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Les Symphonies

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Page Artiste Sir Georg Solti


Détails sur le produit

  • Interprète: Georg Solti, Multi-Artistes
  • Orchestre: Chicago Symphony Orchestra
  • Chef d'orchestre: Georg Solti
  • Compositeur: Ludwig Beethoven, Not Applicable
  • CD (13 juillet 2011)
  • Nombre de disques: 7
  • Label: Decca
  • ASIN : B000T9QF8S
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 3.2 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 158.032 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

SOLTI GEORG / CHICAGO S. O.


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Format: CD Achat vérifié
cet enregistrement (...) est en réalité une réédition des années 1970.
l'orchestre de CHICAGO joue magnifiquement et la prise de son DECCA est superbe (de + l'enregistrement est remastérisé).
les options de SOLTI en matière de tempo sont discutables,cela faisant parfois dans le solennel dans certains mouvements.
Dans sa 2° version (1990) le chef révisera certains de ses tempi qui seront plus dynamiques.
Donc : selon ses goûts opter pour la 1° ou la 2° version.
ASTUCE pour les reconnaitre:1° version ,avec Martti TALVELA (box clair)/ 2°version avec Hans HOTIN (box foncé)
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Le Beethoven de Solti est puissant, bien joué, les timbres de l'orchestre de Chicago sont remarquables, la prise de son est très bonne ! L'ensemble constitue un beau coffret, pour peu que l'on adhère à la vision du chef : le Beethoven de Solti, ample et souvent lent, manque parfois de souffle épique et de folie. C'est très beau, donc, mais ce n'est pas un Beethoven héroïque qui nous est proposé.
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Ok le son . a part ça ? .....ben rien . Monumental , turbo propulsé ou ennuyeux à souhait , la preuve qu 'un haut niveau de technicité n 'est pas garant d ' un bon résultat . Certains aimerons . Moi pas . Un manque d 'ame patent . je retourne a Furtwängler , Walter , Toscanini .
Certainement le plus grand ratage du maestro que j 'admire tant a l 'opéra .
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Ca faisait longtemps que je cherchait Solti pour beethoven en souvenir de mes vinyles totalement usés.... Même si ce ne sont pas tout le temps des originaux des années 80 il y a de très belles choses et la patte Solti bien plus agréable que d'autres interprètes
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Amazon.com: HASH(0x9fa9c63c) étoiles sur 5 12 commentaires
26 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0x9fad918c) étoiles sur 5 Solti's "Via Media" Approach to Beethoven is Worth Hearing 12 novembre 2007
Par Johannes Climacus - Publié sur Amazon.com
Format: CD Achat vérifié
Of Sir Georg Solti's two Beethoven cycles with the CSO, I generally prefer the first, reissued here in a newly remastered edition commemorating the tenth anniversary of Solti's death. By the early 1970's, when these recordings were made, Solti had moderated his volatile temperament sufficiently to be able to project the lofty qualities in Beethoven's music. The slow movements are far more reflective than one might have expected from this conductor. The one in the Ninth Symphony, for instance, conveys a sense of rapt solemnity that recalls Furtwängler at his best (though with superior sound, of course, and more alert playing than the latter achieved in his famous live Bayreuth performance, reissued on EMI). In general Solti combines Furtwänglerian weight with Toscaninian dynamism--an approach to Beethoven which will strike some listeners as "the best of both worlds" and others as an uneasy compromise. I vacillate between these two opinions, sometimes within the compass of a single symphony. For example, I found the first movement of the *Eroica* far too slow and ponderous, while the Funeral March struck me as one of the most gripping I have ever heard. The best performances in the set are 2, 4, 6, 7, and 9. The Seventh, in particular, is quite thrilling--the combination of weight and dynamism works especially well in this symphony; the dancelike aspects of the music are not compromised by the fundamental seriousness of Solti's conception. The Ninth, too, is splendid, with (as indicated above) a sublime traversal of the slow movement and a stirring, beautifully sung finale. The Second must rank with Bernstein/DG as one of the most vibrant accounts ever recorded. The "Pastoral" is more genial than one would have expected from Solti, but one misses the authentic Austrian lilt of Böhm, or the rich lyricism of Walter. On the other hand, I appreciate the rhythmic vitality Solti brings to a work which, in lesser performances, can seem too languid by half. I also enjoyed the spectacular horn playing in the Peasant's Merrymaking and subsequent Storm episode. The First receives some admirably crisp playing, at snappy tempos, though in the end I find Solti's approach too portentous for a work which clearly harks back to Haydn. The Eighth could use an infusion of Beethovenian "unbuttoned" humor, but is otherwise appropriately incisive and well played.

Overall, I enjoyed these performances more than I expected to, and in the case of the Second, Seventh and Ninth thought that Solti achieved something like greatness. His later, digital cycle seems altogether at lower voltage, while his earliest versions of 3, 5 and 7 with the VPO (recently reissued by Decca) are too frenetic. The first CSO Beethoven cycle is the one to have, then, if you're interested in hearing Solti's distinctive *via media* in Beethoven. The playing of the CSO is glorious throughout and though the sonics are more variable than we would expect from Decca/London (largely due to the vicissitudes of the recording venues, especially the notoriously difficult acoustic of the Medinah Temple in Chicago), the sound is never less than acceptable and frequently excellent.

Though I would not rank this set alongside Karajan's justly famous 1963 cycle, or the recently reissued Bernstein/Vienna (DG), I can imagine listeners who want to hear a great American orchestra in this repertoire finding Solti/CSO more than satisfactory.

NOTE: While I still endorse my estimation of this set, I have been recently re-assessing Solti's later, digital, Beethoven cycle, whose merits I tended to overlook when I wrote the review of his earlier Chicago cycle a few years ago. After some careful comparative listening, I have recently come to a favorable view of the later cycle, which now strikes me as, overall, more thoughtful, nuanced and affectionate than the older recordings. The sound also superior--less clinical, warmer, though not necessarily better focused. Though my opinions are still in flux, given that these two sets are now virtually in the same price range (consult sellers on this Website), I might tilt toward the later one (if it's just a question of comparing Solti with Solti--for a general recommendation I would still favor Karajan/1962 or 1977, Bernstein/Vienna (DG) or possibly Szell/Cleveland). The earlier Ninth has greater cogency than the later, while the later Seventh is considerably more refined in conception and execution. Neither Eroica is particularly outstanding (Solti and the CSO sound too portentous here), though the earlier one is better played, and the later one marginally better shaped. Neither is as exciting or volatile as the conductor's 1958 account with the VPO (nla, but once available in a two-CD bargain issue from Decca). When it comes to the First, Second and Eighth, I definitely prefer the digital accounts, which, though less viscerally exciting, are altogether more elegant and carefully crafted. Both eighths are rather too serious for such a light-hearted score, but the digital one sings more lyrically where it needs to. Right now I incline toward the later Fifth as well; it conveys greater majesty, if rather less urgency. Concerning the fourth and sixth I currently incline toward the later versions, again because of a greater warmth and elegance, though the earlier Sixth was arguably fresher. I hope this addendum doesn't confuse the issue for prospective listeners, but I thought I had to weigh in with my most recent thoughts on Solti's Beethoven.
12 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x9fad96c0) étoiles sur 5 A Beethoven Cycle That Wears Well 29 avril 2009
Par Music Is Everything - Publié sur Amazon.com
Format: CD
This is the latest incarnation of Solti's first Beethoven symphony cycle with the Chicago Symphony, recorded in the early 1970s. Despite Decca's claim, I can hear no obvious remastering, but remastering wasn't required, as this is a well-recorded and beautifully performed cycle. In this edition, the symphonies are not split between discs and there is an extra CD interviewing Solti about his approach to Beethoven, which is rather purist. He doesn't reorchestrate anything, takes every repeat, and religiously follows all dynamics and other markings. This alone makes the cycle worthwhile, since you don't feel like you're experiencing Beethoven through someone else's thick lense. On top of that, we have the Chicago Symphony at its height and with something to prove, and Solti's trademark sense of structure and timing. All things considered, this cycle wears extremely well over time and, along with Blomstedt's cycle with Dresden, remains one of my favorite sets of Beethoven symphonies.
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x9fad94a4) étoiles sur 5 Solti's Nine Unsung Heroes 20 mars 2012
Par Ryan Kernaghan - Publié sur Amazon.com
Format: CD
Beethoven Symphonies 1 - 9. Chicago Symphony Orchestra and Chorus. With Pilar Lorengar, Stuart Burrows, Yvonne Minton and Martti Talvela. Recorded 1972 to 1975. Decca/London.

There is something delightful to be found in almost every corner of Sir Georg Solti's first cycle with the Chicago Symphony Orchestra. I find it bizarre that this cycle never seems to get the rave reviews it deserves. I, for one, would rate it as the best. Individually, his interpretations may not suit all tastes for various reasons (personally, his Fifth does not attain the incredible heights it can). Overall, however, there is a vitality to these performances that is most rewarding. I found every single performance in some way revelatory. Part of this is Solti's gift for bringing out orchestral detail as well as his passion and genuine feeling for dynamics. Overall, this remains the most satisfying cycle I have yet acquired (in comparison with Bernstein's 1960s cycle, Karajan's 1960s and 1970s cycles, the Norrington and Harnoncourt cycles).

Here is my response to each interpretation:

Nos. 1 and 2: This is a buoyant and totally endearing recording of the First Symphony. The rhythms sparkle and the percussion is bouncy. Both 1 and 2 in this cycle are handled with nice playing and tempos that are just right.

No. 3: This remains my favourite interpretation amongst a strong list of contenders. Solti's tempi may surprise some - they are not fierce, but impassioned. The orchestra seem to love every moment of this wonderful symphony and every movement seems just about right. What is uniform throughout is a strong sense of mystery and power, with strongly articulated timpani and especially magnificent playing from the brass and strings. The scherzo is the best rendering I have heard of this particular movement, especially because it has a genuine scherzo feeling, rather than a glossed over, grandiose one. Best of all is a rapturous and deeply committed rendering of that magnificent adagio.

No. 4: The cycle moves along to yet another surprising and continuously captivating interpretation. In particular, the second movement in this Fourth is beautiful, quite enchanting. As with the other recordings in this cycle, the orchestra continue to be buoyant and full of life. One of the best Fourths.

No. 5: Solti's Fifth has strong contrasts and some of his ideas are excellent. Overall though, it just doesn't come off like some other strong individual interpretations. But the concept of the playing (especially in the percussion and brass) is very strong.

No. 6: This is a lovely and strong account of the Pastoral. It is quite lively and the tempi match it - the merriment of the symphony is very much underlined. Still, the storm sequence is powerful too (although that piccolo could be more pronounced amidst the clamour of the thunder).

No. 7: This is one of the highlights of a consistently enjoyable cycle. Solti, as with the other symphonies, brings out so many orchestral colours in this score and the results are very enjoyable. Tempi are generally broad, surprisingly so in the finale. Whilst this recording doesn't quite have the taut and knife-edged drama with sharp contrasting joy (a symphony of light and shade if ever there was one), it still ranks as one of the best for its exploitation of various orchestral colours. As with the rest of the cycle, Solti excels as a master of orchestral detail and it is often surprising to hear instruments stand out in parts which are at other times glossed over.

No. 8: This is a fairly delightful account and Solti observes the dynamic contrasts astutely.

No. 9: If it wasn't for Furtwangler's incredible 1951 Bayreuth recording, which is a transcendent listening experience, this would rank as my absolute favourite interpretation of the Ninth. This is an overwhelming, deeply felt performance with high energy and genuine pathos. Every movement is laid out with extraordinary care and the tempi are rarely rushed. The recording tends to be in the Furtwangler camp as a whole, the drama of the piece is almost bursting out of the speakers. It makes an immediate contrast with such interpretations as Karajan's 1963, which sounds tame and overly refined by comparison. Best of all, the quartet of soloists is gorgeous and very well balanced in the recording (no one is blocked out and Lorengar, Burrowes, Minton, Talvela are all heard to maximum effect). The Chicago Chorus, Orchestra, the soloists and Solti all triumph here, giving their all in a glorious, heartfelt performance. Highly recommended.

Overall, this cycle is truly the most consistent I have yet found. Solti has clearly thought out each and every symphony in great detail and there is so much to enjoy throughout. Even though individual performances are eclipsed in other cycles, the overall quality of these recordings is unsurpassed.

I should add that this set includes some of Beethoven's greatest overtures as well (Egmont, Leonore III and Coriolan). Each of them receives a magnificent performance, very much in the line of the symphonic recordings - both intense and vital.
13 internautes sur 17 ont trouvé ce commentaire utile 
HASH(0x9fad9a5c) étoiles sur 5 As Good as Beethoven Gets!! 15 avril 2011
Par Kelvin Brown - Publié sur Amazon.com
Format: CD
This is America, and I love lively discussions, but trashing one of the finest Beethoven cycles out in the history of recorded sound and the man with the most Grammy awards (30+) is just plain wrong. I am a musician, and spend over 20 hours a week on the average listening to, writing, or engineering recordings. I don't play at being an armchair musicologist, but please allow me make a few observations and recommendations.

First, let me address sound and technical engineering. Until the recent recordings and SACD technology, these recordings had more clarity and "bite" than just about anything else out there. You feel the brass, you can hear the bow hair hitting the strings, and the mallets on the tympani. All without feeling the mikes are so close you and the orchestra are in a bathtub like on some of the original instrument cycles. Listen for yourself. Go to where you would download the mp3s and listen to the samples. You get a sense of spaciousness without the overwhelming reverb, precision, and then there is the performance. Solti's takes a traditional big orchestra approach with tempo's that aren't as brisk (and to my ears, rushed) as some of the original instrument recordings. What Solti delivers is power and excitement that is as visual as any painting in the Louvre.

The high points in this cycle are the entire Fifth Symphony, the Sixth, the Seventh, and the second and fourth movements of Symphony # 9. In fact, I would go as far to say that Solti's 1970s version of the Ninth is one of the greatest recordings in history. Martti Talvela's entrance in the 4th movement will send chills down your spine if you have the right stereo set up for it. If there was ever an good excuse to blast the neighborhood to Jupiter, this would be it. The other soloists and chorus are spot and turn this piece into an event...something to experience, and often. I have to admit I like Norrington's version (with the London Classical Players on EMI) of the First and Second Symphonies Beethoven - Symphonies 1-9 · Overtures / London Classical Players · Sir Roger Norrington. Some critics and a lot of folks hate those. These two works were a little more like what Haydn would have turn out and Norrington's approach works for those pieces. And as good as these recordings are, I still have a soft spot the Bruno Walter's recordings of the 4th and 5th Symphonies with the Columbia Symphony Beethoven: The Complete Symphonies.

Is this version the best? Goodness, who's to say? In my opinion, you may get different, but you aren't going to get better. Comparing versions of recorded classical works is like comparing apples, oranges, and motorcycles. Toscanini's version with the NBC Symphony has lyricism and a fine sense of feel for melody. It's also in mono. Worth owning, but it's early days of mono. Karajan's cycle is astounding, especially the SACD version. The Minnesota Orchestra just turned out one of the most critically acclaimed cycles in years, and I highly recommend giving that a spin Beethoven: The Symphonies . Classical music lovers tend to like the version they hear first and then judge other versions against that one.

Give this a listen. 99 per cent of you won't be disappointed. Highly recommended.
5 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9fad9c9c) étoiles sur 5 Solti's Beethoven is uniquely Solti 2 mars 2011
Par R. Nadel - Publié sur Amazon.com
Format: CD
This set of Beethoven was recorded in the early 1970s. Solti's approach is decidedly 'big band' and was very eagerly awaited. Solti had already done a Mahler and Schumann series, most Wagner and Strauss operas, lots of Verdi, Elgar and Bartok, but had only recorded the Beethoven 9th Symphony with "his" Chicago orchestra (more on that below).

Other sets I became familiar with are Karajan's several and similar Berlin versions, Szell and Cleveland, Steinberg with Pittsburgh, and Bohm with Vienna. Solti would later record a digital set of the Beethoven symphonies with Chicago. That set is not as satisfying or unique as this one. I am also familiar with the much more recent Norrington and Zinman sets.

The currently dominant "authentic" movement was nascent at the time, and the Del Mar scores (used in such sets as David Zinman's on Arte Nova) wouldn't appear for about 20 years. In the 70's the overall perception of Beethoven was "strident". It was felt that his symphonies were as much passionately argued credos as music. His symphonies had meaning and listeners expected his music to have force and mass as an integral part of the overall Beethoven Romantic (as opposed to Classical) experience - brass and strings equally pounding out Beethoven's message of "rightness". I think today's "authentic" performances underscore the Classical characteristics more.

Solti's approach to Beethoven *is* forceful and full, and it does not sound like anyone else's. The unique quality comes from tight control over large forces, accentuated rhythms, and some unexpected tempi. These performances are aided by excellent sound and the virtuoso playing of the Chicago Symphony when they and Solti seemed to rule the American classical music scene.

The most successful performances are the 9th, 7th, and 2nd:

The 9th, recorded a few years before the rest of the set, is probably the strongest of this set. The scherzo is very exciting but not overly fast. In the finale the orchestra and chorus project a real feeling of spontaneous joy, while Solti makes you hear fireworks and a sense of profound well-being. Solti did not come close to this effect in his later digital version. This is my favorite 9th of all.

The 7th is the other totally successful performance in this set. Aided by the recording engineers, he strikes just the right balance between trumpets and horns, and strings in the opening movement. Somehow, the brass seem to provide a patina to the string sound. It sounds like Beethoven to me. In the second movement, Solti holds a steady tempo and lets the music speak for itself, and it is very involving. The finale has you whirling as if you were in a joyous country dance. This is my favorite 7th of all.

In the 2nd, Solti takes a decidedly romantic approach, which works especially well in the slow movement. Solti's approach makes one realize how Beethoven was already striking out on his own symphonically by only his 2nd attempt.

Several performances are partially very successful: the 3rd, and 5th.

My only complaint about the Eroica is the first movement is spacious, not an Allegro con brio at all. Otherwise it is very successful - the Funeral March has a great sense of loss, but does not overdo it (as Karajan does), the scherzo is notable for its palpable hunting atmosphere, and the finale is powerful in the same way as the opening of the 7th.

Solti's 5th is very good, but not the revelation it should have been, such as Kleiber's recording a few years later. Solti's does not quite catch fire, but comes close.

The other symphonies are "OK". The 6th in particular lacks the sense of contrast that it should have compared to the rest of the symphonies. It is not a bad performance. The same goes for the 1st, 4th, and 8th; they hold their own, but don't stand out either.

Another strength of this set is the inclusion of William Mann's "interview" with Solti. They discuss the 9 symphonies' varying characteristics and Solti's approach to them. This was included with the vinyl box set (but not the original CD release) and it is enjoyable to hear Solti when he was at the top of his career discussing conducting Beethoven. In light of the recent "authentic" reappraisals of Beethoven's music, Solti's discussion is somewhat out of date and only partly enlightening. But it is enjoyable.

Solti later re-recorded the Beethoven and Mahler symphonies, and he was not as successful in those re-recordings as he was in his earlier ones. Solti was described by John Culshaw, his Decca producer and friend, as being open to suggestions. I think a lot was made of Solti's fierce approach to music in the 50s and 60s, and by the 70s he began to search for more a thoughtful approach - during that transition he was sometimes successful and sometimes not. I think his Schubert, Wagner, Strauss, Bartok, and Bach performances of the late 80s and early 90s are more uniformly successful in that more thoughtful style he evolved.

This is a unique and enjoyable set of Beethoven symphonies conducted by one of the most famous conductors of the 20th century at the height of his fame. It is worth owning, but it is not *THE* set of Beethoven to make you forget all others. There is, in fact, no such thing.
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