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Glass: Violin Concerto / Schnittke: Concerto Grosso
 
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Glass: Violin Concerto / Schnittke: Concerto Grosso

12 décembre 2005 | Format : MP3

EUR 5,99 (TVA incluse le cas échéant)
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Détails sur le produit

  • Date de sortie d'origine : 18 janvier 1993
  • Date de sortie: 12 décembre 2005
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 1993 Deutsche Grammophon GmbH, Hamburg
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 52:39
  • Genres:
  • ASIN: B0025DV8QU
  • Moyenne des commentaires client : 4.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 29.511 en Albums (Voir les 100 premiers en Albums)

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Par Dominique le 18 septembre 2015
Format: CD Achat vérifié
Très belle découverte pour le premier concerto, un peu plus surprenante pour la suite mais l'achat du cd vaut le petit investissement rien que pour le premier concerto !
D.
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Format: CD
Alfred Garrievitch Schnittke, dont le père, issu d'une famille juive originaire de Russie, était né à Francfort et s'était installé en Union Soviétique en 1926, et dont la mère était une allemande de la Volga, est né en 1934 à Engels, Région de Saratov, URSS (Russie). Alfred Schnittke débuta ses études musicales en 1946 à Vienne où son père, journaliste et interprète, était alors en poste mais, en 1948, sa famille s'installa à Moscou, où Schnittke acheva ses études de composition au Conservatoire Tchaïkovski de Moscou en 1961, et où il eut en particulier comme professeurs Nikolaï Rakov (1908-1990) et Yevgeny Golubev (1910-1988). Initialement, la musique de Schnittke fut influencée par celle de Dmitri Shostakovich (1906-1975), puis, après la visite de Luigi Nono (1924-1990) en URSS, par le sérialisme, comme le montre clairement sa « Music for Piano and Chamber Orchestra » (1964). Toutefois, insatisfait par ce qu'il considèrera avoir été un « rite de puberté », Schnittke créera très rapidement ce qui a été défini comme le « polystylisme », juxtaposition de différents styles de musique, comme en témoigne sa seconde Sonate pour violon et piano (1968), et qui deviendra de plus en plus épuré au fil des ans. Il eut des relations très étroites avec des interprètes comme Gidon Kremer, Yury Bashmet, Natalia Gutman, Gennady Rozhdestvensky et Mstislav Rostropovich, ainsi qu'avec le compositeur Arvo Pärt (né en 1935). De 1962 à 1972, Schnittke enseigna au conservatoire de Moscou.Lire la suite ›
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9d6a945c) étoiles sur 5 11 commentaires
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x9d619354) étoiles sur 5 Not for everybody, but... 5 février 2011
Par F. J. M. Ga - Publié sur Amazon.com
Format: CD Achat vérifié
I bought this CD a month ago, spoiled by a live performance of Glass's piece that honestly impacted me. After cheking out on youtube again the Glass's concerto, and bearing in mind some of his soundtracks, I decided to get it at once.
After several hearings, I'm still of the opinion that Glass created a master piece. The violin concerto is certainly good, though I know there are many who do not appreciate Minimalism (many reviewers here). This kind of composition is certainly "different", melodies are not developed, the orchestra plays a kind of neverending ostinato, the soloist plays more or less the same melody that never "explodes", leaving a sense of "undone music". That is true. But at the end, the music has a very good "atmosphere" of secrecy, mistery, intimacy, uncovered feelings; a sense of "things to happen" is what I have at the end.
Schnittke's piece is rather different; full of disharmonies, much more modern, with a completely different composing style, its only link with Glass's is the fact of belonging to contemporary music. Nothing else. This is much more difficult "to hear"; it takes time to get used to, unless you're a devoted fan of Schoenberg, Webern and such. After many hearings, the music finally gives you what it has, and it deserves the time spent.
As a conclusion, a very interesting CD, worth the price, with two very different composers, that has the ability of giving you very good music at the beginning and afterwards. An advice: if you "hate" Minimalism or modern music, forget it, but if you're open-minded, get it. As far as competitors are concerned, do not worry: Naxos CD with Glass's concerto is far, far from this. Here you have Kremer, Dohnanyi and the Wieners... This is another galaxy.
8 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x9dc6d48c) étoiles sur 5 Good recording of two interesting pieces 20 juillet 2008
Par Carlos Icaza Estrada - Publié sur Amazon.com
Format: CD
I agree with reviewer Karl Henzy that the Glass violin concerto does a barely concealed recycling of material from Glass's best work from the 70's and 80's, so I wouldn't call the composition truly original, let alone ground breaking or virtuosic. Even then, I think it has popular appeal, and so the focus is on the solo violinist and then the orchestra. I enjoyed both - I think this is certainly a much better recording than the Naxos one, where the soloist doesn't produce as full a sound as Kremer, though the orchestra is as good. By the way, both three movements of the concerto were used a lot in the soundtrack of Carrère's "La Moustache," and I believe the recording used was the Naxos.

The Schnittke piece is, as one familiar with his work would expect, much more virtuosic in both composition and the demands placed on soloist and conductor. As with the Glass, I enjoyed the playing of Kremer, who really displayed his talent specially in the cadenza-like first quarter of the 3rd movement ("Allegro Vivace"), which I suspect involved microtones, like the rest of the piece. I have to agree with the other reviewers that the emotions expressed in this work are squarely in the heavy and dark side of the spectrum, and which to me are emphasized by the lower to mid register chords of the off-stage piano - they seem to float ominously over the sound of the orchestra and solo violin. And I also think that in its use of both tonality and atonality, this belongs with Schnittke's later work.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9d420b04) étoiles sur 5 Good performance; the music is interesting, but neither composer is captured at his best 23 septembre 2010
Par G.D. - Publié sur Amazon.com
Format: CD Achat vérifié
Philip Glass's violin concerto (apparently it's no.1, since he has reportedly written another) was his first large-scale (non-vocal) orchestral works, at least for a regular orchestra. It is also one of his most enduringly popular work, mostly because of the poignant middle movement, and has received several recordings. Stylistically it is a pretty typical works; superimposed rhythmic patterns, motoric ostinatos, simple but effective harmonies and relatively variegated patterns of melodic fragment gradually developed (well, more or less repeated - changed, certainly, but not really ever developed). That said, it isn't a particularly melodic work - it is, indeed, hummable, and many of the figurations stick in the listener's memory, but they can't reasonably be called melodies (rather than melodic fragments). The end effect, however, is interesting, to a large extent due to the interesting contrast between the inherently "songful sound" of the violin, which is never allowed to actually sing in this music, set against the chugging rhythmic patterns of the orchestra. I am not going to claim that it is a great work, not even among Glass's best, but I must say I found it rather attractive.

It is coupled here, somewhat bizarrely, with Schnittke's fifth Concerto grosso. The point of similarity is no more or less than the fact that Schnittke's work is for all practical purposes a violin concerto as well. It is a far grittier work than the Glass, of course, and I suspect that those who are drawn to this release for the Glass might have a hard time coming to terms with it. It purportedly describes a cycle of seasons, with a sardonically lilting mock-waltz for spring, a march-like/dance-like Stravinskian summer, a disconcerting, very aurally disturbing and modernist autumn and a long, haunting, somewhat Shostakovichian winter. It is, in other word, stylistically super-eclectic (although Schnittke didn't at this point quote other composers as he used to), but the net effect is slightly forbidding - it grows on repeated listening, but I cannot really shake the feeling that there is less profundity to the work than it seems to promise the first time around. I cannot imagine more distinguished advocacy than it gets here from Gideon Kremer and Christoph von Dohnanyi with the Vienna Philharmonic (and Rainer Keuschnig on "invisible piano" in the Schnittke); and that goes for the Glass work as well. I am frankly not in a position to determine how they fare in comparison with the competition, but to my ears these sound like very fine and committed performances. The sound is good; recommended, if not a mandatory release.
8 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9d58209c) étoiles sur 5 Glass Violin Concerto 16 avril 2010
Par Dragomir Voicu Dan - Publié sur Amazon.com
Format: CD
The second movement of Glass' concerto is one of the most beautiful violin pieces ever written. And I think that Kremer's rendition captures all the tragic feeling of this piece, which is dark, haunting, obsessive. It is like a real feeling of pain, it starts slowly, in piano, then it reaches the climax and it fades away, slowly, more like becoming a memory of pain. This second movement is nothing like Tchaikovsky's violin concerto: with Glass you cannot afford to burst into tears, because the sorrow is too dignified.
8 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x9d4743c0) étoiles sur 5 A masterful recording of two great works. 2 août 1999
Par Un client - Publié sur Amazon.com
Format: CD
After hearing the recording of Glass's violin c. on the radio, I bolted to the record store to get my own copy. What a reddition! The third movement is breathtaking. A must for anyone who wants to get familiar with contemporary music. Glass is a major composer, as though we didn't know before.
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