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Alessandro Scarlatti - Il Giardino di rose, sinfonie & concerti (SACD) Super Audio CD

5.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Compositeur: Alassandro Scarlatti
  • CD (17 février 2004)
  • : Requires SACD-compatible hardware
  • Nombre de disques: 1
  • Format : Super Audio CD
  • Label: Decca
  • ASIN : B00013UKLU
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 209.680 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. - sinfonia (grave - presto - largo - presto - presto)
  2. Concerto III pour clavecin et continu en mi mineur - 1. allegretto comodo
  3. Concerto III pour clavecin et continu en mi mineur - 2. andante con spirito
  4. - introduttione (allegro - adagio e staccato)
  5. Concerto VI pour clavecin et continu en mi bemol majeur - 1. allegro moderato
  6. Concerto VI pour clavecin et continu en mi bemol majeur - 2. andante con espressione
  7. - sinfonia (spiritoso - adagio - allegro)
  8. Concerto V pour clavecin et continu en sol majeur - 1. allegro
  9. Concerto V pour clavecin et continu en sol majeur - 2. (presto)
  10. - sinfonia (largo - presto - (largo) - (presto) - allegro)
  11. Concerto IV pour clavecin et continu en ut mineur - 1. andante
  12. Concerto IV pour clavecin et continu en ut mineur - 2. allegretto moderato
  13. - sinfonia (presto - allegro)
  14. Concerto I pour clavecin et continu en ut majeur - 1. allegro
  15. Concerto I pour clavecin et continu en ut majeur - 2. allegretto
  16. - sinfonia (adagio - presto - largo e piano - allegro)
  17. Concerto II pour clavecin et continu en la majeur - 1. andantino
  18. Concerto II pour clavecin et continu en la majeur - 2. andante con moto

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Dans la famille Scarlatti voici le père : des œuvres vraiment d'une grande originalité, servies par une interprétation hors du commun et un enregistrement époustouflant. Un disque incontournable, que tout amateur de baroque devrait avoir dans sa discothèque !
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Commentaires client les plus utiles sur (beta) HASH(0x923577ec) étoiles sur 5 5 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x93774e4c) étoiles sur 5 Splendid marketing of unauthentic Scarlatti-concertos 16 juillet 2011
Par Morten Fuglestad - Publié sur
Alessandro Scarlatti was a truely great composer, but a "difficult" one, with a profound understanding of both counterpoint and instrumentation, as recogniced by most professional musicians and writers on music of the time. The concertos recorded here are probably NOT by Alessandro Scarlatti. However the six accompanying sinfonias are genuine Alessandro Scarlatti, and music of a much more refined type than the concertos, whoever that composer may be...

Alessandro Borin writes in the accompanying notes: "As far as we know today, it is by no means possible to come to any conclusions about the origin and autorship of the six pieces of music to be found in the manuscript ADD.32431 in the British Library. [...] It cannot be excluded either that its likely spurious nature is in some way due to the establishment of the Scarlatti legend at the time, and to the existence of a particularly dynamic and recepitive market; [...]". (Booklett, p. 11)

The sinfonias are all thoughtprovocing and well played. As to the worth of the concertos I disagrees with Borin, these concertos are so different in style from the Scarlatti sinfonias that they seems to be an odd mix, and thus they do not give any further insight into the music which they are programmed toghether with. This CD is the result of marketing gone wild. I do understand that concertos by that prolific composer Anon. is not a going to be a "best-seller", but Decca doesn't serve either Alessandro Scarlatti or Ottavio Dantone here. Anyway - thanks for the interesting booklet and six outstanding sinfionias that are "echt" Scarlatti and splendid recorded sound.
2 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x923dc270) étoiles sur 5 I Don't Know Much about Rose Gardens... 9 septembre 2008
Par Gio - Publié sur
... but I know what I like. I DO know somewhat more than my share about 17th Century music performance, and perhaps that knowledge keeps me from appreciating this recording with innocent ears. The musicianship is excellent, the overall sound is suave and decorous, the scholarship is plausible, and yet I don't like the final product much. That's a disappointment, as it is when I put money and ear-time into any CD.

It's the bottom line of interpretation, of style, that I find dissatisfying. It's important to realize that what the Accademia Bizantina is playing is not strictly the work of Alessandro Scarlatti. Rather, all the harpsichord concerti are elaborate reconstructions by Ottavio Dantone, from a single very sketchy manuscript. Dantone is quite forthright about his reconstruction, and describes his efforts in interesting detail in the note booklet. He also performs on a modern harpsichord built "after" a 17th C Venetian model. What puzzles and disappoints my ears is the oddly piano-like timbre of Dantone's harpsichord, in the very oddly "modern orchestra" timbre of the Accademia. Their sound is too thick, too orotund, for Scarlatti. There seem to be too many strings on every line, though in fact the orchestra is of a plausible size. There's no lift to the ornaments, no wit in the orchestration. This is Scarlatti half way to sounding like Sibelius.
10 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x92346564) étoiles sur 5 Brilliant performances of average compositions 13 août 2004
Par Gregg L. Newby - Publié sur
The problem with Allesandro Scarlatti is that he just wasn't as talented a composer as some of his contemporaries were. Sure, he imbibed the baroque forms, but his compositions seemed more like regurgitated cliches than anything striking or original. Try as he might, Scarlatti simply couldn't live up to the measure of a Handel, Bach or Vivaldi. In fact, it wouldn't be amiss to describe his work with that dreaded b-word that can be the death of any artist: Boring. Still, he was highly respected in his own time, even enjoyed royal patronage, and his compositions represent important historical documents. So we really can't fault anyone for wanting to work with his music.

Thank heavens, though, that such a talented ensemble as the Accademia Bizantina undertook this effort. The Accademia is a highly skilled collective, and they succeed where others might have failed. They bring an emotional intensity to these works, giving them a sense of both gravitas and drama. At the same time, the Bizantina is careful to avoid finessing the music with too many frivolous flourishes, a temptation to which many baroque performers succumb. The acoustics are masterful, too. You can hear each member of the string section, for instance, instead of just a mish-mash of violins. You can also feel the bows travelling across the bridges of these instruments, and the warming effect is physically palpable. I also feel compelled to say something kind about the unsung harpsichord player who turns in a stellar performance here. Somewhere along the way he cranks out a blistering solo or two, as though he were a 17th Century version of Eddie Van Halen. I'm tempted to rip the corset off of a Parisian maiden, but such a gesture would be improper. All in all, a collection of super-stellar renditions, even if the music is only so-so.
2 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x923dc2e8) étoiles sur 5 Great Alessandro Scarlatti music 1 novembre 2008
Par Johann Del Campo - Publié sur
In my opinion Alessandro Scarlatti is one of the greatest baroque composers. His instrumental music is less boring and much more creative than Vivaldi's and Telemann's. I put him at the same level as Händel and Buxtehude. The only composer that really surpasses him is, of course, BACH.
These performances are extraordinary in that they show how brilliant he was. Although some of the sources for the music on this album are spurious and incomplete, this music is full of surprises and different emotions. It is sparkingly rendered by the Accademia Bizantina.
2 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x923dc678) étoiles sur 5 The great master of everyone 12 octobre 2005
Par Sergius - Publié sur

Don't tell such a superfluous evaluation on the art & work of ALESSANDRO SCARLATTI, the great master of everyone who came after him... Every scholar will agree with me to support this, and if Haendel for example, is going to be compared with Scarlatti, it's possible because the first learnt the very melodic language and opera writing from his italian colleagues... And we all know Scarlatti was the highest reference at that moment.

I know his language is difficult, and it isn't because of contrapuntal thinking or armonic searchings (as in Haendel or Bach) but of DRAMATIC SENSE. Dantone's work is amazing because he rescues the heart of the "affetti" hidden in such an enigmatic writing as Scarlatti's.

I believe we need to undestand the historical music development as a "giardino di rose" where each rose is unique because of its different beauty, and not because its resemblance with another one.
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