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Gods, Heroes And Men - Beethoven: The Creatures Of Prometheus, Op. 43 & Symphony Bonus, Import

Prix : EUR 18,89 Livraison gratuite dès EUR 25 d'achats. Détails
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Détails sur le produit

1. The creatures of prometheus ouverture - Orchestre Symphonique De Montreal
2. The creatures of prometheus introduction: allegro non troppo
3. The creatures of prometheus no. 5: adagio
4. The creatures of prometheus no. 8: allegro con brio
5. The creatures of prometheus no. 16: finale. allegretto
6. Symphony no. 3 in e flat, op. 55 I. allegro con brio - Orchestre Symphonique De Montreal
7. Symphony no. 3 in e flat, op. 55 II. marcia funebre: adagio assai
8. Symphony no. 3 in e flat, op. 55 III. scherzo: allegro vivace
9. Symphony no. 3 in e flat, op. 55 IV. finale: allegro molto

Descriptions du produit


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2 internautes sur 3 ont trouvé ce commentaire utile 
More sleek, light-handed Beethoven with many period touches 22 août 2011
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
According to a recent article in the Gramophone, Kent Nagano is "the hero of Montreal" for reviving the orchestra's spirits after the stormy departure of long-time conductor Charles Dutoit; in addition, he gets to move into a sparkling new concert hall in the city. On this album the hero is Napoleon, as depicted in the "Eroica" but also allegorically in The Creature of Prometheus ballet. (Really? I've never heard such a connection made before. Also, the close connection between the two, as claimed in the product description, belies that a revolution occurred in Beethoven's style between 1801, when he finished Prometheus, and 1804, the year of the Eroica.) Leaving aside the album's flowery title, this is a not uncommon pairing of two works joined by the fact that Beethoven took the final theme from his ballet and transformed it in the last movement of the symphony, stretching it far beyond anything heard in its original setting.

The Montreal SO sounds good and is very well recorded; sony's standards have reached top-notch status in all the orchestral CDs I've heard from Dresden and Munich, also. the interpretation is light and elegant, which is a viable choice in early Beethoven. Nagano doesn't aim to prefigure middle-period Beethoven and in fact is quite balletic. by comparison a classic reading like Klemperer's on EMi is all thunder and heroics, because Klemperer drags the score directly into the world of the Eroica. Abbado strikes a nice balance and is probably preferable to either extreme.

We already have a clue that Nagano is going to deliver yet another light, breezy Eroica in keeping with current taste, at least the taste of period enthusiasts - as heard in 90% of the great concert halls, one can be assured that the Eroica still retains some heroism, however much it is being eroded. Like Abbado and Rattle before him, Nagano is influenced by the composer's metronome marking but doesn't go all the way into racing Allegros. but he's fleet enough that accents are light-handed and there is no discernible rubato. In other words, the entire performance could be programmed into a player piano without much loss. In all fairness, at 14 min. this reading of the Funeral March isn't far from older conductors of a modern disposition like Toscanini and Scherchen. All repeats are observed and vibrato in the strings is either minimal or absent. Since none of this is to my taste, that should be factored into my rating; other listeners will have different feelings. but the Gramophone, a friend to Gardiner, Norrington, and period Beethoven in general, found Nagao's Eroica too tame.
A wonderful third 20 juin 2012
Par Akimo - Publié sur Amazon.com
Format: CD Achat vérifié
Nagano delivers a subtly paced third with all the impact of Harnoncourt's, and much of the humanity of Bruno Walter's. I love this rendition.
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