Spinosi: "Battalia", Heinrich Ignaz von Biber; live 2000

Awesome performance, gives me some great ideas about how to perform it with my high school chamber ensemble.

A superb interpretation. This is a 17th century piece of programmatic music, intended to portray the tension, confusion, noise and uneasy aftermath of war, hence its title. The strange dissonances and unconventional use of the bows are all part of it, some of the many devices which made Biber an original and creative composer.

love it. It is like Bach meets Ives. Biber was a little crazy and ahead of his time. This is a great performance.

Love the faces!1

Only 250 years ahead of his time, what's the big deal?!

wow.... incredible dissonances!!! Love it

Wow!

I like!

The next thing you'll see is river dancing. ;P

Absolutely splendid performance, well done indeed!

r there special notes for that clapping/tapping part

meraviglioso!!!

unfortunately, wrong tempo

An excellent upload! Cheered me up no end. Thank you!

Was inspired to look this piece up after hearing about it on BBC Radio 3 Musical Question Time. What an interesting piece and this ensemble performs it with a lot of fire!

With respect: Is that what that noise was, starting at the 2:00 mark? 30 seconds of Eeeeewwww! And you say that was a masterful example? I'll pass. The rest was excellent. I love Ensemble Matheus! Interesting how all of these musicians can add "percussionist" to their resume now...

Biber fantastico e grande Spinosi ! Una interpretazione strepitosa di una pagina grondante di genio, originalità e maestria tecnica.

SUPPER!Thank you for the Musik!First for Biber ,second for Ensemble Matheus!

no one understood mvmt 2 ever.

It's partially linear counterpoint, which can sacrifice harmony for independence of lines. The section is titled Gesellschaft von allerley Humor (“The dissolute society of all sorts”), and you can hear it; it's 8 different folk tunes stacked on top of each other, but it manages to stay relatively clean. If that's not masterful use of counterpoint (and amazingly prescient composing), I don't know what is.

As a wine professional, I know that taste is subjective, yet can be trained. While you think it is “pretty damn cool,” suffice it to say that I don’t like that sound. I find it harsh; but unlike a tannic wine, I cannot temper the bite by decanting, aging or pairing it with a big rib-eye. This is neither intended as an insult to those who do like this sound nor those who produce it.

I don’t like Jackson Pollack, either. For me, it demonstrates little talent and promotes a concept of elitism that is a variation on "The Emperor's New Clothes" by Hans Christian Andersen – with the “blank canvas” being a bit more like invisible clothing than muck being re-defined as style. I won’t make a comment on US politics here. Or perhaps I just did. (I’m not an actor, but I play one on TV!) Perhaps I just lack the training (or indoctrination) to appreciate such things.

Finally, Thanks for responding. I am always eager to learn, even if it is learning to identify something to bag on it.

Interesting you bring up food (wine, but I'm gonna expand that to food). Food art is a category where pleasure triumphs all: you want shit to taste good. You never see food as a testament to death (Schubert's String Quartet No. 14) or as a depiction of a drunk Scottish wedding (Peter Maxwell Davies' "Orkney Wedding, with Sunrise"). Food is a very limited medium of art; it is necessary for humans to eat to survive, and IMO our tongues have grown hypersensitive to sense poison, filth, etc.

And music is perhaps the least concrete of all medium, but also perhaps the most concrete: you never hear western harmony in nature (it is very abstract in this regard) but melodically composers always imitate the real world in one way or another. The "dissolute society" section imitates what is basically a drunken soldiers' party, and it succeeds in doing so. As a food professional you're forgetting that art does not always have to be beautiful on the surface.

Modern visual art is indeed hard to understand since abstract visuals can be puzzling, but sound we can recognize immediately: from the military snare/fife duo in this piece (the section where the bass puts the paper under the string) to absolute horror (Penderecki's "Threnody to the Victims of Hiroshima"). But then again, I love Schoenberg, Bartok, and Prokofiev, so I am an outlier in the current times' taste of music. Plus, I'm a bit of a composer/arranger myself.

“You never see food as a testament to death: -- Excellent! However, I make the comparison simple for the moment. And while I also made the point of being able to modify food, I clearly like certain productions of specific music pieces by specific performers over the same piece done by another performer or even the same performer in a different setting (i.e., studio production versus live).

Just last night I was lamenting the abuse (regardless of the original artist’s blessing) of a great (modern) piece from the 1980s (rock/punk/ska) and incorporating it into a different genre (hip hop). UGH! Or even Kid Rock’s mélange that includes “Sweet Home Alabama.” On the other hand, Billy Joel did not spit on Beethoven’s Pathetic with “This Night.” I fondly recall dating a classical pianist who asked me what I’d like to hear her play: “…that Billy Joel song,” I derped!

As a wine teacher, I have 3 performances of one of Bach’s Lute Suites. John Williams, Julian Bream and Ana Vidovic. 8-12 seconds of an easily identified melody (starting at 1:30, here: /watch?v=7j8jExFEf4s) to demonstrate how different “one” thing can be. In my case, one grape variety grown in the same vineyard in the same vintage versus one set of note played on the same instrument in roughly the same atmosphere.

You're trying to tangent off to taste of which performance is preferred. I'm talking about composition. This is baroque experimental music (rare for its time); from col legno to polytonality, everything screams experimental. Saying you don't like it because it sounds harsh is like saying you don't like horror movies because they're scary. You just can't dislike a work of art for being what it is intended to be.

I’m not being contentious, just discussing. It’s all a matter of personal preference. I can dislike anything I want for any reason I want. My personal likes and dislikes are my own and do not define anything except for me. If one likes music that, for my ears, clashes with itself then that is fine for them. I am certainly no authority on music. I keep a beat like a politician keeps a promise.

Von Biber pochází z Čech, tak píšu česky - před nedávnem jsem viděl vystoupení jednoho ansámblu ze San Marina, který hrál s podobnou vervou renesanční repertoár. Klobouk dolů, tato interpretace mě strašně baví, máte krásný zvuk, jste dokonale sehraní a budu se pídit po dalších Vašich nahrávkách. A budu-li mít štěstí, třeba Vás uvidím i na pódiu. Biberova skladba je ovšem rovněž skvělá. Dobrá volba. Zdravím z Beskyd!

Fantastici, perfettamente affiatati..

Spinosi is literally jumping while playing.

My goodness, he looks like Ryan Lochte

Muy bueno,Excelente

Wow this sounds so modern and ahead of its time!!

Wonderful interpretation.

Spinosisme et les Mateus quel talent!

Viva BOHEMIA ....... and Bohemian Biber .....

Soberbios !! Literalmente obnubilante ejecución . Directo de Bohemia a la inmortalidad . Biber y Spinosi junto al Ensemble Matheus se lucen en esta obra . Bravisimo !! 👏

They should have used parchment

GOOD VIDEO !!!!!!!!!!! o

Extraordinaire.
Je viens de découvrir à l'image ce chef.
Je connaissais plusieurs de ses enregistrements que je possède.
Il m'a fait penser par son allant aux Giardino Armonico à ses dévuts sur scène.
sur scène.
C'est

Bravo.... sinon Bravissimo Alain

12 ans plus tard...
Et aussi neuf et emouvivifiant

Le bouillonnant chef de l'ensemble Matheus confirme son talent explosif!

have to play this for my hs orchestra, this sucks to play buts fun to hear lol

Bravo!!!

È guerra mondiale......