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La Passion selon Saint Matthieu

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Détails sur le produit

  • CD (5 novembre 1999)
  • Nombre de disques: 4
  • Label: Harmonia Mundi France
  • ASIN : B00002R0ZL
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 114.341 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Passio D.N.J.C. secundum Matthaeum, BWV244: 1. Kommt, ihr Tochter, helft mir klagen
  2. Passio D.N.J.C. secundum Matthaeum, BWV244: 2. Da Jesus diese Rede vollendet hatte
  3. Passio D.N.J.C. secundum Matthaeum, BWV244: 3. Herzliebster Jesu, was hast du verbrochen
  4. Passio D.N.J.C. secundum Matthaeum, BWV244: 4. a. Da versammleten sich die Hohenpriester - b. Ja nicht auf das Fest - c. Da nun Jesus war zu Bethanien - d. Wozu dienet dieser Unrat - e. da das Jesus merkete
  5. Passio D.N.J.C. secundum Matthaeum, BWV244: 5. Du lieber Heiland du
  6. Passio D.N.J.C. secundum Matthaeum, BWV244: 6. Bass und Reu
  7. Passio D.N.J.C. secundum Matthaeum, BWV244: 7. Da ging hin der Zwolfen einer
  8. Passio D.N.J.C. secundum Matthaeum, BWV244: 8. Blute nur, du liebes Herz
  9. Passio D.N.J.C. secundum Matthaeum, BWV244: 9. a. Aber am ersten Tage der sussen Brot - b. Wo willst du, dass wir dir bereiten - c. Er sprach: Gebet ihn in die Stadt - d. Und sie wurden sehr betrubt - e. Herr,bin ich's
  10. Passio D.N.J.C. secundum Matthaeum, BWV244: 10. Ich bin's, ich sollte bussen
  11. Passio D.N.J.C. secundum Matthaeum, BWV244: 11. Er antworlete und sprach
  12. Passio D.N.J.C. secundum Matthaeum, BWV244: 12. Wiehol mein Herz in Tranen schwimmt
  13. Passio D.N.J.C. secundum Matthaeum, BWV244: 13. Ich will dir mein Herze schenken
  14. Passio D.N.J.C. secundum Matthaeum, BWV244: 14. Und da sie den Lobgesang gesprochen hatten
  15. Passio D.N.J.C. secundum Matthaeum, BWV244: 15. Erkenne mich, mein Huter
  16. Passio D.N.J.C. secundum Matthaeum, BWV244: 16. Petrus aber antwortete
  17. Passio D.N.J.C. secundum Matthaeum, BWV244: 17. Ich will hier bei dir stehen
  18. Passio D.N.J.C. secundum Matthaeum, BWV244: 18. Da kam Jesus mit ihnen zu einem Hofe
  19. Passio D.N.J.C. secundum Matthaeum, BWV244: 19. O Schmerz! hier zitter das gaqualte Herz
  20. Passio D.N.J.C. secundum Matthaeum, BWV244: 20. Ich will bei meinem Jesu wachen
  21. Passio D.N.J.C. secundum Matthaeum, BWV244: 21. Und ging hin ein wenig
  22. Passio D.N.J.C. secundum Matthaeum, BWV244: 22. Der Heiland fallt vor seinem Vater nieder
  23. Passio D.N.J.C. secundum Matthaeum, BWV244: 23. Gerne will ich mich bequemen
  24. Passio D.N.J.C. secundum Matthaeum, BWV244: 24. Und er kam zu seinen Jungern
  25. Passio D.N.J.C. secundum Matthaeum, BWV244: 25. Was mein Gott will, das g'scheh' allzeit
  26. Passio D.N.J.C. secundum Matthaeum, BWV244: 26. Und er kam und fand sie aber schlafend
  27. Passio D.N.J.C. secundum Matthaeum, BWV244: 27. a. So ist mein Jesus nun gefangen - b. Sind Blitze, sind Donner in Wolken verschwunden
  28. Passio D.N.J.C. secundum Matthaeum, BWV244: 28. Und siehe, einer aus denen
  29. Passio D.N.J.C. secundum Matthaeum, BWV244: 29. O Mensch, bewein' dein Sunde gross

Disque : 2

  1. Passio D.N.J.C. secundum Matthaeum, BWV244: 30. Ach! nun ist mein Jesus hin
  2. Passio D.N.J.C. secundum Matthaeum, BWV244: 31. Die aber Jesum gegriffen hatten
  3. Passio D.N.J.C. secundum Matthaeum, BWV244: 32. Mir hat die Welt truglich gericht't
  4. Passio D.N.J.C. secundum Matthaeum, BWV244: 33. Und wiewohl viel falsche Zeugen herzutraten
  5. Passio D.N.J.C. secundum Matthaeum, BWV244: 34. Mein Jesus schweigt zu falschen Lugen stille
  6. Passio D.N.J.C. secundum Matthaeum, BWV244: 35. Geduld, Geduld!
  7. Passio D.N.J.C. secundum Matthaeum, BWV244: 36. a. Und der Hohepriester antwortete - b. Er ist des Todes schuldig - c. da speieten sie aus in sein Angesicht - d. Weissage uns, Christe
  8. Passio D.N.J.C. secundum Matthaeum, BWV244: 37. Wer hat dich so geschlagen
  9. Passio D.N.J.C. secundum Matthaeum, BWV244: 39. a. Petrus aber sass draussen im Palast - b. Wahlich, du bist auch einer von denen
  10. Passio D.N.J.C. secundum Matthaeum, BWV244: 40. Erbarme dich
  11. Passio D.N.J.C. secundum Matthaeum, BWV244: 41. Bin ich gleich von dir gewichen
  12. Passio D.N.J.C. secundum Matthaeum, BWV244: 42. a. Des Morgens aber hielten alle Hohenpriester - b. Was gehet uns das an - c. Und er warf die Silberlinge in den Tempel
  13. Passio D.N.J.C. secundum Matthaeum, BWV244: 43. Gebt mir meinen Jesum wieder
  14. Passio D.N.J.C. secundum Matthaeum, BWV244: 44. Sie hielten aber einen Rat
  15. Passio D.N.J.C. secundum Matthaeum, BWV244: 45. Befiehl du deine Wege
  16. Passio D.N.J.C. secundum Matthaeum, BWV244: 45. a. Auf das Fest aber hatte der Landpfleger - b. Lass ihn kreuzigen !
  17. Passio D.N.J.C. secundum Matthaeum, BWV244: 46. Wie wunderbarlich ist doch diese Strafe
  18. Passio D.N.J.C. secundum Matthaeum, BWV244: 47. Der Landpfleger sagte
  19. Passio D.N.J.C. secundum Matthaeum, BWV244: 48. Er hat uns allen wohlgetan
  20. Passio D.N.J.C. secundum Matthaeum, BWV244: 49. Aus Liebe will mein Heiland sterben
  21. Passio D.N.J.C. secundum Matthaeum, BWV244: 50. a. Sie schrieen aber noch mehr - b. Lass ihn kreuzigen ! - c. Da aber Pilatus sahe - d. Sein Blut komme uber uns - e. Da gab er ihnen Barrabam los
  22. Passio D.N.J.C. secundum Matthaeum, BWV244: 51. Erbarm es Gott
  23. Passio D.N.J.C. secundum Matthaeum, BWV244: 52. Konnen Tranen meiner Wangen

Disque : 3

  1. Passio D.N.J.C. secundum Matthaeum, BWV244: 53. Da nahmen die Kriegsknechte - b. Gegrusset seist du, Judenkonig - c. Und speieten ihn an
  2. Passio D.N.J.C. secundum Matthaeum, BWV244: 54. O Haupt voll Blut und Wunden
  3. Passio D.N.J.C. secundum Matthaeum, BWV244: 55. Und da sie ihn verspottet hatten
  4. Passio D.N.J.C. secundum Matthaeum, BWV244: 56. Ja! freilich will in uns das Fleisch und Blut
  5. Passio D.N.J.C. secundum Matthaeum, BWV244: 57. Komm, susses Kreuz
  6. Passio D.N.J.C. secundum Matthaeum, BWV244: 58. a. Und da sie an die Statte kamen - b. Der du den Tempel Gottes zerbrichst - c. Desgleichen auch die Hohenpriester - d. Andern hat er geholfen - e. Desgleichen schmaheten ihn
  7. Passio D.N.J.C. secundum Matthaeum, BWV244: 59. Ach. Golgatha, unsel'ges Golgatha
  8. Passio D.N.J.C. secundum Matthaeum, BWV244: 60. Sehet Jesus hat die Hand
  9. Passio D.N.J.C. secundum Matthaeum, BWV244: 61. a. Und von der sechsten Stunde - b. Der rufet dem Elias - c. Und bald lief einer unter ihnen - d. Halt, lass sehen - e. Aber Jesus schriee abermals laut
  10. Passio D.N.J.C. secundum Matthaeum, BWV244: 62. Wenn ich einmal soll scheiden
  11. Passio D.N.J.C. secundum Matthaeum, BWV244: 63. a. Und siehe da, der Vorhang im Tempel zerriss - b. Wahlich, dieser ist Gottes Sohn gewesen - c. Und es waren viel Weiber da
  12. Passio D.N.J.C. secundum Matthaeum, BWV244: 64. Am Abend da es kuhle war
  13. Passio D.N.J.C. secundum Matthaeum, BWV244: 65. Mache dich, mein Herze, rein
  14. Passio D.N.J.C. secundum Matthaeum, BWV244: 66. a. Und Joseph nahm den Leib - b. Herr, wir haben gedacht - c. Pilatus sprach zu ihnen
  15. Passio D.N.J.C. secundum Matthaeum, BWV244: 67. Nun ist Herr zur Ruh gebracht
  16. Passio D.N.J.C. secundum Matthaeum, BWV244: 68. Wir stezen uns mit Tranen nieder

Descriptions du produit

Déjà 55.000 exemplaires vendus depuis le 5 novembre 1999 !
En composant la Passion selon saint Matthieu pour l'église Saint-Thomas de Leipzig, Bach avait en tête une vaste architecture musicale, non seulement sur le plan de l'organisation rhétorique, mais aussi sur le plan de l'étagement des sources sonores (deux choeurs, deux orchestres?). La réussite de l'entreprise fut totale : l'aspiration vers l'absolu, le tumulte des sens qui se dégagent de cette masse sonore si équilibrée, si attentive à représenter un événement tragique qui est au coeur de l'Histoire, sont incommensurables.

Ce coffret comprend également un CD-Rom PC/Mac consacré à une "Visite interactive de la Passion selon saint Matthieu". Vous y découvrirez une multitude de renseignements concernant la vie de Bach, le contexte historique qui a vu naître cette oeuvre, une étude complète du texte de Matthieu et du projet musical de Bach qui en a découlé. Suivez l'intégralité de la Passion avec le livret interactif, partez à la découverte de chaque détail musical et dialoguez avec Philippe Herreweghe au sujet de son interprétation. Ce CD-Rom a été élu "Grand Prix de l'Académie Charles Cros 1999".


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Par jacqueslefataliste COMMENTATEUR DU HALL D'HONNEURTOP 500 COMMENTATEURS le 29 avril 2003
Herreweghe a déjà enregistré une très belle version de la Matthaüs-Passion en 1984. Ce nouvel enregistrement, qui date de 1998, présente, par rapport au précédent, des qualités et des défauts.
Les qualités d’abord : alors que l’enregistrement de 1984 manquait un peu de vie, de drame, celui-ci est beaucoup plus dramatique, moins contemplatif et donc plus urgent. Le mérite en revient au chef, qui dirige cette fois de façon plus dynamique, mais aussi à l’évangéliste, Ian Bostridge, qui incarne beaucoup mieux le récit qu’Howard Crook, et qui lui donne un feu extraordinaire (écoutez par exemple le n° 36a-d !).
Les défauts ensuite : Andreas Scholl a une voix superbe et fait souvent oublier René Jacobs (en 1984), mais dans " Erbarme dich ", le violon soliste de Sirkka-Liisa Kaakinen est beaucoup moins convaincant que celui de François Fernandez en 1984. De plus, la voix de René Jacobs avait quelque chose de trouble et d’inquiet qui est perdu ici. Et puis Sibylla Rubens est, elle, un peu détachée, comme peu impliquée, et ne remplace donc pas la sublime Barbara Schlick (1984). Peut-on en effet comparer le " So ist mein Jesus nun gefanfen " de Scholl et Rubens (1998) à celui de Schlick et Jacobs (1984) ?
Pour le reste, les deux versions sont d’un niveau équivalent. Ce nouvel enregistrement est donc très précieux par l’urgence et la force qu’il apporte à cette passion, mais il n’est pas parfait et ne nous empêche pas de retourner parfois au premier.
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Amazon.com: HASH(0x9b857654) étoiles sur 5 34 commentaires
135 internautes sur 145 ont trouvé ce commentaire utile 
HASH(0x9a800954) étoiles sur 5 St. Matthew Passion Reborn 4 mars 2002
Par R. Gerard - Publié sur Amazon.com
In 1989 Gardiner interpreted Bach's St. Matthew Passion for the label, DG Archiv. Despite the-Gardiner-recording's evident bland, frigid, and impersonal aura (which to some people is called "period style performance"), this recording was called a standard- the rendition of the Matthauspassion to which all others would be compared.

Harnoncourt's release, while a pioneering effort nonetheless, was too rough around the edges, unrefined, and sounded as though layers of academic dust were caked onto it.

Now Gardiner's recording can join Harnoncourt's in the period instrument platitude dominated by stiffness, uneffected orchestras and soloists, and overbearing use of staccato. Herreweghe transcended this Historically-Informed stereotype in the 1980s when he released his rendition of Bach's St. Matthew Passion for Harmonia Mundi the first time, creating a more suave shape to the work as a whole. No longer was it "rough around the edges." His second release of the Passion, recorded here, has even more. It is delicate, clean, somber, yet dramatic, just as the St. Matthew Passion should be. This, I feel, will be the St. Matthew Passion to which all others will be judged. I have yet to hear anything better.

The key to Herreweghe's success in his release is approach of legato instead of staccato, and by taking a look at the enlightening CD-Rom which is part of this grand St. Matthew Passion package, you'll see Mr. Herreweghe has the knowledge to proove his beautiful approach.

(Harmonia Mundi's attractive package includes: the complete libretto, the complete St. Matthew Passion on three discs, and "The Birth of the St. Matthew Passion: An Interactive Journey" CD-Rom with numerous biographies, histories, scholarly notes, the complete Passion with pop-up libretto, and synopsises of each number of the Passion.)

Herreweghe also posesses what Gardiner doesn't, an astute judgement of tempo.

In contrast to Gardiner's impersonality in his St. Matthew Passion, Herreweghe's sense of the work's spitual contemplation is evident throughout, and in effect, the Choir and Orchestra of the Collegium Vocale create a very absorbing recording which is never tedious for a second, and Ian Bostridge's youthfully lithe Evangelist and Josef Selig's effective Christ finally make for a Matthauspassion where you don't find yourself skipping over the Recitatives.

All of the arias are favorites here thanks to the fine soloists, among them: male alto, Andreas Scholl. The Soprano Sibylla Rubens has the appropriate "boyishness," cleanliness, and control for Bach. Her duet with School at the end of Part 1 ("So ist mein Jesus nun gefangen") is the most historically convincing, as well as beautiful, I have ever heard on record.

The double chorus is correctly sized according to Bach's own preferences. In fact, Gardiner's choirs are oversized. Only Herreweghe's uses the most realistic proportions.

Harmonia Mundi's sound quality is clear as a bell. Both orchestras and both choirs are equally audible making every chorale, chorus, and turbae chorus very dramatic indeed (compared to the relatively poor sound quality of the Gardiner recording where the second choir is barely audible, or sounds as though they're placed at the end of some long tunnel, causing Gardiner's forces to lose their "weightiness" in many parts).

This is an overwhelmingly beautiful record, but Herreweghe also keeps in mind that this is sacred music, that is: it is written for the church, and he seems to balance everything out just perfectly.

Philippe Herreweghe's 3+1 CD set is strongly recommended to all Bach lover's alike. But if you still insist on hearing Gardiner's side of the story, buy Gardiner's Highlights of the St. Matthew Passion AND Herreweghe's Complete St. Matthew Passion.
119 internautes sur 130 ont trouvé ce commentaire utile 
HASH(0x9a800d5c) étoiles sur 5 A sublime recording with a great surprise 21 novembre 1999
Par Cordel W. Harris - Publié sur Amazon.com
It's hard to praise any particular aspect of this CD, since everything is so beautiful. This is, in my opinion, Bach's greatest work, one to rival Beethoven's Ninth (different genres and times, I know). The recording is spirited, moving, and sometimes overpowering. I believe that Herreweghe's interpretation truly does the work justice.

I did not expect to receive the CD-ROM with it. Perhaps I read the liner wrong. It is a pleasant surprise. The CD covers the life of Bach, the passion, the structure of the Passion, and the styles of singing within it. In addition, it has the full libretto --there is also a printed one-- and an interpretation of everything Bach was trying to accomplish with this work. As usual with HM works, everything is in English, French and German.

I especially enjoyed the section entitled "The Heart of the Work." It had an excerpt from all of the motets, chorales, interpretations, etc, along with who originally wrote it, the key, and the year written. In true European fashion, it is a keen analysis of the whole of The Passion Accoding to St. Matthew.

My recommendation is to listen to the whole thing once, go over the CD completely, and learn what is going on, then listen again. This was more than just a listening experience for me; it was a learning experience.

If you have any interest in this genre, buy this. Now. Harmonia Mundi is my favorite classical label; this work only confirms that.
59 internautes sur 62 ont trouvé ce commentaire utile 
HASH(0x9a7fbee8) étoiles sur 5 A monument in Bach recording history 25 janvier 2000
Par Paulo Carminati - Publié sur Amazon.com
Finally, a recording of the Passion that dances! Herreweghe's recording should now be the benchmark by which all Bach recordings should be compared. No longer shall the continual argument of authenticity and performance practice limit the performance of Bach's music to mere scholastic rhetoric. Herreweghe most graciously remembers that all baroque music was some form of dance (try dancing to Klemperer's recording and you'll see what I mean) and that the rhythmic impulse in Bach's music is just as important as any harmony, melody or counterpoint. You will be hard pressed to find a more alive, soulful recording of Bach anywhere else. Imagine the intense drama and rich sonority of great conductors such as Fürtwangler and Klemperer, but without the suffocating and brutal self-flagellation. Herreweghe has found a way in which Bach can both breathe and explode at the same time. This recording is now the highlight of my extensive collection, and looks to be for a long time.
21 internautes sur 22 ont trouvé ce commentaire utile 
HASH(0x9a800dd4) étoiles sur 5 The True Drama of the St. Matthew Passion 10 avril 2006
Par Grady Harp - Publié sur Amazon.com
There are gratefully many recordings of Bach's great St. Matthew Passion from which to choose, and the approaches to this long and mighty work of inspiration are varied. While this listener cut his teeth of the old Klemperer recording now re-mastered from the LP days to CD, this recording under the sensitive and commanding control of Philippe Herreweghe has become the recording most favored for return listenings, especially during the Holy Week. Herreweghe obviously knows the work from intense study, a fact that gives him all the stamina to make the overall Passion work both musically and dramatically.

Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.

Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06
31 internautes sur 36 ont trouvé ce commentaire utile 
HASH(0x9a80e1a4) étoiles sur 5 Finally, Justice to the Masterpiece 15 septembre 2001
Par Robert - Publié sur Amazon.com
Finally Bach's Matthauespassion is treated right. Herrweghe's team of instumentalists, vocalists, and especially the stellar chorus by far surpasses those casted in Gardiner's recording which is now more than a decade old. From the year of Gardiner's release, the public found it lacking sensitivity in its tempi and its overall sound is just plain stiff, just what you would expect from period instruments. Not to mention the second chorus was annoyingly hushed to a whisper at times. Despite this, Gardiner's recording was made the standard for years.
The perfect St. Matthew Passion was hard to find: Kemplerer's was too slow, Gardiner's was too fast and "wooden", Karajan's was too romanticized, and Harnoncourt's was too monotonous and unpolished.
Now there is finally a contender. Herrweghe's recording is purely satisfying and is never tedious. His tempos are wisely chosen and the Harmonia Mundi sound quality is clear as a bell. The solists are unique. Ian Bostridge makes a perfect Evangelist and Andreas Scholl is plain awesome on the second stave. Like Gardiner, Herrweghe uses period instruments. However, these instrumentalists play feelingly and aid in projecting Bach's profession of faith strongly, yet sensitively, to the listeners. The second chorus rings with a powerful fervor that isn't found in Gardiner's. This recording is also more historically informed.
**The overall style is well balanced: It is played in period style (without sounding too stuffy), it is played with sympathy (without being overly-romanticized) and it is theatrically dramatic (without losing its sacred purpose).
The CD-Rom that is included is as well-packed as a 300+ page biography about the composer and his times.
**If you are still intent on hearing Gardiner's version though, I HIGHLY suggest buying Herrweghe's St. Matthew Passion FIRST, and then buying Gardiner's Highlights of the same work.
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