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Oeuvres de musique vocale Import

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Détails sur le produit

  • Interprète: Nypo
  • Compositeur: Copland
  • CD (6 novembre 2000)
  • Nombre de disques: 2
  • Format : Import
  • Label: Sony
  • ASIN : B000050B96
  • Autres versions : CD
  • Moyenne des commentaires client : 4.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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Format: CD
Aaron Copland est né en 1900 à Brooklyn, New York (USA). Né dans une famille d'émigrés russes, il étudia le piano dès son plus jeune âge avec les célèbres pianistes Victor Wittgenstein et Clarence Adler. De 1921 à 1924, il suivit l'enseignement de Ricardo Viñes (1875-1943) au Conservatoire américain de Fontainebleau en France. C'est là qu'il rencontra Nadia Boulanger (1887-1979), dont il dira : « Je compris immédiatement que j'avais trouvé mon maître ». De retour aux États-Unis en 1924, il fonda en 1928 les Copland-Sessions Concerts à New York, séries de concerts destinés à promouvoir la jeune musique américaine puis, de 1932 à 1933, dirigea le Festival de musique contemporaine de Yaddo (New York), tout en continuant une carrière de pianiste, de chef d'orchestre et de professeur. En 1938, il accepta d'écrire pour la troupe de Lincoln Kirstein, le « Ballet Caravan » (« New York City Ballet ») un ballet retraçant la vie de Billy the Kid, premier western exprimé en langage musical. Dans les années 1950, il fut l'une des victimes du maccarthisme, et inscrit sur la Liste Noire du cinéma américain ; Copland, qui avait écrit en 1930 des « Variations pour piano » dans un style d'écriture dodécaphonique, s'intéressa alors à nouveau au sérialisme, en prenant « les grandes lignes de la théorie pour les adapter à mes propres besoins » (Copland), et beaucoup d'oeuvres de Copland de cette époque seront marquées par l'écriture sérielle.Lire la suite ›
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11 internautes sur 11 ont trouvé ce commentaire utile 
Pure joy 29 juillet 2005
Par CH - Publié sur Amazon.com
Format: CD
The recording of Copland's The Tender Land is alone worth getting this disc. The rest of the vocal works are just a bonus, a very good bonus! Copland directs a definitive account of his opera, and in this compressed version leaves out all the spoken parts of the full length opera, no doubt depriving us of a lot of good music but on the other hand giving listeners a very concise version that is even stronger musically (although dramatically a little lacking in logic because of the missing parts - for example without knowing of the confrontation during the party scene you would find the boys' departure the next morning puzzling, and the CD notes does not elaborate on the plot, which is about the only negative thing you can say about this set). Listening to the opera in this abridged version gives you the feeling of one hit after another, there is not a single weak point in the score and Copland has a gift for word-setting that can turn clumsy texts such as "girls come and go, some are good, some are not so good" into goosebumps stuff (a lovely dedication to Laurie sung by Grandpa). Other high points include the stunning transformation of the traditional Walls of Zion into the quartet piece The Promise Of Living and a rollicking Party Scene, which contains the best in Copland's clever orchestration and rythmic vitality - it seems all of the composers best traits have all come together in this work. Martin's Act 2 Song 'Laurie...You Know, Laurie' is a rare gem or an aria and beautifully sung. Other hidden gems include the comical 'We've Been North'. The cast is impeccable and the entire performance is flawless. Add to that one of those scores that simply win you over from start to finish, and you can't but fall in love with this music. I once thought that nothing could better Appalachian Spring but that was before I discovered this neglected work.
12 internautes sur 15 ont trouvé ce commentaire utile 
Copland's vocal work 7 août 2002
Par Neal Reynolds - Publié sur Amazon.com
Format: CD
And so on this third set of the celebration of Aaron Copland's music, all attention is on his vocal work including the opera, "The Tender Land".
I can't completely explain why I give this five stars after giving the first two sets four stars each. This is just the way the opera, in particular, strikes me. I'm no great opera fan, and to my knowledge, America just has not yet proved itself in the operatic field although it's tried. It will take time, but I do see Copland's work as someday being considered the best example of American opera. This is all subjective opinion, obviously, and I'm sure there are those more knowledgeable who will disagree. So be it.
All in all, these three sets will give you a complete overview of one of America's most important composers.
3 internautes sur 3 ont trouvé ce commentaire utile 
Wonderful 22 avril 2007
Par Good Stuff - Publié sur Amazon.com
Format: CD Achat vérifié
I must confess I am unfamiliar with Copland's "The Tender Land" except for this reissue, which I find to be absolutely magnificent. I realize this is a truncated performance, eliminating what I assume to be a fair amount of spoken dialogue. But I don't care. What is presented here is simply one of the finest American compositions - forget American - one of the finest compositions of the 20th century. Period.
Essential Copland 15 mai 2015
Par Ruvayn - Publié sur Amazon.com
Hard not to agree with the other posts. After all, they all love this collection. However, none of them mention my favorite selection: Copland's lovely orchestration of "Old American Songs". These beautiful examples of early American music are expertly orchestrated, and movingly sung by the great baritone William Warfield (who also recorded a memorable highlight album of "Porgy and Bess" with the great Leontyne Price). Every song is a highlight. However, the humorous and perceptive "The Dodger" (politics have not changed one bit) and "I Bought Me a Cat", the stirring "Walls of Zion" (which also appears melodically in "The Tender Land" included here), "Simple Gifts" (well known from "Appalachian Spring"), and "At the River", and the chilling "Golden Willow Tree" are favorites of mine. The great Thomas Hampson also does these songs, but this is the recording conducted by the composer most Copland fans remember from the '60's. In any case, a celebration of riches including Adele Addison's performance of the Emily Dickinson settings. An embarrassment of riches no classical library should be without.
1 internautes sur 2 ont trouvé ce commentaire utile 
Operatic Americana 27 mars 2012
Par Brian Morgan - Publié sur Amazon.com
Format: CD
On July 28, 1965, Aaron Copland conducted a rare Concert Version of his 1954 opera, "The Tender Land," at the new Lincoln Center for the Performing Arts, at Philharmonic Hall, with the New York Philharmonic, as part of the French-American Festival.

The only member of the original cast was the great Norman Treigle, and joining him now were Joy Clements, Claramae Turner, Richard Cassilly, and Richard Fredricks.

Happily, Columbia recorded this abridged version on July 31st, at the Manhattan Center. Would they had decided to record it complete! Nevertheless, Copland the conductor disobeys Copland the composer's metronome markings, and a lugubrious approach to the thin "folk" score is the last thing this opera needs. The cast, however, is entirely remarkable, all of whom were under-recorded Americans, yet who were among the finest of their generation.

Clements (who often appeared at both the City Opera and the Metropolitan Opera) is very touching as young Laurie, with just a touch of tang in her tone so as to make hers an interesting voice. Turner (Ulrica in the legendary Nelli/Toscanini "Un ballo in maschera") is terrific as her mother, and Cassilly (later to become one of the great Heldentenors) is a luxury as Martin.

Treigle, as the grandfather, reduces the natural vibrancy of his huge voice to suit the character of the patriarch, to great effect. The bass-baritone's exceptional rhythmic sense makes itself felt, as well. Fredricks, as Top, displays his marvelous voice and intensity.

It was in the year 2000 that Sony released this historic recording on Compact Discs, commemorating the centenary of Copland's death.
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