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Bach : Partitas CD, Import

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Détails sur le produit

  • Compositeur: Johann Sebastien Bach
  • CD (25 août 2014)
  • Nombre de disques: 2
  • Format : CD, Import
  • Label: Mis
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Commentaires client les plus utiles sur (beta) HASH(0x8e246bf4) étoiles sur 5 15 commentaires
43 internautes sur 50 ont trouvé ce commentaire utile 
HASH(0x8e429108) étoiles sur 5 Superb, of course. 12 octobre 2014
Par John Hopfensperger - Publié sur
Glenn Gould influenced subsequent Bach pianists. That's like saying Picasso influenced subsequent painters; totally cliche, and evidently meaningless. Could you mistake him for anyone else? Well, if Perahia sounds suave next to Gould, it's because you haven't heard Levit. Long lines, gradually swelling dynamics, delicate pauses at the end of a phrase.

What this record made me realize is that Schiff, Koroliov, Perahia and al. have (for the most part) been working within Gould's Barque-piano lexicon for 50 years. Consistent use of staccato-voice to differentiate the hands. Quick, metronomic tempos that relent only at the end of a movement. Tiered dynamics, and limited use of the soft dynamic register.

Levit can't quite be pigeonholed in this way. He has the self-confidence to hyper-detail some movements, then deliver others in a monotonic hush. I don't know if this makes him Romantic or post-Modern or what. Maybe it's useless trying to summarize artistry with an adjective.

For me the Gouldian techniques represent self-restraint, downplaying pianistic gesture to achieve rhythmicity and polyphony and structure and everything that makes Bach great. God knows modesty isn't what everybody hears in Gould, and I suppose there's a large audience of piano-lovers who've been waiting for Levit's Bach their whole lives.
10 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x8e4e0924) étoiles sur 5 WONDERFUL 27 avril 2015
Par David Keymer - Publié sur
Achat vérifié
Having enjoyed Levit’s recording of late Beethoven sonatas, I decided to try this double album as well. It’s wonderful! I don’t quite know how to describe Levit’s approach, which applies to the former album as well as this one. There’s passion in it but basically he’s anti-Romantic in approach, which means there are no gusts of emotion. And the music helps: Bach’s keyboard works, and particularly these ones, play out in impeccable logic, each note a new building block in one of his ornate but inevitable structures of sound and play. “Play” –that’s a good word for it. Even when solemn in tone, these are playful pieces as well as structures of logic –they sound like fun to play if only one were good enough a player. It’s no surprise they’re interesting to listen to as well –even the simplest lines complicate, retrack, embellish and go down alternate pathways, keeping the listener entranced and wondering what happens next. One last comment before these remarks degenerate into babble. Levit is very sparing in his use of pedals is sparing: notes hang in the air a short time after being struck, long enough to build continuity but not so long as to distract from new and emerging lines in the piece. This is very good music, played by a master musician whose strengths as an artist seem completely apposite to the music being performed.
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x8e4b3c18) étoiles sur 5 Beautiful Bach! 30 décembre 2014
Par J.O. - Publié sur
This is a superb recording of these masterpieces. Levit plays with a lot of joy, clarity, and feeling without being an interventionist or playing something differently just for the sake of being different. The music just unfolds naturally, and all of the contrapuntal lines are wonderfully articulated. The sound is warm and full--not too close nor too distant. Highly recommended. (As his equally superb Late Sonatas by Beethoven.
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x8e6beae0) étoiles sur 5 Beautiful interpretation of sublime music 24 décembre 2014
Par Alan A. Elsner - Publié sur
Achat vérifié
I learned from the liner notes of this wonderful double CD that the first partita was Bach's first published work. The composer was looking for an audience in the public - but the pieces are too difficult for the casual amateur to play successfully. Levit plays this partita beautifully, light and airy, clearly articulated, his finger work fleet but never flashy. The gigue with the crossover hands is as smooth as an old whisky. Partita number two begins with the famous Sinfonia, with the heartbreakingly lovely middle section which was memorably interpreted some decades ago by the Swingle Singers. I have a great recording of this Partita by Marta Agerich and I slightly prefer her rendition to Levit's, especially in the virtuoso final movement with the many calls and responses between the voices. Partita three is a highlight of this collection, the chords crunching and crisp. I could go on - but will just say that this is a deeply-felt and honest interpretation of sublime music that always puts the emphasis on Bach rather than the player.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x8e473e34) étoiles sur 5 Namby-pamby 1 janvier 2016
Par Noam Eitan - Publié sur
They are well played and the sound is first class, but the playing is too refined and understated. The partitas weren't Gould's greatest achievement. However, for some reason, even though his Goldbergs, WTC I & II, French and English suites, etc., have all been IMHO surpassed since several times, his partitas rarely have. Levit's flaccid reading in particular makes me crave for a bad boy, kick-ass, more forceful approach. His playing had a soporific effect after awhile. I am tired of polite, reserved, stylistically-politically correct performances.

The sound is first rate. The piano sounds natural, no artificial reverb, no equalizing that I could detect, no sweetening of the sound, no listening fatigue. It's a studio sound in the best sense; you are not aware of the space, it's just you and the piano. You can clearly follow each hand and each note.
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