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Romantiques Allemands 1970-81

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Détails sur le produit

  • Chef d'orchestre: Herbert von Karajan
  • CD (25 août 2014)
  • Nombre de disques: 6
  • Label: Parlophone
  • ASIN : B00JX4IDL2
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
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Liste des titres

Disque : 1

  1. 001 bewegt, nicht zu schnell - Herbert Von Karajan
  2. 002 andante, quasi allegretto - Herbert Von Karajan
  3. 003 scherzo_ bewegt_ trio_ nicht zu schnell - Herbert Von Karajan
  4. 004 finale_ bewegt, doch nicht zu schnell - Herbert Von Karajan

Disque : 2

  1. 001 allegro moderato - Herbert Von Karajan
  2. 002 adagio_ sehr feierlich und sehr langsam - Herbert Von Karajan
  3. 003 scherzo_ sehr schnell_ trio_ etwas langsamer - Berliner Philharmoniker
  4. 004 finale_ bewegt, doch nicht zu schnell - Herbert Von Karajan

Disque : 3

  1. Johann strauss II die fledermaus overture - Herbert Von Karajan
  2. Annen polka op117 remast - Herbert Von Karajan
  3. Le beau danube bleu valse op314 remast - Berliner Philharmoniker
  4. Tritsch tratsch polka op 214 remast - Berliner Philharmoniker
  5. Valse de l empereur op437 remast - Berliner Philharmoniker
  6. Titre inconnu - Berliner Philharmoniker
  7. Titre inconnu - Herbert Von Karajan

Disque : 4

  1. Ouverture tragique op81 - Herbert Von Karajan
  2. Tannhauser overture paris version - Karajan, Herbert Von
  3. Wagner tannhauser venusberg music - Karajan, Herbert Von
  4. Wagner die meistersinger von nurnberg act 1 prelud - Karajan, Herbert Von
  5. Variationen über ein thema von haydn -var IV. andante con moto - Karajan, Herbert Von
  6. Variationen über ein thema von haydn -var V. vivace - Karajan, Herbert Von
  7. Variationen über ein thema von haydn -var VI. vivace - Karajan, Herbert Von
  8. Variationen über ein thema von haydn -var VII. grazioso - Karajan, Herbert Von
  9. Variationen über ein thema von haydn -var VIII. presto non troppo - Karajan, Herbert Von
  10. Variationen über ein thema von haydn -finale. andante - Karajan, Herbert Von
  11. Brahms: tragische ouvertüre
  12. Wagner: "tannhauser"(pari version) overture
  13. Wagner: "tannhauser"(pari version) venusberg music - Karajan, Herbert Von
  14. Wagner: die meistersinger von nürnberg - act 1: prelude
  15. Humperdinck: hansel und gretel - overture

Disque : 5

  1. Overture fliegende hollander
  2. Ein heldenleben, op.40: II. des helden wildersacher - Karajan, Herbert Von
  3. Ein heldenleben, op.40: III. des helden gefahrtin - Karajan, Herbert Von
  4. Ein heldenleben, op.40: IV. thema der siegesgewibheit - Karajan, Herbert Von
  5. Ein heldenleben, op.40: V. des helden walstatt - Karajan, Herbert Von
  6. Ein heldenleben, op.40: VI. des helden walstatt (kriegsfanfaren) - Karajan, Herbert Von
  7. Ein heldenleben, op.40: VII. des helden friedenswerke - Karajan, Herbert Von
  8. Ein heldenleben, op.40: VIII. des helden weltflucht und vllendung - Karajan, Herbert Von
  9. Ein heldenleben, op.40: IX. entsagung - Karajan, Herbert Von
  10. Der fliegende hollander - overture
  11. Parsifal - prelude to act I
  12. Parsifal - prelude to act III - Karajan, Herbert Von

Disque : 6

  1. Sinfonia domestica op53bewegt premier mvt
  2. Sinfonia domestica op53scherzo munter deuxième mvt - Karajan, Herbert Von
  3. Sinfonia domestica op53adagio troisième mvt - Karajan, Herbert Von
  4. Sinfonia domestica op53finale sehr quatrième mvt - Karajan, Herbert Von
  5. Prelude lohengrin act 1
  6. Prelude lohengrin act3 remast
  7. Wagner, richard: lohengrin preludes / 002 prelude to act 3 - Karajan, Herbert Von

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Amazon.com: HASH(0x9309dac8) étoiles sur 5 6 commentaires
11 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x930d9fc0) étoiles sur 5 German Romanticism from Karajan in his prime 26 août 2014
Par John Fowler the Obsessive Compulsive Reviewer - Publié sur Amazon.com
Format: CD
Herbert von Karajan and the Berlin Philharmonic are best known for literally hundreds of LPs (and CDs) recorded by Deutsche Grammophon between 1959 and 1989.
-- But there was a concurrent series of recordings for EMI, made between 1970 and 1981 using the same recording venues,
with a different team of engineers and producers.

The EMI Berlin repertoire duplicated 95 percent of the DG repertoire.
The only compositions in this box unique to EMI are Richard Strauss' Symphonia Domestica,
and Humperdinck's Overture to Hansel and Gretel.
Warner is reissuing the EMI Berlin Philharmonic recordings in four newly remastered boxes. *

Two recording venues are involved:
- Jesus-Christus Kirche (Church): DG recordings, 1959 to 1974 (shared with EMI, 1970-1974).
- The Philharmonie (Berlin's new concert hall): DG recordings, 1974 to 1989 (shared with EMI, 1974-1981)

By the early 70's, both DG and EMI were achieving a remarkably warm and opulent sound in the Jesus-Christus Kirche
(in this box = two Bruckner Symphonies + Brahms Tragic Overture).
In 1974, Karajan insisted on recording in the Philharmonie:
Lower strings still recorded well,
but the violins lost some of their accustomed sweetness (not helped by the aging Karajan's insistence on final approval - as we age we don't hear highs as clearly as before).
After his death, these recordings were remastered - rebalancing the treble.
They now actually sound pretty good - but still second best.

[hint: for ease of navigation, read the review though to the end, then come back and click on the links.]

Owners of Karajan's 9 CD box of the complete symphonies on DG may think they don't need the two Bruckner symphonies in this box.
Perhaps they might reconsider.
The EMI Symphonies 4 and 7 were recorded in 1970-1971 in the Jesus-Christus Kirche.
The DG recordings were made in 1975 in the drier acoustic of the Philharmonie.
No surprise that the recorded sound is different, but the performances are also quite different.

The 4th Symphony timings are EMI 1970 = 70:20 versus 63:50 five years later for DG.
The 7th Symphony timings are EMI 1971 = 68:10 versus 64:20 four years later for DG.

Such radical re-thinking in a short period of time was not typical of Herbert von Karajan.
Karajan's EMI Bruckner is not really all that slow
(Celibidache's Munich Philharmonic/EMI Bruckner 4 is eight minutes slower; his Symphony 7 is eleven minutes slower)

But Karajan's earlier performances have a sense of gravity, and a lyricism missing in the DG remakes.
The warm and cathedral-like EMI acoustic only enhances the impression.

--- Unlike some earlier CD incarnations, the EMI Bruckner 7 in this box is absolutely complete (confirmed in an e-mail from John Berkey of the American Bruckner Society).
At 1:06 in the fourth movement (letter C in the score), the seven note statement in the violins is played twice, followed by a more elaborate third statement.
Some earlier CDs omitted the second statement. **

Confession: My personal preference is speedy Otto Klemperer:
his Philharmonia/EMI Bruckner 4 is nine minutes faster than Karajan/EMI and three minutes faster than Karajan/DG.
his Bruckner 7 is three minutes faster than Karajan/EMI, and comparable to Karajan/DG.
And a totally different sound world with first and second violins on opposite sides of the orchestra: Bruckner: Symphonies 4-9
I prefer Klemperer's architectural approach,
but I'm not above wallowing in Karajan's sensuous Bruckner experience.

Brahms' complete Symphonies were recorded three times by Karajan and the Berlin Philharmonic, always for Deutsche Grammophon.
EMI was stuck with the leftovers.
The Tragic Overture is attractive in a slow, massive performance.
Recorded in the same 1970 sessions as the EMI Bruckner 4th, and sounds like it.

The Wagner, recorded in the Philharmonie in 1974, was Karajan's first go at bleeding chunks of Wagner in stereo with the Berlin Philharmonic
(his earlier attempts were were mostly mono).
I prefer the 1974 analog sound to his digital remakes for DG.

Strauss' Ein Heldenleben, Karajan's second of three with the Berlin Philharmonic (1974) is similar in concept to the other two (1959 and 1985).
I think I prefer the recorded sound of 1959 DG.

The Symphonia Domestica is Karajan's only recording of that work.
Curiously enough, it was recorded in Paris during a 1974 tour by the Berlin Philharmonic.
Recording sessions were held in the Salle Wagram, a hall notorious for its extremely long reverberation time (it turned out rather well).
A lot of great conductors were attracted to this music, but it usually leaves me cold.
Karajan's performance was unexpectedly satisfying.

A long-time Karajan specialty, but his ultimate Johann Strauss will be found elsewhere:
The "1987 Vienna Philharmonic New Years Concert" on DVD video: New Year's Concert Vienna 1987 [DVD] [US Import] [NTSC]
Very moving experience - he passed away a little over a year later.

Most of these EMI recordings coincide with the tenure of James Galway as principal flute of the Berlin Philharmonic (1969-1975),
after which he enjoyed a ridiculously successful solo career.
Probably the best-known graduate of the Berlin Philharmonic since Gregor Piatigorsky was principal cellist in the 1920s.

In the case of Jesus-Christus vs. Philharmonie, Deutsche Gramophon has apparently come around to my side.
For their new "Deluxe Edition" Blu-Ray sets of Beethoven and Richard Strauss,
they chose Karajan's Jesus-Christus Kirche recordings from the 60's and 70's to show off their new Blu-Ray Audio technology,
rather than his post-1974 Philharmonie remakes:
-- Karajan: Beethoven Symphonies 1-9 (1963) Remastered [Deluxe Limited Edition-5 CDs + 1 Blu-Ray Audio]
-- Karajan / Strauss Deluxe Box (DG box set)

There is a DVD video: "Karajan: The Second Life" (ASIN:B00B5AIB50) that I recommend.
Not so much an Ode to Karajan, though there is plenty of that,
but it's a behind-the-scenes look at the making of classical recordings in Berlin in the 70's and 80's.
Lots of interviews with Karajan's engineers and producers.
They agree with me about the merits of the Jesus-Christus Kirche.
There is a tour of the interior - I normally don't care for modern church architecture, but this is quite beautiful.
(the Jesus-Christus Kirche was built in 1931, but looks a lot younger).

* EMI/Warner 1970-1981 Berlin Philharmonic recordings:
-- Brahms, Bruckner, Wagner, Strauss, Humperdinck, Schmidt 1970-1981 (Karajan Official Remastered Edition) - the box under review.
-- Sibelius 1976-1981 (Karajan Official Remastered Edition) (only Berlin recording of Sibelius Symphonies 1 & 2)
-- Haydn, Mozart, Schubert - Symphonies 1970-1981 (Karajan Official Remastered Edition) (only Berlin recording of Schubert Symphonies 1-4 and 6)
-- Berlioz, Franck, Debussy, Ravel, Tchaikovsky, Dvorak, Bartok 1970-1981 (Karajan Official Remastered Edition)

** For more details on Karajan's EMI Bruckner 7, see these web pages:




Karajan's very first recordings with the Berlin Philharmonic were made for EMI between 1957 and 1960, before the switch to Deutsche Grammophon.
Rather than package them in a single volume (7 CDs),
which would have been justified because of their historical significance,
Warner decided to use the early Berlin Philharmonic recordings as fillers for Karajan's 1949-1960 Philharmonia Orchestra recordings:

Mozart, Schubert, Brahms, Strauss, Wagner 1951-1960 (Karajan Official Remastered Edition)
(see my review of this box for further discussion of the early Berlin recordings)
- Bruckner: Symphony 8
- Hindemith: Mathis der Mahler
- Mozart: Symphony 29, Eine Kleine Nachtmusik, German Dances
- Schubert: Symphony 5
- Schumann: Symphony 4
- Overtures by Mendelssohn, Nicolai, Wagner and Weber)

Orchestral Spectaculars from Handel to Bartok 1949-1960 (Karajan Official Remastered Edition)
- Bartok: Music for Strings Percussion and Celesta
- Dvorak: Symphony 9
- Handel: Water Music
- Smetana: Moldau

Mussorgsky, Tchaikovsky, Borodin, Balakirev, Stravinsky 1949-1960 (Karajan Official Remastered Edition)
- Tchaikovsky Symphony 4

"Concerto Recordings 1948-1958: Karajan and his Soloists Vol. 1" (ASIN:B00HYFKJCS)
- Brahms: 2nd Piano Concerto with Hans Richter-Haaser
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x930de6f0) étoiles sur 5 Just when we thought Karajan Recordings could not get any better.. Unmissable! 11 septembre 2014
Par D. S. CROWE - Publié sur Amazon.com
Format: CD
If one were putting together a collection to best showcase the unique qualities of Karajan’s genius as a conductor, and the glories of his collaboration with his orchestra The Berlin Philharmonic it would have to include music by Bruckner, Strauss (Richard and “ The Family”), Wagner, Brahms and a few “ lollipops “of lighter music at which he was so adept.
As if on demand, here is such a collection newly re-mastered and sounding absolutely magnificent-indeed it’s dangerously easy to forget the music and just wallow in the sheer visceral impact of the sound.

Most though not all of these recordings were reissued between 10 and 14 years ago in various series by EMI using their so-called “art “technology” (ar=Abbey Road), and sounded very good then, but the cost of this 6 new disc set would not have bought 2 of the earlier discs, so even if they had not been newly remastered this set represents a real bargain!
Of course, it doesn’t end there-this is not merely a bargain but a triumph.

It contains at least 3 performances which are not just arguably the best in the catalogue, but are important milestone recordings-the Bruckner 7 and the two Strauss Tone Poems. This is not to suggest that that the other performances are anything other than fabulous-Karajan and recording at their very best, but there are no better recordings of the 3 works I have already mentioned.

All the recordings emanate from Karajan’s second period at EMI, free of the influence of Walter Legge whom Karajan had come to regard as a major negative factor, despite their earlier friendship and the debt Karajan undoubtedly owed him.
The two “lollipops”-The Humperdinck and Schmidt- are actually Digital recordings from 1981, and with the exception of the Sinfonia Domestica recorded in Paris while on tour by Paul Vavasseur of EMI France, all the recordings were engineered by Wolfgang Gulich and there can be no higher recommendation on technical grounds.

Although we think of Karajan as a modern conductor in that he was media savvy, embraced the cult of personality and was technically forward thinking it must be remembered that his career was grounded firmly in the era of 78 records with a 4 minute limit on “takes”, and he found this practice hard to shake off in the initial post-war era, much to the consternation of members of the Philharmonia orchestra.
Indeed, abetted in this outdated and unnecessary practice by Walter Legge, it was not until his first BPO recordings for EMI/Electrola in Germany that longer takes were forced on him, and the association with John Culshaw at Decca finally convinced him to adopt the longer 20 minute or longer “ take” process.
However, on one point Karajan was all but immoveable-live recording!
Karajan took the view that the spontaneous and peculiar elements of a live performance were not what was wanted on a recording, but rather that the recording should be the “reference” of the conductor’s view of the work, devoid of momentary mannerism and forming a sort of “Platonic Form” of the architecture and balance to which the listener could return repeatedly.
There can be few if any greater examples of this philosophy “ made flesh” so to speak, and while Karajan’s few official live recordings and those taken from radio recordings display even greater fantasy and inspiration, the stature and worth of these “ studio” recordings is immense.

The Bruckner 4 is magisterial and grand, but the Seventh is a revelation. For so many years it has had the reputation of being a “slow” Seventh-in fact though slower than both his later recordings, the 3rd and 4th movements are more dynamic and a shade faster!
The mood is exalted and wistful in the first 2 movements rather than tragic and threnody like, and they have never-and I mean never-sounded so glorious. The Scherzo blazes with energy juxtaposed with picaresque lyricism, and the Finale blazes with glory and dismisses any thought of its being banal as is often expressed. The recordings are stunning, SO much better than their earlier incarnations with wider dynamics and colossal impact.

Of the 8 recordings of Ein Heldenleben that I possess with Karajan, this one remixed from an SQ recording is far and away the best sonically, even above the later DG digital version, and is also the best played. It is the peak that Karajan reached with this work, played by the orchestra that he had created by then and which could produce playing unsurpassed before or since, with the same applying to the weight of orchestral sound while retaining transparency.

The Sinfonia Domestica is also from an SQ remix, and I am delighted to report that where the previous mastering got a bit confused in the final section with its brilliant fugue, this has been corrected and the underlying melodic line shines through as it should. There is no performance or recording that comes near it in greatness, no matter how fine they may be.

There are no better versions of the Brahms pieces in the catalogue.

The Wagner works are magisterial-the Lohengrin Preludes are not those from the complete recording-and unusually Karajan chose to perform the Parsifal Act 3 Prelude as a concert piece, and both the Parsifal Preludes are interestingly different from those on his later complete recording.
He chooses the Paris Tannhauser Overture and Bacchanal-the elided 3 rd version which omits the climax of the overture. This is not my preferred option, but he does it brilliantly of course emphasising how much we missed not having a stereo version of this work from him.

Johann Strauss was more feted if anything in Berlin than in his native Vienna, and most of the concert versions of his works were scored for full orchestra with Berlin in mind, where had access to the largest orchestral forces that could be commanded.
While his recordings with the VPO are unsurpassed, especially the 1987 New Year Concert, these Karajan Berlin performances have poise, grandeur and warmth a plenty-and the playing has heart stopping beauty.
Finally, in this performance the Humperdinck attains a Wagnerian depth and grandness, and if the earlier DG Schmidt recording had glamorous string tone, this one has a weight and density that almost defies credibility!

I have commented already on the technical excellence, but this cannot be emphasised enough-these new masterings are stunning, with enormous wide dynamic range and less compression than previously.
The presentation slleves have photographs of the Maestro by Lauterwasser, actually more associated with his DG recordings, but very handsome. The brief notes are translated from French, and strangely include a comment about Karajan’s association with the work Ein Heldenleben by the BPO member who banged things (I cannot bear to write his name!) and who orchestrated the ill judged coup against Karajan in his last years.
I have to say that including this in the notes, which are inevitably inadequate, is also very ill judged in a set of this nature, but this is of no consequence. Don’t bother to read them is my suggestion-you won’t miss anything!
By any set of criteria this is a bargain-that it contains some of the greatest performances ever recorded adds to its being indispensible addition to anyone’s collection.
Umissable. Unlimited Stars. Stewart Crowe.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x930e6fd8) étoiles sur 5 Karajan's finest 12 octobre 2014
Par Ralph Moore - Publié sur Amazon.com
Format: CD
Karajan excelled in many different classical genres but for many this re-mastered compilation will represent the very best and most economical collection of the thirteen boxes issued of his pre-digital oeuvre. His late-Romantic German repertoire remains unequalled and the restoration of two of his finest Bruckner symphony recordings is particularly welcome. The sound of the 1970 Fourth was in desperate need of refurbishment and the 1970-71 Seventh is here re-issued with seven bars cut from the finale now happily restored. Now we need the rest of his Bruckner cycle to be re-mastered so affordably, although of course DG has now re-mastered Karajan's Bruckner recordings for them in their expensive monster set: Karajan 70: The Complete Dg Recording

The choice of the earlier Fourth was a good one. Fine as the 1975 account is, the recording in the Jesus-Christe-Kirche has the edge both sonically and interpretatively; unusually for him, as he tended to stick to his tempi once he had established a modus operandi, Karajan speeded up by some ten percent five years later and I do not think that increased urgency actually enhanced its impact, as the earlier recording has more grandeur and impact, enhanced by the richer, deeper acoustic of the church which now emerges even more strikingly. These are seminal Bruckner interpretations.

He was equally pre-eminent in Strauss and we are here offered two superb accounts of Strauss at his most exuberant. I do not think there is much difference in terms of sound or performance between this and his digital recording of "Ein Heldenleben"; both are stunning and his one recording of the "Sinfonia domestica" is just as indispensable.

Add to these four great works some of the finest Wagner overtures and excerpts in the catalogue and you have an irresistible concoction offered absurdly cheaply. The Johann Strauss bon-bons are a delight; the BPO lean into those sliding 3/4 rhythms to the manner born and of course their tone is simply voluptuous and they really sound as if they are enjoying themselves. Karajan was always happy in Brahms and the Schmidt and Humperdinck items are all gain; nothing here on these six discs is less than superlative.
HASH(0x930f63c0) étoiles sur 5 Worth Having 15 août 2015
Par Bohmfan - Publié sur Amazon.com
Format: CD Achat vérifié
Fascinating to hear and compare these versions of Bruckner 4 and 7 with his DG cycle from a few years later. Both are must have items as well as the final Bruckner 7 from April 1989 (I read the Karajan was also planning to record the Schubert Unfinished at the same time as the final Bruckner 7 but had to cancel the Schubert because his strength was failing). As for the Brahms, Strauss and Wagner items, Karajan and the Berlin were masters so no complaints. And don't overlook the Schmidt!
HASH(0x930f636c) étoiles sur 5 Five Stars 28 août 2015
Par C. Scott Harrison - Publié sur Amazon.com
Format: CD Achat vérifié
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