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Mozart Symphonies 29, 31 (Paris), 32, 35 (Haffner) & 36 (Linz)
 
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Mozart Symphonies 29, 31 (Paris), 32, 35 (Haffner) & 36 (Linz)

15 mars 2010 | Format : MP3

EUR 17,98 (TVA incluse le cas échéant)
Commandez l'album CD à EUR 33,38 et obtenez gratuitement la version MP3.
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Par Henrard COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 24 octobre 2015
Format: CD
Sir Charles Mackerras, disparu il y' a quelques années, faisait partie de ces rares chefs à être aussi à l'aise dans le répertoire baroque que dans les registres romantiques et contemporains, Janacek particulièrement.

Ayant été surtout marqué par les compositeurs d'Europe centrale et fervent défenseur des musiciens slaves, il se situe en cela dans les pas de Kubelik ou Ancerl.

Etonnant pour un américain devenu australien par la suite mais formé pendant sa jeunesse à Prague auprès de Vaclav Talich.

Le présent coffret est stupéfiant car il livre quelques uns des plus beaux fleurons des symphonies de la maturité de Mozart dans une interprétation fantastique, authentique et tonique, solaire et malicieuse.

Le chef se surpasse et son ensemble de chambre d'Ecosse aussi avec lequel il réalisera un second coffret des dernières symphonies de Mozart, tout aussi magnifique.

Notons que Mackerras était passionné des oeuvres de Mozart dont il a publié de nuvelles édition des partitions enrichies de ses propres ornementations et appoggiatures.

Un superbe coffret pur les amoureux de Mozart qui contient les symphonies 29, 31 Paris, 32, 35 Haffner et 36 Linz.
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Amazon.com: HASH(0x8ec2c8d0) étoiles sur 5 18 commentaires
15 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x8ec3e468) étoiles sur 5 highly satisfying performances and recorded sound 25 mars 2010
Par Ivor E. Zetler - Publié sur Amazon.com
Format: CD
Sir Charles Mackerras, one of the grand old men of the present musical firmament, has made a sizeable series of distinguished Mozart recordings with the Scottish Chamber Orchestra. Although this group plays on modern instruments, Mackerras is well versed with early music principles and applies this to the playing of the SCO. There are two attractions of this set; the admirable performances and the exceptional SACD recorded sound.

Mackerras delivers robust, sensitive (where appropriate) and lively interpretations of these Mozart symphonies. He observes all the standard repeats. These performances are highly satisfying; while there are many alternative versions of these symphonies available, these belong at the top of the list.

Linn, a company that manufactures high end audio products, has captured these renditions in superb sound. Listening on a quality SACD player I found the sonics to be clear, slightly warm and well balanced (apart from some prominence of the brass which I like). The bass response is particularly realistic and natural.

If you are seeking high quality performances of these works with excellent sound you can confidently acquire this set. It certainly is a vast improvement on Mackerras's previous versions of this music that are available on Telarc.
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x8ec3e4bc) étoiles sur 5 Chuck Mackerras does it again 11 avril 2010
Par Teemacs - Publié sur Amazon.com
Format: CD
At an age when the rest of us would be contemplating old folks' homes, Sir Charles produces a series of dazzling performances. These are some of Mozart's very best (the "Haffner" has long been a particular favourite of mine), and here they get superb treatment. The SCO's bright, lively performances and a very nice recording by Linn round it all off perfectly. Highly recommended.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x8ec3e8f4) étoiles sur 5 Mackerras' best Mozart symphonies to conclude his notable career 3 décembre 2012
Par I. Giles - Publié sur Amazon.com
Format: CD
This set of Mozart symphonies, recorded in 2009 and concluded with the companion two disc set of the last symphonies, was Mackerras' final thoughts on the subject of Mozartian interpretation in the modern world. These differ quite a bit from his previous two sets that I have been familiar with (LPO and Prague Chamber)and are the best of all three. There are good reasons for this assessment as follows:

The scale of the orchestra and of the recorded sound are correct being neither too large or too small. The Prague set, recorded in rather a generous acoustic, was too 'beefy' for my personal taste even though it used a chamber orchestra, and I found the 'traditional' LPO set inappropriate being a full orchestra. This new recording has the recorded balance just about right with just enough bloom to add warmth without inflating the sound-stage unduly. The make-up of the notably excellent Scottish orchestra is about the same as that of the Prague Chamber orchestra but is tonally different in one major effect. It is here that Mackerras has followed fairly common modern practice in so far as he uses modern strings and woodwind but adds natural brass and early period timpani to the mix. This solves some specific tonal and balance problems very neatly. Modern brass cannot achieve a cutting edge without being too loud. Scale the volume down and they become relatively dull-toned. The modern answer is to use the sort of instruments that Mozart would have had. Those natural trumpets can play much more forcefully with appropriately cutting tone but without overwhelming volume. The timpani work well in the same sort of way.

However, what Mackerras cannot fully achieve with modern instruments, even with period awareness, are the automatic internal balances of the orchestra which in Mozart's day were naturally balanced to more evenly match the strings and the woodwind. This aided the idea of dialogue which occurs more naturally as a result of that more even balance within the orchestra. The other important consideration is that the specific tonal effects of the period instruments is lost by using modern instruments. Woodwind have become less rustic, brass become more over-bearing and strings become too smooth. Timpani put on a degree of sonic portliness. These comments are all to be taken as relative remarks.

This set is therefore presumably designed to give a modern twist to a period approach and will thus appeal to those who know that the big band approach is wrong but who still resist the period instruments. This may be because of a fear of intonation problems which certainly used to be very severe coupled with some acerbic string tone. However all of that is a thing of the past as Pinnock clearly shows in his complete survey of the symphonies. There are now numerous other examples of period orchestras who play with the same accuracy and control over tone as a modern group such as this Scottish orchestra.

Otherwise Mackerras follows much the same thinking as on his previous sets. The 29th symphony is surprisingly rounded with gentle phrasing. This seems to me to be rather a Romantic period approach and, for my taste, blunts both the effect of the music and the point of the instrumental choices as described above. The remaining four symphonies however are played in a much crisper manner and all the stylistic and tonal choices are made far more apparent and effective. The minuet and trio movements are played at the faster tempo that now seems to be perfect as opposed to the earlier, more stately versions, typical of previous generations with full orchestras.

This is a very fine set overall therefore and worthy of the copious praise it has received. It should give plenty of satisfaction to those who crave more of a period approach but without going all the way to a Pinnock solution with a fully authentic period orchestra for example.

In summary therefore I would suggest that this set and its companion set too, should warrant serious consideration by purchasers wishing to buy an 'only' set and who are adverse to the whole 'period' experience. Collectors may also find this a refreshingly enjoyable extra version to add to their library of recordings. Seekers of the full period effect as applied to the complete set of symphonies would be best advised to give Pinnock's much admired set priority as a purchase.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x8ec3ecc0) étoiles sur 5 Fantastic Performances 10 novembre 2012
Par J. R. Trtek - Publié sur Amazon.com
Format: CD
This companion disc followed the release of a fantastic disc by Mackerras and the Scottish Chamber Orchestra performing Mozart's last four symphonies, and it's just as good. The sound on these Linn recordings is superior to that on Sir Charles' earlier Mozart traversal on Telarc, in my view, and the performances outdo the earlier renditions as well with respect to energy and sparkle as well. The performances are full-bodied but still light on their feet. I enjoy Harnoncourt's recordings of these works for their muscular assertiveness, but Mackerras is just as convincing with a tad more finesse. You really can't go wrong with either choice.
14 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x8ec3eda4) étoiles sur 5 Audio engineer didn't do performances justice 11 novembre 2010
Par pohjola - Publié sur Amazon.com
Format: CD
I found the performances here to be generally very good. However, the recording perspective was too distant and reverberant for my taste. The symphonies recorded here (particularly the earlier ones) are not for large orchestra and I prefer a recording perspective that puts you in the middle of the action, rather than in the middle of the (virtual) hall. As a result, I didn't enjoy these recordings much. I much prefer Mackerras' earlier recordings of these works on the Telarc label, which are similar in spirit, but for which the audio engineering is much more to my taste.
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