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Beethoven-Missa Solemnis-Bern.

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4,7 étoiles sur 5 11 commentaires provenant des USA

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Page Artiste Orchestre Royal du Concertgebouw


Détails sur le produit

  • Interprète: Léonard Royal Concertgebouw Orchestra, Multi-Artistes
  • Orchestre: Royal Concertgebouw Orchestra
  • Chef d'orchestre: Léonard Bernstein
  • Compositeur: Ludwig Beethoven
  • CD (1 novembre 2000)
  • Nombre de disques: 1
  • Label: Deutsche Grammophon
  • ASIN : B000050GK3
  • Autres éditions : CD
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Description du produit

BERNSTEIN LEONARD / CONCERTGEB

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Amazon.com: 4.7 étoiles sur 5 11 commentaires
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Missa Solemnis Redux 14 avril 2015
Par Frog - Publié sur Amazon.com
Format: CD Achat vérifié
Leonard Bernstein went through two different phases in his conducting career---the first, up through 1969, was his brash and exciting phase. After that, up until his death in 1990, he became more interested in deeper elements of interpretation. There were a number of recordings which he made in the first phase which were then re-recorded by him. The first phase was one in which Bernstein, who was Music Director of the New York Philharmonic from 1958-1969, produced some extraordinary recordings. He became known for his Mahler, Stravinsky and Shostakovich, as well as the works of other composers. In the second phase, he recorded with a number of orchestras, the primary of which was the Vienna Philharmonic. Beethoven's Missa Solemnis was one of the works which he recorded in each phase. (He also recorded the complete Beetthoven symphonies with the New York Philharmonic, in his first phase, and with the Vienna Philharmonic in his second phase, and the complete Brahms and Schumann symphonies with the same orchestras, respectively, in each phase. There are many critics who have concluded that Bernstein's second phase showed a marked improvement over his first phase, with a level of "maturity" not previously encountered.

I am one of those who believe that Bernstein's best days were in the first phase. True, his later recordings may have been tidier than the earlier ones. Also true, the Vienna Philharmonic may have been a better orchestra in the 1980's than the New York Philharmonic was in the 1960's. However, Bernstein's performances over time lost some of their zest and panache. The Missa Solemnis is a perfect example. The New York Philharmonic performance, recorded in 1960, is a little rougher than the 1978 Concertgebouw performance. The Concertgebouw I 1978 was, and remains, one of the world's greatest orchestras. The New York Philharmonic in 1960 was a very good orchestra, but not, at that time, in the same league as the Concertgebouw, the Vienna Philharmonic, the Berlin Philharmonic, the Cleveland Orchestra, the Philadelphia Orchestra, or the Chicago Symphony. Nevertheless, the visceral excitement provided by the New York Philharmonic under Bernstein in 1960 trumps Bernstein's Concertgebouw. A little roughness goes a long way in Beethoven, particularly in Missa Solemnis. In my opinion, the beauty of sound which the Concertgebouw produces, while remarkable, could use a little more force, a little more punch, and a little less homogeneity. Missa Solemnis marked Beethoven's movement into the next era of music. Mahler and Shostakovich must have learned much from that score. The New York Philharmonic, a superb Mahler and Shostakovich orchestra, gets it right to a degree that the Concertgebouw, which itself is no mean Mahler orchestra, does not.

Had the disc under review been immersed in the same milieu as the New York Philharmonic performance which was recorded 18 years earlier, it would have earned 5 stars. However, it just misses that mark.
5.0 étoiles sur 5 Leonard Bernstein takes Bernard Haitink's well-polished Dutchmen on Beethoven's solemn journey... 29 décembre 2016
Par Joe Anthony - Publié sur Amazon.com
Format: CD Achat vérifié
Here Leonard Bernstein rocks out a well-balanced and refined "Missa Solemnis" with the Concertgebouw Orchestra of Amsterdam. While the Concertgebouw (one of the world's finest orchestras) plays with all the polish and precision that one would expect given so many years under the baton of the conservative Dutch Master, Bernard Haitink; Bernstein imposes upon the orchestra, chorus and soloists, his own brand of enthusiasm and love that he has for the music.

It's difficult to compare this Concertgebouw/DG recording to Bernstein's earlier recording of "Missa Solemnis" that he made with the NYPO for Columbia records. While the NYPO/Columbia recording has all the energy, robustness and swing that one would expect from Bernstein and his home team; this Concertgebouw/DG recording has a good feeling that one gets when everything comes together just right. The music itself is played flawlessly without sounding clinical or emotionally detached, and yet, the depth of emotion that is expressed is sincere and not at all sounding of self-indulgence or over-indulgence.

Overall, a wonderful recording of Beethoven's "Missa Solemnis"...
12 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A thrilling account from Bernstein at his loftiest 21 juillet 2007
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD Achat vérifié
Until recently I had avoided listening to this widely dmired Missa Solemnis that Bernstein recorded in concert from Amsterdam. His first version on Sony was marred by bad sound and some sloppy vocal work, and I was afraid that LB, never one to bother much with choral discipline, would be wayward under live conditions. These assumptions were mistaken, and now I have the pleasure of praising one of the great accounts of Missa Solemnis on disc, worthy to stand with Klemperer, Toscaninii, and Karajan.

If anything, Bernstein at 60 proves more thrilling than his earlier self, and the orchestra and chorus generally surpass his NY forces. The acoustic is overly resonant, but the soloists, all singing within an inch of their lives, are caught close up. This work is an engineering nightmare, and DG's sonics are as good as most -- they equal anything Karajan achieved in four tires on DG and EMI. The biggest flaw is a muted, muffled quality in the chorus.

As for the interpreatation, although it times out fairly slow at 81 min., Bernstein never mistakes ponderousness for profundity. Every bar is alive and flexible, and he makes the brilliant decision to aproach the Mass as a drama of the soul, varying the tone from hushed mystery and awe to apocalyptic triumph. Bernstein could be self-indulgent in later years, but I agree with Mr. VanDeSande that he is self-effacing here. Of his four soloists, none ae favorites of mine, but they perform heroically and their fluffs in intnation, like those of the chorus, are easily forgiven in the heat of the moment. The big fugues turn into a scramble, especially the great Et vitam venturi at the end of the Credo, which Bernstein ends murderously fast.

In sum, this glorious reading has been overlooked in the general adulation for Klemperer, but in many ways it is an equal classic and perhaps more inspired from moment to moment.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Bernstein's deeply spiritual account 28 décembre 2014
Par Ricardo Mio - Publié sur Amazon.com
Format: CD Achat vérifié
Beethoven had a habit of pushing the envelope, of expanding the recognized boundaries and taking music to places it hadn't been before, thereby offending purists such as Haydn and thrilling prodigies like Schubert. "The greatest work which I have composed thus far is a grand Mass with choruses," is how Beethoven described the Missa Solemnis in a letter to a publisher. As preparation, he immersed himself in the music of Palestrina, Handel, and Bach while scouring the libraries of wealthy patrons for references to old church music. In turn, he integrated the devotional style of this earlier music with a thoroughgoing symphonic style that infused his Mass with its distinctive character and sound. From modest beginnings, the work evolved into a grand conception. As a result, there was no longer any chance it could ever be performed in church, no matter how magnificent the cathedral. Indeed, the organ lofts of Vienna's largest churches could not begin to accommodate the forces Beethoven's work demanded. At nearly two-thousand bars in length and unmatched in complexity, the Missa Solemnis stands at the pinnacle of Beethoven's achievements.

The outstanding recordings of the Missa are by conductors who have recorded one or more cycles of Beethoven's symphonies, who have lived with this music for many years, such as Toscanini, Klemperer, Karajan, and, yes, Leonard Bernstein. Bernstein gets this music on a deeply spiritual level, which the Concertgebow Orchestra conveys magnificently. The choral singing is beautiful and heartfelt. While vocalists Moser and Kollo, with the high parts, are pushed to the limit, all four soloists rise to the occasion and deliver big time. Warm spacious sound enhanced by careful digital remastering. Five stars.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 'From the heart' - in grand proportions 12 novembre 2012
Par Bahij Bawarshi - Publié sur Amazon.com
Format: CD Achat vérifié
When Beethoven wrote the Mass in D major (Missa Solemnis), he was driven by emotion that he wanted to communicate, not just by the desire to compose a grand choral piece. His superscription of the 'Kyrie' (which may be taken as of the whole work) was, "From the heart - may it in turn go - to the heart!" He also wrote, "My chief aim was to awaken and permanently instill religious feelings not only in the singers but also into the listeners." Of this recording the question is, Did Leonard Bernstein with the Concertgebouw, the four soloists, and the Radio Chamber Choir of Hilversum live up to the great master's emotional intent? After listening to the recording many times, my answer is yes, mostly. Some of the orchestral playing, such as the Concertgebouw's brilliant brass in the 'Gloria' or the agitated music of the last part of the 'Agnus Dei', speak more of high drama than religious emotion; and to be fair, Bernstein was being true to Beethoven's flair for the dramatic in these parts. In quieter sections like the Praeludium leading to the 'Bendictus', the Concertgebouw play with touching reverence. Not surprisingly, the greatest emotion is generated by the singers. All four soloists sing from the depth of their hearts and - yes - go to the heart. The cries of "miserere nobis" in the 'Agnus Dei' are heartrending. The Hilversum singers give Bernstein their all in what is recognized as extremely challenging vocal music. In the central 'Credo' - central in more than one sense - Bernstein unifies his forces in a rousing performance of worship and affirmation. Like many before me, I found the 'Benedictus' to be the most beautiful part of this notoriously difficult, forever beautiful composition. The solo violin - supposedly representing the Holy Spirit - that accompanies the orchestra and singers in this movement is a touch not of genius but of transcendence. The recording in its entirety moves me.
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