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Beethoven : Symphonie n° 9

5 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Orchestre: Orchestre Révolutionnaire et Romantique
  • Chef d'orchestre: John Eliot Gardiner
  • Compositeur: Ludwig Beethoven
  • CD (2 novembre 1995)
  • Nombre de disques: 1
  • Label: Archiv Produktion
  • ASIN : B0000057EZ
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 270.167 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

GARDINER / REVOLUTIONNAIRE ET

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Format: CD
Gardiner a réussi le prodige de nous faire redécouvrir cette oeuvre pourtant déjà entendue des centaines de fois.
Grâce à lui, Beethoven se révèle, se retrouve tel qu'il a dû paraître à ses contemporains, aussi "révolutionnaire et romantique" que l'orchestre du chef anglais.
Sous sa baguette, les instruments d'époque sonnent toujours avec une très grande beauté, une magnifique homogénéité d'ensemble, des timbres fruités qui s'épanouissent entre eux en une véritable symbiose esthétique.
Mais surtout, cette somptueuse pâte sonore est sublimée par le geste du chef en des attaques toujours incisives et franches qui évitent toute complaisance narcissique pour mieux restituer le souffle grandiose qui traverse cette partition.
Quelle fraîcheur ! Comme un tableau dépoussiéré après une restauration qui a aussi libéré la peinture des couches de vernis successifs, la Neuvième semble retrouver, dans l'éclat de puissants contrastes, ses couleurs et ses rythmes d'origine, étouffés jusqu'à présent sous d'épais glacis post-romantiques.
Dès les premières mesures du premier mouvement, qui ne m'a jamais paru autant débordant d'énergie inextinguible, la musique de Beethoven ressuscite dans toute sa puissance percutante qui fait se lever l'auditeur contemporain de son confortable fauteuil de salon.
D'ailleurs, je défie quiconque de rester assis à l'écoute de cette version, tant l'on se sent happé et projeté au sein de l'orchestre, en une communion musicale littéralement physique !
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x974f2300) étoiles sur 5 25 commentaires
45 internautes sur 47 ont trouvé ce commentaire utile 
HASH(0x974bbeb8) étoiles sur 5 Beethoven as Beethoven would have recognized it 16 avril 2005
Par MartinP - Publié sur Amazon.com
Format: CD
Whether you like the result or not, it is a simple fact that the authenticist Beethoven performers keep far closer to the letter of the score than their more romantically inclined colleagues, and have all historical evidence on their side too. It makes little sense to argue that Gardiner's tempos simply "feel" too fast and hurried, because this feeling is nothing but the conditioned reflex ingrained in us after years of hearing performances that were, to every likelihood, far too slow. If we complain that in this recording a sense of mystery is lacking at the beginning of the symphony, we are listening to it as if it's Bruckner (who would have written "misterioso" rather than "poco maestoso"). But Beethoven writes no tremolo, he writes rhythmically articulated triplets. And that's what Gardiner has his orchestra play. Similarly, it is pointless to claim that Beethoven would have preferred modern instruments, had he heard them. He hasn't, and he had no way of imagining them. For instance, though primitive valve horns were available in Beethoven's time, the modern horn as we know it did not become a regular presence in orchestra's until half a century after the Ninth's premiere. Early valve horns sounded much worse than natural horns, and even Brahms still preferred to have natural horns in his orchestra! One might as well include saxophones and synthesizers in the Ninth and say "Beethoven would have done so, had they been available to him". No doubt the instrumental sounds on this recording will come as a shock to some: the hoarse, fuzzy voice of the bassoon, or the nasal, plaintive wail of the oboe. And it is quite audible that negotiating the little flourish in bar 96 of the Adagio is no mean feat on a natural horn. But the audacity to stretch instruments to the limits of their possibilities are as much part of Beethoven's art of instrumentation as they are of that of Berlioz or Mahler. On modern instruments, it all becomes smooth, easy and polite, and part of the music is lost. Of course, everybody is entitled to his own taste and free to prefer, say, Böhm's much praised 1981 recording; - but to me, after having become acquainted with Norrington's and now Gardiner's lean 13-minute renderings, Böhm's 18-minute first movement does not only sound lapidary and lifeless, it simply no longer makes any sense and strikes me as rather absurd. In fact, in ignoring many indications in the text that come directly from Beethoven himself, such a performance is in a way extremely arrogant.
There are only four period performances of this symphony available, as far as I know, of which those of Goodman and Brüggen never really made it into the limelight, so that Gardiner's main contender is Norrington. Their choices of tempo are generally similar, and very close to Beethoven's metronome marks (though Norrington for unclear reasons assumes that Beethoven meant dotted crotchet = 84 rather than dotted minim = 84 for the Alla Marcia in the finale, and therefore gives us twice as slow a march than Gardiner). Both have plenty energy and bite. Gardiner has the more close-up and direct recording, which can make him sound aggressive. Norrington's sound is more spacious, set in a clearer ambience, and has more detail. Also, he divides first and second violins left and right, which for unfathomable reasons Gardiner declines (it seems rather strange to go to such great lengths to realize an authentic Beethoven, and then adhere to modern orchestra seating plans).
In the second half of the work my preference inclines towards Gardiner. His Adagio has more light and shade and is more poetic than Norrington's. In the finale, he simply has the better singers and the more powerfully focussed choir, who generate a final frenzy next to which Norrington sounds rather thin (though I love his pointed, explosive timpani!).
My advice? Acquire either one of these, or both, but do grasp the opportunity to rinse your ears and hear some true Beethoven.
25 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0x97770278) étoiles sur 5 Give Gardiner a break! 21 janvier 2001
Par Yi-Peng - Publié sur Amazon.com
Format: CD
This recording of Beethoven's Ninth Symphony is THE crown jewel in Gardiner's entire cycle. What people don't realise is the fact that while this is an academic exercise in itself, Gardiner manages to balance elements of authenticity and the latest scholarship with feeling and meaning. This is why I notice that the reviews seem to kick this recording about mercilessly. In fact, Gardiner, Zinman and Zander all follow the same style of performing this work. Gardiner certainly excels perfectly with his own Orchestre Revolutionaire et Romantique and his own Monteverdi Choir, and the luminous DG recording manages to help him perfectly. Gardiner's first two movements enable tensions to be built up intensely, even despite the lack of mystery at the opening of the first movement and at the fast speeds in the Trio. Everything is cleanly articulated and one feels like you are on the edge of your seat listening to this riveting recording. The slow movement brings a keen sense of repose, and gives the feeling of the slow movement in the Pastoral, and yes, one can grasp the hymnlike devotion that characterises this movement. As for the Finale, Gardiner gives an urgent, all-out and dramatic reading, eliciting an energetic sound from his choir. The soloists are all characterful, and everyone sings their heart out in Beethoven's setting which manages to do its work well even under these conditions. To wrap up, I would just like to say GIVE GARDINER A BREAK! And please don't mistreat this version at all. Scholarship aside, what an involving performance it is. You feel like one is bringing you within a hair's whisker of the "bloodthirsty beauty" of Beethoven's all-too-human music.
16 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x97386420) étoiles sur 5 Clean, Clean, Clean! 21 septembre 2006
Par Andrew Mayzak - Publié sur Amazon.com
Format: CD
I listened to various recordings by Solti, Von Karajan, Furtwangler, and Bernstein before settling on this one for its historical accuracy and vibrant, clean sound. While Beethoven's 9th pushed the edges of Romaticism, it is, at its core, a Classical symphony grounded in the same musical tradition as Mozart and Haydn. It should therefore be energetic, clean, and have a clear rhythmic and tonal center rather than languishing in introspective thought, drama, and dissonance... more Weber than Wagner.

In stark contrast to most recordings of the 9th, Gardiner's interpretation is quick, clean, expansive in dynamic range, and firmly rooted in Classical architecturalism. It posseses none of the Wagnerian qualities of slower recordings and, as such, delivers a roller coaster ride instead of a psychotherapy session.

The Orchestra Revolutionnaire et Romantique plays with gusto, charm, and clarity on period instruments... no easy feat. The sound may be smaller than, say, the Berlin Philharmonic, but it is also more nimble and this is one of the few recordings of the 9th that makes you truly stop and listen... the cloudiness of other recordings is replaced by crisp, sharp edges and the music is infused with freshness and verve.

The Monteverdi Choir sings with good diction and is a fine match for the orchestra; their dynamic range is considerable and the voice parts are well balanced. The soloists sing with passion and clarity while keeping their performances free of excessive interpretive liberties.

Archiv's recording quality is first rate and there is no static, hiss, or splats on the high notes. The perfomance is recorded closely and at times, you can hear the musicians turning pages. Bernstein or Solti are good bets if you want a more distant sound... however, I think this recording is probably closest to what the Viennese heard in 1824.
16 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x973831ec) étoiles sur 5 Maybe a miracle 20 octobre 1999
Par H.R. Sauertieg - Publié sur Amazon.com
Format: CD
Contrary to the most recent reviewer, who dubs this recording a "pail of filth," I find it the most interesting and visceral performance of Beethoven's symphonic swan song I've yet heard. (Also to the contrary, something that's a matter of fact, not taste: the Orchestra Revolutionnaire et Romantique IS NOT and NEVER WAS a "all-woman orchestra," as a glance at its member list and concert portrait will prove. It's not even close to being entirely female.) The running time of the CD, just under 60 minutes, is perhaps a perverse reason to cherish this recording, but a Beethoven's 9th you can hear from start to finish during lunch hour is something for which the world is ready. For a surreal, memorable experience, immerse yourself in this performance, reflect on it for a few minutes, and then play the first movement from Bernstein's best-selling "Berlin Wall" performance - you may never get to the Scherzo of Lenny's version, which sounds like a 45-rpm version played at 33.333 rpm... The 9th Symphony itself is obviously just a great piece of music, and if you've never bought a canned performance of it, the Gardiner version is among the very best, with fine recorded sound (not always of stellar clarity) and a reasonable price. I bought the whole symphonic cycle by Gardiner's orchestra and it's worth the modest financial investment; in fact it returns the capital with unlimited interest.
8 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x97383060) étoiles sur 5 Period Instruments Rule 12 octobre 1997
Par Un client - Publié sur Amazon.com
Format: CD
I am a fan of John Eliot Gardiner and his two orchestras: the Orchestra Revolutionnaire et Romatic (Responsible for 19th century recordings) and the English Baroque Soloists (responsible for Baroque and Classical period works). I personally own copies of his series of Mozart Symphonies, his recordings of the seven great Mozart operas, the Mozart piano concertos (played on a true pianoforte from Mozart's day), and the complete cycle of Beethoven's symphonies, the ninth of which is represented here, and I can honestly say that if you like classical music now, you will most certainly fall in love with it when you try Gardiner's period-instrument recordings.
In the case of Beethoven's symphonies, especially the all-famous ninth, so many inconsistant notes and note blends that were previously so difficult to justify by the ear before are very crisp and clear now. Modern instruments I am convinced are much too opulent for Beethoven's intentions, and tend to blur critical points in the music. Period instruments present a crisp and clear rendition of Beethoven, convincing even the most novice listener that this is what he intended all along. You will be convinced once again of Beethoven's orchestrating genius.
My advice... buy this recording... it will be the best recording of Beethoven's ninth by far in your collection. END
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