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All Brahms Recordings [Import anglais] Import

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Page Artiste Evgeny Kissin

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  • CD (5 août 2003)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B00009PAC2
  • Autres versions : CD
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Amazon.com: 4.6 étoiles sur 5 7 commentaires
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A great Brahms recital and a must listen for Kissin's admirers 27 septembre 2007
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD Achat vérifié
In his lead review David Bryson says in one sentence what I feel about Kissin's performance of the Brahms F minor sonata: "Everything was not only right, but outstandingly right." Brahms produced three hugely ambitious piano sonatas when he was 19 and 20, trooping to Schumann's doorstep with them packed in his knapsack along with a letter of introduction from the famous violinist Joseph Joachim. Both Schumanns, Clara and Robert, were overjoyed with their handsome young visitor and stunned by his abilities as composer and piano virtuoso. Kissin plays the third and most popular of these sonatas (a prestigious form for the piano that essentially died out with him - the informative album notes say some interesting things about that).

The score traverses five movements in 40 min. (Kissin's timing is just under 38 min.), packing in virtually everything Brahms knew musically, from Bach to Beethoven, comprising techniques and styles he wanted to make his own. Although considered a melding of the effusive, unbounded emotions of Romanticism and the strict architecture of Classicism, for me the sonata's rhapsodic element dominates throughout, as it does for Kissin. He sweeps us along in a perfect blend of bravura technique, lyricism, and perfectly judged transitions as Brahms's landscape keeps expanding to a scope realized only by Schumann, Liszt, and Beethoven. At this point in Kissin's career - he turned thirty in 2001 when the album was made - he was still playing in a personal style that I think has changed (Bryson's headline about the best being yet to come was overly optimistic).

Therefore this Brahms recital stands out as one of Kissin's nearly perfect CDs. The sonata takes up the bulk of the 56 min. timing, with the fillers chose to illustrate where the composer's piano writing was destined to go: into short reflective pieces that first appeared in the Op. 76 set, and the Hungarian Dances, which represent the rad-and-butter popular works written for amateur musicians. Originally written for four hands, Brahms reduced the scoring to two hands by giving the left hand all the notes that one player had and the right hand all the notes assigned to the other player.

The result is a virtuoso challenge that the composer delighted in playing himself, and which Kissin uses to let out all the stops, romping through five of the dances with rowdy showmanship. They are presented in the order of no. 1, 3, 2, 7, and 6, omitting the one everybody knows, no. 5. As far as recorded sound goes, despite the 24/96 format, I found the piano dull and a bit clangy, recorded a bit far back. The recording level is 10 db lower than the usual for classical recordings. But the exhilaration of hearing a great pianist at his inspired best overcomes all objections - this CD is a must listen for anyone who admires Kissin.
8 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Messiah Plays Brahms 14 février 2004
Par Un client - Publié sur Amazon.com
Format: CD Achat vérifié
Kissin has done it again, surprising his listeners in the most unusual places (I'm thinking of the tender passages of the Paganini Variations and the funeral march of the Chopin Sonata on earlier recordings). I, too, expected to be wowed by the Sonata on this disc, and then to enjoy the Hungarian Dances as pleasant little additions. Think again, folks. The sonata is, of course, brilliant and wonderful and more interesting than I've heard it from anyone else, but in the passion and sheer MUSIC that he finds in those old over-worked Hungarian dances, he truly brings the dead back to life. Listen to this while you're alone, because if you can recognize and respond to great piano playing, you will be jumping up and down and howling and weeping with joy.
5.0 étoiles sur 5 A fine and deeply committed reading of the sonata and contrasted works 19 août 2013
Par I. Giles - Publié sur Amazon.com
Format: CD
This well recorded disc, 24 bits, from 2001 presents an interestingly contrasted group of Brahms' piano music from his youth and from his more mature days. Interestingly the sonata from his youth could easily be taken for a work of considerable maturity while the remaining pieces may have been composed previously.

Rubinstein once remarked that to play Liszt one needed musicianship while to play Brahms one needed technique. Perhaps what he had in mind was that Liszt's music requires musicianship in addition to technique to overcome some of the emptier, more showmanship elements, whereas Brahms' music has musicianship already built in to the extent that it would survive even a performance offering little more than technique.

There is some relevance to his remark when considering the genesis and following results of this sonata. Brahms presented himself at the Schumann's home at the age of 20 with the first two sonatas complete and with this third sonata partly completed. Within the month he had completed this third sonata and Schumann, following on from hearing these three sonatas, was inspired to remark that Brahms was 'the chosen one ... at whose cradle graces and heroes had held watch.' Sonata writing had stalled following those of Beethoven and Schubert and it seems that Schumann saw in Brahms the way forward. In the event, Brahms wrote no further piano sonatas and this sonata proved to be a dead end.

The sonata is a ferociously difficult work to perform and does indeed require a prodigious technique. Kissin has all the skills required and delivers a powerful and multi-faceted performance. He takes tempi at speeds that allow for tight control of all the rhythmical and notational intricacies and. as a result, far more is heard and makes its effect than in faster versions. This is a strongly committed performance which responds to all five movements with conviction both individually and as a whole. One can easily understand how difficult it would have been to develop this style of composition further and why it wasn't.

The two chosen Opus 76 pieces are from much later in Brahms' career and are subtle in their effect and contain elements of repose only hinted at in the sonata. These are sensitively played by Kissin who then completes the recital with 5 of the Hungarian Dances in Brahms' own arrangement for two hands.

These are favourite encore pieces for Kissin but otherwise rare, the 4 handed versions, also by Brahms, being far more often played. The two handed version contains all the notes otherwise played by both pianists in the four handed version which may help to explain their relative rarity. It is easy to see connections between these dances as played here with the Hungarian Rhapsodies of Liszt.

This is an interestingly varied and impressive disc and makes for a good recital disc. I would suggest that it deserves to be seriously considered for purchase by anyone for whom the program is of interest.
31 internautes sur 31 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 PERHAPS THE BEST IS STILL TO COME 8 décembre 2003
Par DAVID BRYSON - Publié sur Amazon.com
Format: CD
The sound at the start is simply terrific. At first I couldn't remember such an impact from the opening bars of any piano piece since I heard Serkin in the Hammerklavier more than 30 years ago, and that was a live performance. The mood stayed with me through the rest of the sonata. Everything was not only right, but outstandingly right. The alternations of blazing declamation and hushed awe and unease in the first movement were balanced perfectly. The flowing lyricism of the second movement built up with just the right intensity to its climax and relapsed again as it ideally should. The swagger in the third movement was effortless and in the right sense arrogant. The Ruckblick was pensive, anxious and resigned. The finale's wide tonal contrasts were handled with an effortless command, and from first to last the monstrous technical demands of the work were met with an Olympian near-disdain.
The A minor intermezzo from the op 76 set was next, and I was struck again by the natural instinct this player has for this composer, as I had been when I heard him in the op 116 set on a disc he had done 10 years or more previously. I remembered comparing his accounts with those of Katchen in his great omnibus Brahms set, and I remembered on balance rating Kissin better. This prompted me to remind myself how Katchen handled the sonata, and that was when I got something of a shock. The recorded sound Katchen was given was good in its time, but not even distantly comparable to Kissin's with its tremendous resonant low registers. All the same, it was quite good enough for me to realise that Katchen's despatch of the opening bars, and indeed of the whole first movement, was every bit as virtuosic and commanding as Kissin's. I found the same in the scherzo, and I found the same again in the finale. What was more, I found a marked similarity in the interpretations, and where they differed, notably at the end of the first movement where Kissin delivers a `triumphant conclusion' (Beethoven-style presumably) as specified in the liner note and Katchen gives me something I found more distinctively Brahmsian, I found myself tending to prefer Katchen. This impression was reinforced in the two slow sections. Good as Kissin is in the main andante, there is more inwardness from Katchen. Moreover to my surprise I even found Katchen more effective in some minor technical aspects, notably better definition in the trills and a more even delivery of the drumming repeated left-hand phrases in the Ruckblick.
The famous B minor capriccio is excellent, the speed fastish like Backhaus although predictably more flexible, not slowish as in Rubinstein's very striking reading. It leads in the 5 Hungarian dances, apparently favourite encores of Kissin's. These are less to my taste. Kissin changes his style of playing here, and I find him a bit too excitable. The changes of speed are right up to a point, but I have actually heard a Hungarian dance played (and introduced) by Brahms himself and it was a bit more sober than this approach. Kissin departs, I can only suppose deliberately, from his previous rhythmic finesse and pecks at the rhythm in a way I can't really get on with, particularly in the second and fourth of his selection - I heard Rattle give the former as an encore in the orchestrated version and it was another experience entirely.
This has to be a 5-star issue because the performance of the sonata is simply prodigious. The last recital disc I bought by Kissin was when he was 20 years old or less, and then I hoped and expected to find in him the special kind of individuality that I find in, say, Horowitz, Serkin, Michelangeli, Richter, Cziffra, Gould and Ogdon. Maybe I yet shall.
15 internautes sur 15 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Fulfilling. 6 août 2004
Par Stephen G Bowden - Publié sur Amazon.com
Format: CD
Evgeny Kissin is quite possibly the best child to hit the world's stage, receiving international acclaim for his performance of the chopin concertos at age 12, since Josef Hoffman at the turn of the century. I know I am with all when I say this, he has the greatest potential of a pianist alive today. Before, I have listened to a great deal of Kissin, the Rachmaninoff 2nd and 3rd concertos, Chopin ballades, scherzi, several nocturnes and other assorted pieces. All have been close, very close, to incredible. It's just that he didn't really figure out the pieces, except the Rach 2 which was as good as it gets. But on this CD. It's everything. The Sonata, first and foremost, is an absolute delight. It's practically flawless. The Opus 79 pieces are "dessert" pieces, and very well played. But the Hungarian Dances! They absolutely capture the essence of a Hungarian Dance. My teacher stresses the feeling of "ballando", you should be able to make the listener want to get up and move around and dance while you are playing. And, quite frankly, that's exactly what I did while listening to each of these. They are fantastic, purely fantastic.

Thank you, Mr. Kissin. If this CD doesn't get where you should, it will sure as heck get you about 3/4 of the way. An encore, please. I wouldn't mind hearing Brahms' concertos . . . .
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