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Arnold Bax : Symphonie n° 6 - Into the twilight

5.0 étoiles sur 5 2 commentaires client

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  • Arnold Bax : Symphonie n° 6 - Into the twilight
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  • Arnold Bax : Symphonie n° 3 - The Happy Forest
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Détails sur le produit

  • Orchestre: Royal Scottish National Orchestra
  • Chef d'orchestre: David Lloyd-Jones
  • Compositeur: Arnold Bax
  • CD (21 mars 2003)
  • Nombre de disques: 1
  • Label: Naxos
  • ASIN : B00008IHW3
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
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Descriptions du produit

Symphonie n° 6 - Into the Twilight - Summer Music / Royal Scottish National Orchestra, dir. David Lloyd-Jones

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Format: CD
Composée en 1935, mais commencée à la fin de l'année 1934 sur la base de ce qui devait être au départ une très ambitieuse seconde sonate pour alto, la symphonie n°6 est généralement la symphonie la plus estimée d'Arnold Bax, et la préférée du compositeur lui-même.
Je tendrais également vers ce jugement, bien que sa symphonie n°2 ait aussi toutes les armes pour trôner à la cime de l'imposant cycle symphonique que Bax a savamment créé.

Certes, cette sixième symphonie ne possède pas un mouvement central « héroïco-dramatique » tel que celui de la première symphonie, ni une densité orchestrale qui fait en partie la dimension extraordinaire de la seconde, mais elle possède une unité, une grande unité, et c'est cette unité qui, je crois, la fait se démarquer particulièrement des autres, en s'imposant comme l'aboutissement du grand cycle symphonique; ce qui ne remet pas en cause, du reste, la magnifique conclusion que constitue sa septième et dernière symphonie.

Le premier mouvement de cette symphonie n°6, aux teintes presque carnavalesques, ne plaira certes pas à tous; mais son troisième, pur tour de force de structure musicale, ne laissera probablement aucune âme nuancée indifférente.
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Remarque sur ce commentaire 5 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par NMN le discophage TOP 500 COMMENTATEURS le 9 octobre 2007
Format: CD
Avec cette avant-dernière symphonie, achevée en 1935, nous tenons certainement le chef-d'oeuvre de Bax : le I, avec ses rythmes de marche très cuivrés et percussifs, d'une écriture claire et puissante, le II tout aussi efficace surprend sur la fin avec un rythme de valse inattendu dans ce contexte, le III multiplie les ambiances avec son introduction lente (unique chez Bax), un scherzo et trio, un épilogue s'achevant dans le calme. Tout cela reste très abordable et confère un sentiment d'efficacité et de clarté du langage. Les 2 poèmes symphoniques sont aussi, comme tous les autres d'ailleurs, extrêmement beaux. Citons Bax à propos de « Into the Twilight » (1909) : « Je cherche à donner une impression musicale du calme menaçant des montagnes de l'ouest quand s'achève le crépuscule, et à exprimer l'impression éternelle et onirique qui règne sur l'Irlande à la tombée du jour. » C'est donc du purement descriptif, comme pour « Summer music » (1932) : « Ce morceau, description musicale du milieu d'une journée de juin immobile et caniculaire dans quelque région boisée du sud de l'Angleterre, est lyrique du début jusqu'à la fin. Les cordes y sont surtout chargées d'apporter un murmure d'accompagnement aux rêveries pastorales des divers instruments à vent, et on ne rencontre pas de grand apogée avant d'atteindre la conclusion. »
La version donnée par David Lloyd-Jones est très bonne, comme pour l'ensemble du cycle. Prise de son également à la hauteur. Livret en français.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9b9853cc) étoiles sur 5 13 commentaires
29 internautes sur 29 ont trouvé ce commentaire utile 
HASH(0x9b94981c) étoiles sur 5 Superb on all counts 26 mai 2003
Par David A. Kemp - Publié sur Amazon.com
Format: CD
This is an absolutely magnificent CD. It earns highest marks in all areas: music, performance, sound, and value. What more could you ask?
Music: Many good judges consider this the best of Bax's seven symphonies. It's not hard to see why. The music is immediately attractive and accessible, colorful and atmospheric, richly and imaginatively orchestrated, full of interest. The two tone poems, while perhaps not on the same level of inspiration as the symphony, are similarly atmospheric, attractive, and accessible.
Performance: This is the sixth and next-to-last release in the Naxos cycle of Bax symphonies and tone poems: only No. 7 and "Tintagel" await release. It is a most distinguished series, throughout which the Royal Scottish National Orchestra and David Lloyd-Jones have provided sensitive, idiomatic, beautifully played, altogether persuasive performances that have made many converts to Bax. It is apparent that each recording has been painstakingly, lovingly prepared by an ardent and expert Baxian. The series has received much critical acclaim, and the acclaim has been fully deserved.
Sound: The entire series has featured excellent sound, but this latest release (recorded in Glasgow Royal Concert Hall in August 2002) is to my ears the best-sounding one yet--so good, in fact, that the sound is in the top demonstration class, leaving nothing to be desired. It has marvelous transparency and openness, full frequency range (deep bass) and wide dynamic range, and every detail of the colorful orchestration is clearly heard, with never a hint of hardness, harshness, or congestion. Truly an audiophile's delight. Producer and engineer Tim Handley can be proud of his achievement here: this is modern digital orchestral recording at its finest.
Value: This would be a splendid CD at full price. At the Naxos budget price, it's a steal. If you're interested in sampling the Naxos Bax cycle, or simply in trying one of the best recent Naxos releases, this is the perfect place to begin. I urge you not to miss this one.
23 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x9b935b28) étoiles sur 5 "A World of Peace and Beauty" 1 mai 2003
Par Thomas F. Bertonneau - Publié sur Amazon.com
Format: CD
May I begin with a confession? I have been a "Baxophile" since my late teens, when I first heard the composer's magnificent tone poem "Tintagel" (1917) on an Angel LP featuring Sir John Barbirolli and the Hallé Orchestra in a program mainly of Delius but with one item each by John Ireland and Sir Arnold Bax (1883 - 1953). This would have been around 1972. The evocation of seashore and sky, the magical atmosphere of the Cornish sagas, the big tune - all of this enthralled me immediately and I began swiftly to seek out other music by this then under-represented figure. It so happened that in those days the redoubtable Lyrita label, dedicated to British music, had inaugurated serial release of LPs of the Bax symphonies (seven in all), and an early item in their (ultimately incomplete) cycle was the Sixth Symphony (1934), performed by the London Symphony Orchestra led by Norman del Mar. The availability of the Sixth was fortuitous, for this score is definitely the pinnacle of Bax's symphonic sequence, each number of which amounts to a formidable achievement. Indeed, more than one Bax scholar agrees that the Sixth is a gem among gems, the score where Bax most perfectly matches his emotional intensity, thematic profusion, and sense of form. Like "Tintagel" and so much of his work, the Sixth Symphony reflects Bax's relation to remote and primitive parts of the British Isles, especially to the West Coast of Scotland where, at Morar, most of the symphony was written. Bax's Sixth appeared on the scene with two other important British symphonies: Ralph Vaughan Williams' Fourth and William Walton's First; Bax's Sixth shares with these two a mood of anger and apprehension, but of the three it is arguably the starkest and most pessimistic in its rugged beauty. In his lifetime, Bax heard the Sixth fewer times than he heard any of his other symphonies and regretted the paucity of performances. To appear on a commercial recording (that old Lyrita LP), the Sixth waited until thirty-five years after its premiere. Again in the early 1980s Bryden Thomson recorded it as part of his Bax survey for Chandos, and more recently Douglas Bostock released a traversal on Classico. Thomson and Bostock give good performances although in comparing them in memory with del Mar, it is del Mar who strikes me as having grasped the symphony best. The new recording by David Lloyd-Jones and the Royal Scottish National Orchestra on Naxos, on the other hand, finally offers real competition to the long unavailable del Mar. The First Movement (Moderato - Allegro Con Fuoco) of Bax's Sixth opens over throbbing triplets - an ostinato - in the bass; two groups of anguished themes unfold over this pattern. Halfway through the movement, Bax diminishes the note-values of the ostinato, giving the impression that the music has speeded up. The final bar of the First Movement needs to sound like a catastrophe. Annotator Graham Parlett (a redoubtable Bax-scholar who has orchestrated some of Bax's abandoned sketches) speaks metaphorically of the slamming of a door. Del Mar succeeded in conveying the cataclysm; so does Lloyd-Jones. The Middle Movement (Lento Molto Espressivo) is another of Bax's orchestral nocturnes, reminiscent of, although not so relaxed as, the central panel of the Third Symphony. The woodwind solos are especially ravishing. The Naxos engineers bring out an exceptional wealth of instrumental detail. The Third Movement (Lento - Allegro Vivace - Andante Semplice - Lento) incorporates a Scherzo and Trio and concludes in a patented Baxian Epilogue. There is a "Liturgical Theme," first given out quietly by the solo clarinet, which dominates the sequence thematically. The articulations are complicated, with many changes of tempo, but Lloyd-Jones manages them seamlessly. Once again, the Naxos engineers find an extraordinary wealth of colorful detail. Peter Pirie once wrote of this work that, in it, "the great conflict that had raged in Bax's symphonies from the first was finally resolved." Pirie described the Epilogue in particular as "a world of peace and beauty, but hardly this world." The program includes an early tone poem, "Into the Twilight" (1909), and a mid-career orchestral idyll, "Summer Music" (1921/32), the latter a kind of Baxian homage to Frederick Delius. The Lloyd-Jones cycle of Bax symphonies has leaped from strength to strength. Only the Seventh remains to be released. (It has already been recorded.) I strongly recommend this disc to Baxians and to those not familiar with the composer but made curious by the revival of his reputation.
13 internautes sur 13 ont trouvé ce commentaire utile 
Par Lance B. Sjogren - Publié sur Amazon.com
Format: CD Achat vérifié
After not having listened to classical music for a couple of decades, I rekindled an interest when I began listening to our local classical FM stations while working out at the gym.
One station played a piece a couple of months ago from Handley's Bax symphony cycle, and I thought "this sounds like a nice piece of modern-era classical music" and I bit the bullet and bought the whole Handley set, and was immensely pleased with all of Bax's symphonies.
Since then I heard on the radio Bax's "Winter Legends", and thought "this sure sounds like Bax". I figured this was like my obsessive binge of listening to Mahler, in which every romantic-era piece I heard on the radio I figured was Mahler. But, the "Winter Tales" turned out indeed to be Bax. So, one can say, he certainly has a distinctive and identifiable style.
I also obtained the Lloyd Jones renditions of Bax's symphonies. Upon listening to his rendition of the 6th, my feeling is, this is one of the best classical recordings I have ever heard. It is hard to compare versions of a piece of music objectively; differences in one's own mood for example may skew one's perceptions. But what I do feel I can say with confidence is that this is at least equal to if not superior to every other recorded work of a Bax composition I have heard.
Regarding Bax per se. What intrigues me particularly about his music is that it seems to me he manages to deeply integrate modern tonal concepts into his music, while simultaneously maintaining a strong bond with classical music as it had evolved up to his day. When you combine that with the fact that he wrote a large body of symphonic work, I would be tempted to audaciously propose that he seems to me to be the composer most at the center of extending the classical line of orchestral music through the decades during which he composed. My exposure to classical music is admittedly limited, but at this point I would have to say that I consider Bax to be the preeminent composer of the modern era.
This review may be a bit premature since I haven't heard the other 5 Lloyd Jones recordings yet. I particularly look forward to the 7th. In my view the "theme and variations" movement of Bax's 7th is one of the most beautiful pieces of music I have ever heard.
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9b927d80) étoiles sur 5 3.5 stars -- a kinship with matters unlike Bax for me 23 février 2008
Par Larry VanDeSande - Publié sur Amazon.com
Format: CD Achat vérifié
This recording, released in 2003, has been praised to the skies by critics both on this Web site and elsewhere. The 2008 updated Penguin Guide gave it a rosette and called it "magnficent," praising the recording for its "range, detail and presence." I have no argument with the latter assumption, nor do I take issue with the playing of the Royal Scottish National Orchestra, one of Naxos's house orchestras. Their playing is outstanding, as is the sound. The packaging and price are up to the typical Naxos standard for discount recordings, as well.

What diminishes this recording for me is David Lloyd-Jones overly aggressive approach to the score. There is an oft-cited anger that can permeate Bax's music and Lloyd-Jones seems intent on exploiting this temperament in his recording. Indeed, the opening of the first movement, under Lloyd-Jones' baton, puts Bax in league with Prokofiev's Symphonies Nos. 2 and 3. The remainder of the movement is more 20th century wartime Russia than 20th century Britain. This dark aura carries over into the second movement, where Bax's affliction for English romanticism is swept into near Elgarian mania in the pitch of romantic arcs. It's as if the music is on precipice of a cliff, seemingly willing to go over the edge at any moment. The finale is likewise given to overly aggressive music-making that spoils it for me.

I find this approach to Bax -- whose 20th century style merges English romanticism with Ibertian impressionism -- similar to the way certain conductors interpret the music of Franz Josef Haydn. Instead of recognizing Josef as the predecessor to the first giant of the Romantic 19th century, they play Haydn as if he were Beethoven. There is a constant reserve in Haydn that makes such comparisons inappropriate. I find a similar impertienence here.

I know this is a matter of personal preference and not a final statement of fact. Still, I find several performances of the Symphony No. 6 more suitable to the music than this one. For me, the classic Lyrita account of the Symphony No. 6 6 by the New Philharmonia Orchestra and Norman Del Mar is more well-suited to Bax's moods and outcomes, sounds better, with more atmosphere and depth, and touches on all Bax's kaleidoscopic moods, not concentrating on his unhappy fury like this one. And, while berated for sloppy rhythm and less than scintillating detail and recording, I even prefer Thomson's recording of the Symphony 6 from his early set of Bax symphonies to Lloyd-Jones' account.

I doubt my complaints will lead many away from this issue, as this has been praised everywhere and Naxos recordings sell both well and in duration worldwide. Nonetheless, I feel I have to make these statements. Even if you find this recording your cup of tea, I hope you will listen to other recordings of this music before coming to a final decision on this interpretation.
4 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x9b935be8) étoiles sur 5 Evocative Music Beautifully Played 12 mai 2007
Par Freeman Gunter - Publié sur Amazon.com
Format: CD Achat vérifié
This composer, unknown to me previously, provides just the perfect relief when the climaxes of the more famous symphonies begin to pall. Fresh, expansive music that gloriously evokes mystical moods of nature. A kind of English empressionism that begs to be explored. A fine performance, wonderfully well recorded and at a bargain price. What are you waiting for? Freeman Gunter
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