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Schubert: Symphonies Nos. 8 & 9
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Schubert: Symphonies Nos. 8 & 9

3 mars 2003 | Format : MP3

EUR 9,99 (TVA incluse le cas échéant)
Également disponible en format CD

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Détails sur le produit

  • Date de sortie d'origine : 10 octobre 2000
  • Date de sortie: 3 mars 2003
  • Label: Warner Classics
  • Copyright: 1900 Unknown at Data Take-on
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 1:17:32
  • Genres:
  • ASIN: B0025MXE6I
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 79.537 en Albums (Voir les 100 premiers en Albums)

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Format: CD
Ces enregistrements des deux Symphonies de Schubert les plus connues sont deux sommets absolus à côté desquels toutes le versions paraissent fades et ennuyeuses.

Dans la célèbre Symphonie Inachevée, Klemperer ose des contrastes de sonorités inouîs, entre des cuivres durs comme de la glace et des violons qui évoquent des rayons de soleil d'une douceur infinie. En refusant de noyer la musique dans les violons pour produire du beau son, Klemperer peut choquer à la première audition, mais son interprètation devient vite indispensable tant les versions plus conventionnelels perdent leur intérêt après celle-ci. La mise en place rythmique est parfaite et évite toute langueur inutile à ce voyage sonore inoubliable.

Cette même maîtrise du rythme caractérise l'interprètation de la 9 ème Symphonie. Celle-ci annonce déjà Bruckner par certains développements qui peuvent donner lieu à des longueurs ennuyeuses avec d'autres chefs, mais que Klemperer transcende en maintenant une tension de tous les instants!

La qualité technique de l'enregistrement est satisfaisante, sans plus.
2 versions de référence sur un même disque !
3 commentaires 7 sur 7 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: HASH(0x90644354) étoiles sur 5 6 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9076fed0) étoiles sur 5 Klemperer at his very best 15 décembre 2005
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
Despite his habitual (to some, exasperating) slow tempos in old age, Klemperer wasn't totally predictable, as this alert, urgent Schubert "Unfinished" Sym. from 1963 shows. The music brings out all the virtues he displays as a Mozart conductor--lovely voicing in the woodwinds, lyricism with a touch of austerity, and dynamic accents without treading too hard. It's a mesmerizing performance, even though everything is accomplished with the plainest methods--that was Klemperer's secret throughout his illustrious late career.

The Schubert Ninth from 1960 (in somewhat edgier sound) begins more bumptiously than any other I've heard--the first movement allegro could be a clog dance--far from the suave Schubert of Karajan or the relaxed nostalgia of Bruno Walter. But Klemperer soon finds other lights, softer and sweeter, and one discovers that he is bringing out more contrast in Schubert's very long paragraphs than the rambunctious opening hinted at. The rise and fall from lyricism to passion continues throughout. Tempos are again faster than the norm. The Philharmonia plays with its familiar expertness; they come closer to being the Clevealnd Orch. than any other British ensemble. The finale of the Ninth is especially strong; Schubert's endless ostinato rhtyhms manage, miraculously, to remain full of life after dozens of repetitions.

One could buy this CD and never need another performance of either work (impossible in practice, though).
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x907742f4) étoiles sur 5 Old Klemp's Schubert 23 septembre 2003
Par Michael Brad Richman - Publié sur Amazon.com
Format: CD
This title in EMI's "Klemperer Legacy" series features the great conductor's stereo recordings of the last two Schubert Symphonies -- the "Unfinished" and the "Great." Both Symphonies were recorded with the Philharmonia Orchestra, the 8th in 1963 and the 9th in 1960. Klemperer's 9th is slow compared to Szell's or Krips', and I feel it lacks the depth of the comparably paced Barbirolli or Bohm accounts. The 8th secures a better tempo, and the result is an enjoyable reading. While Klemperer's Schubert might not be as essential as his Beethoven, Bruckner or Mahler recordings, they are nonetheless quite good and a joy to have in my collection. As with many other EMI series, "Klemperer Legacy" discs are becoming harder to find and some are already out of print. Interested parties should purchase this CD quickly.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9077436c) étoiles sur 5 Thoughts about great interpretations in the context of Klemperer's Schubert 4 mai 2013
Par Jurgen Lawrenz - Publié sur Amazon.com
Format: CD
Klemp made many great recordings, especially conducting the Philharmonia for EMI. It will not wrench a pearl out of his crown to be told that these Schubert recordings inspire dubious respect for one, and dislike for the other.
His way with the Unfinished is completely out of character. Klemperer treats it as if it was Beethoven, emphasizing the symphonic contrasts and the orchestral drama in time honoured fashion. The first movement is among the fast ones. In itself this would not be my first objection. The really serious question mark is whether Kemperer brings out any of the romantic sentiments that infused this symphony so heavily; and the answer is No. There is no charm, no sense that the composers cello melody in the opening exposition exhibits any kind of yearning. The truly magical beginning and close of the second movement are dead pan symphonic material again. This is not a recording that Schubert lovers would listen to more than once with real pleasure. It locates itself at too great a distance from the young Schubert and too close to Beethoven.
The C major work is a different proposition altogether. It shows Schubert's ambitions as a symphonist. The romanticism, though ever present, is attenuated, not the main feature. It is this context that Klemperer's interpretation fits.
This time, however, it is a conspicuously great performance, even though it is not for everybody. The greatness comes out in the inexorable coherence of Klemperer's vision of the work. Every stone fits the kaleidoscope to perfection and emphasizes the architecture of the whole work. This stern approach yields benefits in terms of clarity, the logic of the argument. The climaxes are wonderfully wrought and moulded with complete conviction. Some listeners will resent the hardness; and now the one rather uncomfortable defect of the symphony is the tempo chosen for the last movement. It is undoubtedly too slow. Its vivacity is underplayed, and so the fleet accompanying violin figures to the wind melody after the opening of the movement lose all of their feathery brio and charm. The rhythm, which si so pronounced a feature of this movement, becomes stodgy in his hands. In truth, Klemperer never raises a smile throughout; but it seems to me that in these sections of the Finale, it is imperative as a foil to the headlong rush to the conclusion.
Greatness in performance is not a measurable quantity. It is a quality resting on intuitive discernment and can therefore be argued about until the disputants are blue in the face. Much experience helps. of course.
My feeling about these performances are that the Unfinished fails to bring out the elements that make this work one of the cardinal hinges of the entire romantic movement. Conversely the C major symphony is a success on the criterion that Schubert was here to some extent working as a quasi-Antipope to Beethoven, with melodiousness as his building material, without leaving the logic of Beethoven's constructions out. He was still a young man, and God knows where this might have led him, had he lived another decade! As it is, more promise than fulfilment, as Grillparzer said in his funeral oration. But the symphony remains as arguably the peak symphonic achievement of the whole movement stretching from Schubert to Dvorak.
As an album, then, this is a qualified success. But nevertheless, if you are contemplating buying, I would not wish that my review acts as a discouragement. I feel this is one of the indispensable recordings, because it reveals aspects of Schubert's work as a symphonist that only Klemperer tapped. I mention as a last comment that the recording is exceptionally fine and has a good spatial spread from which especially the woodwinds benefit. They are superbly audible and one of the delights of this recordings.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x907746fc) étoiles sur 5 The New Top of My Heap 15 octobre 2012
Par J. R. Trtek - Publié sur Amazon.com
Format: CD
As I have stated in previous reviews, my preference for full Schubert symphonic cycles are the two period instrument renditions conducted by Jos van Immerseel and Roy Goodman. For the last two symphonies in modern big band versions, my number one choice has been Bernstein and the New York Philharmonic on Sony, with runner-up being Szell and the Cleveland Orchestra on the same label. Well, I think this disc with Klemperer and the Philharmonia has forced a tie, if not eked out a clear victory. This version of the Unfinished Symphony was the first one I ever listened to repeatedly, more than forty years ago on vinyl, and I bought this compact disc some time ago out of nostalgia, but I hadn't gotten around to actually playing it until recently. And what a case of nostalgia-being-justified that turned out to be! The first movement flows with a steady hand, with volume and tempo punctuation that provide marvelous articulation. The closing movement is graceful, as it should be, but despite Klemperer's reputation for slowness in his later years the second half never stalls. Meanwhile, the Ninth Symphony is performed marvelously. Elsewhere I've said that to my ears Bernstein manages to combine discipline and humanity, while Szell seems to me to favor the former over the latter. Well, in some strange way, Klemperer to my mind achieves the kind of balance that Bernstein does, but in a paradoxically different way. Maybe it's that Bernstein brought discipline to his humanity, while Klemperer brought humanity to his discipline. In any case, this disc now shoots to my number one spot when it comes to these two Schubert symphonies. It's a shame it's no longer in print. If you find a good copy at a reasonable price, grab it.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x90774834) étoiles sur 5 Excellent #8, more problematic #9 23 novembre 2014
Par Jon Miller - Publié sur Amazon.com
Format: CD
Klemperer is attuned to the tragic dimensions of #8, e.g the darkness of the first movement ending and development section. The second movement is also potent, with its oscillation between lyric beauty and a descent into darkness. The same is true of the epic #9, but here I find tempi a bit too ponderous. Winds and brass are especially effective, and
as usual one can adjust to the pacing or not. I do miss some of the relatively lighter textures, airiness and slighter
acceleration of Szell/Cleveland/Sony, Jochum/BRSO/DG and Kubelik/BRSO/Audite. Re his tempi, Klemperer remarked that"you'll
get used to it. Usually but not always. On the whole, whole, however, this disc is a keeper I think
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