EUR 20,90
  • Tous les prix incluent la TVA.
Livraison gratuite dès EUR 25 d'achats en France métropolitaine. Détails
En stock.
Expédié et vendu par Amazon. Emballage cadeau disponible.
Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 9,39

Apparebit Repentina Dies

Découvrez la promotion tous les vinyles à -10%* avec le code VINYLE10 (offre reservée aux produits vendus et expédiés par Amazon.fr)
4.0 étoiles sur 5 2 commentaires client

Note: Cet article est éligible à la livraison en points de collecte. Détails
Récupérer votre colis où vous voulez quand vous voulez.
  • Choisissez parmi 17 000 points de collecte en France
  • Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
Comment commander vers un point de collecte ?
  1. Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
  2. Sélectionnez cette adresse lors de votre commande
Plus d’informations
16 neufs à partir de EUR 9,27 1 d'occasion à partir de EUR 14,00
inclut GRATUITEMENT la version MP3 de cet album.
Uniquement pour les albums vendus par Amazon EU Sarl, hors cadeaux. Voir Conditions pour plus d'informations, notamment sur les coûts de la version MP3 en cas d'annulation de commande.
Passez cette commande pour sauvegarder la version numérique de cet album dans votre bibliothèque Amazon Music. Vendu par Amazon EU S.à r.l.
Promotion: CD à moins de 7.99€
Découvrez notre sélection de bestsellers CD à moins de 7.99€: M Pokora, Stromae, Nirvana, Sting etc. Cliquez ici

Offres spéciales et liens associés


Détails sur le produit

  • Interprète: Swr Stuttgart Vocal Ensemble - Marcus Creed
  • Compositeur: Paul Hindemith
  • CD (10 juillet 2013)
  • Nombre de disques: 1
  • Label: Hänssler Classic
  • ASIN : B00B5UBDF0
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 188.386 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

  • Ecouter les extraits - (Extrait)
1
30
6:01
Ecouter Acheter : EUR 1,29
 
2
30
5:03
Ecouter Acheter : EUR 1,29
 
3
30
6:03
Ecouter Acheter : EUR 1,29
 
4
30
2:54
Ecouter Acheter : EUR 1,29
 
5
30
1:17
Ecouter Acheter : EUR 1,29
 
6
30
2:04
Ecouter Acheter : EUR 1,29
 
7
30
0:24
Ecouter Acheter : EUR 1,29
 
8
30
1:36
Ecouter Acheter : EUR 1,29
 
9
30
1:19
Ecouter Acheter : EUR 1,29
 
10
30
1:10
Ecouter Acheter : EUR 1,29
 
11
30
1:21
Ecouter Acheter : EUR 1,29
 
12
30
2:43
Ecouter Acheter : EUR 1,29
 
13
30
1:04
Ecouter Acheter : EUR 1,29
 
14
30
0:47
Ecouter Acheter : EUR 1,29
 
15
30
1:46
Ecouter Acheter : EUR 1,29
 
16
30
1:00
Ecouter Acheter : EUR 1,29
 
17
30
4:35
Ecouter Acheter : EUR 1,29
 
18
30
5:46
Ecouter Acheter : EUR 1,29
 
19
30
7:36
Ecouter Acheter : EUR 1,29
 
20
30
3:05
Ecouter Acheter : EUR 1,29
 
21
30
5:23
Ecouter Acheter : EUR 1,29
 
22
30
4:18
Ecouter Acheter : EUR 1,29
 
Digital Booklet: Hindemith: Messe - Apparebit repentina dies
Digital Booklet: Hindemith: Messe - Apparebit repentina dies
Album uniquement

Descriptions du produit

Description du produit

Paul Hindemiths Todestag jährt sich im Dezember 2013 zum 50. Mal. Doch nicht allein das ist ein Anlass für das SWR Vokalensemble Stuttgart, sich Hindemiths Chorwerken zuzuwenden. Seine entsprechenden Werke beeindrucken durch vielfältige Ausdrucks- und Stimmungsgehalte, die auf unterschiedlichen Kompositionstechniken und musikalischen Formen gründen. Bereits 1927, in seinem ersten Jahr als Kompositions-Professor an der Berliner Musikhochschule, formulierte Hindemith seine Gedanken zum idealen Chorsatz in einem Vortrag. Wichtig war ihm die Balance zwischen der Eigenbewegung jeder einzelnen Stimme und dem resultierenden Gesamtklang der Einzelstimmen. In den hier aufgenommenen Werken verwirklicht das Vokalensemble Stuttgart diese Vorstellung auf s Schönste. Mit Chorwerken Hindemiths setzt die Stuttgarter Elite-Truppe unter Marcus Creed ihre mehrfach ausgezeichnete Erfolgsserie mit Einspielungen von Chorwerken u.a. von Kurtág, Carter, Schnittke oder Villa-Lobos fort.

Critique

Critics Choice 2013 --Gramophone, Dec'13

Commentaires en ligne

4.0 étoiles sur 5
5 étoiles
0
4 étoiles
2
3 étoiles
0
2 étoiles
0
1 étoile
0
Voir les deux commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Format: CD Achat vérifié
Intéressante découverte d'oeuvres chorales d'Hindemith, qui ne mérite pas sa réputation de compositeur hermétique, au travers d'un tres bel enregistrement.
Remarque sur ce commentaire Une personne a trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD
Paul Hindemith est né en 1895 à Hanau, Francfort-sur-le-Main (Allemagne). Il fit ses études au Conservatoire de Francfort, où il eut en particulier comme professeurs Arnold Mendelssohn (1855-1933) et Bernhard Sekles (1872-1934), puis joua du violon à l'opéra de Francfort de 1915 à 1923. De 1921 à 1929, il fut l'altiste du Quatuor Amar, où il milita activement en faveur de la musique d'Avant-garde. Dès 1927, il fut nommé professeur de composition au conservatoire de Berlin, mais émigra en Suisse en 1938, en raison de son opposition au nazisme et parce que sa femme était juive. Il partit ensuite aux États-Unis, où il enseigna la composition de 1940 à 1953 à l'université Yale. Il obtint la nationalité américaine en 1948, mais rentra quelques années plus tard en Europe et s'établit en Suisse, où il fut titulaire de la chaire de musicologie à université de Zurich de 1951 à 1953. Il a en particulier eu comme élèves Walter Leigh (1905-1942), Willson Osborne (1906-1979), Arnold Cooke (1906-2005), Harald Genzmer (1909-2007), Bernhard Heiden (1910-2000), Oskar Sala (1910-2002), Josef Tal (1910-2008), Alvin Etler (1913-1973), Violet Archer (1913-2000), Norman Dello Joio (1913-2008), Alan Shulman (915-2002), Ulysses Kay (1917-1995), Harold Shapero (né en 1920), Irwin Bazelon (1922-1995), Lukas Foss (1922-2009), Mel Powell (1923-1998), Ruth Schönthal (1924-2006), Charles Lemon Bestor (né en 1924), Hans Otte (1926-2007), Emma Lou Diemer (née en 1927), Mitch Leigh (né en 1928), Andrew Hill (1931-2007), ou Easley Blackwood (né en 1933).Lire la suite ›
6 commentaires 2 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

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

Amazon.com: 5.0 étoiles sur 5 3 commentaires
6 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A must-have album 29 mars 2013
Par Martin Selbrede - Publié sur Amazon.com
Format: CD Achat vérifié
First things first.

Hindemith's powerful "Apparebit repentina dies" from 1947 has been unfairly lost in obscurity. The last major recording of it was the vinyl version on Mace Records with choral pioneer Clytus Gottwald conducting his Stuttgart Schola Cantorum (as I examine my LP I see no date of issue anywhere). Gottwald coupled the Apparebit with Hindemith's final work, his a capella Mass from 1963. (Gottwald's handiwork with other composers is already familiar to anyone who's listened to the choral sections in "2001: A Space Odyssey.") Gottwald retired in 1988, and the Stuttgart Schola Cantorum closed up shop in 1990. The Hindemith recordings had been out of print well before that.

A digital recording of Hindemith's 1963 Mass appeared in 1996, with Der Junge Chor Aachen conducted by Fritz ter Wey on the CPO label (the performances were recorded 3 years earlier). This brought at least one of these lost works back to life in a strong version. Recording for Wergo, the Rundfunkchor Berlin has issued versions of the minor choral works featured on the CD we're reviewing here (the Six Chansons and the Lieder Nach Alten Texten Op. 33, conducted by Stefan Parkman and Robin Gritton respectively).

But still: no Apparebit repentina dies to be found...

... Until March 26, 2013, when Hanssler Classic released this CD. And the wait was worth it. The state-of-the-art engineering, the sonics, the gorgeous performances, all cause these works to shine -- especially the Apparebit, with its beautiful brass punctuations and underscores intertwined with the choir so effectively and movingly.

And small wonder that conductor Marcus Creed does so well with these works with the SWR Vokalensemble Stuttgart: this group is regarded as the heir-apparent to Gottwald's Stuttgart choral force. If any choral group SHOULD have resurrected the Apparebit, this was the logical one to do so (aided by ten members of the brass section of the Radio-Sinfonieorchester Stuttgart des SWR).

For all the works recorded here (Apparebit, the two song cycles, and the Mass), this is now the definitive version (pace, Rundfunkchor Berlin!). There's not a single mediocre performance on the album: all works are delivered with conviction, and it is hard to imagine them sounding any better than they do under Creed's baton (or hands, if he shuns batons as most choral conductors do).

Yes, I know: Ireland's Chetham School of Music issued a 2007 recording of the Apparebit, which popped up on the US radar some time last year. That recording should not be the go-to version for a major piece missing from the recorded repertoire (with all due respect to the students at Chetham). Moreover, that recording was driven by wind ensemble considerations, not choral considerations (it was part of the World Association for Symphonic Bands and Ensembles' annual event). Setting aside such performance considerations, the sonics and engineering don't compare to this new Hannsler release. Hannsler's couplings make more sense for a serious release as well (namely, other Hindemith masterpieces; compare to the Chetham's couplings with composers Phibbs and Putz -- and no, I'm not making up those names).

Highly recommended, 10 out of 10 stars (on a ten-star scale) on all counts. Creed's forces navigate the difficulties of Hindemith's Mass effortlessly, to stunning effect, and bring the long-forgotten Apparebit back to the prominence it deserves.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Hindemith fans rejoice! 25 février 2014
Par Terrance Aldon Shaw - Publié sur Amazon.com
Format: CD Achat vérifié
This well-produced 2013 release from Hanssler Classics features one of Hindemith's most intriguing and rarely heard choral compositions, "Apparebit repentina dies" for mixed chorus and ten brass instruments (1947), a piece not found on record for nearly forty years. In addition, conductor Marcus Creed leads well-polished readings of Hindemith's final composition, the "Mass" (1963) and the rarely recorded "Six Songs on Old Texts" Op. 33 (1923-1925), alongside one of the composer's most familiar and popular works, the "Six Chansons after Rilke" (1939). Part of Creed's superb on-going series of discs dedicated to the choral music of 20th century masters, now including albums devoted to Charles Ives, Eliot Carter, Alfred Schnitke, and Heitor Villa Lobos, the programming on this present album is an exciting and most-welcome gift to long-time collectors and students alike. The performances are solidly professional. The recorded sound is first rate. The timing of the release, coming on the 50th anniversary of the composer's death, couldn't be more apt.

I first became familiar with the music of Hindemith as a young composition student back in the 1970s. As a trained musician I have always admired his work for its impeccable craftsmanship and formal elegance, for the seemingly inevitable logic of its construction, and for its pure, cerebral beauty. Hindemith's compositions were meticulously worked out in his head before being written down; each voice or instrumental part notated from beginning to end, one at a time. This sort of horizontal conceptualization is similar to what composers did in the Renaissance. In more recent centuries, highly prolific composers such as J.S. Bach, Mozart, and Darius Milhaud have all employed a similar working method. By the early 1930s, in the full flower of creative maturity, Hindemith's craft had settled into a comfortable, quasi-formulaic groove, his technical procedures so thoroughly internalized that he could, as on several occasions, compose pieces under imminent deadline within hours, or even within minutes, whether for radio broadcast ("Trauermusik" written on the sudden death of George V in 1936), or recording ("Scherzo for Viola and Cello" (1934) composed on the spot in a studio during the recording session for the String Trio #2, when it was discovered that there would be an odd side left unused in the Electrola 78-rpm album).

To a casual listener, this constructivist approach to composition can easily be perceived as overly-academic, dry, dispassionate, or soullessly detached, a music more rooted in technique than enlivened by inspiration, or, perhaps, a music that is more science than art. Indeed, as an avid listener-for-pleasure (now retired from composing), I often find myself seeking or wishing for a pathos in Hindemith that isn't necessarily there. Yet I still adore this music for its democratic accessibility as well as its occasional flash of sly referential humor such as introducing Big Bill Broonzy's "This Train" into the finale of "Pittsburg Symphony" (1958), using the military march by Beethoven as a countermelody in the scherzo of the "Sinfonia Serena" (1946), or the sardonic quoting of Mendelssohn's "Wedding March" in the "Concerto for Winds and Harp" (1949). I delight in the luminous grandeur of "Nobilissima Visione" (1938), the "Symphony: Mathis der Maler" (1930), or the slow middle movement of the Cello Concerto (1940), basis for William Walton's glorious "Variations on a Theme of Hindemith" (1963); the sunny lyricism of the "Der Schwanendreher" Concerto (1935), and the somber dignity of "Trauermusik".

Where his orchestral and chamber compositions are concerned, Hindemith has been served very well on record over the decades. The German label CPO issued a 15-disc set (3 slip-cased volumes (1987-1992)) of the complete orchestral music to coincide with the centennial of the composer's birth in 1991, and, as of this writing, the catalog lists no fewer than 43 recordings of the "Symphony: Mathis der Maler". Another German label, Dabringhaus und Grimm (MDG) issued a 10-disc series of smaller-scale works, including the complete sonatas in 7 volumes, and a sparkling album of vocal chamber music, all performed by the marvelous Ensemble Villa Musica, in the early to mid-1990s. CPO and Naxos have released new recordings of the complete string quartets and other chamber works, and, it seems, new recordings and highly desirable re-issues of older ones show up almost every month.

Yet, with the exception of a few pieces, Hindemith's choral oeuvre has not faired quite so well on record, though, technically and stylistically, the music is no less accessible than the popular orchestral works. (A competent high-school choir can tackle the Rilke chansons with good results.) In fact, Hindemith's choral style feels quite conservative when compared to many of his contemporaries in the "professional avant-garde". He eschews the dense textures and towering chord clusters of the serialists (Schoenberg, Webern, Nono) as well as the ironically acerbic anti-settings of Stravinsky (in which the composer intentionally ignores the natural stresses in a text). By contrast, Hindemith strikes us today as positively tame, and, more often than not, refreshingly mellifluous, his neo-classicism closer to that of Brahms than Stravinsky. Compare, for instance, Hindemith's 1963 setting of the Mass (intended for practical liturgical use) with Stravinsky's "objective" 1947 concert setting for mixed choir and winds. It would be difficult to imagine a wider divide in attitude and style.

As far as I know, there has never been a truly comprehensive survey of Hindemith's choral music either on LP or CD. The Rilke chansons have shown up in choral anthologies as far back as the 1960s (I recall a rather fuzzy-sounding Nonesuch LP); "Un cygnet" (The Swan) and the feather-light 30-second "Puisque tout passé" (Since all is passing) have made encore-like bows in a few collections, mostly on fairly obscure labels. But what of the other works? To find many of them, collectors have had to settle for a drib here and a drab there, along with a fair amount of redundancy. The Mass has been issued on CD several times, including the 1996 reading by Fritz ter Wey and der Junge Chor Aachen, coupled with the "12 Madrigals" (1958) (CPO 999 345 2) and Uwe Gronostay with the Danish National Radio Choir (Chandos CHAN 9413 (1995)) coupled with six of the Madrigals. But until this Hanssler Classics release came along, probably the best single-disc survey of Hindemith's choral output came from Gronostay with the Netherlands Chamber Choir (Globe 5125) (1994). In addition to the Rilke Chansons and the Mass, the Globe CD features several very-rarely heard pieces including some of Hindemith's Male Choruses as well as the other six Madrigals. And, in spite of their overlaps, the Hanssler and Globe CDs complement each other quite admirably. Comparing performances, I was impressed by Gronostay's greater depth of expression. Listen, for example, to the Kyrie movement of the Mass. Gronostay is a full 60 seconds faster than Creed, and yet, seems to wring far more feeling from the score. Hanssler's somewhat remote micing of the chorus aptly reflects Creed's more cerebral, emotionally detached approach to the music. (I consider both Gronostay and Creed's readings superior to ter Wey's outing on CPO.) Those who already have the Globe CD will still want to get this new disc for the "Songs on Old Texts" and, above all, for the "Apparebit repentina dies".

Premiered at Harvard University in May 1947 at a symposium on music criticism, performed by the Collegiate Chorale and members of the Boston Symphony Orchestra under Robert Shaw (who had also given the premier of Hindemith's "When Lilacs Last in the Dooryard Bloom'd" the previous year), "Apparebit repentina dies" (Now Dawns the Day of Repentance) sounds very much like the typical mature Hindemith, a tad somber in spots, a bit on the dry side, but unique among the composer's works in its instrumentation, and highly effective in exploiting the combination of choral and brass sonorities. Indeed, the power of the brass shines through at every turn, lending a measure of excitement to the music, which the chorus cannot always match. The unusual text, an early-Medieval forerunner of the "Dies Irae", dates from the Seventh century. A rough-spun abecedarium (23 couplets, each couplet beginning with a successive letter of the alphabet), it is a formal conceit very much in accord with Hindemith's structural approach to music.

"Apparebit" has a fairly scant recording history. A good performance coupled with the Mass was released on LP by the German Wergo label in 1966 (LP 60016). Performed by the Schola Cantorum of Stuttgart with the brass ensemble of the Southwest German Radio SO (Baden Baden) under Clytus Gottwald. This recording was also available on the Harmonia Mundi label in Europe, and in the US on Mace, disappearing from the catalog by the early 1980s. The Gottwald reading showed up, however briefly, on CD as part of a massive, impractically expensive box set retrospective of the Wergo label.

Since the beginning of the new century, three additional performances have appeared on CD, including this Creed/Hanssler recording. One can fairly quickly dispense consideration of the live performance at the 2007 WASBE convention in Killarney Ireland with the Chetham's School of Music Symphonic Wind Orchestra and the Chamber Choir and Consortium of Irish Choirs, directed by Martin Bussey (Mark 7218 MCD); a fairly dull performance, marred by noise from the audience and indifferent choral singing. Berlin Classics 1735-2 "Wake, Awake!" (2001) features the Big Band and Chorus of the Bamberg Symphony Orchestra under Kenny Wheeler, and was the first mainstream professional studio recording of "Apparebit repentina dies" to appear in nearly four decades; it is a truly outstanding performance, albeit part of a rather oddly eclectic program of jazz-inflected classics. The Berlin Classics album is currently out of print and commanding a pretty hefty price from the few sellers who have a copy to part with, though it has been available (and quite reasonably priced) as an MP3 download since 2008.

This latest recording fills (permanently, one would hope) a huge gap in the Hindemith discography. One could hardly ask for a more polished performance. Highly recommended to Hindemith fans, and all those truly adventuresome lovers of Twentieth century choral music.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Beautiful performances of Hindemith choral works 21 août 2013
Par Long-Time Listener - Publié sur Amazon.com
Format: CD Achat vérifié
I tend to think of the 1963 Mass as being the major work on this CD, though I haven't had time to really become familiar with the Apparebit Repentina Dies. The austerely beautiful Mass is a work I return to often.

Other excellent recordings of Hindemith's Mass have appeared in the past: Previously, my favorite was by Gronostay on Chandos (he also recorded it on the Globe label). Another great performance was on the Proprius label, with Anders Eby conducting, coupled with Poulenc and Vaughan Williams masses. Fritz der Wey, on CPO, did a first-rate job of conducting but with a choir that fell short of the highest standards. All of those performances, however, seem fairly similar in interpretation. This one on Hanssler is quite different, with tempos that are often far slower, for example, particularly in the first movement. But the performance is so beautifully managed that it becomes completely convincing, and you end up hearing the music in a new way. The same high standard of performance is maintained throughout.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Rechercher des articles similaires par rubrique


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?