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Bach: The Well-tempered Clavier, Book 1

3.5 étoiles sur 5 4 commentaires client

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Page Artiste Friedrich Gulda


Produits fréquemment achetés ensemble

  • Bach: The Well-tempered Clavier, Book 1
  • +
  • Bach : The well-tempered Clavier, Book 2
  • +
  • Mozart : Intégrale des sonates pour piano (Coffret 6 CD)
Prix total: EUR 58,27
Acheter les articles sélectionnés ensemble

Détails sur le produit

  • Interprète: Friedrich Gulda
  • Compositeur: Jean-Sébastian Bach
  • CD (17 juin 1996)
  • Nombre de disques: 2
  • Label: Philips
  • ASIN : B0000041CZ
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 3.5 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 48.575 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

Liste des titres

Disque : 1

  1. Preludes et fugues premier livre bwv 846/869 - prelude
  2. Preludes et fugues premier livre bwv 846/869 - fugue
  3. Preludes et fugues premier livre bwv 846/869 - prelude
  4. Preludes et fugues premier livre bwv 846/869 - fugue
  5. Preludes et fugues premier livre bwv 846/869 - prelude
  6. Preludes et fugues premier livre bwv 846/869 - fugue
  7. Preludes et fugues premier livre bwv 846/869 - prelude
  8. Preludes et fugues premier livre bwv 846/869 - fugue
  9. Preludes et fugues premier livre bwv 846/869 - prelude
  10. Preludes et fugues premier livre bwv 846/869 - fugue
  11. Preludes et fugues premier livre bwv 846/869 - prelude
  12. Preludes et fugues premier livre bwv 846/869 - fugue
  13. Preludes et fugues premier livre bwv 846/869 - prelude
  14. Preludes et fugues premier livre bwv 846/869 - fugue
  15. Preludes et fugues premier livre bwv 846/869 - prelude
  16. Preludes et fugues premier livre bwv 846/869 - fugue
  17. Preludes et fugues premier livre bwv 846/869 - prelude
  18. Preludes et fugues premier livre bwv 846/869 - fugue
  19. Preludes et fugues premier livre bwv 846/869 - prelude
  20. Preludes et fugues premier livre bwv 846/869 - fugue
  21. Preludes et fugues premier livre bwv 846/869 - prelude
  22. Preludes et fugues premier livre bwv 846/869 - fugue
  23. Preludes et fugues premier livre bwv 846/869 - prelude
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  29. Preludes et fugues premier livre bwv 846/869 - prelude
  30. Preludes et fugues premier livre bwv 846/869 - fugue

Disque : 2

  1. Preludes et fugues premier livre bwv 846/869 - prelude
  2. Preludes et fugues premier livre bwv 846/869 - fugue
  3. Preludes et fugues premier livre bwv 846/869 - prelude
  4. Preludes et fugues premier livre bwv 846/869 - fugue
  5. Preludes et fugues premier livre bwv 846/869 - prelude
  6. Preludes et fugues premier livre bwv 846/869 - fugue
  7. Preludes et fugues premier livre bwv 846/869 - prelude
  8. Preludes et fugues premier livre bwv 846/869 - fugue
  9. Preludes et fugues premier livre bwv 846/869 - prelude
  10. Preludes et fugues premier livre bwv 846/869 - fugue
  11. Preludes et fugues premier livre bwv 846/869 - prelude
  12. Preludes et fugues premier livre bwv 846/869 - fugue
  13. Preludes et fugues premier livre bwv 846/869 - prelude
  14. Preludes et fugues premier livre bwv 846/869 - fugue
  15. Preludes et fugues premier livre bwv 846/869 - prelude
  16. Preludes et fugues premier livre bwv 846/869 - fugue
  17. Preludes et fugues premier livre bwv 846/869 - prelude
  18. Preludes et fugues premier livre bwv 846/869 - fugue

Descriptions du produit

BACH : LE CLAVIER BIEN TEMPÉRÉ - LIVRE 1. (DAS WOHLTEMPERIERTE KLAVIER 1)


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Format: CD
Après avoir entendu le clavier bien tempéré de Bach par Gulda, on pourrait imaginer que Jean-Sébastien l'aurait improvisé dans un club de jazz de la Nouvel Orléans. Ca swing, ca jazz, ca bouge. Ce n'est cependant jamais déplacé, vulgaire et raccoleur. Au contraire, Bach à l'origine du Jazz c'est une idée que les jazzmen aiment à défendre. mais là n'est pas l'essentiel et on ne sent pas Gulda avoir érigé cette idée en dogme, rien n'est forcé, on ne sent nullement la volonté de faire du jazz avec du Bach, au contraire c'est très plaisant, limpide, et indispensablement complémentaire des versions de Gould et Tureck. La prise de son n'est pas bonne, mal définie, la piano sonne comme si, justement,il avait été capté dans une cave!
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Plus que jazz, cela sonne baroque, et c'est cela qu'il faut entendre. Il faut préciser que l'ensemble est inégal, mais qu'il y a bien des trouvailles géniales, et en tous les cas à 100 coudées de Gould. Tout est plus inventif, crépitant... L'intéressant est que Gulda a enregistré sur plusieurs piano, et si parfois le piano sonne come un petit droit dan,s une cave, il sonne aussi parfois comme un orgue ou un clavecin. A remarquer aussi que Goulda brode à la façon romantique et non à la façon baroque. Le tout est plutôt mal enregistré. Je dispose de la version complète depuis bien des années, apèrs avoir eu celle de Gould... Je suis sûr qu'il faudrait entendre Feltsmann aujourd'hui, et Koroliov, et quant aux clavecinistes Hantaï bien sûr!!! La meilleure version ancienne en tous les cas et la plus visionnaire. Celle de Richter est souvent belle, mais tout cela sent son bach du XIXe, un bach liztien et busonien, c'est beau, mais... et très mal enregistré. Surtout ne vous cantonnez pas à Gould, il faut écouter différentes versions et renouveler sa compréhension de l'oeuvre.
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Format: CD Achat vérifié
Comme l'a dit à son sujet Martha Argerich, Friedrich Gulda a laissé "un océan de musique". Preuve, cette interprétation magistrale du Clavier bien tempéré, qui reste pour moi la plus passionnante et la plus inventive. On se prend à rêver d'un enregistrement de ces mêmes pièces par Gulda sur clavicorde, instrument pour lequel, selon lui, elles ont été composées.
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Comment est-ce possible de jouer avec tant de froideur, de dureté ?
L'enregistrement métallique est agressif si vous avez une bonne chaine.
Du style ? non pas ! C'est scolaire.

Préférez Richter si vous acceptez un enregistrement médiocre, au moins vous y trouverez un touché exquis, élégant, maîtrisé. Du talent quoi !

Sinon préférez Evgeni Koroliov
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9f3fefd8) étoiles sur 5 22 commentaires
29 internautes sur 29 ont trouvé ce commentaire utile 
HASH(0x9fe0ec18) étoiles sur 5 A beautiful and precise well-tempered clavier 27 décembre 2004
Par Michael Newman - Publié sur Amazon.com
Format: CD
I am the owner of many versions of the Well-Tempered Clavier, both volumes. Gulda's, which I have just recently discovered, is now one of my favorites, to me equaling Glenn Gould's and Rosalind Tureck's incredible performances. Gulda's, like Gould's, is eccentric and as dry as can be imagined; stacatto, minimal rubatto, no pedal -- often hard, sharp, even harsh. But what clarity; the lines of counterpoint stand out perfectly. Each interlocking melody is clearly and beatufilly defined. I'm not a big fan of "mushy" Bach playing (though some of it, like Andras Schiff's, is very fine indeed). Here is a nice, arid rendition of Bach's keyboard masterpiece. At a bargain price, how can you go wrong?
35 internautes sur 37 ont trouvé ce commentaire utile 
HASH(0x9f77f810) étoiles sur 5 Zen Bach Revelation 4 octobre 2007
Par Fernand Ray - Publié sur Amazon.com
Format: CD
It's all a matter of how many WTCs you can afford. I like them all. Not because I like everything, far from it, but because there have been some amazing performers out there over the years, making up for the fact that they don't improvise or create new music, creatively stretching Bach's paper, making it their battleground. If you thought Glenn Gould was eccentric, but (on reflection) maybe not quite eccentric enough, you should try this one.

It might be brutal to make this someone's first WTC, but this certainly is original, just when we thought we'd run out of ruses.

It's a VERY clean recording. Very sparse. Completely to-the-point. Exquisite clarity, close-mic'ed, no silly room reverb, and the felt on the hammers was probably filed and needled before each session! They did a great job re-mastering this 1973 session. This sounds like a Steinway up close, laid into phat analog tape, with all the tape hiss gone. Luscious. You can hear every wave bouncing off the lid.

Just when I thought rubato was the essence of consideration, here comes this approach, and it turns out rubato is a cheap trick. It's as if Gulda trimmed back most of the piano's sustain pedal, so it was harder to press, and decided to play sitting on a land-mine. This is to most other renditions as a Zen garden is to Chuck-e-Cheese. Glenn Gould sounds dreamy, in comparison. Gulda hits something on the head. Every note counts. Well, that's always true, but haven't you heard people WASTE notes? Most WTC performances are sort of "on the way to the next measure". But not Gulda's. It's like that thing he's sitting on is reminding him (and us) of our mortality, and of the importance of the moment. There IS something martial here as well. Indeed what makes it less than ideal for a beginner is how extreme it can be in all other dimensions while retaining those fixed tempos.

Now and then he fires off maybe the fastest WTC selection ever heard, as if demonstrating the futility of trying to outrun it, though he sprints like the devil. Then he comes back into focus, and it's like watching the I.V. drip again. Some tempos are almost below the range of a metronome. But, you see, every drop matters. He is SO effective in bringing out inner voicings, that a few sudden changes in the overall volume are puzzling, and may be mastering artifacts.

It's entirely unrobotic, even though the tempo is so rigid, because each note is placed with a meticulous micro-timing and dynamic that makes you think vertically, as much as some of the other great performances make you think thematically, or horizontally. It's not even a focus on harmony, it's the SPACE around the note, and how Bach set it up. I think it's brilliant, at times almost supra-human, like real AI. I've heard my fair share of WTCs. This one had me mesmerized on headphones; it sounds best that way. Heard at low volume, much of the subtlety is lost, and the occasional aggressiveness and dryness stand out.

You will find that it will land on/in your player whenever things get too messy in your life. It's especially a great set to add if you already have a baroque or romantic one. And if you listen very very carefully you can hear him hum -- or maybe it's the music of the spheres joining in.
32 internautes sur 38 ont trouvé ce commentaire utile 
HASH(0x9f42a1c8) étoiles sur 5 Postmodern Bach 4 février 2004
Par Dr. Christopher Coleman - Publié sur Amazon.com
Format: CD
Every time a pianist plays Bach on a modern instrument, they make an interpretive choice--the Well-Tempered Clavier is NOT the Equal-Tempered Grand Piano. I'm not so much a purist to claim that such an interpretive choice is wrong, but I raise the issue to point out that interpretation is inevitable. So to condemn Gulda for playing in an ahistorical style is wrong. Gulda is extremely aggressive, approaching the music like a pugilist, hammering every note in some of the fugues, treating the individual note with single-minded intensity, always playing without pedal (historically correct, of course), unrelenting and not at all Romantic. In spite of this intensity and clear committment to a personal vision of the work, one can question the particular choices he makes, and I find myself doing so all too often.
The C minor fugue, for example, is as dry and staccato as a sun-bleached bone. (The "thinness" other reviewers speak of is not, I think, a quality of Gulda's performance but of the instrument he uses, the room acoustic, and/or the engineering. ) Gulda's approach deemphasizes the sense of line most modern performers take, but allows him to think more structurally--he certainly shapes the fugues overall with varying levels of dynamic intensities. The 5 voice C# minor fugue comes off beautifully in this respect--I think it's his most engaging performance, and Gulda's intensity matches the dissonant quality of the work wonderfully. in fact, all of the C# pieces are excellent--perhaps it's Gulda's key! But the C minor fares less well. I find the dynamic swell at the end too great and too sudden--not quite a terraced dynamic that might have occured in Bach's instrumental music, but neither a carefully controlled crescendo. The effect seems more like a student who suddenly realises he's at the end and should have been playing louder, so saves what he can and overcompensates. Furthermore, in this particular fugue some of the countersubjects are lost due to Gulda's overemphasis on the subject proper. In the C major fugue, Gulda takes an extraordinarily slow tempo--I've never heard another performer take this tempo, or even anything near it. The consequence is that the stretto entries of the subject are quite easily recognized--not an easy thing in this fugue, with its constant stretti, but again, a feeling of longer line is lost.
Generally Gulda's approach is an excellent one for clarity of counterpoint, but I find the overall aesthetic almost completely unattractive. Clearly Gulda knows the notes, has made thoughtful choices about how to play this music, but it's not an approach that I prefer. Of course you should decide for yourself, but listen to the clips Amazon provides before you order.
7 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x9f6a498c) étoiles sur 5 Fine, Exemplary Playing From Friedrich Gulda 9 juin 2007
Par John Kwok - Publié sur Amazon.com
Format: CD
Admittedly Friedrich Gulda's playing of this Bach pieces may not win the hearts of those accustomed to more dramatic, Romantically-inclined intepretations, of which Daniel Barenboim's may be the most recent noteworthy example. But for me Gulda's elegant playing has earned a warm place in my heart for both its superb technical skills and a subdued dramatic style which strongly emphasizes counterpoint, without resorting to pounding on the pedals (Instead, he does occasionally pound away at the keyboard, but only when it is demanded of him from the score.). A maverick musically in many ways, Gulda adhered to a least dramatic, most technically poised, style of playing in his interpretations of Bach and Beethoven. I commend Philips for sonically enhancing this old analogue stero recording via 24 bit digital image remastering, providing a recording which sounds more intimate and life-like than a stereo LP version I had heard.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9fe0e480) étoiles sur 5 Another personal revelation 28 septembre 2007
Par Fernand Ray - Publié sur Amazon.com
Format: CD
It's all a matter of how many WTCs you can afford. I like them all. Not because I like everything, far from it, but because there have been some amazing performers out there over the years, making up for the fact that they don't improvise or create new music, creatively stretching Bach's paper, making it their battleground. If you thought Glenn Gould was eccentric, but (on reflection) maybe not quite eccentric enough, you should try this one.

It might be brutal to make this someone's first WTC, but this certainly is original, just when we thought we'd run out of ruses.

It's a VERY clean recording. Very sparse. Completely to-the-point. Exquisite clarity, close-mic'ed, no silly room reverb, and the felt on the hammers was probably filed and needled before each session! They did a great job re-mastering this 1973 session. This sounds like a Steinway up close, laid into phat analog tape, with all the tape hiss gone. Luscious. You can hear every wave bouncing off the lid.

Just when I thought rubato was the essence of consideration, here comes this approach, and it turns out rubato is a cheap trick. It's as if Gulda trimmed back most of the piano's sustain pedal, so it was harder to press, and played sitting on a land-mine. This is to most other renditions as a Zen garden is to Chuck-e-Cheese. Glenn Gould sounds dreamy, in comparison. Gulda hits something on the head. Every note counts. Well, that's always true, but haven't you heard people WASTE notes? Most WTC performances are sort of "on the way to the next measure". But not Gulda's. It's like that thing he's sitting on is reminding him (and us) of our mortality, and of the importance of the moment. There IS something martial here as well. Indeed what makes it less than ideal for a beginner is how extreme it can be in all other dimensions while retaining those fixed tempos.

Now and then he fires off maybe the fastest WTC selection ever heard, as if demonstrating the futility of trying to outrun it, though he sprints like the devil. Then he comes back into focus, and it's like watching the I.V. drip again. Some tempos are almost below the range of a metronome. But, you see, every drop matters. He is SO effective in bringing out inner voicings, that a few sudden changes in the overall volume are puzzling, and may be mastering artifacts.

It's entirely unrobotic, even though the tempo is fixed, because each note is placed with a meticulous micro-timing and dynamic that makes you think vertically, as much as some of the other great performances make you think thematically, or horizontally. It's not even a focus on harmony, it's the SPACE around the note, and how Bach set it up. I think it's brilliant, at times almost supra-human. I've heard my fair share of WTCs. This one had me mesmerized.

You will find that it will land on/in your player whenever things get too messy in your life. It's a great set to add if you already have a baroque or romantic one. But, truth be told, I can't think of a better set to be the primary. And if you listen very very carefully you can hear him hum -- or maybe it's the music of the spheres joining in.
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