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Chopin: Nocturnes

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Détails sur le produit

  • Interprète: Ivan Moravec
  • Compositeur: Frederic Chopin
  • CD (28 juin 2012)
  • Nombre de disques: 2
  • Label: Supra
  • ASIN : B0085U0GYW
  • Autres éditions : CD  |  Téléchargement MP3
  • Classement des meilleures ventes d'Amazon: 76.637 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

One of the first recordings that earned Ivan Moravec acclaim and secured him a position among the finest pianists of the 20th century was the album of the complete Chopin Nocturnes made in 1965 in New York (Steinway) and at Viennas Konzerthaus (Bösendorfer) for the Connoisseur Society label. Many critics have branded this recording a benchmark and consider it the ultimate account of the Nocturnes; in the words of Henry Fogel (Fanfare): This is playing that draws the listener deeply into the music - you are not drawn into Moravecs achievement, but Chopins. Ivan Moravec presents the Nocturnes in an admirable scale of colours and dynamics (down to astonishingly tender, barely touched tones), with the music flowing so naturally that it seems as though there are no bars or individual notes. Supraphon is rereleasing this legendary recording with a sensitively remastered sound, which brings out to the full the wealth of tone colours of Moravecs piano. Ivan Moravecs account of the legendary Chopin Nocturnes, in a more colourful remastered sound.

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52 internautes sur 52 ont trouvé ce commentaire utile 
Best rendition yet, maybe a minor mystery solved . . . 24 août 2012
Par blue-59 - Publié sur Amazon.com
Format: CD
It has now been almost half a century since Ivan Moravec recorded the Chopin nocturnes for Connoisseur Society. The LPs were praised mightily upon their release, and the set remains among the most revered of classical performances. Glowing reviews abound, so I will address only the claim that this set enjoys improved sound as a result of careful--analog--remastering:

Though most of Moravec's glorious LP work made it to CD fairly quickly, the nocturnes for some reason did not. Eager for a release, I inquired about them to a respected music critic who had effusively praised Moravec's preludes. He wrote back that he had heard a story about the original tapes of the nocturnes having been lost, which left only second-generation copies and generated some dispute about whether the lesser source should be used. I had no idea whether this was true, but it did explain why such a desirable recording remained unreleased.

However, in 1991, the nocturnes did appear (analog mastering, on Nonesuch). I had the honor of meeting Moravec after a concert in 1992, and I remarked that perhaps my inquiries had helped spur the release. Moravec acknowledged the delay, and hinted that there had indeed been some sort of difficulty. A slightly cleaner digital mastering was produced in 1999 on the Optima label.

Now we have yet another version, which claims, "Supraphon is rereleasing this legendary recording with a sensitively remastered sound, which brings out to the full the wealth of tone colours of Moravec's piano. Ivan Moravec's account of the legendary Chopin Nocturnes, in a more colourful remastered sound."

But E. Alan Silver's original masters were superb. If you are working with the same multitrack tapes, all you can do is (1) play around with the equalization, (2) adjust the levels of various tracks, or (3) apply some sort of technology to reduce noise or artificially "improve" (or compress) the sound.

Number (1) can certainly improve recordings originally equalized for "record players," fruitwood "credenzas," or radio broadcasts but not high-fidelity systems. Number (2) can improve recordings that were mastered with unrealistic highlighting or suppression of certain instruments. Number (3) can lessen scratches, pops, and hiss (and compression can please radio stations), but this invariably degrades the sound in some way, and you can hear the meddling a mile away. None of these apply in this case.

The only fault I could find with the Nonesuch/Optima CDs was minor: a bit of hard edge in loud passages in the upper register of Moravec's Bosendorfer and Steinway (which sound very much alike). But this set boasts cleaner, softer, effortless sound throughout, including in the loud passages. It's hard to believe that either digital or analog remastering effected that improvement. I listened through Stax electrostatic headphones just to verify what I had heard through my B&W 801s. Even with the enormous dynamic range achieved in these recordings, the slight hiss audible on the earlier CDs was now gone, as if a layer had been removed. As if the sound was coming from a better source. Did somebody find those original masters?
13 internautes sur 13 ont trouvé ce commentaire utile 
This CD sounds a lot better than the 1991 version. 22 mars 2014
Par Fearless - Publié sur Amazon.com
Format: CD Achat vérifié
In case you were wondering if this remastered version sounds better than the 1991 CD from the label Nonesuch
ASIN: B000005J03, it does.

I have both CDs and just finished comparing their sound.
The piano sounds much clearer on the 2012 version than the 1991 one.
There is still a little bit of a hissing sound, but it is still the best Chopin Nocturnes CD.

So go ahead and get this CD too in case you already had the purple one.
If you haven't bought the purple one, just get this one.
18 internautes sur 20 ont trouvé ce commentaire utile 
"Remaster" of a marvellous album 14 avril 2013
Par Jurgen Lawrenz - Publié sur Amazon.com
Format: CD
I thank the other reviewer for clearing up that this is not a new recording, but a re-issue with some technological improvements. I take it from his comments that the Supraphon release seems not to have done much to the sound, but mainly concentrated on dehissing it. Let's hope this has not diminished the clarity of the upper decibels which is what happens too often! The original Nonesuch LP was in my opinion one of the best sounding piano albums I had heard to that date.
But as the performances themselves are only casually mentioned, I append here the review I wrote for the Nonesuch album, to save readers flipping back to that release for more information.
Chopin's Nocturnes have fared rather well on record. When Rubinstein recorded his first complete set, many people were dismayed (many still are) about his seeming uninvolvement, despite the impeccable pianism. So this left a lot of room for others to make their mark. Vasary for DG filled that bill very adequately for some time and was a very popular set on account of its sensitive, elegant and not over-indulgent approach. Other complete readings from Arrau and Barenboim continued this line of contrasts, Arrau representing the deeply sonorous, Barenboim the cool and graceful approach. Somewhere in the midst of this accumulation, Moravec's set appeared, but not on one of the mainstream record labels. It therefore suffered from a certain amount of unjustified neglect. It seems this has been repaired by now. No-one would characterise Moravec as a "minor" artist any more.
Indeed a good case could be made that this album of the complete Nocturnes is the one to which the epithet "pure magic" could be applied. So much sensitivity, such an uncanny command of rubato, never a moment's exaggeration nor sentimentality, but a distillation of all that is enchanting about these works. The way Moravec plays No. 1 you could be deceived that you are listening to a masterpiece of the first rank; and it is only by following his traversal to the end that you discover the greater depths and pianistic resources of the later pieces. Moreover each piece is set in its own little cocoon of import, like jewels that must each be fitted to a ring specifically for them.
Once you have absorbed this playing, this style of handling the Nocturnes as individuals, this touch of the keyboard that seems to border on the miraculous, no other set will satisfy you quite to the same extent. These are truly inspired readings. I would say: Don't hesitate, and don't let the chance of them falling into oblivion again, deprive you of some of the finest joys offered by the invention of the phonograph!
7 internautes sur 7 ont trouvé ce commentaire utile 
Magical playing in finely remastered sound 27 juillet 2013
Par I. Giles - Publié sur Amazon.com
Format: CD
This famous pair of discs, recorded in 1965, has been remarkably well remastered in 2012 and is presented here. The playing itself is an object lesson in understated excellence and stands out in that respect in what is now a very competitive market.

What one notices about this set above all else, is the gentle sense of self communion that Moravec brings to these works. This is not so much a set of performances as a set of personal recollections appearing to be improvised as they unfold before our ears. There is none of the pearl-like brilliance of a Rubinstein or the more dramatic approach of an Ashkenazy for instance. There is nothing remotely approaching self-awareness or the idea of an interpretation. There is instead, a tremendous sense of peace, rather as one might be led to expect from a title such as 'nocturne' yet just enough structural grip to avoid any sense of aimless meandering.

This is a very special set of Nocturnes that deserves to be in every collection of Chopin or of great and inspiring piano playing. In this case the combination of those two ideas is totally appropriate. There is no really valid comparison to be made. Moravec is quite simply Moravec playing music that is an inseparable part of his very being.

I would suggest that this set is close to being an essential purchase and, at the very least, deserves the most serious consideration. This remastered set is clearly the one to buy.

2 internautes sur 2 ont trouvé ce commentaire utile 
Dreamy, otherworldly playing - but is that enough? 17 septembre 2015
Par Ralph Moore - Publié sur Amazon.com
Format: CD
This recording has received virtually nothing but critical encomiums since its first appearance on the Connoisseur Society label, through Nonesuch and now on Supraphon, remastered in 2012, and a rating of five stars is the norm on Amazon - with one exception from fellow reviewer David Bryson who has minor reservations that he admits the cannot quite put his finger on. I, too, am of his mind, and am also slightly struggling to quantify my qualified response, especially in the face of such evidently masterly, subtle and sensitive playing from Ivan Moravec.

He casts a gentle spell from the first notes - and perhaps herein lies my first doubt. For some tastes, he might sound a little lugubrious and soporific. I know these pieces are Nocturnes and as such hardly meant to electrify, but Moravec's speeds are distinctly leisurely in comparison with other favourite Chopin interpreters; Nocturne No. 2, for example, is really very stately and lacks the momentum and spirit that Tamás Vásáry brings to it. I note, too, that the sound Vásáry is given by DG has a more resonant, bell-like quality than is granted Moravec, although they recorded their Nocturnes only a year apart, 1965 and 1966 respectively. Supraphon's sound is very good but the removal of any hiss has certainly compromised the upper frequencies and slightly muddied and muffled the immediacy of the acoustic.

This might seem ungrateful or nitpicking given the refinement and of Moravec's artistry. To take some more examples arbitrarily, certainly No. 8 could hardly be more dreamily lovely, No. 7 has all the fire and dynamic variety on could wish, and the delicacy of No. 9 is wholly captivating, yet again, comparison with Tamás Vásáry suggests that the latter brings more animation, light and shade to his account; I don't want my Chopin to be droopy.

Mine is a very personal reaction and I do not by any means want to detract from the mastery of Moravec's recital by fetishising what is ultimately purely a question of taste, especially as so many fellow music-lovers are evidently deeply moved by it, but as much as I recognise its virtues it does not sway me from Vásáry as my ideal interpreter of Chopin.
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