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Debussy : 12 Etudes, Images Sets 1 & 2
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Debussy : 12 Etudes, Images Sets 1 & 2

3 avril 2006 | Format : MP3

EUR 13,99 (TVA incluse le cas échéant)
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Détails sur le produit

  • Performers: Pierre-Laurent Aimard
  • Date de sortie d'origine : 21 octobre 2003
  • Date de sortie: 3 avril 2006
  • Label: Warner Classics International
  • Copyright: 2002 Warner Classics, Warner Music UK
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 1:14:42
  • Genres:
  • ASIN: B0024LLJSU
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 187.692 en Albums (Voir les 100 premiers en Albums)

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Par george-alin 67 le 18 février 2015
Format: CD Achat vérifié
Merci Monsieur Aimard pour cette nouvelle lecture des Images et des Etudes, éclairante et noble, comme tout ce que vous nous offrez!
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Amazon.com: 12 commentaires
31 internautes sur 34 ont trouvé ce commentaire utile 
Modernist Debussy 24 avril 2004
Par J Scott Morrison - Publié sur Amazon.com
Format: CD Achat vérifié
It's hard to believe, listening to this CD, that Debussy's music was written almost hundred years ago. One reason for this is that Aimard seems to have re-invented the Debussy sound according to his own modernist lights. We've had early recordings by the likes of Cortot who played Debussy as a classic with little emphasis on the hammerless blur of sound, and then more recent ones by folks like Arrau or Gieseking who did the opposite and tend to make Debussy sound soft-edged. Aimard has re-emphasized his ferocity, especially in the Études. Even in the 'Images' that include such impressionistic favorites as 'Reflets dan l'eau' and 'Poissons d'or,' he tends not to stick around and glory in the hazy wash of sound usually associated with Debussy. That sound is not present in all that Debussy wrote, and it is a mistake to play it all that way. Aimard understands this. At times, especially in the Études, he sounds almost as if he were playing a modern like Prokofiev. I will admit my bias: I like this approach. Maybe all these decades of hearing mushy Debussy, hyper-atmospheric Debussy, has led me to this stance, but there you are. At any rate, Aimard brings something fresh to his approach. But it is not all of a piece. Sometimes, for instance as in 'Hommage à Rameau' he gets precisely the right balance of rhythmic precision and harmonic overlap. In others, like the études 'Pour les notes répétées' and 'Pour les sixtes,' fierce clarity gives us an almost Ligetian modernity. He gives all he plays rhythmic point and backbone.
The Études have always been step-children in the Debussy canon. Many major pianists simply ignored them. Others openly disdained them. Fortunately recent pianists, like Michiko Uchida, have placed them high on their list. It is clear that Aimard has done the same, and for me these are the best overall recordings of them I've ever heard.
Highly recommended.
TT 75'06"
Scott Morrison
21 internautes sur 23 ont trouvé ce commentaire utile 
Pierre-Laurent Aimard's Brilliant Performances of Debussy 13 décembre 2003
Par John Kwok - Publié sur Amazon.com
Format: CD
Pierre-Laurent Aimard's latest recording is a revelatory look at Debussy's most important works for the piano. In these thoughtful, lyrical performances, Aimard offers interpretations that tie Debussy stylistically to the likes of Prokofiev, Rachmaninov and Schoenberg, emphasizing the "modern" aspects of these works, without forsaking their Impressionistic atmosphere. It's hard for me to single out a favorite among these performances. I found all equally enjoyable. Stylistically they are different from Zimmerman's and Arrau's recordings, but still quite valid interpretations. This latest recording merely demonstrates the extensive range and interest Aimard has with regards to piano music, which ranges from Beethoven to the latest works composed by his mentor Pierre Boulez.
13 internautes sur 15 ont trouvé ce commentaire utile 
Debussy as 20th century master 3 mars 2004
Par Jeff Abell - Publié sur Amazon.com
Format: CD
It's easy to forget that Debussy wrote most of his works in the 20th century. His style has been so thoroughly appropriated into jazz and such things as film scores, that we can forget how genuinely original his works were when he first wrote them. Pierre-Laurent Aimard has not forgotten this, and clearly sees the links between Debussy and later French composers such as Messian and Boulez (whose works he also plays brilliantly). The result is gorgeous in every detail, and filled with flashes of surprise, as though the music were written last year, instead of nearly a century ago. And while I'm not going to throw away my Paul Jacobs recordings of these works (also exquisite), I find myself listening to Aimard over and over again. You will too.
8 internautes sur 9 ont trouvé ce commentaire utile 
Cold piano 5 décembre 2004
Par philvscott - Publié sur Amazon.com
Format: CD
I've read the reviews below of this CD, and I think they are all correct. The sound is plain, and Aimard's pianism is very contemporary in approach. For some, that produces a revelation, but I prefer a more impressionistic (old fashioned?) approach to Debussy. After all, he was writing a hundred years ago, not five years ago. There's no denying Aimard's virtuosity, of course- he's phenomenal in the Etudes of Ligeti- but he's ousted here by the warm piano sound and sensitive performance of Mitsuko Uchida on a famous Philips disc. And even Michelangeli's Images (on DG)- supposedly so cool and detached- conjure up a more vivid sound world.
5 internautes sur 5 ont trouvé ce commentaire utile 
And the poetry in the music? 24 février 2007
Par P. Kelley - Publié sur Amazon.com
Format: CD
Aimard was highly regarded by Messiaen as a performer of his works; as such, it is understandable, if not predictable, that Aimard would would interpret the piano works of Debussy--a composer Messiaen practically worshiped--through the lens of Messiaen's complex tonal universe. While I find his interpretations overall successful, I find myself sometimes regretting the over-emphasis of tempo--while an absolute in Messiaen, fluidity of rhythm is a hallmark of Debussy's musical language. Poissons d'or sounds utterly rushed and its harmonies sound as if the performer were making a point of signalling their modernity to the listener. The etudes in particular suffer (or gain?) from this approach. Overall, one misses the properly symbolist or poetic element which makes Debussy so unique as a composer.
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