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Tchaikovsky & Sibelius Violin Concertos: Classic Library Series
 
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Tchaikovsky & Sibelius Violin Concertos: Classic Library Series

2 juin 2004 | Format : MP3

EUR 10,99 (TVA incluse le cas échéant)
Également disponible en format CD

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Format: CD Achat vérifié
Sans doute l'un des deux ou trois plus grands enregistrements de Itzhak Perlman, malgré son énorme discographie et son jeune âge à l'époque(22 ans fin 1967). Le trio Perlman/Leinsdorf/Boston Symphony est véritablement en état de grâce dans cet enregistrement. Même la version Stern/Ormandy/Philadelphie de ces deux grands concertos romantiques, pourtant magnifique (et certainement mon second choix), n'arrive pas à reproduire toute l'intensité dramatique qu'ont atteint Perlman et l'orchestre de Boston chauffé à blanc par Leinsdorf.
Sur le plan technique, la remasterisation de RCA est de très bonne qualité, malgré un bruit de fond parfois perceptible.
Bref, c'est LE disque de référence à posséder non seulement pour le Concerto de Tchaikovsky, mais aussi pour celui de Sibelius, un peu moins connu du grand public.
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Format: CD Achat vérifié
Le regroupement de ces deux concertos est une excellente idée tant les points communs sont nombreux. L'interprétation de celui de Tchaïkovski est particulièrement entrainant. Je l'ai d'autant plus apprécié que, ayant vu récemment le film "Le Concert", j'ai eu l'impression de revoir le final.
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Format: CD
Je possède quatre enregistrements différents du concerto pour piano n°1 de Tchaïkovski. Celui enregistré avec Issac Stern était le meilleur. Car avec Itzhak Perlman et le boston symphony dirigé par Erich leinsdorf on atteint la perfection de l'émotion cet un enchantement. Merci à ceux qui ont laissés les commentaires élogieux qu'il mérite.
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Amazon.com: HASH(0x92412768) étoiles sur 5 3 commentaires
11 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x92421e10) étoiles sur 5 Energetic, but immature Perlman 23 juin 2005
Par John Herman - Publié sur Amazon.com
Format: CD
This being Perlman's first recording, at such a young age, you can hear the imbalance in his phrasing and sound in the first movement at certain times, however, he does manage to form a grand picture of this large masterpiece.

The sound of the harsh landings on his bow in the last movement can be either exciting or annoying. I find it the latter. Its not a bad recording, but it isn't the greatest one around.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x95ade54c) étoiles sur 5 itzhak at 21, and a surprise from Leinsdorf 22 mars 2014
Par Stanley Crowe - Publié sur Amazon.com
Format: CD
The sound in these earliest releases from the young Itzhak Perlman in 1966 (Sibelius) and 1967 (Tchaikovsky) lacks the refinement and the presence of the best modern digital recordings, but in other respects, it's just fine. In fact, I like that the violin isn't quite as forward in the aural picture as is the case in some of Perlman's later DGG concerto recordings -- I prefer the balance on these older recordings (including a fine Prokofiev 2, also with Leinsdorf). Perlman's tone isn't overly rich and sweet here -- it has a wiry strength to it that I like very much. I especially like it in the Sibelius recording here, which is an absolute beauty. Perlman is very much in tune with the dark power of this concerto, and he demonstrates in his account of it a variety of phrasing and a range of dynamics that keep you glued to your earphones. And what was also surprising was Erich Leinsdorf's marvelous account of the orchestral part and his rapport with Perlman at every point. I had never associated Leinsdorf with Sibelius -- surely, with Koussevitsky's old orchestra he must have programmed some -- but I think that this is his only Sibelius recording, and he rises to the occasion magnificently. This is music that you shouldn't prettify, and both Leinsdorf and Perlman understand that. With the reservation about the slightly dated sound, I think this is an unqualified success.

And Tchaikovsky? There's nothing at all wrong with it -- it just isn't as interesting a concerto as the Sibelius, and it takes more refined sound than we have here to let us appreciate the possible chamber-music-like rapport that a good conductor and soloist can have (Abbado and Midori do it for me). Without that, it's an exciting virtuoso vehicle. Perlman plays it with great bravura, and in the final hell-for-leather movement he comes close to having you out of your seat. So this is a good re-issue to have for both concertos, but it's the Sibelius that's really special.

OOPS! I just discovered that Leinsdorf has at least one more Sibelius recording to his credit -- a Fifth Symphony with the LPO from 1946, twenty years earlier than this recording with Perlman. Leinsdorf (1912-93) was 34 when he recorded the symphony. It's available on the Dutton label.
3 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9241c7bc) étoiles sur 5 Perlman is commanding and secure, with Leinsdorf sounding fairly routine 29 janvier 2013
Par Andrew R. Barnard - Publié sur Amazon.com
Format: CD Achat vérifié
I was unable to verify the previous reviewer's claim that this is Perlman's first recording, but it's clear that this recording finds the violinist near the beginning of his career. He's already full of brilliant technique and plays with an ease that only the foremost virtuosos achieve. Yet every leading violinist approaches these concertos at some point or another, so the catalog is crammed full of readings from other highly accomplished rivals.

Perlman takes the Tchaikovsky Concerto and digs in deep. The other reviewer who spoke of Perlman's "harsh landings" isn't overstressing the point. Perlman comes close to attacking the concerto, actually. His overall temperament is grand, trying to make the concerto sound like a monument. He succeeds, but I prefer violinists who are sweeter and more rhapsodic, such as Vengerov, Shaham, and Mullova. Leinsdorf doesn't follow in the footsteps of conductors who turn the orchestral part into a treat by itself, which doesn't help Perlman. While I can forgive middling good conducting if the violinist is inspired, Perlman isn't quite interesting enough for me to stand and cheer.

The Sibelius doesn't require the suppleness the Tchaikovsky demands, which would lead us to expect this to be the better of the two readings. It is, but my complaint here is the lack of mystery in the 1st movement. We are mountain climbing with a determined violinist, but we miss Finland's misty forest. I can forgive Perlman, though, because he gives us a vibrant finale full of blazing passion. For me, it's without question the highlight of the disc. Even Leinsdorf seems to join in with unexpected energy.

These are both controlled readings full of technical assurance. I wouldn't count this disc a must, but Perlman is in great shape for those who don't expect a lot of variety.
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