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Beethoven - The Nine Symphonies Import

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Détails sur le produit

  • Orchestre: Orchestra of the 18th Century
  • Chef d'orchestre: Frans Bruggen
  • Compositeur: Ludwig Van Beethoven
  • CD (31 janvier 1995)
  • Nombre de disques: 5
  • Format : Import
  • Label: Mis
  • ASIN : B00000418Z
  • Classement des meilleures ventes d'Amazon: 377.297 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Sym No. 1 in C, Op.21: 1. Adagio Molto-Allegro Con Brio
  2. Sym No. 1 in C, Op.21: 2. Andante Cantabile Con Moto
  3. Sym No. 1 in C, Op.21: 3. Menuetto. Allegro Molto E Vivace
  4. Sym No. 1 in C, Op.21: 4. Finale. Adagio-Allegro Molto E Vivace
  5. 'Egmont' Ov, Op.84 (From The Music To Goethe's Tragedy): Sostenuto, Ma Non Troppo-Allegro
  6. 'Coriolan' Ov, Op.62 (To H.J. Von Collin's Tragedy): Allegro Con Brio
  7. Sym No. 5 in c, Op.67: 1. Allegro Con Brio
  8. Sym No. 5 in c, Op.67: 2. Andante Con Moto
  9. Sym No. 5 in c, Op.67: 3. Allegro
  10. Sym No. 5 in c, Op.67: 4. Allegro

Disque : 2

  1. Sym No. 2 in D, Op.36: 1. Adagio Molto-Allegro Con Brio
  2. Sym No. 2 in D, Op.36: 2. Larghetto
  3. Sym No. 2 in D, Op.36: 3. Scherzo. Allegro
  4. Sym No. 2 in D, Op.36: 4. Allegro Molto
  5. Sym No. 7 in A, Op.92: 1. Poco Sostenuto-Vivace
  6. Sym No. 7 in A, Op.92: 2. Allegretto
  7. Sym No. 7 in A, Op.92: 3. Presto-Assai Meno Presto
  8. Sym No. 7 in A, Op.92: 4. Allegro Con Brio

Disque : 3

  1. Sym No.7 In A, Op.92: 1. Allegro Con Brio
  2. Sym No.7 In A, Op.92: 2. Marcia Funebre. Adagio Assai
  3. Sym No.7 In A, Op.92: 3. Scherzo. Allegro Vivace
  4. Sym No.7 In A, Op.92: 4. Finale. Allegro Molto
  5. Sym No.8 In F, Op.93: 1. Allegro Vivace E Con Brio
  6. Sym No.8 In F, Op.93: 2. Allegretto Scherzando
  7. Sym No.8 In F, Op.93: 3. Tempo Di Menuetto
  8. Sym No.8 In F, Op.93: 4. Allegro Vivace

Disque : 4

  1. Sym No.4 In B-Flat, Op.60: 1. Adagio - Allegro Vivace
  2. Sym No.4 In B-Flat, Op.60: 2. Adagio
  3. Sym No.4 In B-Flat, Op.60: 3. Allegro Vivace
  4. Sym No.4 In B-Flat, Op.60: 4. Allegro Ma Non Troppo
  5. Sym no.6 In F, Op.68 'Pastoral': 1. Erwachen Heiterer Empfindungen Bei Der Ankunft Auf Dem Lande...
  6. Sym no.6 In F, Op.68 'Pastoral': 2. Szene Am Bach (Andante Molto Mosso)
  7. Sym no.6 In F, Op.68 'Pastoral': 3. Lustiges Zusammensein Der Landleute (Allegro)
  8. Sym no.6 In F, Op.68 'Pastoral': 4. Gewitter, Sturm (Allegro)
  9. Sym no.6 In F, Op.68 'Pastoral': 5. Hirtengesang. Frohe Und Dankbare Gefuhle Nach Dem Sturm...

Disque : 5

  1. Sym No.9 In d, Op.125 'Chor': 1. Allegro Ma Non Troppo, Un Poco Maestoso
  2. Sym No.9 In d, Op.125 'Chor': 2. Molto Vivace
  3. Sym No.9 In d, Op.125 'Chor': 3. Adagio Molto E Cantabile
  4. Sym No.9 In d, Op.125 'Chor': 4. Presto
  5. Sym No.9 In d, Op.125 'Chor': 4. Presto: 'O Freunde, Nicht Diese Tone!'
  6. Sym No.9 In d, Op.125 'Chor': 4. Presto: Allegro Assai
  7. Sym No.9 In d, Op.125 'Chor': 4. Presto: Alla Marcia. Allegro Vivace Assai
  8. Sym No.9 In d, Op.125 'Chor': 4. Presto: Andante Maestoso - Adagio Non Troppo Ma Divoto
  9. Sym No.9 In d, Op.125 'Chor': 4. Presto: Allegro Energico, Sempre Ben Marcato
  10. Sym No.9 In d, Op.125 'Chor': 4. Presto: Allegro Ma Non Tanto

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39 internautes sur 42 ont trouvé ce commentaire utile 
Outstanding Beethoven Choice, Especially Among Period Instrument Performances 2 septembre 2006
Par drdanfee - Publié sur Amazon.com
This complete set of the Beethoven symphonies enters a distinguished and competitive field of consideration. Not only have quite a few conductors and bands already had their say; but often long-lived outings by famous legacy and famous living conductors hold pride of place in people's collections.

The options include three different domains that have emerged since the early music movement began to change our ears about everything.

What started as period instruments versus modern, now further differentiates into modern band performances that have been influenced by period performance. How to sort?

Among the period instrument offerings, we have the Hanover Band under Roy Goodman, the Orchestre Revolutionnaire et Romantic under John Eliot Gardiner, the London Classical Players under Sir Roger Norrington, the Academy of Ancient Music under Christopher Hogwood, and this one, with the Orchestra of the 18th Century under Frans Bruggen.

The Gardiner set is widely considered the front runner of period instrument band versions for various reasons. Some listeners feel otherwise.

Among the modern instrument sets, we have the likes of All the Beethoven led by Toscanini, Furtwangler, Bruno Walter, George Szell, Otto Klemperer, Georg Solti, Gunter Wand, Kurt Sanderling, Janos Ferencsik, Herbert Blomstedt, Leonard Bernstein (NYP & VPO), Ricardo Muti, Kurt Masur, Andre Cluytens, Pierre Monteux, Sir Colin Davis, Sir Simon Rattle, Wolfgang Sawallisch, Michael Tilson Thomas, Daniel Barenboim, Bernard Haitink, Sir Charles Mackerras, Erich Leinsdorf, Antal Dorati, Walter Weller, Eugen Jochum, Richard Hickox, Lorin Maazel, Rudolf Kempe, Karl Bohm, Herbert von Karajan, Christoph von Dohnanyi, Rene Leibowitz, Carlo Maria Giulini - with the bands ranging across most of the planet's great and aspiring ensembles.

One can even go back to old 78 rpm transfers now, in surprisingly listenable sound at times - and hear the past via legacy figures like Felix Weingartner.

As if choosing between these two expanded options were not enough, we also have that third stream of performances. Various modern instrument bands have been influenced by this or that important aspect of performance as it shifted when period instrument playing began to be more widely heard. This interesting group must at least include - Abbado leading the BPO, Jaap van Sweden leading the Hague Residentie, Nikolaus Harnoncourt leading the Chamber Orchestra of Europe, Bela Drahos leading the smallish Esterhazy Sinfonia, and David Zinman leading the Tonhalle Zurich. (Zinman with the Tonhalle - at budget price no less - is probably the hands down leader in this pack, though you may beg to differ. In any case, you must get his Missa Solemnis, and his ongoing Beethoven concerto series now being released.)

So many of these performances have something to recommend them that playing best of games falls short of really listening. So what about listening to this set by Frans Bruggen and the Orchestra of the Eighteenth?

I was getting a coffee carrier order for my office a few years ago when I caught one of the Beethoven overtures being played on the local radio station. Fortunately, the overture wasn't so long that I missed hearing about the players. Thus, I was hooked by ear first, and later filled in the recording information details when the announcer broke in later. So what immediately caught my ear?

Vitality. Snapped Beethoven rhythms with just the right oomph in sforzandos. (Eugen Jochum supposedly said, The sforzando is the secret to good Beethoven.) Upbeat tempos - that don't rush or speed past instrumental colors or preclude lyrical beauty or mangle narrative point and phrasing.

The recorded balance available in this set is marvelous. It neatly lets its shining musical angels dance on the head of the engineer's pins. Strings are gut string sounding, but never for one moment lose presence or articulation. Just when you expect woodwinds or brass to break through and obscure the strings, as happens in most original instrument performances at least in passing - those strings will reappear - and not just for show or a reminder that they are still there, but for sheer musical message. The longer I listened, the more expertly I heard how the shifting balances between and among the period instrument departments of this band were always for musical message reasons, not just a helpless consequence of the physics of period instruments. This band is just that good.

It probably is easy to mistake this consistent balance in these musical proceedings for something too casual, too easy to play along with, too genial. This balance does capture and depend on an unfailing sense of deep classical poise. But the fact is, something mysterious and nourishing to ear and mind and heart comes through, more fully in these outings than in so many others. There is enough flash, and drama, and contrast that one hardly forgets that Beethoven is the composer. Don't forget homespun, rough wit. And plenty of nature walks out of doors. But this Beethoven fellow has a big, big, big heart, too. And although it doesn't overly call attention to itself on first hearing, over the long run of listening, these performances express one of the west's greatest musical minds, reaching, reaching, reaching - and grasping into the intelligent beyond.

So the mysterious, ineffable Beethoven is here, too. You know, that fellow who could sing an ode to humanity in his final symphony. This Ninth Symphony has the sheer Bel Canto heritage that makes Gardiner so irresistible and revelatory, along with hot brick ovens full of hearty, brown bread inner strength. There is plenty of fizz, fire, pizzaz, and zap - but you won't get a sugar crash later. The energy has gotten way down inside you and makes you feel still human for just another day. The choral and solo singing is one with the basic ethos. Instead of human voices having to try to sound instrumental, the period players get a chance to sound more like embodied, singing creatures. This reverse is a miracle that happily startles in its unobtrusive way, and wears very well over the long run of listening to this set.
16 internautes sur 18 ont trouvé ce commentaire utile 
The best period instrument cycle...no, the best cycle, period! 8 septembre 2009
Par DavidRoss - Publié sur Amazon.com
Along with Sibelius and Mahler, Beethoven is my favorite symphonist. I own more than a dozen complete cycles, ranging from the Big Band Beethoven of Böhm, Blomstedt, and Barenboim, to the latest period instrument HIPsters, such as Anima Eterna conducted by Jos van Immerseel. I also own several individual symphony pressings and CDs. This set by Brüggen and The Orchestra of the 18th Century gets more play than any of them. The lively tempos, sprung rhythms, dynamic contrasts, orchestral balances, delightfully scrunchy period instrument sonorities (celebrated and not suppressed as in some better known period instrument recordings), and most of all its sheer joie de vivre set this cycle head and shoulders above every other that I've heard (including Hogwood, Norrington, Gardiner, Weil, and even the splendid new set mentioned above by van Immerseel). Per contemporary accounts of Beethoven's own conducting style, Brüggen's approach comes closest to Beethoven's own passionate style of expression (in my opinion), and it is a pity that this set--one of the first HIP cycles recorded--is not better known and appreciated. Try it. Let your ears, your heart, and your soul be seduced by its raucous beauty, and you'll never hear Beethoven the same again!
6 internautes sur 6 ont trouvé ce commentaire utile 
A Contender for some of the best ever recorded. 6 août 2012
Par Laurence Goode - Publié sur Amazon.com
I have to agree with the positive reviews here and most of the comments about the Bruggen Beethoven set. I own all commercial and non commerical sets made ( probably ) and many others. Know them well and am not affraid to digress from popular opinion of my reviewer and collector contemporaries and competitors. ie: I always touted the horrors of Gardiner's Beethoven, as I must admit most collectors did. But not the NY Times. In retrospect, may have been too harsh. It is entertaining shallow Beethoven which can have it's place on a placid afternoon on the banks.

I did like the Harnoncourt set at first. Now not. The Hogwood struck me as a more severe version of the Gardiner, with perhaps too much false energry. But his 3rd may be excellent or great. Zinman bores me. Norrinton is cute. Like the 9th maybe more-but all limited.

As for the "modern" intruments, there are too many to chat bout. Though will go on record saying as of today's date Weingartner stands alone. Way alone. Perhaps the 1939 Tosconini almost says as much, but is a bit raggedy.

In "Modern" sound I've always found the DG Bernstein a safe starting recommendation to all. But consistant with my defiance of conformity and with the search for truth, I went on record stating the the Ormandy 5th ( from the set ) was one of the most statisfying I have heard. You should have heard the death threats from that one. And I stand by it! In fact, I played the Ormandy at an audiophile and music reviewer party for famous manufacturers and critics and was confronted with the possibility of receiving a Columbian Neck Tie. Till they heard it.

With all that wasted energy just spewed I can say with all honesty that the Bruggen set as a whole or in parts, certainly the 6th & 7th, border on the best put to record. My intial impressions were typical-good but...but then as I continued to listen I get drawn in more. To the point of no return-I can hear the voice of Beethoven. And his incrediable depth. Again clearly a contender for greatness and best ever catagory, in sum or in parts.

For our long term followers would like to illustrate have become more open minded and accepting of less than what we believe to be Beethoven truth. I now even enjoy the Solti set, which when I first heard thought was powderpuff Beethoven. Sunday afternoon in the park with Beethoven. Like Karajan's DG Mahler 9ths ( here come the death threats ).

Found out about Bruggen's accidently. the #1 was the flipside of the Mozart 40th LP I got. A perfornamce I initally thought lacking and a record I was going to toss out. Till out of nothing to do flipped it over and played the Beethoven. I was shocked. Suprised was the inital intellectual thought. Bruggen? Who woulda thought.

I do have an issue and a slight and relatively minor divergence. It concerns the sound. It is not bad, but by no means stellar. And by modern recording standards ( which suck ) good. But it is slightly dry and slightly distant. Perhaps papery. But it does not effect the enjoyment of the set and most people will not have the audio system I have to highlight this difference from perfect sound ( analogue London/Decca from the 1960s a good example ).

Via La Beethoven.
6 internautes sur 7 ont trouvé ce commentaire utile 
A classic Beethoven cycle 6 août 2011
Par Pseudonym - Publié sur Amazon.com
There are so many cycle's of Beethoven's symphonies that they tend to fall into separate categories. There's the vintage (and sometimes monaural) series; this is represented by Toscanini, Weingartner, and the many sets by Furtwangler. Then, there are the stereo, analog versions, represented by Karajan (three altogether, though the first is said to be his best), Kubelik (whose best work comes from several different orchestras), and Szell. Of course, you can't ignore the modern, digital cycles; the finest is said to be from Abbado - updating a version that came out a decade before. And then, there's even the period versions.

Beethoven's symphonies are, for many, so familiar, that period performances can be novel and exciting in their own. As you'd expect, there's considerable variance even in this sub-area.
- Harnoncourt's cycle is energetic and well-informed stylistically, and so invigorating that one can easily forget it's performed on period instruments. Vigorous, but could have better stereo definition. It definitely sounds closer to a live version.
- Christopher Hogwood offers a style that will appeal to dedicated fans of period music. A stripped down ensemble, minimal vibrato, and bright tempos make for a remarkably fresh cycle, though some might feel it's cold (at least, in comparison to the versions more influenced by the Romantic style). Technically perfect, and close to the spirit of baroque music making.
- John Elliot Gardiner has won critical approval for his musical interpretations - with considerable crossover appeal (for those who like period performance with a contemporary sensibility). Precise work on the instrumentals, with a pleasing sound, though some sections seem a bit rushed.
- ...and then, there's Franz Bruggen and Orchestra of the 18th Century. This set is out of print - but may be the most impressive of the lot.

Franz Bruggen is a conductor (and performer) whose emotions are maybe closest to Beethoven's. Beethoven, the composer, was particularly concerned with artistic expression, and Bruggen is especially successful in capturing Beethoven's impulses and presenting them in a truly classical context. This version gives one the opportunity to experience the symphonies in top performances - as they might have actually been heard. The set is markedly unsensational; proceeding from the context of the mid- to late-classical period, it's the kind of honest music making that impresses with multiple listenings. While other conductors always seem to find something to make their cycles more bombastic or individual, Bruggen is solely interested in presenting the music as the composer intended, albeit informed by a singular sense of musicality.

Symphonies 3 & 4 are very strong, though the tempos and interpretation of the 5th Symphony is definitive among period versions. The 7th symphony is wholly remarkable, especially the deep, moving second movement (the best version I've heard). Instrumentally, the 9th is perfect, though the vocal soloists are good, not great.

With unlimited resources, it would be ideal to have several Beethoven symphony cycles. But if I were to own only one, Bruggen's seems the truest and most attuned to Beethoven's intentions. It's a classic, and could displace most other Beethoven cycles in a heartbeat.
2 internautes sur 4 ont trouvé ce commentaire utile 
A second cycle 4 juillet 2012
Par P. C. W. Heijden - Publié sur Amazon.com
After many years a new Beethoven cycle bij Frans Bruggen and the orchestra of the 18th century appeared.
The orchestra played the complete Beethoven symphonies in october 2011 in the Doelen in Rotterdam.
A few weeks ago I was able to buy a copy fom the Dutch newspaper "de Volkskrant" with a booklet in Dutch language, wonderful photographs of the aging maestro and again a wonderful Beethoven cycle.

Laurens Collegium Rotterdam & Laurens Cantorij
Wiecher Mandemaker * artistiek leider
Rebecca Nash * sopraan
Wilke te Brummelstroete * mezzosopraan
Marcel Beekman * tenor
Michael Tews * bas

CD 1 6.10.2011
Symfonie nr. 1 in C opus 21, 1800
Symfonie nr. 3 in Es opus 55 `Eroica' 1804

CD 2 9.10.2011
Symfonie nr. 2 in D opus 36, 1802
Symfonie nr. 4 in Bes opus 60, 1806

CD 3 10.10.2011
Symfonie nr. 6 in F opus 68 `Pastorale', 1806-1808
Symfonie nr. 5 in c opus 67, 1808

CD 4 11.10.2011
Symfonie nr. 8 in F opus 93, 1812
Symfonie nr. 7 in A opus 92, 1812

CD 5 16.10.2011
Symfonie nr. 9 in d opus 125, 1824
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