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Elgar : Symphonie n° 2

1 commentaire client

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Détails sur le produit

  • Orchestre: Staatskapelle Berlin
  • Chef d'orchestre: Daniel Barenboim
  • Compositeur: Edward Elgar
  • CD (19 mai 2014)
  • Nombre de disques: 1
  • Label: Decca
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 126.087 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. - 1. allegro vivace e nobilmente
  2. - 2. larghetto
  3. - 3. rondo. presto
  4. - 4. moderato e maestoso

Descriptions du produit

Following his critically acclaimed Elgar Cello Concerto recording with Alisa Weilerstein, Barenboim turns to the symphonies.
The Second Symphony is released first, in a 2013 recording with the Staatskapelle Berlin. The First Symphony will follow in 2015.

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3 internautes sur 4 ont trouvé ce commentaire utile  Par Sinoué le 22 octobre 2014
Format: CD Achat vérifié
L'amour ne suffit pas!

Alors ici, il y a même l'eau fraîche pour un Elgar qui a connu parfois le désert.

Une entente orchestre et chef extraordinaire!

Passion, douceur, fluidité, couleurs, force, dynamisme, intelligence, beauté, liberté, tout y est!

Disque magnifique!
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Amazon.com: 3 commentaires
12 internautes sur 12 ont trouvé ce commentaire utile 
An eloquent, perfectly judged Elgar Second that could easily be a first choice 14 mai 2014
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
When he first began to record Elgar as a young man, London resident, and husband of the cellist Jacqueline du Pre, Barenboim was a fish out of water, an emigré Argentinian-Israeli who placed himself in the company of native-born conductors. As great as Barbirolli and Boult were in Elgar, English possessiveness may have kept the composer's music from traveling abroad. Of course there was also his Edwardian aesthetic, too lush and tonal for modernist tastes, not to mention its imperial associations. That's all ancient history, however, and here we are in Berlin hearing the Second Sym. (not that I can think of a German or Austrian conductor who has recorded either of Elgar's symphonies - this must have been close to a premiere).

The PR blurb calls Barenboim a passionate Elgarian, and I must say that this is a gorgeous performance, recorded with such clarity that the orchestration reveals not the slightest hint of Brahmsian thickness. Even more impressive is Barenboim's grasp of the work's peculiar brand of late-Romanticism. The composer looked like a country squire ready to pursue snipe with his shooting stick, but Elgar was a Catholic who felt like an outsider. He said that he wrote out his soul in the Second Sym., and it exposes a good deal of inner turmoil. His emotional range in this symphony is as fervid as Schoenberg's in Pelleas und Melisande.

By the time Colin Davis released Sym. 1 and 2 on LSO Live, he was old and a touch staid. As authentically British as those readings are, Barenboim shows more finesse, variety, and color. His tempos are forward-moving in the first movement, with a rise and fall that feesl perfectly right. Amazon quotes the Guardian reviewer about how different Elgar sounds from a middle-European orchestra, but not to me. The Staatskapelle Berlin is famously hard-working, and although their string sound isn't especially rich or plush, the playing here is supple and alert to every quick change. Barenboim finds a lot of those, constantly seizing our attention.

As the performance unfolds, I find it faultless. The Larghetto is eloquent, mysterious and melancholy, with the signature Elgarian surge that's so moving in the Nimrod Variation of the Enigma. The Scherzo brings back the light in a mercurial, sprightly way (also found in the Enigma Variations), and despite Elgar's love for building up the orchestral sonority from the bass, here it never sounds tubby. Elgar didn't write romping finales based on hummable tunes but intricate ones with multiple themes, grandeur woven with complexity, even more so than in Brahms's symphonies. In Sym. 2 we begin with a baritone theme that feels like the rolling sea, out of which erupts horn calls, woodwind scampering, and contrapuntal sport. Barenboim handles it all as if to the manner born. He wasn't, but his adopted Englishness is going on fifty years, which makes him, strangely enough, the grand old man of British conducting.
10 internautes sur 14 ont trouvé ce commentaire utile 
Looks like a duck, quacks like a duck, but it most definitely is not a duck. 3 juin 2014
Par Fountainhead - Publié sur Amazon.com
Format: CD Achat vérifié
I have passionately loved the music of Elgar since my late teens, and during the course of the last forty years the two Elgar symphonies have steadfastly remained my absolute favorite works in the genre. In fact, it was Barenboim's initial recording of the second symphony in the early 70's (on CBS with the London Phil.) that hooked me on Elgar in the first place, and it has remained a cherished recording ever since. This is certainly one of Elgar's greatest compositions, a work both richly expressive and emotionally complex. Indeed, the schizophrenic nature of the piece, pitting lush opulence against darkness and pain, and feverish intensity against a haunted loneliness, is of an order that makes even Mahler (and I do love Mahler) seem tame by comparison.

When I recently became aware that Barenboim had re-recorded the piece, I was really anxious to hear it. Within a minute of listening to this recording, however, my heart started to sink, and it sunk lower and lower as the performance progressed. Something was seriously wrong here, and subsequent re-hearings have only confirmed my initial misgivings. On the surface, this new recording seems to have everything going for it: the recorded sound is gorgeous and richly detailed, and the members of the Staatskapelle Berlin play like gods. Indeed, from the standpoint of recorded sound and virtuosity of orchestral execution, this recording leaves Barenboim's earlier effort squarely in the shade. Barenboim is obviously a more experienced and seasoned conductor now than he was in the 70's, and one could point to countless details of balance and emphasis which are more adroitly handled in this new recording. It has the necessary flexibility of phrasing, and Barenboim's handling of the large overall structure is arguably more assured than before. But it all goes for nought because the performance totally lacks soul. That feverish, hectic, burning intensity which is such an important component of the work's emotional climate, and which Barenboim's earlier reading possesses in abundance, is totally absent here. The searing emotional climax in the second movement, the nightmare explosion in the third, the valedictory coda of the last movement (to me one of the most beautiful and moving passages in music), all seem unmotivated and uninvolved, although beautifully rendered on the surface.

I certainly don't subscribe to the view that British conductors generally have some sort of monopoly when it comes to Elgar. Certainly some of the most interesting, compelling and contrasting takes on Elgar 2 in my experience come from non-British conductors (Sinopoli, Svetlanov, a non-comercially available live BSO
performance with Steinberg).
And I've never been particularly partial to any of the Boult or Barbirolli recordings (although another live BSO performance under Barbirolli from 1964 is one of the greatest I've heard, and begs to be made commercially available). Nonetheless, my two strongest recommendations are in fact from British conductors: Jeffrey Tate with the LSO (EMI) and Mark Elder with the Halle Orchestra. Either of those recordings provides a musical experience far more stimulating, intense and satisfying than that which Barenboim provides here. And I still enthusiastically recommend Barenboim's earlier recording, now available (along with some of his other Elgar recordings from that time) in The British Collection (Sony box set). His Elgar 2, Violin Concerto (with Zukerman) and Falstaff all show evidence of a conductor who in his early career made music with real passion and commitment. He now seems to be but a shadow of his former self, I'm afraid.

This was not the review I was hoping or expecting to write, but that's life.
2 internautes sur 4 ont trouvé ce commentaire utile 
Barenboim isn't an Elgarian 18 septembre 2014
Par Martin B. Haub - Publié sur Amazon.com
Format: CD
I had high hopes for this recording. I definitely did not like his previous take on this extraordinary symphony. But in the intervening years he has turned out some recordings that are top-notch and among the best ever done: the Beethoven symphonies in Berlin, the Schumann symphonies, a Ring cycle second to none, a thoroughly engrossing Brahms set, a dazzling Mahler 7th. So I expected this Elgar 2nd to join the list. Not a chance. The orchestral execution is superb - and the recording is pretty good, too. But the problems all stem from the podium. Too much control, too many exaggerated details - accents too hard, hairpins too wide. Near the end of the 2nd movement is a passage of heart-wrenching passion when done well - and that means a good dose of portamento in the strings. None here. Where Barbirolli can bring you to tears, Barenboim leaves you cold. Barenboim attempts to bring some real emotion to the ending of the symphony, but simply bringing the pulse to extremely slow isn't what's needed - listen to Boult, Barbirolli, Handley or others. In a catalog with some superbly played and conducted Elgar 2nds, any newcomer had better be extremely good, and this just isn't. The new Oramo on Bis is way ahead of this version. It's now clear that Barenboim just isn't a good match for Elgar. I hope he doesn't go on to the 1st.
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