Acheter d'occasion
EUR 29,76
+ EUR 2,49 (livraison)
D'occasion: Bon | Détails
Vendu par Japan-Select
État: D'occasion: Bon
Commentaire: Expe'die' depuis Japon. Rapide: 3-4 semaines.
3 d'occasion à partir de EUR 29,76
Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 10,99

Beethoven : Symphonies Nos. 7 & 8 Import

5.0 étoiles sur 5 2 commentaires client

3 d'occasion à partir de EUR 29,76
Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


Offres spéciales et liens associés


Page Artiste Ludwig van Beethoven


Détails sur le produit

  • Orchestre: Marlboro Festival Orchestra
  • Chef d'orchestre: Pablo Casals
  • Compositeur: Ludwig Van Beethoven
  • CD (3 mai 1990)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B00000270N
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 430.563 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

  • Ecouter les extraits (Extrait)
1
30
12:39
Album uniquement
2
30
9:34
Ecouter le titre Acheter : EUR 1,09
 
3
30
10:52
Album uniquement
4
30
7:35
Ecouter le titre Acheter : EUR 1,09
 
5
30
8:19
Ecouter le titre Acheter : EUR 1,09
 
6
30
3:43
Ecouter le titre Acheter : EUR 1,09
 
7
30
4:38
Ecouter le titre Acheter : EUR 1,09
 
8
30
8:11
Ecouter le titre Acheter : EUR 1,09
 

Commentaires en ligne

5.0 étoiles sur 5
5 étoiles
2
4 étoiles
0
3 étoiles
0
2 étoiles
0
1 étoile
0
Voir les deux commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Par Mélomaniac 1ER COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 13 juillet 2008
Format: CD
En 1939, le grand violoniste allemand Adolf Busch et son gendre Rudolf Serkin s'établirent aux Etats-Unis, où ils constituèrent le Festival de Marlboro au début des années 1950.
Dans ce vallon du Vermont, des artistes venaient du monde entier pour s'aguerrir en toute confraternité, sans dogme ni vanité.

Interrogé sur la philosophie de ce festival qu'il anima inlassablement pendant quatre décennies, Serkin répondit humblement « apprendre à jouer les seconds violons ».
Une pépinière de talents en effet : parmi les violoncelles de cette Huitième Symphonie de Beethoven captée le 14 juillet 1963, on trouvait un Lynn Harrell de dix-neuf ans, ou un David Soyer futur membre du Quatuor Guarneri !
Grâce au charisme du vénérable Pablo Casals, cet opus se montre ici vivifié par une virtuosité et une fraîcheur juvénile qui font oublier les plus grands orchestres, les plus éminentes baguettes...

La Septième Symphonie captée le 2 septembre 1969 resplendit d'un élan dionysiaque qui désaltère l'oreille et la gratifie d'un incomparable moment de musique : vivante !
1 commentaire 2 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: Téléchargement MP3 Achat vérifié
je ne rajouterai rien à la bonne critique de Mélomaniac, because
le classique c'est pas mon rayon comme disait encore une vieille
roue de tandem, me contenterai de dire que le plaisir d'écoute
est au rendez-vous .
Remarque sur ce commentaire Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x97f1a1c8) étoiles sur 5 12 commentaires
28 internautes sur 28 ont trouvé ce commentaire utile 
HASH(0x97f34c0c) étoiles sur 5 Beethoven for the first time 6 novembre 1999
Par Tommy Nielsen - Publié sur Amazon.com
Format: CD
Listening to this recording is like discovering well-known music again. The only competetive version of the 7th symhony is Toscanini's old one with the New York Philharmonic (better than the later NBC version) - but the sound is mediocre. Karajan's 7th with the Vienna Symphony is only nearly as good (why didn't he make more recordings with this orchestra with whom he obviously had great affinity?). Casals' 7th has got the best orchestra, the most "urgent" atmosphere as it is a live recording, and the best sound. The real surprise, however, is Casals' account of the 8th symphony, so vivid and brisk as never before. He opts for the same tempi as Gardiner does in his recent DG version. The difference is that Casals has got rhythm as well. Sony, please, release more recordings with this great musicien.
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x97f34c60) étoiles sur 5 Great Conducting and Playing 2 décembre 2007
Par Robert T. Martin - Publié sur Amazon.com
Format: CD Achat vérifié
It seems this wonderful CD is only available via third party sellers. Despite this I'm compelled to tell anyone who might happen to come across this review that here is an example of what great music making is all about.
Maestro Casals leads a festival orchestra of about 50 players in the Seventh and 40 in the Eighth, but what they lack in numbers they more than compensate for in intensity. Every note played here conveys commitment and meaning. Consider, for example, the bass line in the second movement of the Seventh, these people aren't just keeping time but playing like soloists in counterpoint to the upper strings-extraordinary! I can only imagine what playing for a legend must have been like. The sound is not first class but more than good enough. This belongs in every orchestral collection, I hope it becomes more widely available.
6 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x97f34f3c) étoiles sur 5 Beethoven Symphony #8 in F Major - Pablo Casales 19 juillet 2009
Par Bob D'Augustine - Publié sur Amazon.com
Format: CD
This performance is required listening for anyone who is serious about classical music; it is by far the best recording I've ever heard of Beethoven's Eighth Symphony. The opening movement, Allegro vivace e con brio (fast, lively and zesty), truly lives up to the composer's instructions. What makes it stand out is not merely the tempo, which is breathtaking, but the precision and control, which are extraordinary. This performance actually sounds like the product of a single mind, with every note attacked by every instrument at the same instant. At the end of the first phrase of the first movement, there is a tiny pause, after which the orchestra takes up the second phrase of the opening theme, again with absolute precision. To pick up the musical thread after a hesitation of that sort, with such clarity, is simply extraordinary. This is the playing of a fine ensemble that is completely in tune with the musical statement that its conductor is trying to express.

The Marlboro Festival Orchestra is smaller than the major symphony orchestras that are represented on the majority of Beethoven symphony performances; that is a partial explanation for the combination of speed and clarity that Casales is able to bring out. But other performances by small orchestras don't come any closer to this one than the big orchestras with famous conductors do; something rare and special is going on here. It's worth noting that this is a live performance, though the audience is so silent that you might well think they held their breath through the entire work. (This is true on the LP version as well, not simply some trick of digital remastering.) They must have known how very lucky they were to be present at such a moment.

The performance of Beethoven's Seventh Symphony on this cd is disappointing by comparison. The fourth movement, Allegro con brio, calls for the same sort of speed and precision that Casales creates in his performance of the first movement of the Eighth. But his performance of the fourth movement of the Seventh is both slower and less precise. To be fair, I've never heard a performance of this movement, either live or on record, that reaches the level of intensity and precision that the music calls for. The challenge of this movement is that you have to start fast, with a 7-note, swooping, legato phrase whose individual notes can easily get lost; and then you have to do it faster during the movement's final measures. Klemperer solves the problem by starting rather slowly; and you really can hear every note. But there isn't a whole lot of the brio that is called for at the beginning of the movement - though he does manage to generate some real excitement in the accelerando at the end. The closest I've heard to a completely satisfying performance on record is one by Bruno Walter from around 1960 that no longer seems to be available. Colin Davis's performance also isn't bad. Carlos Kleiber's much admired performance starts this movement with an extraordinary level of intensity but is surprisingly sloppy, with the 7-note phrase usually sounding like three or four rather blurry ones. (Maybe that's unfair; perhaps it isn't physically possible for a large orchestra to perform this movement at the rapid pace that is desirable without blurring the notes.)

The appropriate tempo of the second movement of the Seventh Symphony has been an area of disagreement among conductors for decades. It's marked Allegretto, which loosely translates as somewhat fast. In the 1920's and 30's, Stokowski began playing the movement faster than was traditional - and Klemperer started playing it slower. Both approaches generally sound quite lovely. In fact, in startling contrast to the fourth movement, the second one seems impossible to play unsatisfactorily. Casales votes for the Klemperer approach. His tempos for the third movement are also slow - the slowest I've ever heard.

Beethoven's Seventh strikes me as being similar in its structure to the Third, with monumental first and second movements, and lighter, more agile third and fourth movements. For many years, I would sometimes achieve an approximation of what I wanted to hear in the Seventh by playing Klemperer's version of the first and second movements and Walters's version of the third and fourth. (If you're appalled by my lack of reverence for performance integrity - well, I'm not going to apologize. But indulging myself in that sort of thing is rare. The only other example I can think of is Mahler's Fourth Symphony, where I have substituted Klemperer's slow movement for an otherwise all-Szell performance.)

It's worth noting that the orchestras on these two performances are actually quite different. First of all, the Eighth was recorded in 1963, while the Seventh was recorded in 1969. More importantly, the orchestra for the performance of the Eighth consisted of 42 players (including 29 string players, only 13 of whom were violinists), while the orchestra for the Seventh consisted of 53 players (with 22 violinists among the 40 string players). For comparison, the typical major symphony orchestra has at least 90 musicians, with 60 or more string players. A smaller orchestra permits greater precision. So it stands to reason that Casales's performance of the Eighth would be better in that respect that his performance of the Seventh.

It has occurred to me that the performance solution for Beethoven's Seventh would be to use a full orchestra for the first two movements and then to have half of the string players sit without playing through the last two movements. In any case, all these years later, I'm still waiting to hear a single performance that provides what I believe that Beethoven wanted.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9805b480) étoiles sur 5 A very old, very great musician gives us Beethoven with passion 22 février 2010
Par Amazon Customer - Publié sur Amazon.com
Format: CD
I was present at the performance of the Beethoven Seventh when I had the summer off in college. As many eyewitnesses have testified, Casals came alive on the podium. He sat in the wings when he wasn't conducting, and one often heard his vocal praise whenever the music moved him (often a growling, Spanish-inflected "bee-yoo-tee-ful"). His great age made him seem enfeebled until he rose with stick in hand and the band of Marlboro musicians who adored him suddenly responded. Everything was incredibly heartfelt -- as both of these Beethoven sympphonies display -- and the old man's lapses of concentration were trivial comapred to his astonishing musical presence.

The four-star reviewer offers a demurral I find unconvincing. A few coughs are barely worth mentioning, but the implication that this was bucolic, unsophisticated music-making is a more serious charge and far from right. Every musician in the catch-all Marlboro orchestra was either a young virtuoso or an old hand who led a section in one of America's greatest orchestras. True, Casals approached music spiritually rather than technically, but he wasn't a child. As far as tempi go, the four-star reviewer finds them slow when they are nothing of the kind particularly in the Eighth. Only Toscanini and our current crop of HIP conductors are notably faster. Casals wasn't Knappertsbusch. to my ears, only the Scherzo and finale of the Seventh seem a bit broad. I used to think there was a certain rough-and-ready quality to this Seventh, but I no longer find it so. Quite the opposite. Casals' rivals now sound too polished and urbane to me, most of them.

I wish I had been at the recording of the Eighth, too, because as everyone else has noted, it's a gem -- ebullient, full of life and character, not to mention the genuine passion that marks great Beethoven readings. In both symphonies one laments that better recording equipment wasn't used. The venue was a covered screened-in shed, and in person the sound was tight, loud, and dry. A good deal of that still comes across, but Sony's digital version is listenable enough, so long as the absence of "air" and hall resonance doesn't bother you.

To this day, Casals' Beethoven Eighth is my touchstone for a great performance.
HASH(0x9805b498) étoiles sur 5 Having worn out my LP records of these performances, ... 21 octobre 2014
Par Beethoven Fanatic - Publié sur Amazon.com
Format: CD
Having worn out my LP records of these performances, I purchased this CD when it was first issued years ago. However the transfer of the eighth symphony is bright, in my opinion, to the point of harshness. Checking the frequency response with audio software, it seems there is an unusually strong response out to 4khz, i.e., the frequency does not gradually "roll off" as it does in other recordings. If you are accustomed to modern digital recordings this may bother you ... but I'll cast my vote for this as the quintessential Beethoven eighth.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Discussions entre clients



Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?