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Plays Beethoven & Bernstein Import

4.5 étoiles sur 5 2 commentaires client

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Page Artiste Hilary Hahn


Produits fréquemment achetés ensemble

  • Plays Beethoven & Bernstein
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  • Mendelssohn : Concerto pour violon - Chostakovitch - Concerto pour violon n° 1
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Détails sur le produit

  • CD (26 janvier 1999)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B00000GV4L
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 128.228 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Concerto For Violin And Orchestra In D Major, Op. 61: I. Allegro, ma non troppo
  2. Concerto For Violin And Orchestra In D Major, Op. 61: I. Larghetto
  3. Concerto For Violin And Orchestra In D Major, Op. 61: III. Rondo, Allegro
  4. Serenade for Solo Violin, Strings, Harp and Percussion: I. Phaedrus. Pausanias (Lento - Allegro)
  5. Serenade for Solo Violin, Strings, Harp and Percussion: II. Aristophanes (Allegretto)
  6. Serenade for Solo Violin, Strings, Harp and Percussion: III. Eryximachus (Presto)
  7. Serenade for Solo Violin, Strings, Harp and Percussion: IV. Agathon (Adagio)
  8. Serenade for Solo Violin, Strings, Harp and Percussion: V. Socrates, Alcibiades (Molto Tenuto - Allegro Molto Vivace)

Descriptions du produit

HAHN / ZINMAN / BALTIMORE S. O


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4.5 étoiles sur 5
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Par Denis Urval COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 15 décembre 2008
Format: CD
Il s''agit du premier disque avec orchestre qu''ait enregistré Hilary Hahn (son second, après le disque Bach en soliste qui l''a révélée). A la réécoute, je suis frappé par la beauté sereine de cette interprétation. En 1998, la direction de David Zinman, ici avec l''orchestre de Baltimore, est aussi énergique qu''elle le sera à Zürich en 2005 avec Christian Tetzlaff. Hilary Hahn a une conception de l''œuvre moins originale que ce dernier, dans cet enregistrement précoce en tout cas (un jour, elle le ré-engistrera). Mais comme incarnation d''un noble classicisme, ce qu''elle fait mérite tout à fait d''être apprécié.
La Sérénade de Bernstein d''après le Banquet de Platon, qui se souvient de Stravinsky comme de Chostakovitch, est une œuvre sensible et fine. Elle est ici jouée de manière merveilleuse. Il y a tellement de lumière, d''aisance et d''élégance dans le violon d''Hilary Hahn : le résultat comble l''auditeur, qu''il s''agisse de l'introduction lente, du lyrisme d''Agathon ou de la gouaille avec laquelle Bernstein évoque Alcibiade et son tapage nocturne.
Le marketing musical, quand il est insistant, engendre des réflexes de rejet qui sont l'opposé du but recherché : certains, pour ne pas être dupes, ou ne pas céder à la mode, en viennent à nier le talent d''interprètes qui méritent pourtant leur succès. Hilary Hahn fait partie de ces derniers.
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Format: CD
J'avais entendu un morceau joué par cette violonniste a l'émission de Frédéric Lodeon sur France-Inter et il m'est venu l'idée de chercher sur Amazon. Depuis je l'écoute ce disque en boucle car son interprétation est inégalable
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x971bed50) étoiles sur 5 45 commentaires
61 internautes sur 66 ont trouvé ce commentaire utile 
HASH(0x97a7c36c) étoiles sur 5 Sets the current-day standard of performance 17 juillet 2003
Par Carl Nelson - Publié sur Amazon.com
Format: CD
Hilary Hahn's recording of Beethoven's great Violin Concerto sets the standard for contemporary performances of this piece. Her technique alone would make her a great musician. What is even more impressive is that she applies her technique in a thoughtful, musical manner. A recording musician today should be able to give an adequate technical performance of any given piece--what separates Hahn from the rest is that the music comes first, with her technique as its outlet, rather than the music being a showcase for talent.
The Beethoven Violin Concerto is indisputably one of the top violin (or any instrument, for that matter) concertos ever written. It is a remarkable piece in that it is not as note-heavy as, say, Tchaikovsky's, but is more complex. The second movement is especially wonderful, beginning with a longer-than-typical theme by the soloist that is at its heart simple, yet elegant. The soloist then guides the orchestra in exploring the theme, leading it down one path, then following another, agreeing here, contrasting there. It's a doctoral thesis in the art of the concerto as a conversation between soloist as master of his or her craft and orchestra as equal partners.
The thing that Beethoven did so well that none will ever be his equal at it is to take a relatively simple theme--I, a non-musician, can play the main themes from two of the greatest symphonies ever composed, the Fifth and the Ninth, on my toddler's five-note toy piano!--and make it great through repetition and variation of melody and harmony. Beethoven could write a piece that used the same theme a hundred times and you'd still feel like it was fresh at the conclusion. So it is with the third movement of this concerto.
Hahn and Zinman excel in this recording because they capture the essence of this music--simple themes musically done in a manner where both soloist and orchestra contribute. One certainly wouldn't have Zinman and the Baltimore Symphony Orchestra on the tip of one's tongue when asked about the greatest orchestras today--thoroughly competent, to be sure, but not the best of the best. What Zinman does so well in this recording is to not exaggerate the piece. The dynamics and tempos of the piece are kept in a moderate range--no fireworks where a candle is called for. And perhaps as a great athlete improves the abilities of teammates, so Hahn lends her technique, restraint, and intelligence to the orchestra.
Let's face it, no one's buying this for the Bernstein. It's a good performance of a decent piece, but it's not why you'll reach for this CD over and over. It's something of an ironic pairing; if ever there was a conductor who bludgeons listeners with Beethoven (outside of an excellent recording of the Third with the Vienna Philharmonic) more than Bernstein I don't know who it is.
Wrapping up: this CD has joined the Menuhin/Furtwangler recording as my favorite performance of this supreme Violin Concerto.
39 internautes sur 43 ont trouvé ce commentaire utile 
HASH(0x97a7c324) étoiles sur 5 Superb! Best recording of Beethoven's Violin Concerto! 28 juin 2002
Par Dupont - Publié sur Amazon.com
Format: CD
Protege Hilary Hahn has done an amazing job on this piece.
The booklet included contains interesting information on the composers as well as Hilary herself.
Hilary's tone is very sweet, but she still has an amazing amount of power. Each note is very pronouced and clear, as well as artistic. I own the score to this piece, and Hilary doesn't miss one single note, either.
If you combine her performance with the Beethoven concerto, the effect is marvelous. The piece has every emotion imaginable, and the transitions, written in the piece as well as played by Hilary are very smooth and subtle.
The Leonard Bernstein piece is very different from the Beethoven concerto. Each movement settles on one emotion, so there are no transitions, and each movement seems like a seperate piece. It will be hard to listen to this piece after the Beetrhoven concerto, and I usually turn my stereo off after the finale of the Beethoven concerto. still, the Berstein piece is really great. I recommend that you listen to the pieces seperately.
I recommend this CD over recordings made by Anne-Sophie Mutter, Midori, Josh(ua) Bell, and Sarah chang. You will not regret buying this CD. It is a truly PERFECT addition to any music library.
-Ian Snyder
65 internautes sur 75 ont trouvé ce commentaire utile 
HASH(0x9ebba9a8) étoiles sur 5 For God's Sake Let's Hear Hilary, Not the Orchestra!!!!! 2 novembre 2003
Par Richard E. Doucet - Publié sur Amazon.com
Format: CD Achat vérifié
The first thing you ask me is do I like this CD. Yes, it's very pretty. How about the recording? Actually, I don't like the sound engineering. How about the performer Hilary Hahn? She's fantastic!
I've been listening to Hilary for less than six months, since discovering her by chance. After about 30 seconds I came to the conclusion that this girl is as great a violinist as I've ever heard. Her intonation is perfect, her tone gorgeous, like velvet, better than Heifitz. I've heard them all. Hilary is from the Bel Canto school of violin playing.
Unfortunately, I can't give similar praise to the sound engineering. Several of your reviewers have complained about Miking, too close, too far. Well, I guess it comes down to whether or not you want to hear Hilary or the Orchestra. I bought this recording to hear Hilary and what I got was a solo recording of the orchestra with Hilary struggling to be heard in the background. I agree that the orchestral part of Beethoven's only violin concerto is beautiful but I've been listening to it for 61 years (I'm 72) and I think I've got it down. Conversely, I was trained in the violin and I want to hear the violinist and if you drown out the violinist with the orchestra how can I hear what Hilary is doing? Let me put it another way. Is this a violin concerto or an orchestra concerto?
By the way, the same comments can be made of Sony Classic's CD of Hilary Hahn playing Mendelssohn's violin concerto. Also, why do you mix Beethoven and Bernstein or Mendelssohn and Shostakovich. Too each his own but the styles of these composers are very different. More power to those who like both but why don't you put Bernstein and Shostakovich on the same CD together and Beethoven and Mendelssohn on another. That would double my pleasure and save me some money.
So the CD is worth every penny you pay for it just to hear Hilary Hahn in the background.
21 internautes sur 23 ont trouvé ce commentaire utile 
HASH(0x97a7aa20) étoiles sur 5 The best of Hahn's recordings 1 août 2002
Par Un client - Publié sur Amazon.com
Format: CD
Having listened to all of Hahn's recordings, this coupling is the best. Hahn's sound is so intensely controlled and her intonation is much better than I expected. She plays the First movement of the Beethoven with dexterity and octaves runs as if they do not bother her at all. The straightforward confidence style of playing in the second was a welcoming surprise. Hahn's vibrato has developed finely since her Barber/Meyer recording. It is now more...suave than before. And the lucidity of the third is much better than the Bell version.
The Bernstein Serenade speaks for itself...It may be even better than the premier artist, Isaac Stern. But I cannot comment against my favorite artist
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x97a7ad38) étoiles sur 5 Exceptionally mature interpretation for one so young 27 juillet 2000
Par Christopher R. Guin - Publié sur Amazon.com
Format: CD
Whenever the latest hot, new virtuoso assays a materpiece as complex and steeped in violinistic tradition as the Beethoven concerto, expectations are at once high and low. Naturally, technical mastery is expected, else why would a major orchestra and label risk their reputation to make yet another recording of one of the warhorses of the repertoire? But often, these young artists are thrust too soon into the limelight, and attempt the greatest works written for their instrument far before they are ready for such challenges.
In Hilary Hahn we have another thing entirely -- in technical mastery, she leaves nothing to be desired, but what is truly surprising about this masterful young violinist is the maturity of her interpretation and the depth of her musicianship. From her pure, sweet tone and perfect serenity in the opening through her flawless navigation of the treacherous straits of the Kreisler cadenzas, her fearless attacks and subtle phrasing show a maturity of interpretation and a mastery of the emotional range of both her instrument and the work that belies her tender years.
If she's this good now, what WILL she bring to this work when she revisits it in twenty years? I, for one, can't wait to find out.
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