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Tchaikovsky: Symphonies Nos.4, 5 & 6 (2 CDs)
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Tchaikovsky: Symphonies Nos.4, 5 & 6 (2 CDs)

23 décembre 2003 | Format : MP3

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Détails sur le produit

  • Date de sortie d'origine : 1 janvier 2003
  • Date de sortie: 23 décembre 2003
  • Nombre de disques: 2
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 2003 Deutsche Grammophon GmbH, Hamburg
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 2:16:01
  • Genres:
  • ASIN: B0035C9MQS
  • Classement des meilleures ventes d'Amazon: 195.589 en Albums (Voir les 100 premiers en Albums)

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Amazon.com: 9 commentaires
14 internautes sur 15 ont trouvé ce commentaire utile 
Which of Karajan's three late Tchaikovsky cycles to choose? 18 juillet 2006
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD Achat vérifié
Like the reviewer below, I heartily welcome the return of Karajan's Tchaikovsky Fourth, Fifth, and Sixth from the mid-Sixties. But it's irksome to find that DG's remastering hasn't solved the thin, brittle, shrill sonics. The opening trumpet fanfare in the Fourth Sym. (1967) sent me scurrying to turn down the volume--cymbals and brass are ear-piercing except at moderate levels, and the big climaxes are marred by an annoying crunch.

I decided to do a sound check on the Fifth (1966) and Sixth (1964). They are little better, and I was shocked to hear lots of raspy trumpet attacks in both the Fourth and Fifth. Wihtout dwelling on this aspect, be prepared for less-than-ideal sound. It took DG's engineers three or four tries to get Karajan's 1963 Beethoven cycle to sound right; it may take that long here, too. The sonics are much improved in his two later sets on DG.

As for interpreatations, Karajan made no radical changes over the years. Direct comparisons would take days--Karajan recorded at least five Pathetiques and four of the other two symphonies. I'd say in general that he sounds fresh, alert, and direct in these Sixties recordings; there's no attempt to inflate the music or make it feel important. All the waltz movements are light and lilting. The finale of the Pathetique in every Karajan performance is light and melancholy rather than tragic. The overall timings tend to be quickish in the Sixties compared to his other accounts.

In general, you can skip this set if you have either of his DG versions from Berlin (late Seventies) and Vienna (live, late Eighties just before his death). The Vienna ones are infused with a touching autumnal quality that I cherish, but tempos have gotten a bit slack at times. The big misfire is an EMI cycle from the early Seventies, which is over-inflated and recorded in murky, congested sound.

One should also note that Karajan's style of Tchaikovsky conducting--straightforward and Germanic--feels unidiomatic beside the best Russians, particularly Mravinsky. Good as his performances could be, Karajan wasn't a supreme conductor of Tchaikovsky, a conclusion I've come to now that I own nearly every vesion he made.
12 internautes sur 14 ont trouvé ce commentaire utile 
Karajan's 1960s Tchaikovsky Finally! 10 janvier 2004
Par R. Lane - Publié sur Amazon.com
Format: CD
Since the dawn of the Compact Disk in the early 1980s I have awaited the reissue of Herbert von Karajan's recordings of the Tchaikovsky Symphonies 4,5, and 6 from the 1960s. Those recordings certainly eclipse all of Karajan's other recordings of these works. The sound has a warmth and reality to it, especially when put alongside the very dry recordings from the late 70s. The readings of the fourth and sixth are very similar to other Karajan renditions. but the fifth stands out in this rendition. It sounds more deeply felt, less obtuse than his other recordings.
Walk a mile, or more, to get this one! Accept no substitutes!
Now if only Universal would do the same for HVKs 1960s Brahms recordings too!
5 internautes sur 5 ont trouvé ce commentaire utile 
Low-voltage performances from Karajan 19 novembre 2012
Par Robin - Publié sur Amazon.com
Format: CD Achat vérifié
As a devoted Karajan fan, I can recommend this 1964 account of the Pathetique Symphony. It is, by far, the most committed performance here. The "big tune" in the first movement is most movingly played--better than in Karajan's 1971 EMI and 1976 DG re-recordings. Elsewhere, however, the playing is at times rather routine, the tension rather "mechanical" and low voltage. The same comments apply to these 1960s performances of the Fourth and Fifth. To hear Karajan at his most intense in these works, get the 1971 EMI set. The 1970s DG set features the most atmospheric and beautiful sound--especially the 1976 recording of the Fourth. The brass playing of the "Fate theme" is vastly more powerful and committed than the uncharacteristically sloppy trumpet and horn playing in the 1966 recording.
9 internautes sur 11 ont trouvé ce commentaire utile 
4.5 stars! 18 janvier 2005
Par Brother John - Publié sur Amazon.com
Format: CD
I would have to rate Karjan's set fractionally below his DG remakes from the 70's - which were his finest statements on these symphonies. Sound quality issues isn't the problem. The 1964 Pathetique is quite warm and lush, compared to the slightly earlier 5th (which musically doesn't quite match his later accounts). The 1967 4th symphony is just simply wonderful. The bass is a little dry as compared to his 1977 recording, but it is a little cleaner too. It is extremely intense and moving, nontheless. Certainly among the finest 4ths around.

Stay away from Karajan's early 70's Tchaikovsky 4,5,& 6 versions on EMI. Sound is just not quite right and the playing seems sub-par. One can tell that his heart is just not into those versions.
2 internautes sur 2 ont trouvé ce commentaire utile 
One possible way to decide which Karajan recording to choose of these works 16 décembre 2013
Par I. Giles - Publié sur Amazon.com
Format: CD
This is the set made with analogue recording equipment in the mid 1960's. They were recorded, like the 1970's analogue set on EMI, in the Jesus-Christus-Kirche. Both of these sets have been remastered, this one using 24 bit technology as opposed to the Original Bit Imaging favoured on other DGG discs.

On the face of it, one would expect the EMI recording to have the edge as sound simply because it is the later recording done in the same venue and also being analogue. That is not the case as the EMI recording becomes uncomfortably edgy on the top range at climatic points (the start of the fourth symphony will suffice) and with a strange tendency to 'glassiness' (check the timpani roll before the final section of the fifth symphony for this)on some textures including the timpani and trumpets when played loudly. Additionally, the EMI recording allows far more of the church echo to intrude and this results in too much resonance on the lower strings in particular with a consequent loss of detail as regards notes played (pitch). In all of these respects they remind me of the LP set I once owned of these recordings which had the same characteristics.

The DGG remastered discs are far clearer and truthful in all of these respects and this applies throughout the two sets. I have spent two weeks doing A/B comparisons to prepare for this possible contentious comparison as I wanted to be absolutely sure. I have no previous knowledge of this set.

The performances themselves are surprisingly different bearing in mind usual Karajan's consistency. The EMI recording offers far more driven and dramatic performances that, in a way, suit the closer recorded balance. However this can also be over-bearing and certainly larger than life while at the same time lacking in internal detail especially when compared to the more natural balances of the earlier DGG set. That set, while still rising impressively to climatic moments, offers a far more balletic view at times such as in the third movement of the sixth symphony.

One other disc has crossed my path and that is the analogue 1970's DGG recording of the fifth symphony that I also own. As a performance it falls between the other two described above and is a satisfactory example of the Philharmonie venue as regards sound. This is not to everyone's taste and I have no wish to take sides other than to say that I enjoy the performance and have not found the recording to be a problem to that enjoyment. I have not heard symphonies 4 and 6 from that set and therefore cannot comment further.

I have now finally deleted the EMI set from my collection for the sonic reasons as described above and have kept the 1960's DGG set plus the single fifth also mentioned above. There are other conductors that I would recommend but that is a different story .........

This is not the only answer but I offer the above comparisons to try and give some objective reasons for making a choice.
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