undrgrnd Cliquez ici Baby NEWNEEEW nav-sa-clothing-shoes nav-sa-clothing-shoes Cloud Drive Photos cliquez_ici Rentrée scolaire Cliquez ici Acheter Fire Shop Kindle Paperwhite cliquez_ici Jeux Vidéo Bijoux Marsala Bijoux Montres bijoux Fantaisie
Bach: Goldberg Variations a été ajouté à votre Panier
Version MP3 incluse GRATUITEMENT
Quantité :1

Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 10,99

Bach: Goldberg Variations Import

Prix : EUR 15,40 Livraison gratuite dès EUR 25 d'achats. Détails
Tous les prix incluent la TVA.
inclut GRATUITEMENT la version MP3 de cet album.
Hors cadeaux ou produits vendus par des vendeurs tiers. Voir Conditions sur les coûts en cas d'annulation de commande.
Il ne reste plus que 1 exemplaire(s) en stock (d'autres exemplaires sont en cours d'acheminement).
Expédié et vendu par Amazon. Emballage cadeau disponible.
Passez cette commande pour sauvegarder la version numérique de cet album dans votre bibliothèque Amazon Music. Vendu par Amazon EU S.à r.l.
21 neufs à partir de EUR 6,16 6 d'occasion à partir de EUR 6,15

Vous cherchez un CD de Musique Classique ?

CD Musique Classique
Retrouvez tous nos CD au sein de notre Boutique Musique Classique.

Offres spéciales et liens associés

Produits fréquemment achetés ensemble

  • Bach: Goldberg Variations
  • +
  • Bach: Partitas 1, 5 & 6
Prix total: EUR 24,89
Acheter les articles sélectionnés ensemble

Détails sur le produit

Écouter des extraits et acheter des MP3

Les titres de cet album peuvent être achetés en MP3. Cliquez sur « Ajouter » ou voir l'album MP3.

Titre Durée Prix
  1. Goldberg Variations, BWV 988: Aria 3:58EUR 1,09  Acheter le titre 
  2. Variation 1 a 1 Clav. 1:50EUR 1,09  Acheter le titre 
  3. Goldberg Variations, BWV 988: Variation 2 a 1 Clav. 1:35EUR 1,09  Acheter le titre 
  4. Goldberg Variations, BWV 988: Variation 3 a 1 Clav. Canone all' Unisuono 1:56EUR 1,09  Acheter le titre 
  5. Goldberg Variations, BWV 988: Variation 4 a 1 Clav. 1:07EUR 1,09  Acheter le titre 
  6. Goldberg Variations, BWV 988: Variation 5 a 1 ovvero 2 Clav. 1:24EUR 1,09  Acheter le titre 
  7. Goldberg Variations, BWV 988: Variation 6 a 1 Clav. Canone all Seconda 1:24EUR 1,09  Acheter le titre 
  8. Goldberg Variations, BWV 988: Variation 7 a 1 ovvero 2 Clav. 1:46EUR 1,09  Acheter le titre 
  9. Goldberg Variations, BWV 988: Variation 8 a 2 Clav. 1:51EUR 1,09  Acheter le titre 
10. Goldberg Variations, BWV 988: Variation 9 a 1 Clav. Canone alla Terza 2:12EUR 1,09  Acheter le titre 
11. Goldberg Variations, BWV 988: Variation 10 a 1 Clav. Fughetta 1:33EUR 1,09  Acheter le titre 
12. Goldberg Variations, BWV 988: Variation 11 a 2 Clav. 1:46EUR 1,09  Acheter le titre 
13. Goldberg Variations, BWV 988: Variation 12 Canone alla Quarta 2:17EUR 1,09  Acheter le titre 
14. Goldberg Variations, BWV 988: Variation 13 a 2 Clav. 4:59EUR 1,09  Acheter le titre 
15. Variation 14 a 2 Clav. 2:06EUR 1,09  Acheter le titre 
16. Variation 15 a 1 Clav. Canone alla Quinta in moto contrario. a 1 Clav. Andante 4:19EUR 1,09  Acheter le titre 
17. Goldberg Variations, BWV 988: Variation 16 Ouverture a 1 Clav. 2:44EUR 1,09  Acheter le titre 
18. Goldberg Variations, BWV 988: Variation 17 a 2 Clav. 1:41EUR 1,09  Acheter le titre 
19. Goldberg Variations, BWV 988: Variation 18 - Canone alla Sesta a 1 Clav. 1:24EUR 1,09  Acheter le titre 
20. Variation 19 a 1 Clav. 1:29EUR 1,09  Acheter le titre 
21. Variation 20 a 2 Clav. 1:51EUR 1,09  Acheter le titre 
22. Goldberg Variations, BWV 988: Variation 21 Canone alla Settima 2:45EUR 1,09  Acheter le titre 
23. Variation 22 Alla breve a 1 Clav. 1:29EUR 1,09  Acheter le titre 
24. Goldberg Variations, BWV 988: Variation 23 a 2 Clav. 1:55EUR 1,09  Acheter le titre 
25. Goldberg Variations, BWV 988: Variation 24 Canone all' Ottava a 1 Clav. 2:32EUR 1,09  Acheter le titre 
26. Variation 25 a 2 Clav. 7:24EUR 1,09  Acheter le titre 
27. Goldberg Variations, BWV 988: Variation 26 a 2 Clav. 1:58EUR 1,09  Acheter le titre 
28. Goldberg Variations, BWV 988: Variation 27 Canone alla Nona 1:38EUR 1,09  Acheter le titre 
29. Goldberg Variations, BWV 988: Variation 28 a 2 Clav. 2:10EUR 1,09  Acheter le titre 
30. Goldberg Variations, BWV 988: Variation 29 a 1 ovvero 2 Clav. 2:09EUR 1,09  Acheter le titre 
31. Goldberg Variations, BWV 988: Quodlibet 1:43EUR 1,09  Acheter le titre 
32. Goldberg Variations, BWV 988: Aria da capo 2:20EUR 1,09  Acheter le titre 

Quels sont les autres articles que les clients achètent après avoir regardé cet article?

Commentaires en ligne

Il n'y a pas encore de commentaires clients sur Amazon.fr
5 étoiles
4 étoiles
3 étoiles
2 étoiles
1 étoiles

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 84 commentaires
127 internautes sur 137 ont trouvé ce commentaire utile 
A great recording 29 novembre 2000
Par musicfaninchicago - Publié sur Amazon.com
Format: CD
The Goldberg variations are one of the two or three greatest pieces for the keyboard, encompassing a universe of moods, and susceptible to a variety of satisfying interpretations. They are hypnotic and addictive -- the more you listen to them, the harder it is to move on to another CD! This new recording by Perahia joins the top of the heap of great Goldberg recordings on piano alongside Gould and Tureck and others (I'm also partial to the underrated Tatyana Nikolayeva and the new bargain disk by Zhu Xiao-Mei). Perahia's playing has great elegance and viruosity with a great round sound. Compared with other greats, I find his playing is a little more relaxed than either Gould or Tureck. Gould has a crazed percussive intensity (at least in the earlier recording which I prefer) while Tureck has her own intensity in the heavy mannering of each phrase (in the VAI recording). Perahia has the best of both in my view, intense in some of the faster variations (some of the trills remind me of Kissin's recent work in Chopin) with clarity and nuance in his phrasing, not quite so precious as Tureck. I don't think there can be one "perfect" Goldberg -- just as there is no "perfect" Hammerklavier Sonata. But Perahia's account is distinct, beautiful and eloquent.
116 internautes sur 131 ont trouvé ce commentaire utile 
Correcting some misconceptions. 25 décembre 2000
Par Cameron Jackson - Publié sur Amazon.com
Format: CD
A number of customer reviewers have criticised this recording. The bulk of them do so either from a position of prejudice or ignorance, or both.
For instance, Perahia is criticised for using pedal, and rubato. Anyone who has played this work (and other work by Bach) on the piano will know that it is technically not possible to make music out of every voice without judicious use of the pedal.
Besides, notes which linger on in Bach add complexity, and understanding. Often, holding a note a little longer demonstrates a horizontal (melodic) or vertical (harmonic) connection otherwise only hinted at.
Perahia is a model of restraint in his use of pedal, despite the criticism.
As for the criticism of the use of rubato, I suggest that for a start, the reviewer should define what they mean. Are they talking about within the beat, the bar, a phrase?
Whatever they mean, only someone who has not played Bach would imagine that it can be played musically with a slavish adherence to the metronome.
Rubato is only a problem when it obscures the sense of the music. In some epochs, more is permitted. In Horowitz's day, much more freedom was allowed. Horowitz is always convincing. As is Perahia, who is a model of restraint (to adopt the rubato-disapprover's sense of right and wrong) compared to Horowitz.
Perahia's uses phrase-based rubato and he conceives the music in large phrases. His rubato simply emphasises the architecture of the music, as he feels it.
Others call the performance "idiosyncratic". Ironically, some of these people prefer Gould, who is both idiosyncratic, self-indulgent, and sometimes plain idiotic.
Others criticise what they perceive to be his emphasis on the bass-line. Perahia simply gives each voice equal weight, which is exactly what the music calls for. That is the beauty of Bach, every voice is equally important. Other players (such as Schiff, for instance, when he plays Bach fugues) tend to emphasis what they perceive to be the melodic voice.
Yet another customer says that they "prefer Perahia's poetic period", which they imagine was years ago. Have they listened to his recent recording "Songs without Words", in particular, "Nun komm, der Heiden Heiland"? There has been no loss of "poetry" in Perahia's playing, though he has never had the weight, depth, and sadness of a player like Nikolaeva, which may come from the sorrow of decades of Russian winters.
Perahia articulates each voice faultlessly. He does not call attention to himself, and he uses a pianist's tools (ie, rubato, pedal, touch) to sculpt his interpretation.
It is a fine performance.
58 internautes sur 65 ont trouvé ce commentaire utile 
Subtle and full of life 6 novembre 2000
Par J Scott Morrison - Publié sur Amazon.com
Format: CD Achat vérifié
Perahia's explanation of his understanding of the technical aspects of the Goldbergs, in the liner notes, is exemplified amply in his playing. Unlike some commentators, he makes little of the canons occurring at every third variation, and instead emphasizes how the variations mirror the structure of the Aria itself in four groups of eight - groups of eight measures in the Aria, groups of eight variations in the piece as a whole. And he points out how the last few variations express increasing excitement until the last variation, the Quodlibet, then followed by the repose of the repeat of the Aria at the very end.
However, the point is not the technical analysis, but the playing itself. There are many, many felicities in his playing: the fairly rare but generally playful embellishments, the rock-solid fingers, the lightness of the fleet variations, the gravity of the slower variations, including the palpable grief of the last great slow variation, the onward rush at the end.
This is a great recording from a great artist.
29 internautes sur 31 ont trouvé ce commentaire utile 
Lots to Recommend It 8 novembre 2006
Par Snow Leopard - Publié sur Amazon.com
Format: CD
Of the many Goldberg Variation recordings that exist, what sets this one apart is the sense that Perahia has approached the cycle as a whole. This is not to say that there are not abundant piano affects and details--the playing is superb (in particular the occasional fluttering of trills here and there like butterflies is especially wonderful), and the tone of the piano is continuously warm and pleasant to listen to.

If you are already a fan of the Goldberg Variations, you probably own this. For those unfamiliar with the work, this is an almost perfect place to start to become familiarized with one of the greatest cycles of keyboard music ever composed. (It was written for harpsichord, but is particularly well-suited for performance on piano. To the extent that Bach liked to re-arrange his own music for different instruments, one suspects he would not have objected to hearing his Variations on the piano.)

As other reviews have noted, Perahia strikes a very apt balance between the kind of percussiveness one finds on Gould's recording, the technical correctness of Hewitt, and the slushiness (sorry for that word) of more Romantic interpreters. While this is certainly a strength of the disc, it is also sometimes a liability, inasmuch as one occasionally wants some Gouldian wig-out, or some of Tureck's protracted introspectiveness, or some of Gavrilov's theatrical brilliance. The impression is that, by Perahia's focus on the overall cycle of the music, there has been less attention devoted to stylistically rendering individual pieces. In other words, Perahia's vision of the work as a whole has muted the kind of remarkable contrasts one finds in other recordings; Nikolaeva sometimes similarly belies something of this "defect" since she too seems to be particularly aware of the architectural wholeness and progression of the pieces.

To say this may imply that there is a kind of homogeneity that overshadows individual pieces--that it feels "all of a piece" rather than a series of pieces. This creates a certain tension, to be sure, as I am waiting for the cycle to break out of itself ... which never happens, of course. It may be for this reason that one of the most noticeable features of this recording, as also a major point of attention for Perahia himself, are the differences he adds or subtracts when playing the repeats. This homogeneity does not mean that there is no variation amongst the pieces, of course, and yet ... What I'm really getting at is that I find it hard to listen to this disc all the way through in one sitting.

This is definitely a recording of the Goldberg Variations worth owning. All of the technical aspects of the recording are almost precisely as one could hope. Ultimately, however, I prefer to graze and nibble individual performances (selecting different ones at different times) than to listen to the whole disc straight through--the journey is not as compelling for me as Perahia seems to have found it. Or perhaps it is that Perahia provides me only one carriage to ride in for the whole journey. With Gould, occasionally I'm walking, sometimes running to keep up, sometimes turning about in a daze, but I'm more engaged in getting there. And even more so with Gavrilov's fantastic recording, which makes the journey back to the aria an adventure told by a raconteur.
25 internautes sur 27 ont trouvé ce commentaire utile 
Perahia's Goldberg Variations 25 janvier 2008
Par chainlink - Publié sur Amazon.com
Format: CD Achat vérifié
I know it isn't a very solid objection to harpsichord versions of the Goldberg Variations to say that the tinkle-jangle of that instrument, after a bit, gets on one's nerves. But so it is with me, so I turned to some of the best-known piano performances to see which suited me best. I compared Rosalyn Tureck's, both of Glenn Gould's and Murray Perahia's, and was somewhat surprised to find myself come down so decidedly in favor of this last. Perahia's, I think, is the most human Bach.

Tureck has been called the "high-priestess" of Bach--and I don't think that is entirely a compliment. Her 'Goldberg' seems indeed that of a priestess or prophetess searching for something divinely revelatory in the work; she approaches it in a state of awed reverence, and lingers over each note until she feels it has fully ripened in sacred significance. Needless to say, all repeats, representing the functional equivalent of Divine Will (that is to say, Bach's instructions), are faithfully, piously, observed. So this is a very slow, and, I felt, after awhile, somewhat monotonous 'Goldberg.' I can appreciate that reverence often enlarges the soul, and I genuinely miss the note of awe in everyday American life--so it's not as though there is nothing at all to recommend Tureck's interpretation. But in reaching so desperately for the spiritual, she necessarily sacrifices something human.

Gould, too, isn't really interested in a purely human Bach. He sees in him rather a manifestation of cool geometrical or gemlike purity. Even when he slows down in the 1981 version, he keeps the slightly mechanical touch--this is what the "Glossy misreading" review above so loudly endorses. This, too, is a plausible interpretation: I think every listener recognizes and responds to this otherworldly purity of Bach, and in Gould's case it combines neatly with virtuosic showmanship. And, after all, the variations were intended originally for the dynamically-challenged harpsichord.

But the Perahia 'Goldberg' makes clear what Gould ignores--once again, the Bach acquainted with and interested in conveying human dispositions and emotions. He interprets, for example, variation 25 as evoking the kind of suffering belonging to the Crucifixion, 26 as a response to the Resurrection, 27 as bitter mockery. Given Bach's profession and predilection it hardly seems unlikely that he would wish to be understood as capturing not just mathematical ideas but genuinely human responses. So many of the variations, too, are in dance forms, and Perahia is the only one of the three to allow anything plausibly dancelike to appear in them.

In short, Perahia's Variations contain the greatest variety, the most humane elegance; he lets them breathe, makes them live.
Ces commentaires ont-ils été utiles ? Dites-le-nous

Discussions entre clients

Le forum concernant ce produit
Discussion Réponses Message le plus récent
Pas de discussions pour l'instant

Posez des questions, partagez votre opinion, gagnez en compréhension
Démarrer une nouvelle discussion
Première publication:
Aller s'identifier

Rechercher parmi les discussions des clients
Rechercher dans toutes les discussions Amazon

Rechercher des articles similaires par rubrique


Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?