# Moments in music that make you go "OH YES!!"



## violadude (May 2, 2011)

I think the title is fairly self-explanatory.

For example one of mine is in the Barber violin concerto, 2nd movement:






At 0:45 when the oboe is playing the melody and all the strings play that magical ascending scale and cadence into that new key I go "OH YES!!!"


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## Conor71 (Feb 19, 2009)

The first movement of Schumann's Rhenish always makes me feel really elated!


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## tdc (Jan 17, 2011)

Nice example Violadude, that Barber moment was quite subtle but very nice indeed. 
I have a lot of moments like this, here are just a few off the top of my head:

- Several moments of the second movement of Ravel's Piano Concerto in G 
- A certain moment near the beginning of Ravel's Sheherezade Overture (the climax of the 'dualing' horn parts)
- A bunch of these around the 2-6 minute mark of Bach's Passacaglia and Fugue in C minor, as well as many in his Chaconne in D minor.


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## waldvogel (Jul 10, 2011)

This moment, at about 3:45 into the third movement of Mozart's Piano Concerto K. 482. At this point the music changes from beautiful to heartrendingly beautiful.


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## violadude (May 2, 2011)

waldvogel said:


> This moment, at about 3:45 into the third movement of Mozart's Piano Concerto K. 482. At this point the music changes from beautiful to heartrendingly beautiful.


Good example. I love that movement in general. It was one of the first movements of Mozart I really "got into."


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## Olias (Nov 18, 2010)

Dvorak's Cello Concerto, 2nd movement where the cello and clarinets trade of on the most beautiful melodic lines ever. On this clip its goes from 7:35-8:35


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## Weston (Jul 11, 2008)

Music really is often often about specific moments, isn't it? It's odd though that our appreciation for those moments is very individual. In the Barber concerto above for instance I was just as moved by the chordal changes at about 0:24. But I do see what you mean about 0:45 too. I never noticed that Barber was such a handsome fellow in his youth. He must have made the ladies swoon -- as far as I can tell about such things.

There are so many of these musical moments, and often when we try to convey them to others, we get a sort of "eh?" reaction. But it's worth trying.

My own recent one is from Brahms Symphony No. 1, movement 1. You get about 7 minutes of dire drama, storming and raging with very little let up, then at *7:09* (in the video below) a ray of sunshine peaks through and pierces your heart. The clouds try to reform but by *7:23* the major chords have come out in force and some modulations take place, leaving me weeping with sheer joy and wonder. It does get dark again, but life is worth living for those brief transcendent moments of enlightenment. (Note that the video compiler put the grave of Beethoven at the beginning in intentional recognition that this is a Brahms tribute of sorts to the great master.)






I heard this at work this week and had to quickly dry my eyes. It would have been too hard to explain. It made me wonder why I strive so hard to find unknown works when the well known ones can hit you so unexpectedly like this.


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## NightHawk (Nov 3, 2011)

one of the most beautiful things in the world - one forgets that it is a violin concerto - Barber's point of view -achingly beautiful beautiful, yet haunted. This entire concerto is a marvel. I have this it with Nadia Salerno-Sonnenberg.



violadude said:


> I think the title is fairly self-explanatory.
> 
> For example one of mine is in the Barber violin concerto, 2nd movement:
> 
> ...


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## NightHawk (Nov 3, 2011)

*Beethoven Quartet No. 13 Op. 130 in Bb - mvmt 5 'Cavatina'*

This particular movement, the 'Cavatina' has almost a minute of music beginning at about 5:07 where the key moves into Cb major and the first violin virtually 'breaks into utterance' to paraphrase I can't remember who. It has been remarked on by every music critic worth their salt. The entire movement is a miracle as is the entire quartet which has 'Die grosse fuge' as its original final movement.






It is one of the musical examples included in the two Voyager Space Crafts launched in 1977. Here is an incredible link. If you visit it, notice in the right pane the real time calculations of the distance from earth the probes are as you watch.

http://voyager.jpl.nasa.gov/


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## Evelina (Sep 30, 2011)

At 14:10-ish... the arpeggios!






Marc-Andre Hamelin plays them even more heartbreakingly than this.


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## Meaghan (Jul 31, 2010)

Olias said:


> Dvorak's Cello Concerto, 2nd movement where the cello and clarinets trade of on the most beautiful melodic lines ever. On this clip its goes from 7:35-8:35


Yeah, I used to basically fall apart every time I heard this. Very, very good.


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## NightHawk (Nov 3, 2011)

btw - Great topic!!!


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## regressivetransphobe (May 16, 2011)

That part at the end of Schumann's piano concerto. You know which part I mean.


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## Meaghan (Jul 31, 2010)

A lot of my "OH YES" moments are the kind when I have to keep myself from laughing out loud in the concert hall. Like, for instance, the bit right before the coda in the rondo of Beethoven's Pastoral Sonata. Soft, tentative arpeggios, a pause... and then absolutely ridiculous exuberance! When done right, it's terrific. I know I should post a clip, but I couldn't find one I really liked (they weren't playful enough).

And the last movement of Beethoven's 8th Symphony also has parts that make me laugh, which was a problem when I had to play it. There are two spots where there's a surprising modulation and the bassoon is oom-pah-ing along and the violins sneak back in with the main theme in the new key and it's _funny,_ and it was really hard not to laugh, sitting there in the orchestra between the principal bassoon and the second clarinet, both of whom looked at me with something resembling disgust before I learned to control myself. Oops. (At least I acted like a good, serious musician when we actually got to the concert.)


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## Meaghan (Jul 31, 2010)

And veering back towards the sublime (away from the funny), the brief major-key section near the beginning of this Mozart movement breaks my heart more any of the minor-key material that dominates the work.






From around 3:30-4:15 still gets me even though I've heard it a million times.

(^There are some things I don't like about this performance, but I also thought it was more interesting and truer to the spirit of the piece as I see it than some others that didn't do funny things with rubato/rushing the ends of phrases, but were kind of dull. Oh, the challenges of finding the exact interpretation you want on youtube. Disclaimer: I know very little about HIP.)


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## skalpel (Nov 20, 2011)

Prokofiev's first violin sonata, first movement towards the end when the violin slithers off and returns as plucked strings. It sounds especially brilliant late at night, making all the hairs on my arms stand on end - though I tend to shout OH YES in my head more as I'd miss it!






Around 5:22 in this video. Also, hope nobody minds me making my first post here, I've never been one for big announcements so hello etc.


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## violadude (May 2, 2011)

skalpel said:


> Prokofiev's first violin sonata, first movement towards the end when the violin slithers off and returns as plucked strings. It sounds especially brilliant late at night, making all the hairs on my arms stand on end - though I tend to shout OH YES in my head more as I'd miss it!
> 
> 
> 
> ...


Awesome example! And welcome to the forum.


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## skalpel (Nov 20, 2011)

Thanks! This thread made me want to sign up, I've loved the entrys so far, perfect choices.


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## Huilunsoittaja (Apr 6, 2010)

I'm still confused at the idea of "OH YES!"? Saying that as in "oh yeahhhhh!" or "oh finally!" or "exactly!" or all?

Too many to name.


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## Chrythes (Oct 13, 2011)

NightHawk said:


> This particular movement, the 'Cavatina' has almost a minute of music beginning at about 5:07 where the key moves into Cb major and the first violin virtually 'breaks into utterance' to paraphrase I can't remember who. It has been remarked on by every music critic worth their salt. The entire movement is a miracle as is the entire quartet which has 'Die grosse fuge' as its original final movement.
> 
> 
> 
> ...


I can't believe i never noticed that. 
I only listened to Kodaly's Quartet performance and i always loved it, but now i understand how rushed and not subtle it is compared to the one you attached. Thank you for enlightening me!
My appreciation for this quartet, which i least liked out of his late quartets, has truly grown.


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## violadude (May 2, 2011)

Huilunsoittaja said:


> I'm still confused at the idea of "OH YES!"? Saying that as in "oh yeahhhhh!" or "oh finally!" or "exactly!" or all?
> 
> Too many to name.


Whatever you think it means...It's up in the air. Just moments that make you say Oh yes!


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## NightHawk (Nov 3, 2011)

and the transition at about 4:03 ! I love this work, and this movement is the prized moment. 



Meaghan said:


> And veering back towards the sublime (away from the funny), the brief major-key section near the beginning of this Mozart movement breaks my heart more any of the minor-key material that dominates the work.
> 
> 
> 
> ...


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## Aramis (Mar 1, 2009)

Some random stuff that come to mind:

Crescending coda of first movement of Beethoven's 3rd PC.

6:44-6:54, essential moment of whole _Fantastique_, musical expression of passions at it's best:






When baritone starts to sing after short choral interlude (3:04) , the reoccuring main melody just flows out of the choir so perfectly:






But come on, it's like asking "list pieces with particularly awesome moments". Endless mission, sir.


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## jalex (Aug 21, 2011)

2:15, the brass 'entry' after build up:


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## jalex (Aug 21, 2011)

2:05, the string triplets:


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## LordBlackudder (Nov 13, 2010)

i'll remove this i thought it was general music section.


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## Weston (Jul 11, 2008)

violadude said:


> Awesome example! And welcome to the forum.


Yes, this was my first hearing the Prokofiev and the whole thing made my hairs stand on end, especially all the double stops. I must seek a recording of this for my collection.

What was really a freakish brain warping moment was when I tried to pause the video and hit the play button on your quote of it instead. It became Charles Ives meets Gentle Giant meets Prokofiev. 

On that note, I'd better take a break before listening to the rest of selections.


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## Weston (Jul 11, 2008)

Aramis said:


> But come on, it's like asking "list pieces with particularly awesome moments". Endless mission, sir.


I have no problem with that. Let's make this an endless thread.


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## starthrower (Dec 11, 2010)

The crescendo ending to part 4 of Webern's Six Pieces For Large Orchestra.

The intro to Penderecki's Threnody.


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## Igneous01 (Jan 27, 2011)

I guess Ill be the one to suggest the most obvious Oh yes moment:






1:20 OH YES JUST DIEEEEEEEEE!!!


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## Huilunsoittaja (Apr 6, 2010)

I know! You're all gonna laugh at me for this one:






Cue a maniacally gleeful look on my face 7:05 through the climax, "Yes... YES... YES!!!! YEAHHHH!!" (Scene of me standing on a high cliff over the sea, waves crashing at my feet, my arms outstretched in ecstasy) That kind of thing.


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## Sid James (Feb 7, 2009)

I've been listening to a number of *Haydn's London symphonies *(Nos. 93-104).

All of these have a slow and somewhat solemn or dark introduction before the main theme/s of the first movement come in, which are always bright and cheerful. I like how you know what's coming, but he always does it a slightly different way.

I was listening to his _Drum Roll _symphony (#103) last night and remembered how as a kid when I first heard it, I thought the whole thing would be dark.

The opening of _Symphony #104, London_, has the grandest opening which in some ways looks forward to Beethoven, but it like the others totally changes tack and becomes light and whimsical. Haydn really gives me a boost in this way, he was the master of contrast. The slow movements of these symphonies also often have a contrast between darkness and light, in #104 storm clouds gather but eventually dissipate.

Sorry I can't provide clips, I am unable to now, but I'm sure that most of you know these works well...


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## TrazomGangflow (Sep 9, 2011)

Mozart's violin concerto no. 3 Rondeau Allegro. About four minutes through. That part has a real wow effect. (I'd show a video but I don't know how)


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## violadude (May 2, 2011)

TrazomGangflow said:


> Mozart's violin concerto no. 3 Rondeau Allegro. About four minutes through. That part has a real wow effect. (I'd show a video but I don't know how)


I think I know what you are talking about. Is that the part in that movement where Mozart suddenly switches from classical violinist to gypsy violinist?


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## kv466 (May 18, 2011)

I immediately thought of a particular moment during this cadenza but really, the entire thing makes me go 'oh yes'.


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## violadude (May 2, 2011)

I think Tranzgangflow is talking about 3:10 in this video.


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## Llyranor (Dec 20, 2010)

Near the end of the final movement of Mendelssohn's Violin Concerto. At around 5:25, the violin is basically singing "Ok, we're ready to end this" and then goes into hyperspeed mode. The bit at 6:00 is stunning as well. I love that ending.






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In St-Saens' 3rd Symphony, also near the end of the final movement. There's a build-up starting around 5:10. I love the part where the tension is all released at 6:14. While the brass is all-powerful, I think it's the string playing the background melody that really makes this moment for me.








NightHawk said:


> This particular movement, the 'Cavatina' has almost a minute of music beginning at about 5:07 where the key moves into Cb major and the first violin virtually 'breaks into utterance' to paraphrase I can't remember who. It has been remarked on by every music critic worth their salt. The entire movement is a miracle as is the entire quartet which has 'Die grosse fuge' as its original final movement.


Oh wow, that part is amazing. Thanks for sharing. Time to listen to that SQ again.


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## mmsbls (Mar 6, 2011)

These two moments are remarkably similar. Both occur immediately after the cadenza in the first movement of famous violin concertos. I find both exquisitely beautiful.

Brahms Violin Concerto starting around 3:40 -






Tchaikovsky Violin Concerto starting around 7:35 -


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## NightHawk (Nov 3, 2011)

I am very happy to 'show' this small moment to you. I too, went past it for a number of years and then read some commentary...I had to slow down my thoughts and just listen. I hope this thread keeps rolling, I love having 'those OH! moments' pointed up to me, too


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## NightHawk (Nov 3, 2011)

to MMSBLS

too cool - the psychology IS similar. Two great players - Heifetz' Beethoven Concerto 2nd movement is revelatory experience, and Oistrakh is my all time favorite (also Nathan Milstein and Zino Francescotti).


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## Rasa (Apr 23, 2009)

Every classical cadenza with trill on the fifth degree serves.

But also, the first variation in Fauré's thème et variations. When I heard the theme for the first time, I thought to myself: wow, this is really extremely boring, who listens to this? And then the variation kicks of with the added voices in the high tessiture. I find it to be of unbearable beauty.


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## Lisztian (Oct 10, 2011)

kv466 said:


> I immediately thought of a particular moment during this cadenza but really, the entire thing makes me go 'oh yes'.


I personally much prefer the Ossia Cadenza 






From 10:35...That's definately an OH YES moment for me.


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## NightHawk (Nov 3, 2011)

*Another OH...this one from Schubert, Pna. Sonata in Bb D.960 - 2nd mvmt, c# minor*

Alfred Brendel does a great job here. The movement is ABA - and the key is C# with move to A major in the B section. The '_place_' is after the return of A at about 6:28 - there is this unexpected shift to a C major chord that took my breath away when I first ever heard this wonderful posthumous sonata in live performance.

Aw. here. Wikipedia does it better than I can:

_Andante sostenuto. This movement is written in ternary form, and the key of C-sharp minor - "the most tonally remote inner movement in Schubert's mature instrumental works in sonata form".[28] In the main section, a somber melody is presented over a relentless rocking rhythm. The central section is written in A major, and presents a choral melody over an animated accompaniment; it later touches upon B-flat major, the sonata's home key. The main section returns with a variant of the original accompanying rhythm. This time, the tonal scheme is more unusual: after a half cadence on the dominant, a sudden, mysterious harmonic shift introduces the remote key of C major. This eventually turns into E major, and proceeds as before. The coda shifts to the tonic major, but is still haunted by glimpses of the minor mode._ wikipedia (enjoy!)


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## NightHawk (Nov 3, 2011)

Rasa said:


> Every classical cadenza with trill on the fifth degree serves.
> 
> But also, the first variation in Fauré's thème et variations. When I heard the theme for the first time, I thought to myself: wow, this is really extremely boring, who listens to this? And then the variation kicks of with the added voices in the high tessiture. I find it to be of unbearable beauty.
> 
> Faure is a wonderful composer, very gifted melodically so I'm not surprised by the beauty of this entire set of variations which are new to me.


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## NightHawk (Nov 3, 2011)

Lisztian said:


> I personally much prefer the Ossia Cadenza
> 
> From 10:35...That's definately an OH YES moment for me.


A great 'optional' cadenza which is stunning - 11:55 and 12:44 are OH! moments, as well. The playing is heroic. Thanks!


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## NightHawk (Nov 3, 2011)

kv466 said:


> I immediately thought of a particular moment during this cadenza but really, the entire thing makes me go 'oh yes'.[video=youtube;vXhQCEumAQQ]


This is a first - I have never heard Gutierrez - magnificent and on my list. Thanks!


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## jalex (Aug 21, 2011)

4:21 & 9:24






Pretty much the whole introduction to this symphony, but especially 1:48


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## clavichorder (May 2, 2011)

The opening to this piece


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## clavichorder (May 2, 2011)

Britten's Four Sea Interludes had me bobbing my head at my latest concert.


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## tdc (Jan 17, 2011)

Rasa said:


> Every classical cadenza with trill on the fifth degree serves.
> 
> But also, the first variation in Fauré's thème et variations. When I heard the theme for the first time, I thought to myself: wow, this is really extremely boring, who listens to this? And then the variation kicks of with the added voices in the high tessiture. I find it to be of unbearable beauty.


In general theme and variation type works usually don't enthuse me that much, (even Bach's Goldbergs and Beethoven's Diabellis I rarely listen to) but this work is definitely an exception. Quite enjoyable.


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## Chrythes (Oct 13, 2011)

Apropo Brahms - First Piano Trio, second movement (3:25): 
The powerful violin, the melody!


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## Llyranor (Dec 20, 2010)

I feel like this thread has the potential to go on forever. It's not like we can run out of material.

Mahler's 6th Symphony, last movement. 5:08-7:50 is such a powerful moment. I especially like the part introduced by the horn(?) at 6:26. Other highlights are 6:48 and 7:00.





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Schubert's 9th. Beginning of the symphony. Starts off fairly slowly. It's nice and all, but it isn't really until 2:54 that I knew I was in for a real treat. Th strings accompanying the main melody (which the beginning of the movement has already made us familiar with) are simply sublime, wow!






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Faure's Requiem, Libera Me.

The movement starts off with the solo baritone singing the melody. The choir then takes over and explores other territory. The YES moment is when the choir reprises the first melody at 2:53.








NightHawk said:


> I am very happy to 'show' this small moment to you. I too, went past it for a number of years and then read some commentary...I had to slow down my thoughts and just listen. I hope this thread keeps rolling, I love having 'those OH! moments' pointed up to me, too


I think it really depends on the performance too. I've become a little obsessed with that part (apparently the passage is marked 'beklemmt') since listening to it yesterday, so have listened to a few other recordings (on youtube, but whatever), and none of them captures that feeling of that 1st violin trying to grasp for air, trying to make itself heard/relevant. It feels like a cry for help. Only the Lindsay SQ you've posted evokes that feeling. Are there any other recordings to do this justice? I need to buy a CD!

EDIT: Hmm, the Emerson quartet also does it quite well.



skalpel said:


> Prokofiev's first violin sonata, first movement towards the end when the violin slithers off and returns as plucked strings. It sounds especially brilliant late at night, making all the hairs on my arms stand on end - though I tend to shout OH YES in my head more as I'd miss it!


This is great! I really like the sound of that slithering violin.


jalex said:


> 2:15, the brass 'entry' after build up:


Right, that brass is terrific!


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## kv466 (May 18, 2011)

@ Lisztian

Wow, not only had it been years since I'd heard the original version of the cadenza because it so happens my favorite recordings all play the second...but, if I had heard the Gavrilov recording I sure didn't remember how amazing a player he is and how darned good the recording sounds...I am rushing to hear other recordings of his of other piano concertos!


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## jalex (Aug 21, 2011)

1:22, the trumpet rising above the rest of the orchestra with the theme:






And as suggested in the comments, listen at full volume to the low brass at 1:30


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## Llyranor (Dec 20, 2010)

Yeah, that Mahler 1 is a good one.

Here's one from Mozart's 4th Violin Concerto:

Starting at 1:20, the magical moment is the sudden change to the G string (or is it the D?) at 1:38. Love it!


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## jalex (Aug 21, 2011)

1:27-end, the dynamic change and then the repeated major seconds between the two upper brass parts which take longer than expected to resolve:






0:28-0:36, from the phrase beginning at 0:24. That chord change at 0:28 is treated so beautifully, the Db in the flute and clarinet sounds as though it half belongs to the key and is half a foreign note.:






If anyone is interested in a bit of theory, it's a great example of how breaking the 'rules' can have a magical effect; I believe I am correct in hearing a sort of imperfect cadence from V-IV (in some inversion or the other) there, a progression discouraged in traditional harmony.


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## TrazomGangflow (Sep 9, 2011)

violadude said:


> I think I know what you are talking about. Is that the part in that movement where Mozart suddenly switches from classical violinist to gypsy violinist?


Yes exactly!


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## NightHawk (Nov 3, 2011)

Just colossal!! Great performance!



Igneous01 said:


> I guess Ill be the one to suggest the most obvious Oh yes moment:
> 
> 
> 
> ...


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## Chrythes (Oct 13, 2011)

4:30 - 4:48. One of the most intense, beautiful and powerful build ups i've ever heard in a SQ (Well, i haven't heard much).
Those 2 repeating notes, keeping everything on the edge until the melody comes back with such intensity. One of my favourite moments in Chamber Music.


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## Norse (May 10, 2010)

Of course, moments like the ones we're talking about here are most of all powerful in their _contexts_, so skipping to a particular time in a work you're not familiar with isn't going to have the same effect.

For pure heartbreaking beauty, I have a specific moment/motive in the slow moment from Brahms 2nd piano concerto. The whole opening is beautiful, but before the piano enters, the flowing cello/strings melody stops at 1:56 and these simple five note motives appear at 2:10. I don't really have many 'lump in throat' moments in music, but this is one of them.






For a more exhilarating moment: The first soaring restatement of the opening theme in Nielsen's 3rd symphony, last movement. The build up probably starts already at 2:36, and turns up the volume at 3:51. I love the last frenetic 'surge' upwards before theme finally arrives at 4:15. I also like the harmonic changes he does to the repeating figures that ends the theme, making it more triumphant and less "earthy" than before. (Also, the sudden, slightly Grieg-ish progression from around 1:43)


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## Lisztian (Oct 10, 2011)

kv466 said:


> @ Lisztian
> 
> Wow, not only had it been years since I'd heard the original version of the cadenza because it so happens my favorite recordings all play the second...but, if I had heard the Gavrilov recording I sure didn't remember how amazing a player he is and how darned good the recording sounds...I am rushing to hear other recordings of his of other piano concertos!


 I'm glad you liked it. I recommend, without hesitation, http://www.amazon.com/Rachmaninoff-...VRGI/ref=sr_1_2?ie=UTF8&qid=1322025607&sr=8-2 that CD. IMO Gavrilovs playing is absolutely first rate throughout, in what is a terrific sampler of Rachmaninoff's piano/piano and orchestra works. A very worthy addition to any music collection! The performance of Rach 3 on this CD is different than the one I showed you, but is still just as good I think, it was recorded ten years later.


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## NightHawk (Nov 3, 2011)

jalex said:


> 4:21 & 9:24
> Pretty much the whole introduction to this symphony, but especially 1:48
> 
> Question from NightHawk to *jalex*: I have been trying to find a specific recording of the Shost. 5th for a long time - It is the first 5th I ever heard and it is absolutely gripping - just unbelievable. I have acquired 3 Bernstein recordings of this work and all are good but none are right. Here is what I know from Wikipedia - if you can help me locate this recording I would be most grateful:
> _In 1959, he [Bernstein] took the New York Philharmonic on a tour of Europe and the Soviet Union, portions of which were filmed by CBS. A highlight of the tour was Bernstein's performance of Dmitri Shostakovich's Fifth Symphony, in the presence of the composer, who came on stage at the end to congratulate Bernstein and the musicians. In October, when Bernstein and the orchestra returned to the US, they recorded the symphony for Columbia._ Thanks in advance for any help or advice.


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## GraemeG (Jun 30, 2009)

Although Bruckner 4 is pretty transcendent throughout, the transitional passage in the middle of the Finale is glorious beyond expression.
From 00:09 here it starts to build throbbingly, by 00:52 you are observing the whole of the universe spread out before you - all of the stars and galaxies and all of creation that ever was; you are transfigured through to 01:02, and in the meltingly glorious passage through to 01:18 you gather the whole of humanity to you in a kind of universal group hug.

I actually can't ever sit still listening to this passage; I am always trembling with emotion far beyond my control.
It is so far beyond words, it really is.






This performance is OK; it's a passage of music that overcomes even the most insensitive performers.
Even if Bruckner 4 is botched from start to finish, this minute and a half remains untouchable.

And listen from 01:35 as well, and, and......
Just listen to Bruckner 4.
cheers,
GG


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## Llyranor (Dec 20, 2010)

Yeah, you pinpointed one of my favorite parts of the Bruckner 4. I had the opportunity to hear it live recently, and was floored by it. I since bought a cycle by Jochum (the Berlin/Bavarian one).

I quite like the symphony, but am just learning to appreciate the composer. While some moments are really phenomenal, there are parts of it that just seem to drag. Maybe I just can't appreciate the structure-building he's doing during the 'downtime'. It also seems to be follow very high-low-high-low pattern. Anyway, that's my digression.

----------------

Rachmaninoff's 4th Piano Concerto, 1st movement. The build-up begins at 4:40. It builds and builds and builds, until there is a temporary release at 5:30. It then starts building up again at 5:41. 5:52. 6:05. And then orchestra takes over for the final release of that ecstatic moment. This was hair-raising when I heard it at a concert last year.


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## Jamest (Oct 26, 2011)

Chopin's Minute Waltz

http://www.youtube.com/watch?v=KESTJm1g_N0#t=0m35s

Love it.


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## samurai (Apr 22, 2011)

The final movement {especially its majestic last 5 minutes or so} of the *Third* *Symphony* of Jean Sibelius: Maurice Abravanel - Symphony No. 3 in C, Op. 52: III. Moderato, Allegro ma non tanto


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## tdc (Jan 17, 2011)

"This is an 8 minutes video of a very subtle and disturbing performance of part of Alfred Schnittke's Concerto for Piano﻿ and Strings, with Svetlana Ponomarëva at the piano. Amazing that amidst the tension of this piece such poetic undertones can thrive."

I found the above comment in the comments section of this youtube video, and feel it is a good description of the work...This entire 3rd movement of Schnittke's Concerto for Piano and Strings is an 'oh yeah' moment for me.


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## samurai (Apr 22, 2011)

From its opening notes, the *First* *Movement* of the *Nielsen* *Symphony* *No*.*1 *drew me in and wouldn't let me go before I listened to it in its entirety: Copenhagen Philharmonic Orchestra - Symphony No. 1 In G Minor, Op. 7, FS 16: I. Allegro Orgoglioso


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## aleazk (Sep 30, 2011)

this moment should count as a definition of a oh yes section  (if i understood right what you propose):

(starts at 3:06 after the cresc-dim section)


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## Chrythes (Oct 13, 2011)

0:55 - 1:11. The 8th quartet is a mixture of sorrow, sadness and hate, and this part just depicts everything.


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## TzarIvan (Nov 19, 2011)

Scherzo from Schubert's "Der Todd und Das Madchen (Death and the Maiden), when all the instruments go to unisono, hitting A C# D A C# D A C# D D D with accent. Love it so much


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## Norse (May 10, 2010)

aleazk said:


> this moment should count as a definition of a oh yes section  (if i understood right what you propose):
> 
> (starts at 3:06 after the cresc-dim section)


That's funny, I was thinking about posting the same thing.


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## aleazk (Sep 30, 2011)

Norse said:


> That's funny, I was thinking about posting the same thing.


it's such a beautiful piece... sometimes, i turn off the lights and i listen to it in the dark. it's one of the few pieces in which i enjoy every single note in it. just perfect.


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## kv466 (May 18, 2011)

It's amazing what works such as this concerto by Schnittke had such a profound effect on me...I still only feel such things on a sub-conscious level yet they are so present. My own original piano works are so much more this than they are Mozart or Bach or Beethoven; three of my favorite authors of works on the keyboard. It's fun to compose in such a manner and even more fun to play it.


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