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Beethoven : Triple Concerto pour violon, violoncelle et piano - Brahms : Double Concerto pour violon et violoncelle

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Page Artiste Ferenc Fricsay


Détails sur le produit

  • Orchestre: Berlin Radio Symphony Orchestra
  • Chef d'orchestre: Ferenc Fricsay
  • Compositeur: Ludwig van Beethoven, Johannes Brahms
  • CD (10 septembre 2005)
  • Nombre de disques: 1
  • Label: Deutsche Grammophon
  • ASIN : B0006ZFQN0
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 3 commentaires client
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Descriptions du produit

BEETHOVEN : TRIPLE CONCERTO POUR VIOLON, VIOLONCELLE ET PIANO - BRAHMS : DOUBLE CONCERTO POUR VIOLON ET VIOLONCELLE


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Par Pèire Cotó TOP 100 COMMENTATEURS le 13 juin 2010
Format: CD
Enfin un couplage homogène. Il est assez fréquent de trouver un CD qui regroupe le Triple Concerto de Beethoven et le Double Concerto de Brahms, encore qu'on puisse trouver d'autres couplages. Mais ça n'arrange guère le client quand l'une des interprétations est excellente et que l'autre n'est là que pour profiter du sillage (suivez mon regard).

Or ces concertos dirigés par Fricsay en 1960 et 1961 sont tous les deux aux premiers rangs de la discographie. Pour le Triple Concerto, on peut citer aussi, chez EMI, Oistrakh, Knuchevitsky, Oborin dirigés par Malcom Sargent un peu avant, version peut-être plus amène mais pas forcément meilleure. Pour le Double Concerto, le disque flamboyant de Szell avec Oistrakh et Rostropovitch mène la course en tête, mais celui de Fricsay est presque aussi passionnant, avec des qualités différentes.

Les mot qui définissent le mieux ce disque sont plénitude, rebondissement et sobriété. L'Orchestre Symphonique de la Radio de Berlin ainsi dirigé ferait presque oublier qu'il n'est pas le meilleur orchestre de la ville; il est cependant un peu lointain, du moins dans le Brahms (voir le commentaire de Mélomaniac qui signale que les solistes sont placés un peu trop en avant). Quant à ces derniers, ils ont dû répéter suffisamment avec l'orchestre pour atteindre une aussi belle entente (suivez encore mon regard).

Schneiderhan est présent dans les deux oeuvres, il y avait mieux à l'époque mais il était dans une bonne période pour sa sonorité, qui a pu être quelque peu ingrate à d'autres moments.
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Par Mélomaniac 1ER COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 5 novembre 2007
Format: CD Achat vérifié
Le genre du concerto à plusieurs solistes, rémanence des époques baroque et galante, fut peu usité par les compositeurs romantiques, qui préféraient l'affrontement d'un instrument solitaire avec le reste de l'orchestre, symbole de l'homme face à l'univers, à l'adversité, à sa destinée...

Les deux principales contributions du XIX° Siècle furent le Tripelkonzert pour violon, violoncelle et piano de Beethoven, et le Doppelkonzert pour violon et violoncelle de Brahms.
Le disque s'en empara en proposant d'abondantes versions où brillèrent les plus grands virtuoses.

Le présent CD regroupe deux albums gravés en mai 1960 et juin 1961 à la Jesus Christus Kirche de Berlin, qui furent des classiques instantanés au temps du microsillon.
On y retrouve quelques interprètes emblématiques de la firme au cartouche jaune orné de tulipes.

Au podium, Ferenc Fricsay, dont la trop courte carrière ne nous en a pas moins légué quantité de témoignages miraculeux, y compris dans Beethoven (les symphonies 3, 5, 7, 8 et 9 avec les Berliner Philharmoniker !)

Au violon, Wolfgang Scheiderhan, qui fut premier pupitre au Symphonique de Vienne puis à la prestigieuse Philharmonie entre 1937 et 1950, avant de devenir un concertiste et pédagogue recherché.

Dans l'opus 56 de Beethoven, il forme ici équipe avec Géza Anda au clavier et avec Pierre Fournier, qui fut parfois désigné comme « aristocrate du violoncelle » en hommage à la noblesse de ses phrasés.
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Remarque sur ce commentaire 18 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par Pèire Cotó TOP 100 COMMENTATEURS le 4 juillet 2012
Format: CD
Enfin un couplage homogène. Il est assez fréquent de trouver un CD qui regroupe le Triple Concerto de Beethoven et le Double Concerto de Brahms, encore qu'on puisse trouver d'autres couplages. Mais ça n'arrange guère le client quand l'une des interprétations est excellente et que l'autre n'est là que pour profiter du sillage.

Or ces concertos dirigés par Fricsay en 1960 et 1961 sont tous les deux aux premiers rangs de la discographie. Pour le Triple Concerto, on peut citer aussi, chez EMI, Oistrakh, Knuchevitsky, Oborin dirigés par Malcom Sargent un peu avant, version à placer aussi au sommet. Pour le Double Concerto, le disque flamboyant de Szell avec Oistrakh et Rostropovitch mène la course en tête, mais celui de Fricsay est presque aussi passionnant, avec des qualités différentes.

Les mot qui définissent le mieux ce disque sont plénitude, rebondissement et sobriété. L'Orchestre Symphonique de la Radio de Berlin ainsi dirigé ferait presque oublier qu'il n'est pas le meilleur orchestre de la ville; il est cependant un peu lointain, du moins dans le Brahms (voir le commentaire de Mélomaniac dans l'édition la plus récente qui signale que les solistes sont placés un peu trop en avant). Quant à ces derniers, ils ont dû répéter suffisamment avec l'orchestre pour atteindre une aussi belle entente.

Schneiderhan est présent dans les deux oeuvres, il y avait mieux à l'époque mais il était dans une bonne période pour sa sonorité, qui a pu être quelque peu ingrate à d'autres moments; et c'était un modèle d'intégrité, de respect du compositeur.
Lire la suite ›
Remarque sur ce commentaire Une personne a 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 8 commentaires
29 internautes sur 30 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Greatest Triple-Double Returns 27 mars 2005
Par Michael Brad Richman - Publié sur Amazon.com
Format: CD
Deutsche Grammophon seemed to have forgotten about its single disc "Originals" line recently, concentrating instead on reissuing titles via the "Original Masters" boxed sets and "Musik...Sprache der Welt" series (see my reviews). But all that has changed with a recent batch of ten titles, most of which simply are must buys. One of those essential discs is this one -- the Beethoven Triple Concerto and Brahms Double Concerto conducted by the great Ferenc Fricsay leading his beloved Berlin RSO. Fricsay is joined on the 1960 performance of the Triple by pianist Geza Anda, cellist Pierre Fournier and violinist Wolfgang Schneiderhan, and on the 1961 Double again by Schneiderhan this time with cellist Janos Starker. This pairing appeared on CD previously in the early 1990s (and the Triple has been available on a variety of Beethoven comps), and it is a logical reissue to compete with the Karajan/Szell title in EMI's GROTC series. And as celebrated as the EMI title is, in many ways I prefer these recordings as the conductor, orchestra and soloists achieve far greater harmony and unison here, particularly in the Triple. I still have a soft spot in my heart for Oistrakh's accounts with Sargent & Galliera (on an EMI Import Double Forte), but overall this would have to be my first choice recommendation.
21 internautes sur 22 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Certified Organic & Free Range 8 janvier 2011
Par TH Mok - Publié sur Amazon.com
Format: CD
Who is this magical creature Ferenc Fricsay?

What an aural awakening this is! Having been accustomed to the 'iconic' Karajan/ Rostropovich/ Oistrakh/ Richter recording, this collaboration produced something quite special which in many senses is the polar opposite of the former. One notices the difference within 5 seconds of the beginning.

Fournier: Charming, elegant, delicate but not feeble. Manages to bend some passages rhythmically without any hint of distortion.

Schneiderhan: Lean, clean but never cold. Classical, does not lack bounce, backbone of the trio.

Anda: Never warmed to Anda until now. Crytalline pianism, aristocratic, ebbs and flows almost like Edwin Fischer.

Overall result:
Beautiful sense of pacing/ immediacy much akin to quietly watching the rise & fall of one's chest during restful respiration or perhaps the relaxed sinus arrythmia of one's pulse. Sonically, it is luminous and warm while a sense of effervesence and sheer joy of music making pervades the entire account.
The orchestral accompaniment never intrudes but complements the soloists to the point of organic assimilation. Yet it is not drowned, overpowered and does not lack presence.

Again, who/ what is this creature that is Ferenc Fricsay who also gave us K595 with Haskil?
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Fricsay's personal and convincing take on the "Germanic" tradition 27 avril 2015
Par Discophage - Publié sur Amazon.com
Format: CD
If I dare generalize from the samples that I've heard, there was, in Fricsay and his aproach to music, a fascinating blend of the Germanic and the Hungarian. His Mozart operas were decidedly away from the Germanic tradition that reigned in those days in Europe, examplified by the recordings of Furtwängler or Böhm, with unique zest, dynamism and bite, anticipating the HIPsters of the late 20th and early 21st centuries. Not so clearly with his Beethoven and Brahms, though, as if there the Germanic models had been too strong, too present for Fricsay to turn them down; yet, instead of drive, he does invest the approach with great power, crispness and bite.

Take his Beethoven Triple Concerto, recorded in May 1960 with he tri-national cast of Geza Anda (with whom Fricsy would make the historical and famous recording of Bartok's Concertos), Wolfgang Schneiderhan and Pierre Fournier. The concerto is one of Beethoven's most amiable and insouciant great works - to my ears it has lots of pre-echoes of Schubert's Arpeggione Sonata - and doesn't necessarily call for the same weight that one may invest in, say, the Emperor or the Fifth Symphony. Yet Fricsay conducts one of the most spacious first movements encountered before the 1970s, marginally more even than Karajan with the Soviet all-stars - a version with many qualities, but the lightness of orchestral approach is not part of them (Beethoven: Triple Concerto / Brahms: Double Concerto). The notion of a "Germanic" approach is an over-generalization of course (not all Austro-Germans followed it - Schnabel, Weingartner didn't - and not only Austro-Germans did), but it's based on the fact of observation that, until the early 1950s, interpretation of the great romantic warhorses was often urgent, biting, explosive, heroic on one side of the Atlantic (Toscanini, Rodzinksy, Reiner, Szell in those years, even the pre-war Ormandy), and expansive and majestic on the other. But that such interpretive paradigms are not a matter of country of origin or establishment, and that they also changed over time, is shown by the fact that the closest to Fricsay's first movement was given by Ormandy, four years later, with the famous Stern-Rose-Istomin trio (Beethoven: Violin Concerto; Triple Concerto / Brahms: Violin Concerto; Double Concerto).

And it's not just tempo, it is how it affects character. You can hear it from the very first bars, that seem to be arising from the depths, and in the ensuing introductory orchestral tutti, invested with a solemn grandeur that seems to hark back almost to Mozart's Funeral maconic music. This is Beethoven on the grand scale, the Beethoven, indeed, of the Eroica rather than of the first two symphonies.

Fricsay and the Germanic model, then, but also Fricsay the Hungarian, and where such an expansive tempo and grand orchestral textures could have been simply stolid, ponderous and crushing the amiable concerto under too much weight and seriousness, Fricsay and his soloists invest the music with great crispness, bite, subtelty of phrasing and dynamics (especially with Fournier), joie de vivre and joy of playing together, moments of great Beethovenian drama, but also beauty of tone and irresistible lyricism from the two string players.

The sonics help, lending great impact to the music and music making, with spacious stereo, and a sonic perspective focused, a little artificially, on the three soloists, placing the listener right on their lap and losing nothing of each instrument, at the cost at times of some of the orchestral woodwind accompaniment.

Magnificent Largo, great singing together of Schneiderhan and Fournier, great emotion and drama, followed by an unhurried, laid-back and amiable Finale - reminiscent of Papageno maybe (indeed a lot in this version smacks of a silent opera) - and it fact it was the slowest encountered on records until then, and it remained so for a few years. But again it is played with great crispness and, later, a rustic vigor substituting for drive, and the held-back tempo also allows for a truly exhilariting allegro quasi-coda at 10:50.

It is interesting that the Brahms Double, although recorded a year later, in June 1961, and with another cellist, should follow exactly the same pattern. There again Fricsay strikes a balance between the breathless drive and hair-raising intensity of Ormandy with Heifetz and Feuermann in 1939 (Brahms: Violin Concerto; Double Concerto) or Toscanini with his NBC soloists in 1948 (Johannes Brahms: Symphony No. 3/ Double Concerto (for Violin & Cello)), and the "Germanic" approach, more stately and majestic, first illustrated on record by Schuricht with Kulenkampff and Mainardi in 1947 (Kulenkampff plays Brahms: Violin Concerto in D major, Double Concerto in A minor & cello), and live by Furtwängler in 1952 with the two first seats of the Vienna Philharmonic, Willi Boskovsky and Emanuel Brabec (a recording published only in the late 1970s, Furtwangler Conducts Brahms: Violin Concerto (Menuhin) & Double Concerto (Boskovsky, Brabec)). As in Beethoven, Fricsay's tempi in the first movement aren't urgent - his timing comes closest to Kletzki with Ferras and Tortelier, recorded just a year later (Violin Concerto / Double Concerto), or the popular version of Szell with Oistrakh and Rostropovich from 1969 (same CD as the Karajan Beethoven Triple mentioned above) - but he compensates with great orchestral power and intensity, even if others (Szell, Ormandy, Barbirolli in a great version recorded in 1959, now on Symphony 9 / Symphony 3), at similar tempi, have brought more punch to the accenting. His two soloists, Wolfgang Schneiderhan again and now Janos Starker, play with total commitment, more tenderness than passion in the more lyrical passages but no lack of passion in the more animated and dramatic moments, all the required rhythmic vigor, and perfect tone. Theirs is a comparatively very expansive Andante, verging on the Largo - in those years, only Alceo Galliera with Oistrakh and Fournier (1956, Beethoven: Triple Concerto / Brahms: Double Concerto) and - well, well... - Ormandy in his remake with Stern and Rose (1964, link above) were as expansive - but the Andante of the Double Concerto remains marvelous music at any tempo. As in the Beethoven, the Finale is decidedly on the comparatively slow side, in company with Schuricht, Furwängler, or Ormandy with Stern and Rose, clearly giving more weight to the "non troppo" qualifier added by Brahms to his "Vivace" indication, and lending the music a kind of rustic and nonchalant bonhomie rather than the breathless excitement it acquires at the more urgent tempos of Ormandy in 1939 or Toscanini.

This is by no means the "ultimate" view on these two concertos, and one may marginally prefer (I do) more urgent approaches. But it is a stong view, entirely convincing on its own terms, and it remains entirely valid still today, more than half a century later, both sonically and intepretively.
10 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The perfect baton conducting anthological recordings! 16 novembre 2005
Par Hiram Gòmez Pardo Venezuela - Publié sur Amazon.com
Format: CD
The early and unfair departure of Ferenc Fricsay (49) not only left the world in an orphanage state but deprived it of one of the most perfect and extraordinary conductors of the XX Century. Mr. K would not have been director of the Berlin Philharmonic and the musical legacy of this sumptuous orchestra would have been absolutely different in a positive way. The wisdom, accuracy and genius of Fricsay would have permeated and even maintained the fevered temperament of Fürtwangler who previously had adverted in Fricsay, let 's say without preambles, his natural successor.

The tempos in the Triple Concert are slow, but loaded of fevered expressiveness and Beethoven ethos. Fricsay achieved supported by this outstanding trio and the grateful Orchestra an impeccable and magisterial recording. After you listen it you really feel a cathartic experience. Just the aristocratic phrasing of the last movement: it is amazing:

The Double Concerto is extraordinary too. Filled of charm, aristocratic profile and sumptuous musicality with opulence and distinctive flair. Class and musculature shake hands in this brilliant and unusual performance.

On the other hand think it over. If Deutsche Gramophone decided to include between the Great Recordings of its collection, that `s by itself, must mean something additional.

Go for this notable surprising and breathtaking performance. A true audiophile gem.

Eloquent musicality, sublime grandness!
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Fricsay's personal and convincing take on the "Germanic" tradition 27 avril 2015
Par Discophage - Publié sur Amazon.com
Format: CD
If I dare generalize from the samples that I've heard, there was, in Fricsay and his aproach to music, a fascinating blend of the Germanic and the Hungarian. His Mozart operas were decidedly away from the Germanic tradition that reigned in those days in Europe, examplified by the recordings of Furtwängler or Böhm, with unique zest, dynamism and bite, anticipating the HIPsters of the late 20th and early 21st centuries. Not so clearly with his Beethoven and Brahms, though, as if there the Germanic models had been too strong, too present for Fricsay to turn them down; yet, instead of drive, he does invest the approach with great power, crispness and bite.

Take his Beethoven Triple Concerto, recorded in May 1960 with he tri-national cast of Geza Anda (with whom Fricsy would make the historical and famous recording of Bartok's Concertos), Wolfgang Schneiderhan and Pierre Fournier. The concerto is one of Beethoven's most amiable and insouciant great works - to my ears it has lots of pre-echoes of Schubert's Arpeggione Sonata - and doesn't necessarily call for the same weight that one may invest in, say, the Emperor or the Fifth Symphony. Yet Fricsay conducts one of the most spacious first movements encountered before the 1970s, marginally more even than Karajan with the Soviet all-stars - a version with many qualities, but the lightness of orchestral approach is not part of them (Beethoven: Triple Concerto / Brahms: Double Concerto). The notion of a "Germanic" approach is an over-generalization of course (not all Austro-Germans followed it - Schnabel, Weingartner didn't - and not only Austro-Germans did), but it's based on the fact of observation that, until the early 1950s, interpretation of the great romantic warhorses was often urgent, biting, explosive, heroic on one side of the Atlantic (Toscanini, Rodzinksy, Reiner, Szell in those years, even the pre-war Ormandy), and expansive and majestic on the other. But that such interpretive paradigms are not a matter of country of origin or establishment, and that they also changed over time, is shown by the fact that the closest to Fricsay's first movement was given by Ormandy, four years later, with the famous Stern-Rose-Istomin trio (Beethoven: Violin Concerto; Triple Concerto / Brahms: Violin Concerto; Double Concerto).

And it's not just tempo, it is how it affects character. You can hear it from the very first bars, that seem to be arising from the depths, and in the ensuing introductory orchestral tutti, invested with a solemn grandeur that seems to hark back almost to Mozart's Funeral maconic music. This is Beethoven on the grand scale, the Beethoven, indeed, of the Eroica rather than of the first two symphonies.

Fricsay and the Germanic model, then, but also Fricsay the Hungarian, and where such an expansive tempo and grand orchestral textures could have been simply stolid, ponderous and crushing the amiable concerto under too much weight and seriousness, Fricsay and his soloists invest the music with great crispness, bite, subtelty of phrasing and dynamics (especially with Fournier), joie de vivre and joy of playing together, moments of great Beethovenian drama, but also beauty of tone and irresistible lyricism from the two string players.

The sonics help, too. I don't have this 2005 remaster on The Originals, but the previous CD reissue on DG's series Dokumente, from 1990, Beethoven:Triple Cto./Brahms:Double, and they were already great, lending great impact to the music and music making, with spacious stereo, and a sonic perspective focused, a little artificially, on the three soloists, placing the listener right on their lap and losing nothing of each instrument, at the cost at times of some of the orchestral woodwind accompaniment.

Magnificent Largo, great singing together of Schneiderhan and Fournier, great emotion and drama, followed by an unhurried, laid-back and amiable Finale - reminiscent of Papageno maybe (indeed a lot in this version smacks of a silent opera) - and it fact it was the slowest encountered on records until then, and it remained so for a few years. But again it is played with great crispness and, later, a rustic vigor substituting for drive, and the held-back tempo also allows for a truly exhilariting allegro quasi-coda at 10:50.

It is interesting that the Brahms Double, although recorded a year later, in June 1961, and with another cellist, should follow exactly the same pattern. There again Fricsay strikes a balance between the breathless drive and hair-raising intensity of Ormandy with Heifetz and Feuermann in 1939 (Brahms: Violin Concerto; Double Concerto) or Toscanini with his NBC soloists in 1948 (Johannes Brahms: Symphony No. 3/ Double Concerto (for Violin & Cello)), and the "Germanic" approach, more stately and majestic, first illustrated on record by Schuricht with Kulenkampff and Mainardi in 1947 (Kulenkampff plays Brahms: Violin Concerto in D major, Double Concerto in A minor & cello), and live by Furtwängler in 1952 with the two first seats of the Vienna Philharmonic, Willi Boskovsky and Emanuel Brabec (a recording published only in the late 1970s, Furtwangler Conducts Brahms: Violin Concerto (Menuhin) & Double Concerto (Boskovsky, Brabec)). As in Beethoven, Fricsay's tempi in the first movement aren't urgent - his timing comes closest to Kletzki with Ferras and Tortelier, recorded just a year later (Violin Concerto / Double Concerto), or the popular version of Szell with Oistrakh and Rostropovich from 1969 (same CD as the Karajan Beethoven Triple mentioned above) - but he compensates with great orchestral power and intensity, even if others (Szell, Ormandy, Barbirolli in a great version recorded in 1959, now on Symphony 9 / Symphony 3), at similar tempi, have brought more punch to the accenting. His two soloists, Wolfgang Schneiderhan again and now Janos Starker, play with total commitment, more tenderness than passion in the more lyrical passages but no lack of passion in the more animated and dramatic moments, all the required rhythmic vigor, and perfect tone. Theirs is a comparatively very expansive Andante, verging on the Largo - in those years, only Alceo Galliera with Oistrakh and Fournier (1956, Beethoven: Triple Concerto / Brahms: Double Concerto) and - well, well... - Ormandy in his remake with Stern and Rose (1964, link above) were as expansive - but the Andante of the Double Concerto remains marvelous music at any tempo. As in the Beethoven, the Finale is decidedly on the comparatively slow side, in company with Schuricht, Furwängler, or Ormandy with Stern and Rose, clearly giving more weight to the "non troppo" qualifier added by Brahms to his "Vivace" indication, and lending the music a kind of rustic and nonchalant bonhomie rather than the breathless excitement it acquires at the more urgent tempos of Ormandy in 1939 or Toscanini.

This is by no means the "ultimate" view on these two concertos, and one may marginally prefer (I do) more urgent approaches. But it is a stong view, entirely convincing on its own terms, and it remains entirely valid still today, more than half a century later, both sonically and intepretively.
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