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Ct Pno 4 Hands/Orch/Sym 2 Import

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Détails sur le produit

  • CD (1 octobre 1996)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B000001MYT
  • Autres versions : CD
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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Liste des titres

Disque : 1

  1. Konzert fur Klavier zu vier Handen und Orchester C-Dur, Op. 153: Allegro con brio
  2. Konzert fur Klavier zu vier Handen und Orchester C-Dur, Op. 153: Adagio espressivo
  3. Konzert fur Klavier zu vier Handen und Orchester C-Dur, Op. 153: Rondo alla Polacca
  4. Sinfonie Nr. 2 D-Dur, Op. 781: Andante maestoso ma con moto
  5. Sinfonie Nr. 2 D-Dur, Op. 781: Andantino grazioso un poco moto
  6. Sinfonie Nr. 2 D-Dur, Op. 781: Scherzo: Molto vivace
  7. Sinfonie Nr. 2 D-Dur, Op. 781: Finale: Allegro vivace

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2 internautes sur 2 ont trouvé ce commentaire utile  Par Werlings TOP 500 COMMENTATEURS le 23 juin 2014
Format: CD Achat vérifié
Czerny ne serait-il qu'un pédagogue renommé ? Il ne faudrait pas le réduire à quelques exercices, car il occupe une place un peu particulière dans le monde musical : prodige, mais assez vite éloigné des salles de concert ; élève de Beethoven et interprète des œuvres du grand maître, professeur de Liszt, il fait le pont entre deux périodes du romantisme. Sur ce disque, deux œuvres marquées par Beethoven : un concerto pour piano à quatre mains et la deuxième de ses six symphonies.

Le concerto pour piano est agréablement composé sans verser dans une virtuosité gratuite. Il faut prêter l'oreille pour entendre les quatre mains. Le style de l'ensemble est solidement ancré dans la tradition du dernier Mozart et du premier Beethoven. Le premier mouvement pourrait presque passer pour un concerto perdu puis retrouvé de ce dernier. Il y a beaucoup de délicatesse dans le jeu du piano, et l'orchestration est solide sans être originale. Le second mouvement n'a pas la profondeur lyrique des concertos de Beethoven, mais le final est très réussi. Sans être un chef d'oeuvre méconnu, voilà un très honnête concerto.

La deuxième symphonie s'ouvre par une introduction lente majestueuse dans le plus pur esprit de Haydn de plus de trois minutes, avant d’enchaîner avec un allegro dans la même veine ; le menuet, sans aucune lourdeur, continue de même. La rupture survient avec le scherzo, qui est si proche du modèle beethovénien qu'on pourrait le prendre pour un pastiche. Le final reprend enfin le modèle des dernières symphonies de Mozart.
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Amazon.com: 8 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
Not Those Damn Exercises, Again 5 janvier 2008
Par Joseph Barbarie - Publié sur Amazon.com
Format: CD
Czerny continues to be associated with the sets of exercises for beginning pianists ("The Little Pianist", Op. 823 being one such) -- even one of the reviewers below makes mention of his early experience in this regard. Czerny himself divided his massive output (over 800 opus numbers-strong) in three categories; "serious," "pedagogic," and "light" or "entertaining." The pieces programmed on this disc are of the first category (which also took in Masses and other orchestral output).

Part of the reason Czerny's serious, concert-music output may be ignored today must be its temporal proximity to Beethoven (who was Czerny's teacher). Viewed in the light of the older master's works, there is something a bit pale about Czerny. Nonetheless, there is a rhythmic virility and intellectual rigor about them, possibly due to Beethoven's influence and teaching.

Czerny's mastery of counterpoint and development, his chief strengths, are always evident, throughout all the symphony's movements. Even when he is working with thematic material that is a bit weak, or at least, forgettable, he is able to build large-scale movements whose logic never folds under their own weight. He is ever the musical craftsman. It is worth considering, as well, the opus number on this work, only his second numbered symphony (out of six, I believe) -- 781. That is, Czerny has waited until rather late in his career to allow publication of a symphonic effort. This caution is reminiscent of another composer in the Beethoven mold -- Brahms.

The Concerto for Piano Four-Hands is, although classified by Czerny himself as "serious," sheer entertainment throughout. The soloists here, Liu Xiao Ming and Horst Gobel, exude life and playfulness. Of particular brilliance is their entry in the third movement, where they drag the timing of the phrase just before the downbeat, only to resume the tempo right at the downbeat. Such timing must be the result of lengthy rehearsal.

Sadly, it appears this album is not available, neither here nor on Arkivmusic.com. Signum Records (are they still around?) is to be praised for its efforts on behalf of Carl Czerny (they have released another album of Czerny's 1st and 5th symphonies, also of high merit). Perhaps this is the beginning of a Czerny renaissance.
5 internautes sur 5 ont trouvé ce commentaire utile 
Unique 2 octobre 2002
Par Un client - Publié sur Amazon.com
Format: CD
My piano teacher once told me about this piece and decided to search for the score. Once I found it (in Vienna) I bought this CD. Although this work is not Czerny at his very best, the concerto reminds me of the days where I had to painfully practice his exercises! And yet, he utilizes his "excercises" into this work and produces what is, albeit not his greatest work, a beautiful and more importantly FUN work for pianists!
This recording had its ups and downs. While the technique between Gobel and Ming was impressive, I found that they and the orchestra were not altogether faithful with the tempos of Czerny. Despite this, this recording is a gem to all pianists.
6 internautes sur 7 ont trouvé ce commentaire utile 
A delight for any classical cd collection 22 juillet 1999
Par Un client - Publié sur Amazon.com
Format: CD
Carl Czerny has earned his place among the great masters with these two compositions. His mastery of harmony and counterpoint are clearly displayed in this exquisite perfomance by Liu Xiao & Horst Gobel as pianists equal to the task of this composition (pf concerto for 4 hands. OP153) under the direction of Nikos Athinaos with the Staatsorchester Frankfurt. Mozart, if he were able to hear this music, would have highly praised both the composer and the performers. Symphony No2 OP781 is also a remarkable composition with an admirably remarkable performance. Again, rich in harmonics, with great expression and well connected throughout its four flowing movements. This recording is well worth hearing and possessing. Well done Signum!
1 internautes sur 1 ont trouvé ce commentaire utile 
Not the best introduction to the "serious" Czerny 5 janvier 2014
Par Discophage - Publié sur Amazon.com
Format: CD
I've been pleasantly surprised by Czerny's Symphonies No. 1 & 5, also performed by Nikos Athinäos on Signum (Czerny: Symphonies 1 & 5) or Christophorus (Czerny: Symphonies Nos. 1 & 5), and decided to explore more. I knew already, from the recently CD-reissued recordings made by Christoph Eschenbach in the 1970s for DG-Japan (CZERNY 30 and CZERNY 40), that Czerny's Etudes were much better than the bad reputation they suffer in some circles, and offered genuine musical pleasures. But Czerny is too often subsumed to his piano Studies. His output is in fact immense, and the pedagogical exercises are only the tip of the iceberg. There are many more piano pieces of "salon" nature and potpourri from operas in vogue in Vienna, and, Czerny himself divided his output in four categories: Studies and exercises, easy pieces for students, brilliant pieces for concerts, "serious music". Czerny's Wikipedia entry adds that "the majority of the pieces called by Czerny as [sic] `serious music' (masses, choral music, quartets, orchestral and chamber music) remained unpublished. The manuscripts are held by Vienna's Society for the Friends of Music, to which Czerny (a childless bachelor) willed his estate." According to info gleaned from the liner notes of Athinäos' CD of Symphonies No. 1 & 5, there are some 300 of such "serious" works.

Czerny was born (in Vienna) in 1791 (the year of Mozart's death) and died in 1857 (a year after Schumann), which makes him Beethoven's younger by 21 years and the exact contemporary of Meyerbeer (1791-1864), and of the same generation as a throng of Austro-German early-romantic composers, Ferdinand Ries (1784-1847), Ludwig Spohr (1784-1859), Weber (1786-1826), Heinrich Marschner (1795-1861) to name but a few... and Schubert of course (1797-1828), with the shadow of Beethoven looming large over all of them. No wonder then that Czerny's Symphonies should be indebted to his master - with more echoes of Beethoven's first two in the Second, but there are reminiscences of the Eroica as well in Symphony No. 5, and the Scherzo of the 6th MUST have been inspired by Mendelssohn's Midsummer Night's Dream.

The Second Symphony has enjoyed two recordings so far. This one, made in 1996 for Signum, Czerny: Symphony in D No 2, Op 781; Piano Concerto in C Op 153 and here reissued by Christophorus, was first. The other one was made in 2005/2006 and is conducted by Grzegorz Nowak on Hanssler, and paired with the 6th Symphony (Czerny: Symphonies No. 2 & 6). I find Nowak's version preferable to Athinäos's, less solemn and more flowing in the slow introduction to the first movement, more dynamic and spirited in the Allegro proper, giving an impression of being slightly more flowing in the slow movement (more on account of a greater transparency in the orchestral texture than actual tempo). And while I can see space for an even more "molto vivace" Scherzo than what Nowak plays, Athinäos' trudging gait is a near-disaster there. There is also, either by dint of the recording or the orchestra itself, a metallic edge to Athinäos' Brandenburgisches Staatsorchester Frankfurt, and Nowak's Kaiserslautern group sounds better, with more transparency.

The flaws in sonics and interpretation in the Symphony aren't really redeemed by the Concerto for Four-hand Piano op. 153. Again it is reminiscent of Beethoven, but it would be here the Beethoven of the early works without opus number (WoO), the 1784 Piano Concerto WoO 4 or Rondo WoO 6 from 1793. The music is playful, boisterous and very superficial, music for demonstration and the salon, music to belie Czerny's own claim that his piano playing "always lacked that brilliant and well-prepared charlatanism that is so necessary to traveling virtuosos" and confirm Czerny's bad reputation of a churner of notes with not much of substance to say.

TT 72:30, no complaint on that front. But for an introduction to the "serious" Czerny, better go to the CDs of Nowak and of Symphonies 1 & 5 by Athinäos.
2 internautes sur 3 ont trouvé ce commentaire utile 
A delightful suprise 16 janvier 2005
Par S. J. MCLAREN - Publié sur Amazon.com
Format: CD
With the huge uincrease in interest of Hummel and other such conmposers, surely too Czerny will follow in these footsteps. But I do find the Concerto somewhat laboured and lacking the flair it should have despite there being lovely passages. However it cannot meet the spendid recording of the A minor concerto by the now deceased Felicja Blumental. The second symphony was a pleasnt suprise and beautifully played.

Lets hope for more of his substantial works to be recorded.

S J McLaren
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