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Bach / Easter Oratorio

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Détails sur le produit

  • Interprète: Gardiner John Eliot, the Monteverdi Choir
  • Compositeur: Bach Johann Sebastian
  • CD (11 mars 2014)
  • Nombre de disques: 1
  • Label: Soli Deo Gloria
  • ASIN : B00HX6FDSI
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 9.684 en Musique (Voir les 100 premiers en Musique)
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Digital Booklet: Bach: Easter Oratorio & Actus tragicus
Digital Booklet: Bach: Easter Oratorio & Actus tragicus
Album uniquement

Descriptions du produit

Description du produit

Cet album fait suite à un enregistrement très apprécié de l'Oratorio de l'Ascension, et nous y retrouvons les solistes Hannah Morrison, soprano, Meg Bragle, mezzo, Nicholas Mulroy, tenor et Peter Harvey, basse qui avaient déjà fait des merveilles sur ce précédent titre. Ce disque est conçu comme l'ensemble des titres de la collection, en livre disque avec un livret de 28 pages qui contient les notes de John Elliot Gardiner en anglais, français et allemand.

Critique

Music to combat grief is John Eliot Gardiner's apt description of Bach's Actus Tragicus, coupled on this CD with a timely performance of the Easter Oratorio. Gardiner's long, in-depth experience of Bach's music has been manifest over the past decade through the many SDG recordings emanating from his Bach Pilgrimage in 2000 with the Monteverdi Choir and English Baroque soloists. This, however, is a completely new recording, made in June last year. The Actus Tragicus is comparatively early Bach, but it is thoroughly mature in the range of penetrating emotions that Gardiner and his forces fully and poignantly explore here. If the chorus is assigned the upbeat role in the first number and in the lively counterpoint of the final one, elsewhere in the Actus Tragicus the arias and ariosos float on the air of consolation. The elegiac mood of the piece is heralded by a remarkable sinfonia at the start, softly scored for recorders, viole da gamba and organ and in its harmonies mixing sorrow with serenity. Gardiner has a judicious sense of the pulse of this music, and his singers and instrumentalists draw their colouring, phrasing and textural inflections from the music's natural contours and expressive implications. A succinct piece, it says all it needs to say in 20 minutes or so, and this performance is a persuasive advocate of it. --Telegraph,23/4/14

His tempos are beautifully interrelated so that everything leads to(and from) the central pause that consigns the mystery of death to utter silence; and the textures are invested with a lightness that evokes the hushed stillness of the death chamber. It's quite a wrench as the final guttering two-note instrumental Amen yields to the Oratorio whose choruses showcase the Monteverdi Choir's much-prized ebullience. Performance **** Recording ***** --BBC Music Magazine, June'14

This is certainly a grand version of Bach's relatively modest Resurrection drama in which Jesus makes no appearance. --IRR, June'14

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Par jacqueslefataliste COMMENTATEUR DU HALL D'HONNEURTOP 500 COMMENTATEURS le 13 mai 2014
Format: CD Achat vérifié
Comme beaucoup de mélomanes, j'imagine, je suis particulièrement attaché à l'Actus Tragicus de Bach: j'aime infiniment cette méditation sur la mort, j'aime cette promesse d'un dépassement de la mort non par son abolition (toute la cantate nous rappelle au contraire que nous allons bien mourir et qu'il faut mettre nos affaires en ordre), mais par la loi de l'amour (qui, comme le dit la fin du Cantique des cantiques est "fort comme la mort"), j'aime cette promesse d'un paradis qui n'est pas futur mais présent dès aujourd'hui ("Heute, heute wirst du mit mir") dans l'acceptation d'une vie finie mais élargie par le souffle de l'Esprit.

De cette cantate essentielle, je possède par conséquent plusieurs versions: Rilling, Leonhardt, Gardiner 1989, Koopman, Junghänel et Ricercar Consort.

Dans un premier temps, ce nouvel enregistrement réalisé par Gardiner en juin 2013 m'a, comme Jean-Marie Lambert (dont je salue le commentaire), paru trop terne: climat retenu et voix belles mais non exceptionnelles ou déchirantes.
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1 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 jean-marie lambert TOP 500 COMMENTATEURS le 3 avril 2014
Format: CD
Ce disque est hélas une vraie déception.John Eliot Gardiner est un très grand chef,qui a fait ses preuves dans Bach;la présentation est ,comme toujours dans cette collection,d'une grande beauté plastique,avec une sublime photo de Steve McCurry,et un brillant texte du chef qui fournit une analyse musicologique de très haut niveau des oeuvres ici présentées.
Si la "cantate de Pâques" est convenable,la célèbre cantate BWV 106"actus tragicus" pâtit,à mon avis,d'un parti pris d'une excessive austérité;tempi très(trop?)retenus,solistes d 'un niveau moyen,et l'excellence coutumière du choeur ne rachète pas une conception somme toute statique de l'oeuvre,qui ne réussit décidément pas à Gardiner.
Les trois étoiles sont donc une moyenne entre quatre(Pâques) et deux(Actus).
La référence reste donc Konrad Junghänel...et l'on peut trouver un plaisir passéiste,certes,mais revigorant à l'écoute de Karl Richter,vivant,enthousiaste,qui n'oublie pas que la Résurrection est proche,selon la volonté du Cantor. .
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.3 étoiles sur 5 4 commentaires
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Glorious Recording of two spectacular pieces! 17 juin 2014
Par George Spontak - Publié sur Amazon.com
Format: CD
I started listening to Bach Cantatas in the late 1950's and early '60's on vinyl. Hermann Scherchen was probably my entry point into this incredible baroque richness. My favorite cantatas at the time was the 'Actus Tragicus' and 'Wachet Auf'. My father had died in1956 and, in the 'Actus Tragicus', I especially enjoyed this blend of deep mourning with the calm acceptance of those who believed in the next life, as my father certainly did. I remember the tempo being very somber and slow, in accordance with the theme of the music.

Since then, I have never lost my love and appreciation of the Bach Cantatas and have marveled in the richness that Bach left us in the music and text of the believer. But time has also brought me the acceptance of music as a living art. My first opera was 'La Traviata', in a version done by Toscanini. I listened to the discs over and over and over. For a long time, it seemed to me that Toscanini's version was the only right one. He certainly knew how to increase the drama of the opera and wring out all of the emotions that the composer put into the music. I realized eventually that I had to stop worshipping a frozen corpse. I still love Toscanini's version of the opera. It's like remembering your first love. It's very special. But there are always other voices, interpretations and styles that bring an added richness to the opera. And right now, I always prefer live performances to recorded ones.

But since there are no live performances that I have heard here in Vermont of these two cantatas, I am happy to listen to the best of the recorded versions, which is, right now, the recordings of John Eliot Gardiner. He has assembled a group of superb musicians in the Monteverdi Choir and the English Baroque Soloists who do this music proud. I love the certainty of the interpretations and the playful back and forth of the soloists, choir and instrumentalists. I was spellbound listening to this CD for the first time and really appreciated the work of all of the people who put this CD together. This includes the sound technicians, as well as the soloists, choir, and instrumentalists. This recorded music brings me as close to the heavenly sphere as I can imagine, if I really listen and lose myself in the music. This might not be the best version of these two pieces, but it is the best that I have ever listened to. Plus my belief is that, unless I want a piece of music from the freezer to reheat, I have to be open to the possibility that the next one might show me something more, and something new.
5.0 étoiles sur 5 Electrifying 8 avril 2015
Par Patrick Toomay - Publié sur Amazon.com
Achat vérifié
Stellar performances, deeply moving.
4.0 étoiles sur 5 I LOVE BACH! 9 juin 2016
Par Jim Fenwick - Publié sur Amazon.com
Format: CD Achat vérifié
I am biased ... I LOVE BACH !!!
8 internautes sur 17 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Typically Gardineresque 21st century renditions of Bach 4 avril 2014
Par Larry VanDeSande - Publié sur Amazon.com
Format: CD
J.S. Bach's cantata BWV 106, "Actus tragicus," is known as his funeral cantata expressing in the words of Albert Schweitzer a contrast of the way Bach stated Christ's suffering and pain as opposed to his proclamation of the joy of salvation -- a message more akin to the text from the other half of this recording, Bach's Easter Oratorio.

Gardiner has recorded the funeral cantata previously; some fans and critics seem to like his earlier version better than this one. This appears to be his first recording of the Easter Oratorio which for the uninitiated is an extended cantata.

What struck me most listening to this was the differences between the funereal tone of Actus Tragicus and the joyous announcements of the Easter Oratorio -- which ends uttering "Praise and thanks ever Lord...Hell and Satan have been conquered!"...are hardly any different even though they address much different elements in the Christian ethos.

From my perspective, this recording doesn't express what Felix Prohaska and forces put forth in both the funeral cantata and rapturous Easter Oratorio on LPs from the 1950s, still available (sometimes in CD) in used versions around the Internet. For me, Prohaska's method of expressing Christian anguish and exaltation transcends anything going on here including much better technical reproduction and definition of both voices and instruments.

While Prohaska's Actus Tragicus has been a standard for 60 years, another better version of the Easter Oratorio, in my opinion, is the 1960s version from Karl Munchinger with singers clearly more outstanding than those on this recording including soprano Elly Ameling, contralto Helen Watts, tenor Werner Krenn and bass Tom Krause. This was the standard for all Easter Oratorios for many years due to Munchinger's enlightened 1960s-era attempt at authenticity and his trumpet player.

While Harnoncourt's Brandenburg concertos from the 1960s is often considered the beginning of modern period performance in Bach, Prohaska recordings from the 1950s were also attempts at authentic Bach performance in their epoch using a smaller orchestra, fewer singers and stylistic tendencies musicologists of the time thought appropriate to music from the 1700s.

"In preparing this performance all efforts were made to ensure a reading as close to Bach's intentions as is possible over a bridge of two centuries," said the liner notes to Prohaska's recording. "The chorus and orchestra have been held to the approximate size of Bach's own forces (and) wherever possible authentic instruments have been employed. The trumpets (played by members of the Vienna Philharmonic Orchestra) are modern reproductions of instruments employed in Bach's own time."

It may seem obsequious to recommend a recording more than a half-century old and ignore something modern, popular and in a newer style in Bach's Easter music. I'll tell you why I do this. J.S. Bach was a man of few equals in history; only Beethoven and Mozart were his peers in all of classical music. There was no one equal to his brilliance and compositional skill in his time, even though such qualities were not considered in Bach's time as they are today.

Furthermore, even though he was a genius with unparalleled technical skill, Bach was also a man of flesh and blood. He was completely dedicated to God and Lutheranism and refused to write opera for this reason. He fathered more than 20 children, outlived at least one wife, invented or perfected the fugal style in music, the oratorio and equal temperament. He could play all the instruments of his time and he could sing all the parts in his fiendishly difficult choral music. He even spent a night in jail once over a dispute related to music.

The technical aspect of Bach is, in my opinion, what the period performance music crowd has capitalized on and exploited. I do not believe that group of modern musicians has paid similar attention to Bach the man and how his humanity should be reflected in his music. There is certainly a gap in that regard in this collection.

So, until such time as I hear the PPP crowd focus on the humanity in Bach at least as much as they do technique, I will continue to recommend recordings that in my mind better understand and project was Bach was saying musically. I continue to believe that, in 2014, no one has better told the story of Bach's Actus Tragicus cantata than Prohaska, Teresa Stich-Randall, Anton Dermota et al did in their recording that, even though it is out of print, you can find fairly easily by searching the Internet. There are lots of recordings of the Easter Oratorio that better project Bach's joy than this one; Munchinger's does so fantastically with solo singers twice as good as those on Gardiner's recording.

That's not to say this doesn't have value. This recording is likely to appeal to Gardiner fans, listeners and collectors that have enjoyed the Bach of Harnoncourt, Suzuki and others of the late 20th and early 21st century period performance groups, as well as those only interested in collecting new music. It is well-played, meticulously arranged as usual under this conductor, and expresses a lighter, brighter, speedier form of musical communication and instrumental tuning different from what was the norm in the past. Sadly, however, it fails to represent Bach's humanity.
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