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Beethoven : Quatuors à cordes Op. 95, Op. 127, Op. 130, Op. 131, Op. 132, Op. 135

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Détails sur le produit

  • Compositeur: Ludwig van Beethoven
  • CD (4 mai 2006)
  • Nombre de disques: 3
  • Label: Supraphon
  • ASIN : B000F0H3PU
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 57.835 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. I. assai sostenuto - allegro
  2. II. allegro ma non tanto
  3. III. molto adagio - andante
  4. IV. alla marcia - assai vivace - piu allegro
  5. V. allegro appasionato - presto
  6. I. allegro con brio
  7. II. allegretto ma non troppo
  8. III. allegro assai vivace, ma serioso
  9. IV. larghetto - allegro agitato

Disque : 2

  1. I. maestoso - allegro
  2. II. adagio, ma non troppo e molto cantabile - andante con moto - adagio molto espressivo
  3. III. scherzando vivace - presto
  4. IV. finale
  5. I. adagio ma non troppo e molto espressivo
  6. II. allegro molto vivace
  7. III. allegro moderato - adagio
  8. IV. andante ma non troppo e molto cantabile - ...allegretto
  9. V. presto
  10. VI. adagio quasi un poco andante
  11. VII. allegro

Disque : 3

  1. I. adagio ma non troppo - allegro
  2. II. presto
  3. III. andante con moto, ma non troppo
  4. IV. alla danza tedesca - allegro assai
  5. V. cavatina - adagio molto espressivo
  6. V. fugue - overtura-fuga - allegro
  7. VI. finale - allegro
  8. I. allegretto
  9. II. vivace
  10. III. lento assai, cantante e tranquillo
  11. IV. grave, ma non troppo tratto - tanto - (der schwer gefasste entschluss)

Description du produit

Quatuors à cordes n°11 op.95, n°12 op.127, n°13 op.130 (& Grosse Fugue op.133), n°14 op.131, n°15 op.132, n°16 op.135 / Quatuor Smetana

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Format: CD
Si vous adorez la virtuosité et le « brillant » des Artemis ou des Berg, ou le son chaleureux et quasi symphonique des Italiano, alors passez votre chemin ou mieux, écoutez ce CD, sans concession , d'une sincérité à toute épreuve, qui vous fera découvrir un autre (le vrai ?) Beethoven.
La réputation des archets d'Europe centrale encore bien vivante dans les années soixante était bien méritée : la parfaite maitrise technique et le son inimitable des instruments, sont ici totalement au service d'une intonation, d'un geste musical, d'un engagement de chaque instant. Pas de place pour un quelconque lyrisme hors de propos, tout pour le discours, pour le « message » de Beethoven.
Cette version des ultimes quatuors de Beethoven (y compris le 11ème « serioso ») est donc plus proche des Vegh (leur engagement) mais sans leurs défauts (justesse et intonation pas toujours parfaite chez ces derniers), ou des Budapest mais avec, pour les Smetana, le confort d'une excellente prise de son stéréo et un engagement plus perceptible encore.
Alors pourquoi cette version semble rester dans l'ombre ? Le marketing ? La pensée unique ?
Remarque sur ce commentaire 15 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Amazon.com: 5.0 étoiles sur 5 3 commentaires
13 internautes sur 18 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 magnificent !!!!!! 1 octobre 2010
Par angelomusicante - Publié sur Amazon.com
Format: CD Achat vérifié
no words can express my joy of finding this recording , not only is a superb one but the kind of interpretation is rare (considering that there are many strings quartets with a great level) what we have here is the most refine art combine with the most essential beethoven.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Sublime. If you can find it affordably, don't hesitate 16 février 2013
Par Ralph Moore - Publié sur Amazon.com
Format: CD
The Smetana Quartet must be in the running for finest thing to come out of Prague and that's from a city that saw the premiere of "Don Giovanni". Whether they played Mozart, Schubert, Beethoven or indeed Smetana, this quartet became a benchmark for excellence; trying to "review" the playing of so revered an institution feels like an impudence.

I hugely enjoy and greatly esteem recordings of the late quartets by such as the Medici and the Tokyo in their bargain editions on Nimbus and Sony respectively (both reviewed by me) but these are the recordings to which I would be found clinging after the asteroid had struck. I have been unable to stop playing these discs since receiving them. Everything is judged to perfection: intonation, tempi, phrasing, dynamics, blending and colouring. There is, in addition to the essentially spiritual, "vertical sense" which clings to any truly inspired performance of these extraordinary works, always present a certain physicality of horsehair on silvered steel; there is nothing etiolated or super-refined about their playing. We have our feet on the earth where giants stride and our heads in the ether breathed by the gods.

Furthermore, mirabile dictu, the sound engineering of these Supraphon recordings from the 60 and early 70's was always impeccable and the 2006 remastering has simply tidied an already startlingly immediate sound.

The obvious place to start if you need to be convinced or merely want to sample would be the miraculous Cavatina of Op.130 and allow the music to run on to the "Grosse Fuge", whereby you may hear the gamut of the Smetana's technical and aesthetic virtues. They make the "lunacy" of the latter more limpid than any other interpreters I have heard. Or go instead to the rightly celebrated "Dankgesang eines Gesenenen" and be cured yourself of temporal woes - at least temporarily. I am struck by how "modern" their sound is here: the minimum of vibrato, an earthiness suggestive of gut and a dedication to fine-tuning combined with a rapt, long-breathed concentration which can only be called truly sublime. I have rarely been so completely entranced by great music so exquisitely performed.

Last Sunday, two companions and I stalked out during the interval of a concert featuring two of these late quartets so gruesomely played by a supposedly "original instrument/HIP/period" - whatever - quartet that it was more than a refined ear enamoured of this music could endure. So squawky, whiny, underpowered and out of tune were their efforts that I swear I would happily strap both the performers and those deluded members of the audience who applauded them to operating tables and make them listen to these accounts. Desperate measures, perhaps - but we must at least protest and try to save civilisation somehow.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Beethoven on Clay and Stars 24 février 2013
Par Bernard Michael O'Hanlon - Publié sur Amazon.com
Format: CD
In 1991, I purchased the Quartetto Italiano's box-set of Beethoven's Late Quartets. Since then, I have been dead-in-the-water in this repertoire. I was subsequently informed that the QI is not only lumpy - I could hear that for myself - but also morbid. As is their wont, Haydn and Mozart filled the gap in my life. Indeed, a brawl almost broke out at a meeting of the Australian Kna Association when I suggested that Haydn's Bird Quartet (Opus 33 / 3) is the most perfect quartet ever written: not the most profound or extreme or humourous: the perfect.

Anyway, I was exceedingly glad when this box-set came my way through the munificence of a friend. The patina of the Smetana Quartet is as recognisable as the `golden glow' of Claude Lorraine. As always, they are immaculately integrated with one another. I have often wondered about this exalted ensemble from Czechoslovakia. They recorded extensively for EMI in the Nineteen Sixties. They then reappeared, battered and bruised, on Denon in the early Eighties. What of the decade in between? Were they hanging around with John Lennon during the latter's `lost long weekend'? Was it one bender after another, with bimbos in the mix? The emergence of this set has partially resolved this question in my mind. At least they were still recording; there might be more performances in the vaults of Supraphon.

This is not the Beethoven the Invalid who is so promulgated by the Quartetto Italiano. Nor is it solely a Summa Theologica, under God. This is a Beethoven who is hale and glad to be rooted to the dear Earth as he stares up at the constellations. How these utterances affirm `everything under the sun' in addition to `the love that moves the whole shebang'. True, Beethoven addresses his innermost self at times; Dante-esque, he says to himself, "Do not be afraid; our fate cannot be taken from us; it is a gift." Again, there is nothing morose here.

The Grosse Fuge unfolds as naturally as a great mathematician chasing down the final value of Pi.

As I hear it, this set is ex cathedra. The recording is excellent. I still love the Bird.
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