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Bach, Intégrale (Coffret 153 CD + DVD)


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Détails sur le produit

  • Compositeur: Jean-Sebastien Bach
  • CD (2 avril 2012)
  • Nombre de disques: 154
  • Label: Teldec Classique
  • ASIN : B006WKDT1E
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Descriptions du produit

154CD


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Amazon.com: HASH(0x95e9b828) étoiles sur 5 11 commentaires
38 internautes sur 40 ont trouvé ce commentaire utile 
HASH(0x9586b8ac) étoiles sur 5 No documentation! 13 avril 2012
Par Peter - Publié sur Amazon.com
Format: CD Achat vérifié
This set contains some excellent and classic recordings, but some rather excentric ones as well. With Rilling's set (The Complete Works of Johann Sebastian Bach - Bachakademie 10th Anniversary Special Collection) available at $262, and the Brilliant set (Bach: Complete Edition) at $155, I had expected more from this set. For example the complete documentation, which was available in the original release (Bach 2000: The Complete Bach Edition), perhaps on a CD-ROM. With the present set you get only a booklet which gives the contents on each CD. Because of the relatively high price and the lack of documentation, I give the set three stars instead of four.

The Harnoncourt / Leonhardt sacred cantated was the first complete set ever recorded, and many of still sound very good. But the competition is very strong today, and the quality of the soloists are not always the best. Often boys are used for the soprano solos, and a counter tenor for the alto solos. The result is not always convincing, although I find the choral singing attractive. Boy's choirs are used throughout.

For the secular cantatas, the recordings of Ton Koopman are used. They are very fresh, and to be preferred to the recording of Peter Schreier, which is used by Brilliant.

Regarding the B minor mass, Teldec has chosen Harnoncourt's 1986 recording, rather than the classic 1968 recording. I'm not sure that this is a wise choice. The revolutionary 1968 recording (available separately as Bach: Messe in h-moll) has been highly regarded over the years, and still counts as a milestone. The later recording included here, using a mixed choir, sounds much more mainstream. It is not bad, but simply not as interesting.

Harnoncourt has recorded St Matthew Passion thrice for Teldec. This one is recorded around 1970 features Wiener Sängerknaben, and thus was a direct follow-up to the first B minor mass. This is one of the great recordings of this set, awarded with both "Grand Prix du Disque" and "Edison". The only negative side of this recording is that boys and men were used for the soprano and alto solos. (If you want at really fine St Matthew Passion with female soloists, boy's chorus, but with modern instruments, look for Karl Münchinger's recording from 1965, Matthaus-Passion (St. Matthew Passion)).

Again, Teldec has chosen a newer version from 1993 for St John Passion, rather than the classic 1971 set. This is a pity.

Sixteen CD:s are devoted to the organ works, here played by Ton Koopman on different organs. These recordings (most of them from the 1990ies) are very good, but not outstanding. Joel Warren Lidz at [...] finds "the playing is arresting in its originality of conception and very energetic", but "his use of ornamentation excessive at times".

For all keyboard works (22 CDs), a harpsichord (rather than a piano) is used. If you like the harpsichord, these are probably very good interpretations. The players are Gustav Leonhardt, Scott Ross, Michele Barchi, Glen Wilson, Bob van Asperen, Zuzana Ruzickova, and Alan Curtis, amongst others. For my ears the harpsichord gets tiresome after a while, and I much prefer Bach on a modern piano, which also allows more dynamic playing. But many may prefer the original.

A extremely fine recording from 1997 of the Brandenburg concertos comes from Il Giardino Armonico, Milan. This is one of the gems in this set and also available separately (Bach - Brandenburg Concertos / Il Giardino armonico).

Lastly mentioned here, is a classic recording used for the keyboard concertos, namely Gustav Leonhardt's interpretation from 1968. I welcome this choice, because these recordings belongs to Teldec's classic recordings. Leonhardt's interpretations may be a little "dry" at times, and not so imaginative. Newer recordings may be preferable, such as Koopman on harpsichord (Bach: Harpsichord Concerti BWV 1063, 1055, 1064, 1044 or Angela Hewitt on piano (Bach - The Keyboard Concertos Vol 1 and Bach - The Keyboard Concertos Vol 2. But it is good to have this trendsetting recording here.

Of course, there is much more to be commented on, such as chamber music, the violin concertos and the orchestral suites, but I leave this to others. In short: Buy this set if you are a real Bach fan. For many, it may be preferable to acquire the Brilliant set, in order to have all, or most, of Bach's works, and than to add individual recordings accordning to your personal taste. Again, it is REALLY a pity that the extensive documentation included in Bach 2000 is not included here. For many, it could just have been the additional argument to buy this set!
22 internautes sur 22 ont trouvé ce commentaire utile 
HASH(0x969a3a5c) étoiles sur 5 A magnificent accomplishment 29 avril 2013
Par James A. Altena - Publié sur Amazon.com
Format: CD Achat vérifié
I have reviewed this set in Fanfare magazine in considerable detail, including an extended comparison to the rival Haenssler and Brilliant Classics sets. Briefly, this set is easily the pick of the lot. Its high points are the cantatas (the classic Harnoncourt/Leonhardt cycle) and the organ works (with a superlative Ton Koopman). The other sacred vocal works (the oratorios, etc.) and the instrumental ensemble works generally receive very fine performances (mostly led again by Nikolaus Harnoncourt), except for an excruciating perverse set of the Brandenburg concerti by Il Giardino Armonico (why weren't either of Harnoncourt's set used instead?), and non-competitive performances of the solo violin and cello works (by Zehetmair and Harnoncourt respectively). The harpsichord works are a more mixed bag; the major pieces receive performances that are generally good to excellent, but many of the minor ones (those played by Zuzana Růzičkova;) suffer from inflexible, metallic playing. The harpsichord works are divided up as follows:

Alan Curtis: English and French Suites, BWV 806-817;

Scott Ross: Partitas, BWV 825-830; Italian Concerto, BWV 971; Overture (Partita), BWV 831;

Glen Wilson: Well-Tempered Clavier, BWV 846-893; Aria Variata, BWV 989; 14 Canons, BWV 1087;

Bob Van Asperen: Toccatas, BWV 910-916;

Andreas Staier: Sonatas, BWV 964-966 and 968; Fugue, BWV 954; Fantasy, BWV 918;

Gustav Leonhardt: Goldberg Variations, BWV 988; Chromatic Fantasy and Fugue, BWV 903; Capriccio, BWV 992; three shorter works, BWV 823, 895, and 952 (the last-named on the organ);

Olivier Baumont: Concerti after Vivaldi, BWV 972, 973, 975, 976, 978, and 980; Preludes, BWV 846a, 847a, 851a, and 855a;

Michele Barchi: Concerti after various composers, BWV 974, 977, 979, and 981-987; miscellaneous shorter works, BWV 813a, 822, 832, 833, 836, 896, 899, 901, 902, 906, 917, 921-923, 929, 946-951, 953, 961, and 967;

Zuzana Růzičkova: Two- and Three-Part Inventions, BWV 772-801; Suites, BWV 818a, 819, and 821; miscellaneous shorter works, BWV 814a, 818, 819a, 841-844, 894, 900, 902a, 904, 924-927, 929-931, 933-944, 955, 958, 959, 963, 993, and 994.

While the set does not include libretti for the vocal works (one wishes that a CD-ROM of those was included), it does direct purchasers to web sites where those can be found, and the booklet provides copious details on performers, track listings, and various production details. By comparison, the Brilliant Classics set is mediocre to poor (the soloists in the cantatas are simply awful), while the Haenssler set is competitive in most of the vocal works but seriously inferior in its performances of the instrumental and keyboard works. Since the Haenssler set has virtually all of its contents available individually, I would suggest buying this set and supplementing it with individual Haenssler items (see further below).

As just noted, this set is not quite "complete," though it includes some times omitted from the Haenssler and Brilliant Classics sets. Most differences between the three sets occur over inclusion or exclusion of shorter organ and harpsichord works whose authenticity is disputed. Here is a complete list of contents by BWV catalog numbers:

CDs 1-60 (Sacred Cantatas) contain BWV 1-199, and omit 15, 53, 141, 142, 160, and 189; for 190, 191, and 193, see the next set.

CDs 61-71 (Secular Cantatas) contain 200-215, 36c, 134a, 173a, 190, 191, 193, and 207a, and omit 216-224.

CDs 72-85 (Sacred Vocal Works) contain 232-249, 243a, and omit 246 and 247.

CDs 86-92 (Motets/Chorales/Songs) contain 118, 225-231, 250-524, 691, 1084, 1089, and 1122-1126, and omit 231, 441, 442, 444, 446, 448, 450, 455-461, 463, 464, 467, 473, 474, 476, 477, 481, 485, 486, 488-491, 493, 495-497,499, 501, 503, 504, 506, 508, 509, 512, 515, 517, 519-523, 1081-1083, and 1088. [This is where the most serious omissions occur, as Teldec provides only potted versions of the BWV 439-507 and 508-518 chorales.]

CDs 93-108 (Organ Works) include 525-771, 769a, 802-805, 957, 1085, and 1090-1120, and omit 567, 573, 574, 580, 581, 584-587, 597, 631, 634, 692, 693, 695, 710, 711, 723, 744-746, 748, 751-753, 759-762, 764, 765, 771, 1087, and 1121.

CDs 109-30 (Keyboard Works) include 772-801 and 806-994, and omit 820, 824, 834, 835, 837-840, 845, 897, 898, 905, 907-909, 919, 920, 932, 945, 956, 957, 960, 962, 969, 970, 990, and 991.

CDs 131-43 (Chamber Music) include 995-1040, 1072-1080, and 1086, and omit 1020, 1024, 1036, 1037, and 1040.

CDs 144-53 (Orchestral Works) include 1041-1071, and omit 1070 and 1071.

By way of comparison, the Haenssler set offers the complete sacred Lieder and arias, BWV 439-518, instead of the potted version provided by Teldec, plus BWV 231, 1081-1083, and 1088 omitted from the Teldec set. Teldec, on the other hand, has several variant versions of choruses and arias that I do not readily find listed in the Haenssler set.

In the instrumental works, Haenssler includes BWV 573, 574, 585-587, 631, 695, 711, 744, 753, 762, 764, 765, 820, 824, 837, 839, 905, 907-909, 919, 932, 957, 990, 1040, and 1121 omitted by Teldec, but omits BWV 561, 576, 598, 740, 755, 763, 844, 898, 1022, and 1059 included by Teldec. However, Haenssler also offers integral sets of the 1722 and 1725 Klavierbuechlein fuer Anna Magdalena Bach and the 1720-23 Klavierbuechlein fuer Wilhelm Friedemann Bach, whereas Teldec includes only a few excerpts of items that Bach did not recycle into other collected keyboard works. Haenssler offers alternative and reconstructed versions of the BWV 1046, 1052, 1053, 1055, 1056 (two different versions), 1060, 1061, and 1064 concerti, whereas Teldec omits reconstructions of BWV 1053 and 1061 and has only one reconstruction of BWV 1056.

Despite the arguably greater completeness of the Haenssler edition and its superior documentation, the Teldec version is the clear winner when it comes to the performances. And, at a price of about $2.00 per CD, it simply cannot be passed by.
14 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x969a3a20) étoiles sur 5 Not my favorite, but still superb 10 octobre 2012
Par K. Feucht - Publié sur Amazon.com
Format: CD Achat vérifié
This set was issued about 10 years ago as Bach 2000 by Teldec but with a pricetag astronomically higher than what I had to pay for this set. It was a major task to listen to the entire set, by 13 GB of music, 6 days, 14 hours, and 23 minutes of music.

The cantatas were produced by the combined efforts of Leonhardt and Harnoncourt. Both men are most accomplisherd in their interpretations of Bach. This set uses almost entirely original instrumentation, and in the sacred cantatas, almost entirely boy's choirs.

I also have the Hanssler set, as well as the set produced by Brilliant Classics. Of the three sets, I preferred the Hanssler set the most. First, though I can appreciate the talent of young kids singing complicated Bach pieces, it still doesn't settle on the ear like mature females singing the soprano and alto parts. Second, while Helmut Rilling has come under attack for lacking the interpretitive luster of other conductors, I find that there is quite a wallop of dryness in many of the Harnoncourt and Leonhardt performances, areas where the tempo dragged, or the singers seemed to have lost interest in the piece. Thirdly, modern instrumentation that is well tuned is always more appreciated on the ear. I can appreciate the challenge of playing a valveless trumpet, but I also realize that it isn't quite as on-pitch as modern instruments. Also, in many of the pieces in this set, the nearly-ok pitches of the woodwind instruments were noticeable. Fourthly, many of the pieces in this set had recording problems. Especially with some of the ensemble instrumental works, recording balance was quite problematic, with one instrument of two playing sounding either disproportionately loud or quiet. To the credit of this set, they maintained some standardization, such as using the harpsicord throughout the keyboard pieces. The organ works were entirely performed by Ton Koopman, and superb.

For the Bach afficionato, this is a must-have set. Many of the works in this set are quite charming, showing brilliance in interpretation and performance. The problems set aside, I think Bach would have been quite pleased had he had a chance to hear any of these performances, and would not have thrown his wig in disgust for lack of performance quality.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x969a3de0) étoiles sur 5 Please No Unnatural Trumpets 4 mai 2014
Par James Day - Publié sur Amazon.com
Format: CD Achat vérifié
I started collecting the cantatas from this set in the '70s on vinyl. This set is the result of years of Teldec Bach on original instruments by some of the pioneers of historical performances. I should state at the outset that I am a convinced proponent of original instruments, not only for strings and natural trumpets and horns but for the use of boy trebles. Yes, a mature woman is more musically-informed than a boy -- the best "Agnus Dei" in the B Minor Mass I ever heard was Catherine Wyn-Rogers, not the countertenor I usually prefer. But in the sacred Cantatas, it is the boy's voice for which Bach wrote, and its timbre cannot be equaled even by the superb Emma Kirkby. This taste may come from my attending too many English choral services, but it does make a very real difference in how one approaches this set. If you don't like boys' voices, this set is not for you. (The only exception in the sacred cantatas in this set is the fine woman soprano M. Qweksilber who sings BWV 51, a tour de force, but even that can be sung creditably by a boy soprano. Check out Clint van der Linde's recording on YouTube.) In short, perhaps my preference for choirs of men and boys comes from too much time in England, but I now want only a choir of men and boys for this music. Even for the most romantically-minded listener I hope will find in time the boys's voices more than acceptable. As for the instruments, yes, I suppose they can seem occasionally "out of tune," though I certainly do not find them so. Tuning is a variable thing in Bach's own age -- the "characterlessess" of equal-temperment might not even have pleased him! Laying that aside, Bach was well aware that natural horns are muffled in their lower registers. In BWV 1, he makes use of that by letting the Morningstar shoot out its rays when the horns reach their upper register. What we see as a disadvantage can actually work for Bach's benefit, and in any case, he knew the instruments his players used and wrote for them. I cannot imagine that he would have written for the piano in anything like the same way he wrote for the harpsichord -- the harpsichord sorts out counterpoint in the way a piano just cannot manage. Yes, Murray Perahia is glorious playing Bach on the piano, but so is Leonhardt on the harpsichord. It is therefore a Good Thing that we don't get some NPR disc jockey in charge who seems to forget that the keyboard concerti were originally meant for harpsichord. Again, you may feel with Thomas Beecham that “the sound of the harpsichord resembles that of a bird-cage played with toasting-forks,” but I would disagree. I even prefer the harpsichord in Mozart recitatives to the forte-piano, though both are "original" in that sense. If you are a Beechamite, stay clear of the Teldec Bach. While more documentation is always desirable, this is a splendid set. Generally all the performances on this set are excellent -- orchestral, vocal, solo instrument. Along with Leonhardt and Harnoncourt, I would also single out Ton Koopman, not only as a director but as an organist. He plays all the Bach organ works in the set, and I find them superb. This music is also available on a flash drive, which would certainly save space on one's CD shelves.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x969a3e40) étoiles sur 5 The anti-thesis of the "learned" reviews 16 février 2016
Par Harold E. Wills - Publié sur Amazon.com
Format: CD
It is a great gift and blessing for the customers of Amazon, to have the erudite and up-close facts and opinions of all the varied people who come to rest, here, to research the great wealth of recorded music available at this website. It is one of the few things that is a positive for the company.
It is also saddening to scan the obvious venom that is being tossed about by some, to prove their point.
This particular set is a great contribution in "spreading the word" and the music of the Rock That Is Bach!
The publishers of this and all sets are to be praised and thanked perpetually, for giving the "the common man" the ability to own, to listen to and to absorb the never to be equalled notes.
The statement implying that MA's were responsible for this collection, not higher educated individuals, seems to border on ignorance or discrimination. However articulated or housed, these and all CDs of the Master are and always will be GREAT by their very existance.
Let us pause and give Soli Deo Gloria for the ability to see, to listen and to be in a world blessed by the sound of his music.
Harold Edward Wills, DMA
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