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Symphonies 1-9, Piano Concertos 1-5 (Coffret 14 CD)

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14CD W/Chamber Orchestra Of Europe/Nikolaus Harnoncourt

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15 internautes sur 15 ont trouvé ce commentaire utile 
An Exciting, Memorable Collection Of Most Of Beethoven's Orchestral Works From Harnoncourt & COE 13 mai 2007
Par John Kwok - Publié sur Amazon.com
Format: CD
This 14 CD box set is truly a magnificient collection uniting virtually all of Beethoven's orchestral works performed by a single orchestra and conductor: Chamber Orchestra of Europe and Nikolaus Harnoncourt. It is magnificient not only for its breadth and depth, but more importantly, for its overall quality, since many of these recordings can be regarded as definitive recordings of these Beethoven pieces, which were recorded between the years 1990 and 2003. One notable set of highlights is Harnoncourt's mesmerizing, period instrument practice-informed recordings of all of Beethoven's symphonies, which have already received ample critical and popular acclaim for being among the finest Beethoven symphony cycles ever recorded. Another fascinating recording is his critically acclaimed recording of Beethoven's Missa Solemnis. Distinguished violinist Gidon Kremer collaborated successfully with Harnoncourt and the Chamber Orchestra of Europe in an inspiring, intriguing period instrument-influenced account of the Beethoven Violin Concerto. Pianist Pierre-Laurent Aimard is well represented in relatively recent, critically acclaimed recordings of the Beethoven Piano Concertos, the Beethoven Triple Concerto (accompanied by violinist Thomas Zehetmair and cellist Clemens Hagen), and two other works for piano and orchestra. For those unfamiliar with Nikolaus Harnoncourt and the Chamber Orchestra of Europe, this box set is a most impressive introduction, and one which I recommend highly.
10 internautes sur 11 ont trouvé ce commentaire utile 
Qualified Recommendation - These are typical Harnoncourt performances 22 août 2009
Par Prescott Cunningham Moore - Publié sur Amazon.com
Format: CD
Many listeners are already familiar with Harnoncourt's Beethoven cycle, previously released without the overtures, the mass, and the concertos. Those that have not heard this set or are unfamiliar with Harnoncourt are in for a treat, so long as they approach Harnoncourt's interpretations with open ears.

Indeed, across the board, Harnoncourt is up to his usual antics in this set. And I say that with all due respect to this great conductor, who's forays into Haydn I consider reference performances and who's Bruckner is revelatory. However, Harnoncourt is always controversial for his unique sense of discovery, and that quality certain pervades this set. Take, as a case study, the first movement of the Eighth, where Harnoncourt touches every measure with unique phrasing markings, extreme dynamics, and quirky punctuations. At times, his ideas can be somewhat off-putting or even strange. Take, for example, how the timpani and lower strings emphasize the three four time by accenting the downbeat during the C major cadence at the close of the exposition. Interesting, yes, but it covers up the violin figures and comes off more grotesque and vulgar than exciting. Or listen to how Harnoncourt's overly muscular handing of the beginning of the recapitulation almost completely covers the lower strings. On the other hand, listen to Harnoncourt's delightful handling of the declamatory two-four rhythmic outbursts where he really emphasizes the syncopated quality of the music. Or listen to how he really adds extra excitement to the already over-charged development with thrilling brass playing. Harnoncourt unearths many details and certainly presents this too-familiar music in a new light.

Another example is Harnoncourt's sixth, which was controversial then and remains an acquired taste. Harnoncourt's incredibly relaxed and "legato heavy" first movement really takes the cheerful title to heart. It is not the overwhelming joy of Toscanni and Vanska or the heartwarming cheer of Bohm or Dohnanyi - rather, it is a warm but restrained calm upon entering the country that never really seems to reach happy. Harnoncourt is saving true happiness for the finale - a valid interpretive idea - but it still results in underplayed first and second movements.

But when at his best, Harnoncourt can create magic like few other conductors. His seventh is a case-in-point, a reference performance if there ever was one. The finale is just the finest on disc, period. He takes it at a ferocious clip, but unlike Abbado in his first Berlin cycle, the Chamber Orchestra of Europe plays with a virtuosic flair that is nothing short of astounding. It must be heard to be believed!

Listeners who crave something new from the canonic nine would we well served to get this set. At the same time, listeners interested in purchasing just two or three sets of the Beethoven symphonies (really, who can own just one?) may be better served by other cycles. Szell's reference cycle is a nice alternative, as is Blomstedt, Bohm, Gardiner, Toscanini, or, more recently, Vanska or Jarvi. Still, Harnoncourt's cycle is absolutely necessary for those who want a well-rounded Beethoven collection. While his interpretations may be unconventional, I still find myself returning to this cycle and always find new surprises upon each hearing.

The same qualities are present in the other orchestral works in the set. However, the concertos are another matter entirely. Aimard, like Harnoncourt, is interested in personalizing the five concertos with his own unique interpretations. However, the result is, at least in my opinion, just too much. Both Harnoncourt and Aimard seem so interested in dissecting the music that they seem to get lost along the way, busying themselves in performances that end up sounding fussy and overly intellectualized. And while our cup certainly does not overflow with great concerto cycles (Fleisher/Szell and the recent Goode/Fischer immediately come to mind as standouts in this glutted mass), listeners can find cycles that present more coherent interpretations. That being said, these performances, like the symphonies, are fascinating, and listeners that know this music well may find Harnoncourt and Aimard's probing readings exactly for what they are looking.

Sonics throughout are good, not great, and are beginning to show their age. Page flipping, breathing, and on-stage noises pepper this set. They are certainly not distracting, but considering modern recording standards, they do sound out-of-place.

So it is with that qualified reservation that I recommend this set.
7 internautes sur 8 ont trouvé ce commentaire utile 
Authentic Beethoven from veteran conductor 27 juin 2007
Par Abert - Publié sur Amazon.com
Format: CD
Even though Grammophone Magazine did not see it fit to rank Harnoncourt's Beethoven Symphonies as among the 'best 5', I myself rank it before some of those chosen by Grammphone, notably David Zinman.
Harnoncourt's interpretation of Beethoven with his period instruments is so striking and full of character that you need not question 'what is Beethoven like'?
The concertos may have soloists varying in calibre, but the conducting and orchestration are nonetheless terrific. Take the 3rd movement of the No. 1 Piano Concerto, for example. Harnoncourt articulates such dynamics that the interpretation is at once authenticity and moving. The string section simply blow the listener off, even if the pianist Aimard isn't really the true Beethoven interpretor like Yefim Bronfmann for David Zinman, let alone Wilhelm Kempff before.
The ECO under Harnoncourt played elegantly, heroically and dramatically. The No. 5 Symphony is such a stately yet dramatic account that even with the fiery tempo like Zinman, could not be easily surpassed in terms of both excitement and depth.
4 internautes sur 6 ont trouvé ce commentaire utile 
a very solid collection 30 mars 2007
Par J. Berner - Publié sur Amazon.com
Format: CD
This is a very solid collection that collects all of Harnoncourt's interpretations of Beethoven's symphonies, concertos and such. This seems to collect his best recordings into one package.

The music is astounding, from what I can tell and any fan of Beethoven would do well to pick up this set if they don't have the individual recordings by Harnoncourt already.

This set is specifically aimed at the people who are getting into Beethoven and want his material or to people who want to start collecting Harnoncourts recordings of Beethoven.

Obviously if you have Harnoncourt's recordings in part or in whole, this set might be a bit pricey but for those getting into his interpretations then this would be the perfect way to do so.

It looks like you get his complete Beethoven work and for the price it is relatively cheap.
2 internautes sur 4 ont trouvé ce commentaire utile 
i can/t hardly wait... 11 février 2008
Par Richard W. Martin - Publié sur Amazon.com
Format: CD Achat vérifié
i already have the symphonies and the piano concertos, which i love (having aimard on piano is nothing less than inspired). buying this set seems to be a great way to get the rest. i can/t wait to hear the missa.

tad bit of an update - the missa is sorta now *permanently on the ipod*. while i am getting increasingly away from the idea that some conductors can do no wrong (ran from boulez/s strauss/s zarahustra after one hearing), harnoncourt still amazes. some of the overtures are great (weird feelings abt egmont - high school and all), but the concerti are great. and, oddly (to me), so is his (not relevalent here) mozart/s requiem. this is an all around great.
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