• Tous les prix incluent la TVA.
Livraison gratuite dès EUR 25 d'achats. Détails
Il ne reste plus que 4 exemplaire(s) en stock.
Expédié et vendu par Amazon. Emballage cadeau disponible.
Quantité :1
Beethoven : Missa solemni... a été ajouté à votre Panier
+ EUR 2,49 (livraison)
D'occasion: Comme neuf | Détails
Vendu par aweiss75
État: D'occasion: Comme neuf
Commentaire: expédié sous 48h. excellent état, sans rayures, complet, envoi soigné et rapide de paris.
Vous l'avez déjà ? Vendez sur Amazon

Beethoven : Missa solemnis

CD inclus dans notre promotion 5 CD/DVD = 30€*

4.3 étoiles sur 5 3 commentaires client

31 neufs à partir de EUR 5,83 13 d'occasion à partir de EUR 4,63

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


Page Artiste Otto Klemperer


Produits fréquemment achetés ensemble

  • Beethoven : Missa solemnis
  • +
  • J.-S. Bach : Messe en si mineur
  • +
  • Bach : Cantates 39, 73, 105, 107, 131
Prix total: EUR 29,97
Acheter les articles sélectionnés ensemble

Détails sur le produit

  • Interprète: Waldemar Kmentt, New Phillharmonia Chorus, Elisabeth Söderström, Marga Höffgen, Martti Talvela
  • Orchestre: New Philharmonia Orchestra
  • Chef d'orchestre: Otto Klemperer
  • Compositeur: Ludwig van Beethoven
  • CD (25 janvier 2001)
  • Nombre de disques: 1
  • Label: Warner Classics
  • ASIN : B000058USU
  • Moyenne des commentaires client : 4.3 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 49.146 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. Kyriemissa solemnis op123 remast
  2. Gloria in excelsismissa solemnis op123 remast
  3. Qui tollismissa solemnis op123 remast
  4. Quoniam tu solusmissa solemnis op123 remast
  5. Credo in unum deummissa solemnis op123 remast
  6. Et incarnatus estmissa solemnis op123 remast
  7. Et resurrexitmissa solemnis op123 remast
  8. Sanctusmissa solemnis op123 remast
  9. Benedictusmissa solemnis op123 remast
  10. Agnus deimissa solemnis op123 remast
  11. Dona nobis pacemmissa solemnis op123 remast

Descriptions du produit

CD W/Elisabeth Soderstrom, New Phil.Orch., O.Klemperer


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

Commentaires en ligne

4.3 étoiles sur 5
5 étoiles
2
4 étoiles
0
3 étoiles
1
2 étoiles
0
1 étoiles
0
Voir les 3 commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Par Werlings TOP 500 COMMENTATEURS le 14 mars 2006
Format: CD
L'interprétation de la Missa Solemnis de Beethoven, confiée par Otto Klemperer au disque à l'automne 1965, est de ces disques qui ne peuvent laisser indifférent. Enregistré sans doute un peu tard dans la carrière du chef, qui a alors plus de 80 ans, cette version dispose d'atouts solides. Mais elle est aussi concurrencée par d'autres versions qui font autorité.

L'orchestre est parfaitement habitué à la direction lente et fouillée du chef, ce qui ressort en particulier dans les rares moments où les masses chorales se taisent. En effet, les choeurs, dirigés par Wilhelm Pitz (responsable du Philarmonia Chorus depuis sa création en 1957, et chefs des choeurs de Bayreuth), sont grandioses, en particulier dans les fugues monumentales du Gloria et du Credo. En revanche, on pourra être surpris par le manque d'ampleur dynamique : alors que Klemperer exacerbe les fortissimo et les piano d'habitude, les nuances pourraient être plus expressives dans le Kyrie et dans le Benedictus.

Très belle, l'affiche du quatuor vocal est dominée par Marga Höffgen. Waldemar Kmentt est plus en retrait, mais il est vrai que le rôle du ténor est particulièrement ingrat dans cette messe. Martti Talvela ne parvient véritablement à se faire entendre que dans l'Agnus Dei final. La prise de son place suffisamment les solistes en valeur par rapport aux choeurs.

Dans l'ensemble de l'oeuvre, on pourra être frappé par la cohérence de la construction du Gloria et du Credo, et par la puissance des fugues. Mais certains points sont plus décevants : le Kyrie manque de grandeur.
Lire la suite ›
1 commentaire 31 sur 34 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD
Combien de fois, dans les interprétations traditionnelles de la Missa solemnis, n'avons-nous pas été découragés par des choeurs saturés de criailleries, par un orchestre compact, aux basses ronflantes ?
On incriminait l'écriture paroxystique de Beethoven, abusant volontiers des tessitures extrêmes.
Sobre et probe, la direction de Klemperer fait justice de ces mauvaises explications. Grâce à l'agilité de ses chanteurs, comme à la légèreté de touche de ses instrumentalistes, le chef Otto substitue à un pathos épaissi et fumeux une transparence radieuse, une lisibilité calligraphique.
Le " Benedictus ", en particulier, s'enveloppe, comme le voyait Romain Rolland, d'une douce pénombre à la Rembrandt, d'un clair-obscur mystique. En écoutant ce disque, nous sommes pris d'une délicieuse ivresse spirituelle.
Inutile de vous inviter à l'acquérir au plus vite pour ne pas manquer des moments puissants, essentiels de cette oeuvre magistrale de Beethoven.
Un retour en nous-mêmes....
Bruno LEROY.
Éducateur social.
4 commentaires 13 sur 14 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD Achat vérifié
Cette version est surnotée. Elle ne mérite pas les éloges dont elle a fait l'objet depuis longtemps. La prise de son est froide et confuse.
Les versions Karajan 58, 66 et surtout 75 lui sont bien supérieures ; et que dire des versions Böhm 55 (ma préférée) et 75, elles aussi bien meilleures. Et pourquoi pas la version Gardiner de 89.
Il y a trop de très belles versions pour que l'on s'intéresse à celle-ci.

Après réécoute je tempère mon propos...

J'ai été un peu sévère, je l'avoue. Le son n'est si mauvais que ça, mais je pense que la lourdeur de Klemperer nuit à la ferveur. Ici je m'ennuie. Est-ce la direction trop analytique je ne sais pas. En tout cas les versions que je site plus haut sont meilleures je le maintient.
Il faut qu'il y ait un discours qui nous emmène quelque part, vers le ciel sans doute.
Cette version est froide, appliquée et ne nous dit rien.
Remarque sur ce commentaire 2 sur 4 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

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

Amazon.com: HASH(0x9c52d138) étoiles sur 5 12 commentaires
46 internautes sur 47 ont trouvé ce commentaire utile 
HASH(0x9cb5fc50) étoiles sur 5 Klemperer's Missa Solemnis 20 juillet 2010
Par Robin Friedman - Publié sur Amazon.com
Format: CD
This historic reading of Beethoven's Missa Solemnis by Otto Klemperer (1885 - 1973)and the New Philharmonia Orchestra and Chorus dates from 1965. The soloists are Elisabeth Soderstrom, soprano, Marga Hoffgen, contralto, Waldmemar Kmentt, tenor, and Martti Talvela, bass. The recording was instantly accepted as a classic, and it remains so today. In 2001, EMI issued this recording as part of its "Great Recordings of the Century Series." The 2001 issue is out of print and has been replaced by this virtually identical 2008 reissue.

Beethoven composed the Missa Solemnis near the end of his life, and the work represents, as many critics have noted, Beethoven's attempt "to come to terms with God". (Lewis Lockwood, "Beethoven: the Music and the Life, p. 405) Although born a Catholic, Beethoven was not a regular churchgoer. As he became older, Beethoven became increasingly preoccupied with spiritual concerns. He was familiar with and drawn to the work of liberal theologians of his day who stressed the personal, inner, and seeking character of religious life over adherence to dogma and ritual. (Lockwood, p. 403)

The highly personal character of Beethoven's religious search, as expressed in his Missa Solemnis, might make the work particularly appealing to listeners today who are skeptical of particular creeds and of organized religious institutions. Otto Klemperer was himself a lifelong seeker in terms of religion. Born a Jew, he converted to Roman Catholicism only to return again to Judaism late in his life. The difficulties of the Missa Solemnis -- in terms of the wide disparity of style and tone among its movements, its use of archaic modalities and musical forms, its contrasts of lyricism and fury, might be explained by remembering the personal character of the work and its place in Beethoven's own religious search.

Klemperer's recording of the Missa Solemnis is epic in character and possessed of a craggy grandeur. He captures the religious, highly idiosyncratic character of Beethoven's score and wields the work into a unity. The chorus and the soloists sing with passionate intensity.

The Missa Solemnis is in five movements. It begins with a solemn orchestral introduction to the opening solem Kyrie. The middle movements, the Gloria and the Credo, feature passionate and fiery opening sections and lengthy fugues for their conclusions. The fourth movement, a Sanctus, has lovely, florid passages for solo violin which accompany in turn the soloists and the chorus. The final movement, Agnus Dei, involves a musical contrast between a march and warlike theme in the orchestra and moments of transcendent peace at the conclusion. Beethoven marked this final movement as a "Prayer for Inner and Outer Peace." (Bitte um innern und aussern Frieden.)

Many listeners and critics have difficulty with the Missa Solemnis. It has been described as "Beethoven's least approachable work." (William Drabkin, Beethoven's Missa Solemnis, p. 1) As I noted, the difficulties are largely due to the wide variety of musical styles that Beethoven utilized in this composition and to the difficulty of integrating these difficult, diverse styles into a coherent whole. Klemperer's reading on this disc brings out the character of each movement of this other-worldy music.

In his biography of Beethoven mentioned above, Lewis Lockwood wrote (p.411) that the Missa Solemnis was Beethoven's "largest contribution to the expression of the spiritual, in the various senses of the term, [and] is also a symbolic representation of humanity's search for peace that can only be discovered through religious feeling, collectively and personally." Klemperer's classic recording is one of a number of versions and interpretations that will help the listener approach this work. The Missa Solemnis is a music for many times and places. Each new version will carry something of Beethoven's message to the receptive listener.

Robin Friedman
16 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9d770a6c) étoiles sur 5 This is What you Call a Classic Recording 15 janvier 2013
Par J. R. Trtek - Publié sur Amazon.com
Format: CD
I confess that my top choice for a Missa Solemnis recording is the original instrument rendition conducted by Philippe Herreweghe on Harmonia Mundi. So much texture is brought to the fore, and there's both intimacy and grandeur in the performance. Still, if you are looking to sit enthralled at the base of a granite monument, nothing beats this version conducted by the legendary Otto Klemperer. I've been of two minds regarding his treatment of Beethoven -- liking most of his collaboration with Daniel Barenboim in the piano concertos but ultimately cooling to his interpretations of the symphonies -- but my reaction to this recording has never wavered from my initial reaction of wonder. In my view the best of the modern instrument renditions of the work, this truly is a recording not just of the past century but for the ages.
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x9d770ae4) étoiles sur 5 Truly a great recording 30 décembre 2012
Par Ralph Moore - Publié sur Amazon.com
Format: CD
EMI's choice of recordings for their GROC series sometimes raises the odd eyebrow, but there can be little doubt about the inclusion of this one. Klemperer, recovered from the travails of the previous decade, was in incandescent form despite his advanced age and partial paralysis. So many reviewers have adumbrated the virtues of this noble, majestic account that I won't rehearse them here but will make a few, brief observations. It's not perfect: the fugue concluding the "Quoniam" section of the "Gloria" lumbers somewhat; the soloists are not as starry as Karajan's or Bernstein's; the sound, while good for its age, is inevitably a bit congested - but these are minor cavils set against the transcendence of Klemperer's vision.

In an ideal world, Marga Hoeffgen would be less matronly, although she manages much magnificently; Kmentt would be able to muster more heft and steadiness for the "et homo factus est", Talvela would blend better with his co-singers. However, Soederstroem's soprano is a joy, soaring effortlessly in a manner which almost rivals the peerless Janowitz for Karajan. The greatest glory of this set, apart from Klemperer's direction, is the bite and energy of the New Philharmonia Chorus, expertly drilled by Wilhelm Pitz, and the unaffected mastery of the violin solo in the Benedictus, which goes straight to the heart without being quite as soupy as Karajan's Schwalbe.

It's not the only version of this work to have; Giulini, Bernstein and Karajan also have their story to tell - but it is enough to convert any waverer to the Klemperer school.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9c8c2384) étoiles sur 5 When the legend becomes fact ... 4 octobre 2013
Par Phil P. - Publié sur Amazon.com
Format: CD
I only recently became aware of the exalted reputation of this 1966 recording. Some reviewer somewhere said it was the only Missa Solemnis you need. If only I'd known that before I bought the other five! For many years I owned only Bernstein(1979), Karajan(1975) and Shaw(1987), with Bernstein clearly the best. Later I acquired Gardiner's super-fast and rather superficial period instrument version and most recently Ormandy's underrated 1967 recording, remarkable for the crystalline clarity of the choral singing and which I've also reviewed.

After listening to the Klemperer once I decided for the purpose of reviewing it to do a movement by movement comparison with the Bernstein, which I hadn't heard in some time and which is also highly regarded. As is well known, the sound engineering on the Klemperer is exceptional. That said, like most recordings I've heard it fails to achieve an ideal clarity in the most texturally complex sections of the Gloria and Credo. [Note: I heard this on a copy of the original 1988 recording not the 2001 "remastering." Another customer review, filed under the 2001 release, suggested there is little difference.] Bernstein's was a live performance although you can't really tell - there's no audience noise and while the sonics are good, it's not nearly as good as the Klemperer. I also had the feeling that it took a little time for the performance to warm up.

They say the most important thing is to make a good first impression and Klemperer certainly does that - his Kyrie is as perfect as any performance can be. It's expressively sung by both chorus and solists and crisply executed - every rhythmic attack, every dynamic change seems exactly right and as Beethoven wrote it. Bernstein's isn't bad but doesn't have that same crisp execution. Also soprano Edda Moser and alto Hanna Schwarz sound a bit strained. They get better later.

After that great beginning Klemperer's Gloria is a letdown. It's a real bear of a movement, with its thick textures and sharp transitions, the most difficult in the work. His opening tempo is somewhat slow for my taste, and it does matter here, making it more difficult to maintain cohesion through the sudden rapid changes in tempo and dynamics. The execution seems less sharp than in the Kyrie. The final fugue is EXTREMELY slow, much more so than in any other version I know and I see no payoff from it - it's no clearer than in most recordings. I was hoping at first that he was merely holding something in reserve for Beethoven's two tempo increases in the coda, but he only gets a little faster. If Bernstein doesn't solve all the problems of this movement, at least he's a lot more exciting. There's a crispness of execution that was missing from his Kyrie. Score tied at one all.

The Credo is a return to form for Klemp. That sharpness of execution is back. The Et resurrexit section is a little on the slow side but not so as to matter too much. The first part of the Et vitam fugue is sung very quietly, almost in a whisper. The vocal lines are nicely defined. But when the fugue speeds up he really is too slow - still it's not as harmful as the slow tempi in the Gloria. On the whole his Credo is quite good.

But Bernstein also raises his game here - and so do his soloists! The first part is excellent, although here the A-B comparison made me appreciate again the superiority of Klemp's sonics. Bernstein's Crucifixus is very powerful. When we get to the Resurrexit his - shall I say normal? - tempo makes it so much more exciting than Klemp's. Oh, those rapid 8th note figurations in the strings! I took quite a vulgar pleasure from it. And now Bernstein begins to leave poor Klemp in the dust. The recapitulation of the Credo theme is much more dramatic and thrilling. The first part of the Et vitam fugue is taken at the same tempo as Klemp's but not quite as quietly and with a more urgent expressivity and yet he still has plenty of room for a powerful crescendo before the coda. Then in the part where Beethoven increases the tempo and the fugue subjects are sung in diminution (twice as fast) Bernstein really does speed up and it's tremendously exciting and once again I took a shameless toe tapping pleasure in it. The slow ending is heavenly, the women's voices fully warmed up now as their scales rise to heaven. Altogether a towering performance.

Turning to the Sanctus, the opening Sanctus plus Osanna is very similar in both recordings, though Klemp again benefits from better sonics. Bernstein takes the Praeludium (the orchestral introduction to the Benedictus) much slower than Klemp and the effect is awe inspiring. If you think of the Missa Solemnis as a five movement choral symphony then the Sanctus is the slow movement, of which the heart is the Benedictus. It's one of Beethoven's great slow movements, with that almost mystical quality of the great slow movements of his late sonatas and quartets. That feeling is missing from Klemperer's approach which has an almost operatic quality. There's little difference in tempo between the two, Bernstein being perhaps a trifle slower. Bernstein here is simply transcendent.

Both Agnus Dei's are excellent. There's little to choose from in terms of execution and even interpretively they're practically identical.

To sum up, this is a good performance with a superb Kyrie and an excellent Agnus Dei, marred by excessively slow tempi in parts of the Gloria and Credo. To others these may represent valid interpretive choices. That's what makes a horse race.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9c8c24bc) étoiles sur 5 Superb 4 février 2014
Par Stanley Hauer - Publié sur Amazon.com
Format: CD Achat vérifié
Yes. Everything you read here about the excellence of this recording is true. It is certainly the finest Missa Solemnis I've ever heard. Having been away from this recording for a couple of decades now, I only recently returned to it in CD guise. My impressions are even higher than when I was younger. Surely much of the success of this recording must lie in the choral direction of Wilhelm Pitz, one of the greatest of his kind in the twentieth century.

I yield to no one in my respect for and appreciation of the Toscanini performances. Karajan is very beautiful. Levine is very powerful. (Etc., etc.) But Klemperer remains the gold standard. It is simply overwhelming.

Buy this record. It's truly and deservedly one of the greats.
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
Thème:
Première publication:
Aller s'identifier
 

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


Rechercher des articles similaires par rubrique


Commentaires

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