Votre compte Amazon Music n'est actuellement associé à aucun pays. Pour profiter de la musique Premium, allez sur votre Bibliothèque musicale et transférez votre compte à Amazon.fr (FR).
  
EUR 14,78
  • Tous les prix incluent la TVA.
Il ne reste plus que 3 exemplaire(s) en stock.
Expédié et vendu par Englishpostbox.
Quantité :1
EUR 14,78 + EUR 2,49 Livraison
Autres vendeurs sur Amazon
Ajouter au panier
EUR 14,64
+ EUR 2,49 (livraison)
Vendu par : moviemars-amerique
Ajouter au panier
EUR 14,65
+ EUR 2,49 (livraison)
Vendu par : RAREWAVES USA
Ajouter au panier
EUR 15,15
+ EUR 2,49 (livraison)
Vendu par : roundMediaFR
Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 8,99

Dvorák: Cello Concerto

4.3 étoiles sur 5 3 commentaires client

19 neufs à partir de EUR 13,34 5 d'occasion à partir de EUR 13,33

Vous cherchez un CD de Musique Classique ?

CD Musique Classique
Retrouvez tous nos CD au sein de notre Boutique Musique Classique.

Offres spéciales et liens associés



Détails sur le produit

  • Interprète: Alexander Melnikov, Isabelle Faust, Jean-Guihen Queyras
  • CD (29 septembre 2005)
  • Nombre de disques: 1
  • Label: Harmonia Mundi France
  • ASIN : B000B6FAEO
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.3 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 105.524 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

  • Ecouter les extraits - (Extrait)
1
30
15:24
Album uniquement
2
30
12:01
Album uniquement
3
30
12:41
Album uniquement
4
30
4:04
Ecouter le titre Acheter : EUR 1,29
 
5
30
6:00
Ecouter le titre Acheter : EUR 1,29
 
6
30
6:08
Ecouter le titre Acheter : EUR 1,29
 
7
30
4:48
Ecouter le titre Acheter : EUR 1,29
 
8
30
3:58
Ecouter le titre Acheter : EUR 1,29
 
9
30
4:34
Ecouter le titre Acheter : EUR 1,29
 

Descriptions du produit

Un coup de maître ! Jamais avant Dvorák, on n'avait si bien écrit pour le violoncelle concertant : l'oeuvre du compositeur tchèque a rejoint sans conteste le panthéon des concertos pour piano ou violon. En complément de ce chef-d'oeuvre de légende, Jean-Guihen Queyras retrouve Isabelle Faust et Alexander Melnikov dans le non moins fameux Trio "Dumky"?


Quels sont les autres articles que les clients achètent après avoir regardé cet article?

Commentaires en ligne

4.3 étoiles sur 5
5 étoiles
2
4 étoiles
0
3 étoiles
1
2 étoiles
0
1 étoiles
0
Voir les 3 commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Par HERVÉ Thierry COMMENTATEUR DU HALL D'HONNEUR le 25 avril 2006
Format: CD
Parmi les œuvres concertantes écrites pour le violoncelle, le Concerto de Dvorák est celui qui par ses qualités musicales incontestables, doit figurer au centre de toute discothèque. Longtemps dominé par le monopole d'un Rostropovitch souverain, il trouve dans la passionnante lecture de Jean-Guihen Queyras et de Jiri Belolahvek un nouvel élan. Les climats si chers au compositeur sont subtilement dessinés. La Philharmonia de Prague ne se contente pas d'en surligner les contours. Elle y ajoute de la perspective et de la nuance. La seule écoute des premières mesures de l'Adagio suffira à vous en convaincre et à vous faire basculer dans l'euphorie. Mélange de bravoure et de passion, cette interprétation visionnaire et olympienne doit provoquer chez tout auditeur normalement constitué, un déclic irréversible ; le début d'une longue histoire d'amour pour un chef-d'œuvre qui avait décidemment beaucoup à nous apprendre.
Remarque sur ce commentaire 17 sur 17 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Par Amazon clientèle TOP 500 COMMENTATEURSVOIX VINE le 7 novembre 2010
Format: CD Achat vérifié
L'interprétation de ce concerto magnifique est excellente et j'aurais mis 5 étoiles si... si la prise de son était à la hauteur. J'aimerais que les preneurs de son ou les ingénieurs (?) respectent l'intensité sonore telle qu'elle est captée dans une salle de concert et pas qu'ils fassent joujou à rendre les pianissimos encore plus faibles et les fortissimos (pianissimi et fortissimi pour les puristes) encore plus intenses. Ici, et c'est fort dommageable pour JG Queyras au jeu très intériorisé et très épuré, soit on tend l'oreille et on monte le son, soit on baisse le son parce que tout d'un coup tout est trop fort. J'ai horreur de cela. Mon plaisir est gâché! Je suis à peu près certaine que ce n'est pas ce que j'aurais entendu dans une salle de concert. Pour Dumki, il n'y a pas ce problème et c'est très beau. Bref, voilà un enregistrement qui a failli est parfait.
Remarque sur ce commentaire 4 sur 4 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD
Il faut dire que la version du Piano Trio "Dumky" avec Isabelle Faust et Aleksander Melnikov est tout aussi formidable que le concerto pour violoncelle. Un disque magnifique.
Remarque sur ce commentaire 12 sur 15 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x96972978) étoiles sur 5 11 commentaires
14 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x9697f8dc) étoiles sur 5 Beauty. Slow Beauty 4 mai 2006
Par J. F. Laurson - Publié sur Amazon.com
Format: CD
This is a marvellous addition to the crowded market of Dvorak Cello Concerto recording. Superbly played and inexcellent sound, Queyras and Co. (both in the Concerto and coincidentally in the Trio) succeed especially in creating some of the finest slow movements I have ever heard. Note the least on account of those, this recording moved into the company of the other two versions of the Cello that I hold in high estimate: the famous Karajan/Rostropovich on DG and the molten-lava-like Celibidache/Du Pre on Telarc (formerly DG). Warmly recommended.
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x966e7660) étoiles sur 5 Splendid performances of an unusual coupling 13 mars 2008
Par E. Davis - Publié sur Amazon.com
Format: CD
One of the problems in recording the Dvorak cello concerto that has faced many an engineer, is how to record it so that the balance is right, so that the orchestra does not overpower the soloist. Since the concerto is almost always recorded with a full, symphony orchestra, the answer usually lies with the engineer miking the soloist much more closely. This results in an artificial balance; a balance that would never be heard in a concert hall. In this recording, there is less of a problem since the accompanying orchestra is a chamber orchestra. This results in a more natural balance (although the soloist is still miked a bit forward here). Another plus here is that there is more clarity in the orchestral parts. But the downside is that this is a huge, sweeping, symphonic concerto that cries out for a full orchestra. And the problem with most recordings that use a full orchestra is, in addition to the problem indicated above, that the orchestra can sometimes sound muddy or unfocused. It's difficult to differentiate individual sections or groups within sections.

This recording works surprisingly well. Queyras is a fine cellist with a smooth, burnished sound and impeccable intonation and is content to let the music speak for itself instead of trying to wring every last ounce of emotion as in the recording by Jacqueline de Pre and the CSO. His first movement is a bit slow for my taste (15:24). Here are some first movement comparisons:

Starker/LSO--15:08; Mork/OPO--15:04; Rostropovich/BPO--15:36 (!); du Pre/CSO--15:19.

I am more than a little surprised at how well the orchestra does,since this appears to be not quite a pick-up group, but, as the notes say, an orchestra of "flexible size." The best orchestral accompaniment is the LSO with Starker, but many are put off from this recording by what they see as Starker's laconic approach to the music. My own #1 choice is Mork with the Oslo PO. The Oslo are not in the same league as the LSO or the NYP (with Ma), but they are good enough and Mork is virtually in a class by himself. But this is a very fine performance, albeit quirky due to the use of a chamber orchestra.

Most other recordings couple the Dvorak concerto either with another concerto (Saint-Saens #1, Haydn C major) or with Kol Nidre and/or the Rococo Variations. For the uninitiated, Dumky is plural for Dumka. A Dumka is a song, probably Ukranian in origin (but no one sings here). It is really a misnomer to call this a trio, even though there are three players. It is really a six-movement suite. Here, Queyras teams up with violinist, Isabelle Faust and pianist Alexander Melnikov for a very enjoyable Dumky. If they don't give the outstanding, nuanced performance of the 1978 Suk trio recording, they are good enough for most tastes and the recorded sound is very fine. Remember, the Czechs have this music in their blood.

Bottom line: If this coupling appeals to you, grab it since I don't know of any competing version. If you are a casual collector and want only one recording, I think the Mork will suit you well. If you are a cellist, cello fancier or a collector of multiple versions, you should feel no hesitation to add this one to your collection along with any others you own. You will be coming back to it many times. (Disclaimer: I have not heard the Wispelwey recording).
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x966f8ef4) étoiles sur 5 This is a great one 22 mai 2006
Par Eric S. Kim - Publié sur Amazon.com
Format: CD
There's really not much to say about this Dvorak Cello Concerto recording; only that it's magnificent. Jean-Guihen Queyras gives the cello a nice polish and panache, and it's most clearly evident in the slow-paced second movement (it sounds so pure and heavenly). Jiri Belohlavek and the Prague Philharmonia create a beautiful atmosphere (kudos to Harmonia Mundi for the excellent sound quality). The woodwinds are clear, the brasses are energetic, and the strings are typically handled with Bohemian finesse. This is hands down one of the finest recordings for Dvorak's Cello Concerto ever put on a compact disc. Get it while you still can.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x966fb2dc) étoiles sur 5 How Do You Spell "magnificent" in Czech? 6 octobre 2009
Par Gio - Publié sur Amazon.com
Format: CD
If there's any logic in the Universe, the word should be "Queyras"! This is a magnificent performance by the young cellist Jean-Guihen Queyras, one of the new wave of cellists who are equally facile on baroque or modern instruments. I've already reviewed Queyras's performance of the six Bach Suites for solo cello; it's magnificent! Now I have to exclaim in wonder at his interpretation of the workhorse Cello Concerto by Antonin Dvorak, a composition I've always enjoyed in almost any performance. I have several versions on CD, so I decided to listen to Queyras's head-to-head with the far better-selling recording by Yo-Yo Ma with the New York Philharmonic. It was quite a revelation; to my ears, Queyras wins every round, but I was also surprised that the Prague Philharmonic outplayed the New Yorkers dramatically in the first and third movements. The concerto begins orchestrally; several minutes pass before the cello enters, and those minutes reveal a great deal. The Prague Orchestra is splendidly transparent (here's my neologism: 'transhearable) in allowing each instrumental timbre to be heard, even amid massed orchestral declamations. The tuning is better, the recording acoustic is sharper, I knew before the cello uttered a note that the contest was over.

Possibly it's Queyras's profound understanding of the baroque cello and of the aesthetic of "historically informed performance" than makes his cello so lovingly voice-like. Think of a voice like that of Dietrich Fischer-Dieskau, a voice that can project beauty on every note of its range and warmth at ever level of dynamics. That's Queyras's cello. Besides, his bowing is far more precise than Ma's, and it makes his quick passages both elegant and eloquent, while Ma's sound only vigorous. This is unquestionably the best performance of the Dvorak I've ever heard.

Some reviewers elsewhere have objected to the recording technology of this CD. They accurately point out that the cello is close-miked, while the orchestra is miked for a more general ambience. Thus, they say, the sound you hear is unlike any sound you would hear in alive performance. And so it is, but all for the better! What you hear is what the cellist himself hears while playing: his own voice in his own space, in dialogue with the orchestra BEHIND him. The concerto form is always potentially such a agon, soloist against symphony. A cello concerto risks much, in that the cello doesn't easily hold its own against 20 violins and a ragtag of other instruments. The forces used by the Prague Orchestra in this recording are not so small - 14 violins, for instance, and three horns - but conductor Jiri Behohlavek reins them in and makes the ensemble sound as tight as a chamber orchestra.

Then, happy day, the CD is rounded out with the finest music Dvorak ever wrote, the "Dumky" Trio #4 for piano, violin, and cello, rather than the oft-paired Cello Concerto by Victor Herbert - Ma's match-up - which I'd be willing never to hear again. Pianist Alexander Melnikov and violinist Isabelle Faust clearly share the same aesthetic as Queyras; they seem to listen "through' each other with generous ensemble. Altogether this is a 'magnificent' CD. Note that there seem to be several 'editions' or releases of it, at different prices, including in in SACD.
5 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x966fb3c0) étoiles sur 5 In that style, Queyras is as good as anybody. The problem is "that style" 26 septembre 2013
Par Discophage - Publié sur Amazon.com
Format: CD
Readers will probably find that I have an axe to grind, or a fixation that makes my judgment worthless, but I am one to lament at the disappearance from the memory and awareness of audiences and performers of an interpretive style (you can also call it "tradition", "approach" or even, if you want to be sophisticated, "paradigm") in Dvorak's Cello Concerto that, based on what remains of the recorded evidence, seems to have been dominant in the 1930s to mid-1950s. You can hear it in the famous recording of Casals with the Czech Philharmonic under Szell in 1937 (Dvorak: Cello Concerto in B minor / Brahms: Double Concerto in A minor), you can hear it in the live performances of Emanuel Feuermann under Leon Barzin in 1940 (Dvorak: Cello Concerto; Silent Woods; Rondo / Bloch: Schelomo (Historical Recording 1940/1941)), of Leonard Rose with the New York Philharmonic under Artur Rodzinski (Cello Concerto) and of Edmund Kurtz with Toscanini conducting the NBC Symphony Orchestra (Dvorak: Cello Concerto, Scherzo Capriccioso), both in January 1945 (lucky post-war New York audiences!), and you can hear it, under the very loud surfaces of the Pyral discs on which it was recorded, in the 1944 war-time recording of Paul Tortelier under Willem Mengelberg in Paris (Le Grand Orchestre de Radio-Paris 1944: Mengelberg - Tortelier), and still in the studio version, from circa 1951, of Tortelier with Otto Ackermann conducting the Zürich Tohnalle Orchestra (Otto Ackermann Conducts). Its tenets: urgent tempi in the first movement, in fact observant of the score's metronome marks, explosive orchestral tutti generating a mood of heroism, and tempi kept urgent in the more lyrical passages of the first movement and Finale, making the lyricism intense and the longing passionate. The champions of that approach displayed more variety in the second movement, most keeping the pacing very flowing as Dvorak instructs, Feuermann with Barzin giving more time for the phrases to unfold - but never to the excesses of some of the subsequent versions. Likewise in the Finale, where Dvorak's opening march tempo is actually pretty slow: some like Toscanini were spot on, some like Feuermann-Barzin were much faster. But the important and unifying trait was that, whatever the choice of opening tempo, they eschewed the temptation to sentimentally linger on the lyrical passages. Not that they were inflexible or metronomic, far from it. But the variations of tempo never lost sight of the movement's architectural cogency and never ditched the sense of a continued forward flow.

And then, change set in. The "other" approach had apparently always coexisted (witness the first movement of Piatigorsky-Ormandy in 1946, Gregor Piatigorsky: Great Cello Concertos), but it took sway past the mid-1950s (together with becoming more and more radical). One of its main champions was Rostropovich, as early as his premiere recording in 1952 with the Czech Philharmonic under the baton of Vaclav Talich, and his remake with Karajan from 1968 radicalized that, and his re-remake with Giulini in 1977 radicalized even that (product links in the comments). The approach's main features are the image in negative of those I described for the earlier paradigm: tempi became increasingly expansive (and inobservant of Dvorak's metronome marks), and by way of consequence (because tempo hugely impacts on character) the mood was no more of assertive heroism but brooding and pastoral, tutti in all three movements were made to sound majestic rather than heroic (when not downright sluggish), and, starting in the orchestral introduction when the horn intones the second subject, everybody started lingering on the lyrical passages of the two outer movements, stepped on the breaks to let you enjoy the view, apparently unaware that they were making the lyricism no more lyrical but only plangent and sentimental, and equally oblivious or unaware of or uninterested in the fact that this constant playing go and stop with tempo put paid to the movements' cogency, made them seem to move forward by spurts and sound more episodic and piecemeal than they are.

And it isn't only a matter of a new generation of performers. Same performers, when they later re-recorded the Concerto, played it according to the new principles. Timings give a pretty graphic description of those evolutions:

13:29 / 10:31 / 11:43 Casals Szell 1937
12:57 / 11:41 / 10:23 Feuermann-Barzin
13:30 / 10:02 / 11:23 Kurtz-Toscanini 1945

14:21 / 10:33 / 11:21 Piatigorsky-Ormandy 1946
15:42 / 13:11 / 12:57 Piatigorsky-Munch 1960

14:51 / 11:11 / 12:56 Rostropovich Talich 1952
15:36 / 12:38 / 12:55 Rostropovich-Karajan 1968
16:22 / 12:50 / 13:37 Rostropovich-Giulini 1977

14:13 / 10:29 / 12:18 Starker-Süsskind 1956
15:00 / 11:16 / 11:38 Starker-Dorati 1962

14:20 / 10:14 / 11:43 Tortelier-Ackermann 1951
15:14 / 11:32 / 12:12 Tortelier-Previn 1977

15:15 / 13:10 / 13:23 Du Pré-Barenboim 1970

15:15 / 11:58 / 12:28 Queyras-Belohlavek 2004

And the new approach won, to the point that hardly anybody in the stereo era recorded Dvorak's Concerto according to the "old" way. There's a recording, I think from the mid-1960s, never widely circulated (it came on the Eurodisc label), by Tibor de Machula with the Berlin Symphony Orchestra under old German veteran Arthur Röther, that keeps the flame vacillating... you can hear it on You Tube. If another, since Navarra-Schwarz in 1955, I haven't come across it.

And everybody today seems happy with the new approach. Of course, you could say that preferring one or the other is a matter of taste, and that, even though the old way is arguably (based on metronome marks) closer to what Dvorak had in mind, it doesn't matter, as long as the "new" and expansive approach has valid things to say musically and emotionally. Apparently it does, since everybody seems to have adopted it.

But in fact, I don't think people HAVE a choice, because the new approach has become such a standard, it has so blotted out of everybody's memory and awareness that there was and can be another approach, that everybody - audiences AND performers - thinks this is the only way, they are convinced that playing Dvorak with expansive tempi (far slower than his metronome indications), thick and majestic tutti, and taking every opportunity to linger on the lyrical moments, IS Dvorak's Concerto (and some probably hate it precisely because of that). Hardly anybody realizes that, no, this is not the only possibility in Dvorak's Cello Concerto, this is NOT "Dvorak's Concerto" but an interpretation, and in fact it is a distortion of Dvorak's emotional message.

And I can't believe that faced with the choice between a heroic concerto, with passages of intense lyricism and passionate longing, and a pastoral and sentimentally longing concerto interrupted by majestic orchestral outbursts, anybody could actually prefer the second proposition. I certainly don't, but who knows: give the people a choice! And I certainly am unhappy not only with the way the Concerto has been played since Rostropovich, but furthermore that there seems to be no recorded proposition in modern stereo of the "old" way. If there is, I haven't come across it (the Fanfare review gave me reasons to think that Vogler-Robertson may be one, I've ordered it, The Secrets of Dvorak's Cello Concerto).

So, that's the axe I grind. Long introduction and context then to get to Queyras-Belohlavek. They are no different than anybody else. In fact this version is like anybody else's. Compare the timings, they are telling. Queyras-Belohlavek are in the norm, with no excesses.

I've read (in Fanfare) that the chamber size of the orchestra lets you hear more transparency of orchestral details. Not really, at least in the first two movements: all those details can be heard in any version with a conductor worth his ilk. In the Finale some woodwind details do come out more clearly than in other versions. Belohlavek's opening tempo in the first movement is at 96-100 quarter-notes per minute, to Dvorak's 116. Like everybody else he slams on the breaks and lets the horn majestically unfold at 2:11 - very pretty, if "pretty" is what you want. At the end of that passage, at 3:07, when comes the orchestral tutti supposedly played at the opening tempo, Belohlavek takes it closer to 108 and the orchestra articulates crisply, but it still sounds slow, more playful than suggesting any hint of heroism. Queyras enters at 3:35 (Casals was there in 3:09, Tortelier with Mengelberg and Edmund Kurtz with Toscanini in 3:08, Feuermann with Barzin in 3:05) and I don't find his attack particularly "risoluto" as Dvorak instructs. That he phrases the sixteenth-notes of the two opening phrase as if they were different rhythms, the first tight and the second slack, can be ascribed to the interpreter's expressive freedom, although the expressive result of the slackness is to deprive the phrase of its bite and assertiveness (and when the same motto is played in the first movement and again in the Finale by various orchestral sections or soloists, they certainly don't try and emulate the effect; to expect that kind of far-seeing coherence is obviously demanding too much). As everybody since Rostropovich his ensuing sforzando chords are heavy and thick, as if he were trying to imitate a double-bass. In the dashing passages (first one at 4:34) his sixteenth-note runs and arpeggios are as dashing I guess as anybody else's who plays them within the same kind of expansive tempi, but if you want to know what "dash" is, go to those pre-1955 versions. And all his lyrical passages are sentimentally longing - very pretty again, and will offer complete satisfaction if it is "pretty" and "a touch sentimental" you want, and are not concerned by architectural cogency, by keeping a sense of flow and destination. Queyras' scales in double stops at 11:25 sound a bit labored and the ensuing orchestral surge, which should be so grandiose and lyrical, sounds here very weak (aside from sounding terribly sluggish), but it's a small detail.

As the timings show, although taken at a tempo far slower than Dvorak's metronome (circa 84 eighth-notes/mn vs 108), there is nothing radical either, e.g. radically slow, to Queyras' and Belohlavek's Adagio, not compared to Piatigorsky, Rostropovich or Du Pré. And the Finale is launched into at a very pressing marching rhythm, now considerably faster than Dvorak's metronome, circa 126 quarter-notes to Dvorak's 104, almost the tempo of Barzin with Feuermann, although when he enters Queyras doesn't maintain the momentum as Feuermann did, or even Rose with Rodzinski, and Belohlavek's orchestral outbursts don't approach the hair-raising intensity of Barzin's and Rodzinski's. And of course, whenever possible, Queyras lingers on the lyrical phrases - it starts at 2:23. But still, he and Belohlavek maintain an acceptable balance between the urgent and the lyrical lingering, and Belohlavek's orchestral tutti have reasonable muscularity (4:11, 5:18).

Piatigorsky-Munch, Starker-Dorati, Rostropovich-Karajan or Rostropovich-Giulini, Du Pré-Barenboim, Tortelier-Previn, (for those I've heard; but I'm sure I can add Rostropovich-Ozawa, Ma-Maazel, Ma-Masur, Harrell-Levine, Harrell-Ashkenazy, Maisky-Bernstein, Maisky-Mehta, Capuçon-Järvi and many more) and now Queyras-Belohlavek, all are fine: making subtle distinctions between them is always possible, but tantamount to nitpicking, they are all variations of the same thing, and Queyras-Belohlavek is as recommendable as anyone else. Among those, only one that I've heard truly stands out: Du Pré live with the Swedish Radio Orchestra under Celibidache in 1967, because they are so radically slow, because within this slow approach Celibidache has such a great sense of balance, and because Du Pré is so radically intense in her bowing (see my review of Dvorák: Cello Concerto, Op. 104 / Saint-Saëns: Cello Concerto No. 1, Op. 33). But I urge anyone who feels a strong love for Dvorak's Concerto to listen to one of those early versions before they decide (Kurtz-Toscanini is, sonically, the most recommendable, and it sells cheap. Avoid Rose-Rodzinski, if even you can find it cheap enough, there's a cut in the first movement). Only when they have can they make a real CHOICE of what they prefer. In fact, I even urge those who think they detest Dvorak's Concerto to try Kurtz-Toscanini. Maybe what they detest is not the Concerto but the expansive and sentimental approach to it. So, if they listen to Kurtz-Toscanini and still hate it, then they'll know at least that they really do.

Dvorak's Dumky trio makes an original complement, and serves as a pendant to Harmonia Mundi's recording of the Violin Concerto with the same Belohlavek and orchestra with Isabelle Faust, paired with the Trio op. 65 with the same performers as here (Violin Concerto / Piano Trio Op 65). I have no particular knowledge of the interpretive history of the Dumky trio, and will offer no opinion on the interpretation until I do, which may be in a few decades. The music is wonderful.
Ces commentaires ont-ils été utiles ? Dites-le-nous

Discussions entre clients

Le forum concernant ce produit
Discussion Réponses Message le plus récent
Pas de discussions pour l'instant

Posez des questions, partagez votre opinion, gagnez en compréhension
Démarrer une nouvelle discussion
Thème:
Première publication:
Aller s'identifier
 

Rechercher parmi les discussions des clients
Rechercher dans toutes les discussions Amazon
   


Rechercher des articles similaires par rubrique


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?