. Everyone gets a go, strings, woodwind brass particularly and even percussion.
Re: Favorite finales?
The Coda of Beethoven's "Eroica" and the Coda of the last movement of his Sonata Op. 7 E Flat Major and the glorious Op. 109; both end with barely a whimper. What a delicious joke Beethoven played on us all when he would end one of his piano sonatas like this, after tumult. I've actually laughed aloud after playing performances of these two works for our music group.
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Re: Favorite finales?
Chopin's Ballade No. 1. I wish I had the technique to play it, but I don't and never will, so I have to be content to listen to recordings of this piece.
Re: Favorite finales?
I'm exhausted.Belle wrote: ↑Tue Mar 26, 2024 10:53 pmThe coda of Schumann's Fantasy, Op. 17:
https://www.youtube.com/watch?v=RkG0aqH5YPQ
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Re: Favorite finales?
Speaking of opera, here's a few of my favorites:
Tosca: the Te Deum (Act I)
Gotterdammerung: The finale
Beethoven: Leonore #3
Boris Godunov: end of the Coronation Scene
Handel: Messiah, Amen
Tosca: the Te Deum (Act I)
Gotterdammerung: The finale
Beethoven: Leonore #3
Boris Godunov: end of the Coronation Scene
Handel: Messiah, Amen
Re: Favorite finales?
Yes, it's like that!!Febnyc wrote: ↑Wed Mar 27, 2024 7:32 amI'm exhausted.Belle wrote: ↑Tue Mar 26, 2024 10:53 pmThe coda of Schumann's Fantasy, Op. 17:
https://www.youtube.com/watch?v=RkG0aqH5YPQ
Re: Favorite finales?
Does the end of the third movement in Tchaikovsky #6 count??!!
Re: Favorite finales?
Re: Favorite finales?
Absolutely!
Especially in the Zeffirelli production - with that enormous throng marching across the stage, amidst smoking incense, religious symbols, brilliant costumes - combined with Scarpia's reaction to it all when he catches himself rhapsodizing instead about Tosca's charms and, almost in embarrassment, joins in the Te Deum. (Plus, when it comes to an end, the curtain is raised again for Raphael-like tableau.) Just wonderful!
Re: Favorite finales?
Don't let that scare you - go right ahead!lennygoran wrote: ↑Wed Mar 27, 2024 8:14 amFrank you'd be even more exhausted if I mentioned my opera picks! Regards, Len
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Re: Favorite finales?
One really important name missing from that list and the pianist who I believe owns this work - Sergio Fiorentino. And yes, he did record it live, in Germany in 1993 as well as Naples in the 1974
https://www.youtube.com/watch?v=pGKSw53kDiI
Starts at 1:03:22
Re: Favorite finales?
Agreed about Fiorentino’s Schumann Fantasy. His last mov. is unique, in my limited experience.
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Re: Favorite finales?
Tchaikovsky 4
Pines of Rome
Symphonie Fantastique
Pines of Rome
Symphonie Fantastique
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Re: Favorite finales?
Bruckner 8. IV. Finale.
Every second of it.
But esp. https://youtu.be/aFvzEIZ8oZc?si=WIqYGqCalDuBw_uv
Every second of it.
But esp. https://youtu.be/aFvzEIZ8oZc?si=WIqYGqCalDuBw_uv
Re: Favorite finales?
For sure.jserraglio wrote: ↑Thu Mar 28, 2024 6:23 amBruckner 8. IV. Finale.
Every second of it.
But esp. https://youtu.be/aFvzEIZ8oZc?si=WIqYGqCalDuBw_uv
My only CD of the Bruckner Eighth is by these very forces - have no idea if it's the same performance (probably not) - but I've been enjoying HvK/VPO for many years that way.
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Re: Favorite finales?
This is the later of the two HvK video perfs from 1988. The other, even more famous, was given at St. Florian's in 1979, which is complete on youTube. https://www.youtube.com/watch?v=ihtXjBmAXgM
I think it is the greatest symphony of the greatest composer of symphonies, but what do I know?
I think it is the greatest symphony of the greatest composer of symphonies, but what do I know?
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Re: Favorite finales?
Frank, Donizetti-so many-one of my favorites among many. Regards, Len
https://www.google.com/search?client=fi ... 1HidY,st:0
Re: Favorite finales?
Len - that counts for sure.lennygoran wrote: ↑Thu Mar 28, 2024 8:24 amFrank, Donizetti-so many-one of my favorites among many. Regards, Len
https://www.google.com/search?client=fi ... 1HidY,st:0
Re: Favorite finales?
My DGG recording was done in November, 1988 in the Grosser Saal at the VPO.jserraglio wrote: ↑Thu Mar 28, 2024 8:05 amThis is the later of the two HvK video perfs from 1988. The other, even more famous, was given at St. Florian's in 1979, which is complete on youTube. https://www.youtube.com/watch?v=ihtXjBmAXgM
I think it is the greatest symphony of the greatest composer of symphonies, but what do I know?
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Re: Favorite finales?
That’s the one the coda of which I excerpted above. I like it better than the 1979 performance.
Re: Favorite finales?
Agreed as to Pines !
Re: Favorite finales?
Yes!jserraglio wrote: ↑Thu Mar 28, 2024 8:05 amThis is the later of the two HvK video perfs from 1988. The other, even more famous, was given at St. Florian's in 1979, which is complete on youTube. https://www.youtube.com/watch?v=ihtXjBmAXgM
I think it is the greatest symphony of the greatest composer of symphonies, but what do I know?
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Re: Favorite finales?
Yes, Tchaikovsky 4 and the most thrilling version of it that I've heard is Szell/LSO from 1962. The speed and power of that movement is phenomenal. The raw power of that first chord made me jump in my seat when I first heard it.
There is an apocryphal story that when Szell went into the recording booth to listen to the current 'takes' producer John Culshaw deliberately dialled down the sound. An infuriated Szell went back and got stuck into the orchestra as only Szell could and the end result is this fabulous recording. When he eventually heard it he said it would be released "over my dead body". It was!
https://www.youtube.com/watch?v=d6XzxIYLyck
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Re: Favorite finales?
Symphonically speaking, what about Mussorgsky's Pictures at an Exhibition's final movement, Great Gate of Kiev, in Ravel's incredible orchestration. This same finale is a tour de force for the original piano version as well.
Lance G. Hill
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
Editor-in-Chief
______________________________________________________
When she started to play, Mr. Steinway came down and personally
rubbed his name off the piano. [Speaking about pianist &*$#@+#]
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Re: Favorite finales?
Frank what about bringing in anti-finales. Don Giovanni is considered by many to be an example of an anti-hero so should the normal way the opera ends be considered an anti-finale-should it end right "after statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear."
IOW is all this an example of an anti-finale?
"Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna's year of mourning is over; Donna Elvira will withdraw from society for the rest of her life;[g] Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.
The concluding ensemble delivers the moral of the opera – "Such is the end of the evildoer: the death of a sinner always reflects his life" (Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual). As mentioned above, productions for over a century – beginning with the original run in Prague – customarily omitted the final ensemble, but it frequently reappeared in the 20th century and productions of the opera now usually include it. The return to D major and the innocent simplicity of the last few bars conclude the opera."
Regards, Len
Re: Favorite finales?
Nothing wrong with those.
And I agree that the finale, anti- or whatever, of Don G is one of the best. I can't imagine being dragged down to Hell as he is in that over-the-top scene.
(If that's gonna be my destination, I'd rather somehow navigate there myself. )
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Re: Favorite finales?
Since we are including opera finales that reference the afterlife, I nominate the Heaven-bent women in the ’Salve Regina’ scene of Poulenc’s “Dialogues des Carmelites”. https://youtu.be/QbRpYJsqhpE?si=7bTFwrUTD8t5TfPh
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Re: Favorite finales?
Joseph just watched the entire opera recently from the Met's On Demand site-I second your motion! Regards, Lenjserraglio wrote: ↑Fri Mar 29, 2024 9:45 amI nominate the Heaven-bent women in the ’Salve Regina’ scene of Poulenc’s “Dialogues des Carmelites”. https://youtu.be/QbRpYJsqhpE?si=7bTFwrUTD8t5TfPh
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Re: Favorite finales?
The rip-roaring conclusion of the last movement of the Brahms G Minor Piano Quartet.
Donald Isler
Re: Favorite finales?
Totally!!!Donald Isler wrote: ↑Sat Mar 30, 2024 6:42 pmThe rip-roaring conclusion of the last movement of the Brahms G Minor Piano Quartet.
Re: Favorite finales?
Vronsky and Babin's recording of " Russian Easter" from Rachmaninoff's Two-Piano Suite No.1,Op.5, at 17:45 here:
https://www.youtube.com/watch?v=EkWfBQr9eVM
https://www.youtube.com/watch?v=EkWfBQr9eVM
Re: Favorite finales?
Lance: Agreed, as I posted at the opening - In Ravel's orchestration of Mussorgsky's Pictures at an Exhibition when Baba Yaga flies off into the final scene - The Great Gate of Kiev - the transition send chills through me and then that majestic theme fills and fills. Amazing!(PS - it's powerful, too, in the original piano version - especially for me in Richter's reading of the work - but I'll default to the full orchestral version most times.)
Re: Favorite finales?
Agreed.Belle wrote: ↑Sat Mar 30, 2024 6:43 pmTotally!!!Donald Isler wrote: ↑Sat Mar 30, 2024 6:42 pmThe rip-roaring conclusion of the last movement of the Brahms G Minor Piano Quartet.
Re: Favorite finales?
I just listened to this recording right to the end of Suite No. 2. The first Suite is so Lisztian that I could hardly believe my ears and this probably explains why I seldom listen to it. But Suite No. 2 is dynamite. This is a superb recording; the best I've ever heard of the first three movements of Suite No. 2. BUT the final movement doesn't work so well as the rest of the work. I prefer Trifonov and Babayan playing this last movement as they develop a kind of pulse together which is more synchronous than the Vronsky/Babin recording. At times I found the latter rather choppy, where I found the rest of the performance stunning and compelling.Rach3 wrote: ↑Sun Mar 31, 2024 7:01 amVronsky and Babin's recording of " Russian Easter" from Rachmaninoff's Two-Piano Suite No.1,Op.5, at 17:45 here:
https://www.youtube.com/watch?v=EkWfBQr9eVM
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