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Bach: Cantatas, Vol. 27, Blythburgh/Kirkwall

4.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Interprète: Christoph Genz, Daniel Taylor, Lisa Larsson, Nathalie Stutzmann, Paul Agnew, et al.
  • CD (13 mars 2008)
  • Nombre de disques: 2
  • Label: Soli Deo Gloria
  • ASIN : B0012ELP66
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 128.692 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Disque 1 piste 1 - John Eliot Gardiner
  2. Disque 1 piste 2 - John Eliot Gardiner
  3. Disque 1 piste 3 - John Eliot Gardiner
  4. Disque 1 piste 4 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  5. Disque 1 piste 5 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  6. Disque 1 piste 6 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  7. Disque 1 piste 7 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  8. Disque 1 piste 8 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  9. Disque 1 piste 9 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  10. Disque 1 piste 10 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  11. Disque 1 piste 11 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  12. Disque 1 piste 12 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  13. Disque 1 piste 13 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  14. Disque 1 piste 14 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  15. Disque 1 piste 15 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges
  16. Disque 1 piste 16 - Christoph Genz, John Eliot Gardiner, Lisa Larsson, Nathalie Stutzmann, Stephen Loges

Disque : 2

  1. Disque 2 piste 1 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  2. Disque 2 piste 2 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  3. Disque 2 piste 3 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  4. Disque 2 piste 4 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  5. Disque 2 piste 5 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  6. Disque 2 piste 6 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  7. Disque 2 piste 7 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  8. Disque 2 piste 8 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  9. Disque 2 piste 9 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  10. Disque 2 piste 10 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  11. Disque 2 piste 11 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  12. Disque 2 piste 12 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  13. Disque 2 piste 13 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  14. Disque 2 piste 14 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  15. Disque 2 piste 15 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  16. Disque 2 piste 16 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  17. Disque 2 piste 17 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  18. Disque 2 piste 18 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  19. Disque 2 piste 19 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  20. Disque 2 piste 20 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  21. Disque 2 piste 21 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  22. Disque 2 piste 22 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton
  23. Disque 2 piste 23 - Daniel Taylor, John Eliot Gardiner, Paul Agnew, Peter Harvey, Ruth Holton

Description du produit

"Cette interprétation donne pleine justice à un tel génie". George Pratt, la Musique de B.B.C"Les cantates de Bach par Gardiner ont une couleur unique en matière de drame et de subtilité rhétorique. Son choeur et ses instrumentistes répondent par une virtuosité à vous en couper le souffle?". Richard Wigmore, The Daily Telegraph

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Par L. Pierre TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 13 juillet 2012
Format: CD Achat vérifié
Le CD1 a une durée de 50 min et a été enregistré le 13 juin 2000 à BLYTHBURGH avec les solistes suivants : Lisa LARSSON (soprano), Nathalie STUTZMAN (alto), Christoph GENZ (ténor) et Stephen LOGES (basse). Il commence assez bizarrement par le 3° concerto brandebourgeois ( ?) et ne comporte en fait que deux cantates. La première cantate BWV 184 est superbe avec notamment un duetto splendide de plus de 8 min entre la soprano et l'alto (deux solistes aux voix assez exceptionnelles !), une belle aria du ténor et un très beau choeur final. L'interprétation de la deuxième cantate BWV 175 est moins exceptionnelle, mais comporte néanmoins de beaux soli.
Le CD2 est plus long (61 min 26) et comporte quatre cantates enregistrées le 18 juin 2000 à KIRKWALL avec des solistes différents : Ruth HOLTON (soprano), Daniel TAYLOR (alto), Paul AGNEW (ténor) et Peter HARVEY (basse). La première cantate BWV 194 manque un peu d'éclat, malgré la belle prestation de Ruth HOLTON lors de l'aria « Hilf, Gott, dass es uns gelingt ». La prestation de cette soliste est encore plus remarquable dans l'aria introduisant la troisième cantate BWV 165. A noter également la qualité des choeurs introduisant les deux autres cantates BWV 176 et 129. L'alto Daniel TAYLOR est également très convaincant dans ses interventions au cours de cette cession.
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5.0 étoiles sur 5 Gardiner does it again 27 avril 2008
Par Teemacs - Publié sur Amazon.com
Format: CD
I've long waited for this one. BWV129 is an old favourite - I love the old Rilling recording, with the three trumpeting Läubin brothers blowing up an absolute storm, soaring and trilling likes things possessed. Naturally one can't expect this with natural valveless trumpets. And Gardiner's forces pull it off magnificently, in a wonderful atmospheric acoustic (St. Magnus's Cathedral, Kirkwall in the Orkneys). And this in spite of the difficulties in getting there (Gardiner and Co. were stuck at the airport when a substantial chunk of the UK air traffic control system fell in a heap) and the consequent short rehearsal time.

A nice and unusual touch is a performance of Brandenburg Concerto No.3. Why? Because they were running out of Trinity cantatas to play, so they included the "trinity" concerto - 3 violins, 3 violas, 3 cellos, in one of Bach's most loved instrumental pieces.
7 internautes sur 8 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 GETTING TO KNOW BACH 3 mai 2008
Par DAVID BRYSON - Publié sur Amazon.com
Format: CD
This leg of the Bach cantata pilgrimage starts with a short trek across Suffolk from Long Melford to Blythburgh church for Whit Tuesday, and then a longer excursion for Trinity Sunday to the Orkneys, a trip of a kind familiar to air travellers in Britain and recently re-enacted on a grand scale at Heathrow's Terminal 5. The date was in the year 2000 of course, and the air traffic control computer had broken down. Whether at that date the entire congested air traffic over southern England was still controlled by a single small and antiquated PDP11 minicomputer I cannot now remember. I found out about this, of course, from Gardiner's 'blog' that accompanies every step of his and his colleagues' epic journey, and it reinforced my astonishment and awe at the sheer poise and professionalism that these artists display on every occasion, even when they have lost a day from their already short rehearsal time.

Interesting and enlightening as Gardiner unfailingly is, in this instance my attention was captured even more by the short essay from Paul Agnew, who takes the tenor solos on the Trinity Sunday disc. In brief, Agnew is a professional musician who thought he knew Bach because he knew the Passions, the 48 and the concertos. Not only did he not know the cantatas, which he now hears as the core of Bach's output, most professional musicians, he tells us, did not know them either so recently as 2000. This eases my own sense of guilt at being so late in becoming acquainted with them, but it further enhances my amazement at what this pilgrimage is achieving. The music that they present to us with not only such affection and understanding but with such command and aplomb even in difficult circumstances is not Beethoven symphonies: it seems to have been music that they were learning as they went along.

Only two cantatas for Whit Tuesday survive, so to fill out the first disc there is a performance of the third Brandenburg concerto, a choice that suggested itself naturally because a modified version of its first movement had been a 'sinfonia' in one of the cantatas the group had just been giving at Long Melford. Bach provides no central slow movement for this concerto, only a pair of cadential chords. Something has therefore to be supplied, and here we are offered the interesting and unusual choice of an unaccompanied violin solo taken from the prelude to Bach's first sonata for that instrument. Without having taken the trouble to verify the matter, I think this may be an abbreviated version, but its main interest is in its unexpectedness and originality, although I would have liked to be told who was actually playing. Starting as it does with an instrumental number, this set inclines me to focus the review more than I have done elsewhere on the instrumental side of the performances. Bach thought of music in instrumental much more than in vocal terms, I'm quite convinced. Even when he is setting a text for singing, Bach is inspired to turn out another of his infinitely varied and infinitely expressive musical patterns just as he might do for a purely instrumental composition, and the voices are integrated into an instrumentally-focused abstract design. One excellent point that Agnew makes is how vivid Bach's orchestral colouring is -- he can work wonders in the six cantatas here with a couple of oboes, or a pair of recorders, or a trio of trumpets. Add timpani to these last and we have a wonderful and exhilarating sound in the final cantata no 129, and I am as baffled as Gardiner apparently was that it failed to arouse the expected enthusiasm among the Orcadian audience. One detail in Gardiner's account left me unclear regarding the instrumentation, and it is whether they managed to obtain a 5-stringed violoncello piccolo for cantata 175 or whether a more normal kind of instrument had to do.

The names of the soloists are becoming familiar to me as I progressively follow in the steps of their pilgrimage, and they perform to the magnificent standard that continues to astonish me without surprising me, so confidently have I come to expect it by now. Not least impressive is Paul Agnew himself, whose exceptionally interesting comments I have already mentioned. He sings with the fervour of a lover with a new musical love. I am with him in his enthusiasm wholeheartedly, and although I fully join in the extravagance of his admiration for Bach I would only suggest that 'dramatic' is not one of the words to praise him with. Bach's wonderful musical patterns can be vivid, they can be overwhelmingly powerful, but it still seems to me that Bach's mind is contemplative even when his music is most overpowering. There is no paradox in this perception. All that the composer requires for it to be true is an infinite musical gift.

As I acquire more of this marvellous series I am coming to think of it as a unity more than as a series of separate productions, and although each disc has to be assessed separately from the others I am finding that the assessment tends to be much the same every time. Similarly with the cantatas themselves. I find them less a series of freestanding works like, say, Beethoven's sonatas than a great unified river of inspiration whose source is Bach's unshakable faith allied to his limitless talent.

The age I have lived through has brought this to me through the agency of not only the artists but the technicians, whose work has been of an undeviatingly high standard. A word of thanks also to the aviation industry for delivering the pilgrims safely, and perhaps a quiet reminder that modern propeller airliners are often much newer than they look and are technologically impressive, deserving a kinder name than 'crop-sprayers'.
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