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Beethoven: 9 Symphonies (5 CDs)
 
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Beethoven: 9 Symphonies (5 CDs)

18 février 2014 | Format : MP3

EUR 34,99 (TVA incluse le cas échéant)
Également disponible en format CD

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Titre Artiste
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Disc 5
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Détails sur le produit

  • Date de sortie d'origine : 1 janvier 1994
  • Date de sortie: 18 février 2014
  • Nombre de disques: 5
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 1994 Deutsche Grammophon GmbH, Hamburg
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 5:28:45
  • Genres:
  • ASIN: B0025CA04C
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 311.630 en Albums (Voir les 100 premiers en Albums)

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Format: CD
Gardiner a réussi le prodige de nous faire redécouvrir des oeuvres pourtant déjà entendues des centaines de fois.
Grâce à lui, Beethoven se révèle, se retrouve tel qu'il a dû paraître à ses contemporains, aussi "révolutionnaire et romantique" que l'orchestre du chef anglais.
Sous sa baguette, les instruments d'époque sonnent toujours avec une très grande beauté, une magnifique homogénéité d'ensemble, des timbres fruités qui s'épanouissent entre eux en une véritable symbiose esthétique.
Mais surtout, cette somptueuse pâte sonore est sublimée par le geste du chef en des attaques toujours incisives et franches qui évitent toute complaisance narcissique pour mieux restituer le souffle grandiose qui traverse ces partitions.
Quelle fraîcheur ! Comme un tableau dépoussiéré après une restauration qui a aussi libéré la peinture des couches de vernis successifs, ces symphonies semblent retrouver, dans l'éclat de puissants contrastes, leurs couleurs et leurs rythmes d'origine étouffés jusqu'à présent sous d'épais glacis post-romantiques.
La musique de Beethoven ressuscite ainsi dans toute sa puissance percutante qui fait se lever l'auditeur contemporain de son confortable fauteuil de salon ; d'ailleurs, je défie quiconque de rester assis à l'écoute de ces versions, tant l'on se sent happé et projeté au sein de l'orchestre, en une communion littéralement physique !
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Format: CD
Ce coffret donne une idée jeune au sujet de l'interprétation des symphonies de Beethoven. Ici, rien n'est laisser au hasard chez Gardiner: Précision des tempi, utilisation d'instruments d'époques, respect de toutes les reprises et de toutes les indications (oublié malheureusement par bon nombre de chefs d'orchestre). Le résultat est vraiment frappant (surtout pour quelqu'un qui n'aimait pas ,avant, la grande musique du compositeur allemand) : Un son authentique, un geste musical vif, une émotion à la fois profonde, puissante tout en étant léger et subtile. De plus, les commentaires du chef d'orchestre (avec le dernier CD) est très instructif.
Je conseille ce coffret à tout le monde: aux amoureux de Beethoven comme à ceux qui ne l'aime pas (si si je vous assure), et à ceux qui veulent une véritable découverte des symphonies
Remarque sur ce commentaire 8 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x91e830a8) étoiles sur 5 65 commentaires
44 internautes sur 50 ont trouvé ce commentaire utile 
HASH(0x91cf960c) étoiles sur 5 Brilliant 23 décembre 1999
Par M. Friedman - Publié sur Amazon.com
Format: CD
I have never heard Beethoven played with such verve and excitement. While the Karajan and Furtwangler Beethoven symphonies are majestic and stately, like a top-of-the-line Mercedes Benz, Gardiner's purrs, roars and sings like a Porsche.
The Third simply rocks. It's as if Gardiner re-interpreted the young Beethoven as the enfant terrible his contemporaries took him for. The fifth, particularly in the transition from the third to fourth movements, conrtains everything anyone needs to know about music.
Gardiner finds awe in thr Pastoral, mischievous humour in the seventh. And the ninth, shorn of a century of German romantic bombast, sounds like the revolutionary anthem Beethoven likely intended.
The problem with Beethoven symphonies, though, is that you have to listen to several interpretations to really appreciate the transcendent Genius of Beethoven.
Get this one. Byut get Furtwangler's and Karajan's first set as well.
56 internautes sur 67 ont trouvé ce commentaire utile 
HASH(0x912f8da4) étoiles sur 5 The Beauty of the "Bloodthirsty" Beethoven 21 novembre 2000
Par Yi-Peng - Publié sur Amazon.com
Format: CD
The many recorded cycles of Beethoven symphonies have been reckoning up by dozens, like Sir Joseph's female relations, but I feel the fondest of this entire cycle among the historically-informed versions. Sir John Eliot Gardiner and his period-instrument forces have brushed these works clean of cobwebs, such that they sound fresh, clean and in line with what Beethoven would have wanted us to experience. To be sure, some listeners who favour the anodyne Karajanesque or Furtwangleresque approach applied to these works would be upset with the fast speeds, but these readings hardly sound wooden and mechanical. Rather, open-hearted listeners can find that Sir John shapes the music and allows articulate detail to mingle with the emotions in these works, helped by DG's transparent and luminous 4-D audio recording.

Throughout this cycle, Sir John brings out the "bloodthirsty beauty" of Beethoven's symphonies, keeping us on the edge with the well-articulated and heartfelt interpretations of the major symphonies. Yet there is still Mozartian-like charm in the early symphonies, especially the First and Second. In the longer symphonies Sir John's classical approach still allows us to feel Beethoven's emotions, and the nuances of the music are keenly and cleanly fleshed out. You can feel the Olympian power of the Eroica in a relentless and fierry performance, and the relentless drive of the Fifth that can well resonate with human conditions. The rhythmically-driven renditions of the 7th and 8th bring out the bucolic charm and character of the piece. The brisk speeds of the Pastoral don't sound rushed, but still allow for a warmly affable, cheerful and open-hearted reading that sounds welcoming of the open countryside that so influenced this music, aided by keen and detailed woodwind playing. And then there is the monumental Ninth, the crowning achievement in this wonderful cycle with new delights to explore. It's true that this approach to this music is iconoclastic to the established grandiose way of performing this music, but this version is the most successful in integrating an emotional approach to the music with a keen sense of accuracy. The finale truly sounds like an affirmation of joy that binds us all humans, and the bucolic Scherzo has a natural spring to it, similar to what many modern performances would capture. It's true that the first and third movements are twice as fast as we are used to, but we can feel that these performances successfully integrate structure and feeling to depict the Titanic struggle that Beethoven wanted this music to portray. But this is still a keen crowning achievement to this fresh and cohesive cycle of Beethoven symphonies.

In short, I feel compelled to count this historically-informed cycle of unexpurgated Beethoven a cycle that should eventually suit all tastes. Although some older-generation listeners would recommend springing for Karajan's box, this cycle allows for a cleaner approach to the music that benefits Beethoven and ourselves. Maybe in time this historically informed cycle will allow more people to discover the bloodthirsty beauty in Beethoven's music, but its great merit is that it successfully infuses the cerreberal (scholarly) approach with the anodyne approach, and gives new life to these well-worn works.
12 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x91201084) étoiles sur 5 Haven't Heard Better Really 19 octobre 2005
Par Octavius - Publié sur Amazon.com
Format: CD
I tend to agree with a lot of points mentioned by the previous reviewers but I don't find this work to be as despicable as they make it seem. Traditionalist revisionism is always a tricky thing in classical music composition drawing a lot of opinions from various points of view. There are certainly defects to these performances and interpretations, but, compared to a lot of other work out there it's certainly not average or the worst. I don't regret having purchased this set despite its deficiencies.

Beethoven was alive during the times of the French Revolution and Napoleon and was an ardent republican in Austria under the Hapsburg court. Many of his symphonies incorporate his ideals of revolutionary change. A disproportionate majority of the performances for these symphonies, particularly older conductors, completely misinterpret Beethoven's intention. A perfect example of this is in the march for the last movement of the 9th Symphony. If you listen to any of Karajan's, Solti's, or even Bernstein's interpretation it sounds like a damn funeral procession. The march in the piece is a revolutionary military march that is meant to proceed at a fast pace. In terms of military marches, the other interpretations are too slow even for a funeral. The only thing that keeps me from falling asleep when listening to them is the volume which is overbearing: I can barely recognize a single section in that Mahleresque cacophony. It's just symphonic overkill for these pieces. So loud Beethoven would have probably said 'Turn it down it's too loud!' in his deaf old age. Gardiner's symphony could use a little more volume but the traditional instruments don't permit that. As for the performances, there are some minor problems with various sections in the different symphonies but I didn't find them overly significant. The best part for me is particularly Gardiner's reinterpretation of the meter which gives one a far greater sense of impending change in pieces such as his 3rd, 5th, and 9th. Also, compared to the older conductors I've mentioned, you're not going to feel like you're in a coma when you listen to the 7th Symphony or that Winter has come instead of Spring in his 6th. Gardiner's orchestra is also smaller wich diminishes the volume but having a modern orchestra of 300+ members is simply overkill for such pieces and the results are worst in muffling the strings than Gardiner's lack of punch with traditional strings and orchestra size.

I think Gardiner's interpretations are just fine despite their defects as many of its other contenders have problems of their own which, in my opinion, are worst than those of Gardiner's. At least you won't feel like you're at a funeral and that the whole attending party is going to die along with the deceased so morbidly slow are those old school performances. I'm going to rate all the presently great performances for these works with four stars until a truly great one comes along to deserve five. Choosing the best among different performances here is then really a question of taste as they all have problems in one way or another. Of the older generation I tend to prefer Toscanini's interpretations above those of Solti or Karajan.
18 internautes sur 23 ont trouvé ce commentaire utile 
HASH(0x912010f0) étoiles sur 5 Everybody should listen to this 24 octobre 2000
Par bruce horner - Publié sur Amazon.com
Format: CD
If you've already got favorite versions of Beethoven's symphonies, Gardiner may not convert you, but he gives you plenty to think about with these very interesting alternative performances. With all the scholarship and hard work that went into this cycle, perhaps this version IS closer to what Beethoven intended (though who can say for sure?), but a happy surprise is the verve and brio of these 'period' performances. It used to be that so-called 'period instrument' versions of classical music came off sounding bloodless and dessicated. Not so here! Partly this is due to the rethinking of the tempi involved; this is the FASTEST set of Beethoven symphonies that you're ever likely come across. But the musicianship is both gutsy and sensitive---just top-notch throughout. While I must admit, these will probably never be my favorite versions of the Third, Fifth, or Seventh, I can live very happily with the First, Second, Fourth, and Eighth here. But this entire cycle should be heard several times by any Beethoven fan, and the CD of commentary by Gardiner is fascinating and illuminating (and persuasive). The sound quality is great, too. Well worth the price.
7 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x914700b4) étoiles sur 5 One of the most magnificent sets 13 décembre 2010
Par Prescott Cunningham Moore - Publié sur Amazon.com
Format: CD
Gardiner's period instrument cycle was the best of both worlds when it was released in the mid-nineties, appealing to purists and traditionalists alike. It secured better playing than Hogwood did in his fine cycle and has remained in-print unlike Bruggen's fantastic series. But most importantly, it did not grossly offended many listeners like Rodger Norrington's cycle did, with its hard hitting accents and fast tempos. Indeed, it was Beethoven for Beethoven's sake, with spirited tempos, big playing, and a true understanding of the composer's idiom. In this regard, despite the publication of the Barenreiter editions, the set still remains fresh, attractive, and "current" with much of the recent scholarship, in no small part because Gardiner worked with Del Mar in preparation of this set.

As far as complete cycles go, this still remains a favorite period set as well as a front runner as far as cycles are concerned. For one, Gardiner secures fabulous playing from his period band, with full-bodied, gutsy strings, golden-toned brass, and bright winds, especially from the typically undernourished clarinets and bassoons. Intonation is always spot-on and the overall timbre of the orchestra has that typical warmth and spice one can only find from period instruments. Secondly, Gardiner is across-the-board a very fine interpreter indeed. He is excellent in all the sonata-form movements, judging and balancing climaxes wonderfully, while finding the humor throughout, especially in Beethoven's delicious scherzo movements. But he also knows when to pull back and let lyrical passages be just that lyrical, that lack of which was the major shortcoming in Norrington's cycle.

A great example would be Gardiner's absolutely thrilling Seventh, one of the truly great performances of this work. The opening has that cosmic quality of Toscanni's reference account, while the allegro-vivace is imbued with boundless energy. The central climax and transition into the recapitulation manages to be both textually clear but exciting - no small feat - while the grinding lower strings in the coda are wonderfully present. Gardiner finds the perfect balance between grief and anger in the allegretto while the scherzo just overflows with joy. In the finale, Gardiner makes the music sound faster than it actually is with crisp playing from the strings and explosive playing from the winds, high horns especially. It is marvelous from start to finish and while it may lack that last ounce of fervor found in Kleiber, Toscanni, or Harnoncourt, the kaleidoscope of colors he elicits from the period instrumements more than makes up for that last ounce of obsessive energy.

The fifth is also fabulous. If there is one complaint, it is that the first movement is not as visceral as Kleiber or Szell with Concertgebouw. Part of the problem lies with using period instruments; the gutsy, full-bodied strings cannot create the same razor sharp attack on the famous opening as modern instruments while the general bright timbre of the orchestra fails to make the coda quite as terrifying as it can be. No matter, however, because from the andante onward, the performance is a true winner. Much of what makes Gardiner's interpretation so special is that it is one of the few interpretations that really highlights the famous "ta-ta-ta dum" rhythm in the other three movements, especially in the trio of the scherzo (thankfully repeated) and in the second theme of the finale. And of the latter movement, Gardiner cannot be praised enough. It just explodes with energy; the climax before the ghost of the scherzo has few peers and the taught rhythmic energy is about as exciting as it gets. Those that like the "German School" fifths of Karajan and Furtwangler might find Gardiner's fifth a bit direct but its insatiable energy is undeniably infectious, especially in the thrilling coda (what magnificent brass playing).

Gardiner's ninth is a real winner, especially in this crowded field. I certainly would not want to part with my reference Szell and Wand performances, not to mention Karajan, Friscay, and Barenboim among others, but Gardiner's can easily stand with the best. For one, Gardiner is one of only a handful of conductors - the other being Toscanni - that convincingly manages a quick tempo for the first movement. Where it sounds pedestrian and uninteresting in other hands (Jarvi), here the quick allegro really is exciting as hell because Gardiner lets the tutti passages explode with an overwhelming visceral impact. The recapitulatory climax is outstanding and the coda is a clinic on how this music should be conducted. At a little over twelve minutes, the adagio is ideally timed but never sounds rushed. The finale has everything necessary for success, and it certainly succeeds with its fine vocal quartet and sustained energy. After a wonderful "Gott" cadence, Gardiner takes the Turkish march in cut time, which was controversial at the time. However, to ears attuned to the recent tempo adjustments in Beethoven, this now sounds "normal." The march is lively, with all its janissary effects, but Gardiner's dynamic swell into the double fugue is really outstanding while the fugue itself, along with the coda, are as exciting as any. Only in the scherzo does this performance suffer, mostly because the period strings have trouble where their modern colleagues have none - executing the dotted rhythms.

Listeners who like their Eighths fast and furious have long loved Gardiner's fantastic performance, although Jarvi's recent Eighth is now my reference historically informed performance. While Jarvi's Eighth might beat out Gardiner for sheer excitement, Gardiner is not close behind with his boundless energy in the outer movements. The development of the allegro is spectacularly aggressive, with an effective recapitulation (thank goodness!) and a blazing coda. The central movements, especially the delightful allegretto, have tremendous color from the winds and lower strings. The finale goes by in little over six minutes, which may seem extreme next to the eight minutes both Szell and Bohm take in their classic performances, but Gardiner's players justify the tempo with their razor sharp articulations and limitless reserve of stamina. It is just tremendously exciting from start to finish.

Not all the performances, however, are run-away winners. The forth begins shakily, Gardiner's dead-pan plain-faced opening missing a lot of the emotion of Mackerras, Bohm, or Jarvi. The allegro proper has many fine moments indeed, including a crushing central climax, but Gardiner all-too-gentle handling of the second theme group robs the music of its propulsive energy. The adagio, however, is spectacular; Gardiner's emphasis on lyricism is spot-on and some of the passages, including the sweeping triplet string figures under the soaring clarinet line, have never been bettered. The scherzo is all bumptious energy as it should be while the finale is all good fun, even if Gardiner does not capture the same manic energy found in Haitink (LSO), Jarvi, or Mackerras.

The second, like the forth, has many great moments, but somehow fails to delight in the same way as Gardiner's more successful outings. The opening to the first movement is taken lyrically - a valid point for certain - but the more hard-hitting approaches of Wand, Dohnanyi, and Vanska are that much more exciting. Gardiner's tempo choice for the allegro proper is very fast, which is not necessarily a problem so long as the players can generate the appropriate amount of energy, but here, something is lost. Gardiner also has a somewhat mannered approach to many of the wind declamations towards the end of the exposition and recapitulation, which is interesting but wears over time. Still, the developmental climax has boundless energy and the coda, while featuring some reticent trumpets, is still exciting. Gardiner navigates the two central movements with no problems but I prefer the brusquer humor of Vanska or Cluytens in the scherzo's trio. The finale is also very good, but still manages to be less exciting than simply fast.

In the allegro of the sixth, Gardiner fails to imbue the placid musical surface with the undercurrents of joy and happiness in the same way as Bohm, Vanska, Toscanni, Dohnanyi, and Wand. The development, for example, begins promisingly, with some exceptionally warm string swells, but the climax before the recapitulation (and in the coda for that matter) is not as joyous as it should be. Gardiner also adds mannered hesitations in the second theme group which sound less interesting than they do annoying. However, the "Scene by the Brook" is as wonderful as any, in no small part due to the very present cello duo throughout. The scherzo features a particularly rustic country dance, leading into a very dark thunderstorm, which sounds more menacing than usually with the tart period winds and timpani. The "Sheppard's Song" is warm and lovely, as it always is, but others, like Szell and Vanska, have shaped better hymns of Thanksgiving towards the movement's close and, for all of Gardiner's insistence on accuracy, it does not sound as if the final horn call is played by a muted horn.

Gardiner's "Eroica" is very close to great, but the first and third movements are less than ideal. In the former, despite some tremendous playing and one of the best realizations of the coda with Beethoven's original orchestration, Gardiner applies to mannered hesitations, one at dissonant pile-up and the other right before the coda that rob the music of a great deal of forward momentum. In the scherzo, Gardiner underscores Beethoven's emphasis on the weak beat, but the general lack of zeal and zest prevents the music from propelling forward as it should. However, the period strings and pert winds do themselves proud in the colorful march, although a darker timbre and greater presence from the lower strings would have made the music all the more special.

All in all, Gardiner's set is real winner and it is one of the few cycles where the big symphonies - the third, fifth, seventh, and ninth - are all consistently excellent while the even numbered symphonies, with the exception of the eighth, are scarcely less fine. It not only represents one of the greatest period sets available but also one of the finest cycles period.
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