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Détails sur le produit

  • CD (11 octobre 1994)
  • Nombre de disques: 2
  • Format : CD, Import
  • Label: Mis
  • ASIN : B000004247
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 94.176 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

VESPRO DELLA BEATA VERGINE


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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x93b44b7c) étoiles sur 5 11 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x93fd6984) étoiles sur 5 A bargain 24 décembre 1998
Par Un client - Publié sur Amazon.com
Format: CD
I'd give it one more than my Texan friend above, but not five purely because I think that Gardiner's later version for Archiv, recorded in San Marco, Venice, knocks spots off every other version I've ever heard, and that's a lot. This is a modern instrument version, but it captures the magic of the work, a spectacular tour-de-force which bridges between the Renaissance and Baroque musical worlds. Its main glory is the choral singing which, with the blaze of Philip Jones's brass in the big numbers, is goosebump-raising. If you like your Vespers magnificent rather than devotional, this version is unmissable at this price.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9466de28) étoiles sur 5 Monteverdi would have adored this! 13 mai 2013
Par Jurgen Lawrenz - Publié sur Amazon.com
Format: CD
I can't help wondering what some other reviewers are hearing when they audition this recording. Maybe I've lived too long and become too skeptical of the fads, fashions and fancies that cloud musical judgements?
I hear an absolutely rivetting performance of great magnificence, with superb singing from soloists and chorus, as well as an orchestral contribution of outstanding splendour. Admittedly modern instruments, and the style does not satisfy the defenders of the holy faith who (sincerely?) believe that great music making is impossible unless you blow into a zink or strum a chitarone.
I'll throw some different considerations into the ring. Monteverdi was not a religious composer as such, certainly not sold on the "devotional" Roman catholic service. There mere fact of his colourful design indicates that he already had Venice in his sights, and the court at Mantua wasn't far behind in its emphasis on pomp and opulence. Monteverdi was above all an innovator, ceaselessly excited by new possibilities of musical expression.
That's one side of it. The other is the delusion of today's academics, and those who have been convinced by their arguments, that one can reconstruct the performance practices of the 17th century from theoretical manuals and manuscripts. I call it a delusion because the whole conception of music entertained by the educated world of the time was totally different from ours. It is an impossible demand on today's listener, whose entire understanding has been shaped by the classical era and modern times with their utterly different, indeed incompatible aesthetic foundations. In a word, you cannot pretend that hearing Puccini today and Monteverdi tomorrow puts you spiritually, psychologically and aesthetically in the same seat with the audience who sat in the theatre of La Scala and the court of Mantua or St Marks at Venice. The harmonic diction of modern music since Bach has irremediably changed the way we hear music; we cannot hear and understand it in the context of its own time, any more than we can ask our intuition to share their gustatory sense before coffee, spices, tobacco etc. changed it all.
What is left is a residue of innate human responsiveness to music as a medium of communication from soul to soul (or mind to mind). But this leads to only one conclusion: That the relevant category is AUTHENTIC MUSIC MAKING - which can be assisted, even improved (in a case like Monteverdi) by the use of old instruments and a rough approximation to the style of performance which we suppose to have been in force then. But the primary criterion has to be authentic music making, which is not tied with iron chains to authentic instruments, falsetti and chamber music forces. This, rather than pedantic insistence on half understood cultural mores (which listeners at Mantua had in their blood, but not you or I!) is ultimately the judge of the success of a performance or recording.
To conclude, then: This performance is a stirring, monumental account of the Vespers - authentic music making. When I compare it to Jordi Savall's 100% technical authenticity and take note of the fact that after a while I get bored with it (because the music making itself is so tiring in its unremitting devotional flaccidity), then I can say no more than this: If Savall had been asked to give the world premiere in 1610, I don't think those passionate, excitable, pageant loving Renaissance Italians would have stayed calmly in their seats. They would have rushed en masse to wherever Gardiner's performance might have been heard!
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x93b572e8) étoiles sur 5 The best recording available of its kind 2 juillet 2011
Par Some Guy from Ohio - Publié sur Amazon.com
Format: CD
This recording was made in 1974, it is early Gardiner and is performed in the traditional (i.e. non-period instrument) style. If you prefer full voice singing with vibrato, and trumpets and trombones to sackbuts and cornetts, this is the only game in town. Comparing this with Gardiner's later recording on DG or with Parrott's is futile, as there is no comparison to make. They represent completely different performing traditions and all three of them are excellent in their way - it comes down to a matter of taste.

This is the best performance of this piece we are ever likely to get on modern instruments. It is not heavy handed or Romantic, yet conveys the full grandeur of the piece. The Phillip Jones Brass Ensemble provides weight and force not found in early instrument performances - Parrott's in particular. The analog Decca recording is typical of the mid-seventies. It is not clinically clear like a digital recording, but spacious and warm.

If you like other 60's and 70's baroque performances on modern instruments (e.g. I Musici's Vivaldi, Karl Richer's Bach) you will like this. If you don't, you are virtually guaranteed to dislike it.
9 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x93b54c0c) étoiles sur 5 Stay Away! 1 janvier 2005
Par Ryan Kouroukis - Publié sur Amazon.com
Format: CD
This recording only conveys the "loud drama" of Monteverdi's Vespers, which it is soley not. There is not one ounce of spirituality in this recording whatsoever! Not only that but, the recording is marked with blocky chunks which are heavily noticible (as cuts)...there is no sense of fluidity or flow at all. Also, there is no libretto included.

I wouldn't recommend this set of the Vespers to anyone starting out and wanting to understand them. I would recommend Gardiner's second recording in it's stead as it is imbued with spiritual elements.

I've heard that Andrew Parrot's version is the "one" to get, though I've not heard it yet.
3 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x93b54e7c) étoiles sur 5 Stirring 9 octobre 2001
Par Un client - Publié sur Amazon.com
Format: CD
Vespro della beata vergine, a very stirring composition, was written by Monteverdi and performed in St.Marks Cathedral, Venice in the late 16th century. Claudio Monteverdi had just crossed over into Chorale, mass and religious music to try to win over the favors of the Pope. His opera works, as stunning as they were, were not paying his bills and he had a family to support. Thus his switch to sacred music may have had political dynamics.
It is important to keep in mind that this was Monteverdi's first serious full-length religious-based compositional endeavour after his opera works (such as L'Orfeo), and therefore carries with it some of the more dramatic arias and robust tenor voices inherent to opera. In this particular SV206 recording, that influence is very strong, and while it might take a bit of the subtlety out of the music, it adds an incredible amount of fortitude, vitality, and resolve. But don't be mistaken, this recording still has the subtle nuances crucial to the works. For a truly supple example of the composition, check out the version by Andrew Parrott and the Taverner Consort. It's quite impressive.

On this SV206 issue, overall the strong as well as the precious operatic voices ring through and evoke that first golden morning 500 yeras ago in St. Marks cathedral, Venice, when the great composer conducted a vast chorus and orchestra before the highest of Italian religious and secular powers, trying to prove to them that he had full mastery of sacred music. This recording evokes an era of glorious faith, but also a time when minds were surrounded by the darkness of unkown horizons and a hierarchological universe.
...Beyond the Venice quais, with their great merchant sailing vessels unloading treasures and preparing for new voyages, the horizons of the world were new and enigmatic, and as this chorus floated out from the cathedral square, the voyagers carried it in their hearts and minds as the promise of an ordered universe.
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