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Brahms : Concerto pour piano n° 2 - Mozart : Concerto pour piano n° 27

5.0 étoiles sur 5 2 commentaires client

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Page Artiste Wilhelm Backhaus


Produits fréquemment achetés ensemble

  • Brahms : Concerto pour piano n° 2 - Mozart :  Concerto pour piano n° 27
  • +
  • Brahms : Concerto pour piano n° 1 (coll. Legends 1962)
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Détails sur le produit

  • Chef d'orchestre: Karl Böhm
  • Compositeur: Johannes Brahms, Wolfgang Amadeus Mozart
  • CD (8 octobre 1999)
  • Nombre de disques: 1
  • Label: Decca
  • ASIN : B00001IVR0
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 107.480 en Musique (Voir les 100 premiers en Musique)
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Description du produit

CONCERTO POUR PIANO NO.2 / CTO POUR PIANO NO.27 -COLL. LEGENDS


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Par Denis Urval COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 29 mai 2008
Format: CD
Ceci est tout simplement l''autre merveille du catalogue Decca en ce qui concerne les Concertos pour piano de Brahms. « L''autre » puisque pour le premier concerto, il y a le disque de Curzon et Szell Concerto pour piano n°1 (coll. Legends 1962). Wilhelm Backhaus, dans un grand jour, impressionne par son jeu supérieurement équilibré. Dans cette belle stéréo ensoleillée de 1967, on peut également apprécier une Philharmonie de Vienne jouant son répertoire de prédilection, sous la direction d''un Karl Böhm efficace et inspiré, manifestement heureux de travailler avec des gens compétents. Même si j''aime beucoup par exemple le disque qui réunit Emil Gilels et Fritz Reiner, le présent enregistrement présente certainement cette œuvre fastueuse sous son meilleur jour. Le 27e concerto de Mozart de 1955 qui lui est couplé est du même niveau: Backhaus, olympien, y est parfaitement à son affaire.
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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Format: CD Achat vérifié
Sauf en Allemagne..... et au Japon, Wilhelm BACKHAUS est un peu oublié et négligé alors qu'il s'agit d'un des plus grands pianistes du XX° siècle. Ses prestations dans les concertos de Brahms sont à placer au sommet avec quelques autres : Rudolf Serkin, Alexis Weissenberg (seul le premier enregistré en CD), Igor Zhukov........... Il y a d'autres commentaires dans le même sens pour d'autres éditions du même enregistrement, bien qu'au moins deux soient disponibles, à des moments différents de la vie du grand pianiste.
Il y a d'autres bonnes versions, mais celles de Backhaus émerge au côté des meilleures, voire au-dessus.
Un pianiste toujours en activité semble avoir quelque peu renouvelé la vision de l'oeuvre : Nelson FREIRE.
Naturellement, le 27° concerto de Mozart est lui aussi au sommet.
L'orchestre philharmonique de Vienne est parfaitement dirigé par Karl Böhm.
Se reporter à d'autres commentaires élogieux de ces enregistrements : inutile de tout répéter !
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: 4.7 étoiles sur 5 10 commentaires
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Highly, highly recommended 9 juillet 2009
Par P. Dave - Publié sur Amazon.com
Format: CD Achat vérifié
I absolutely love Brahms piano concerto No. 2. I own several versions. This one (Backhaus with Bohm and Bachauer on Mercury Living presence) are my favorites.

What makes one version appeal to one over another is a personal one. But, there is so much beauty, charm and grace in this version. It does not try to overwhelm you but yet it moves you. It is not overly blazen fast (like Richter's version with Leinsdorf) but lyrical (oh what a beautiful andante with cello in the 3rd movement!). The balance between piano and orchestra is superb (engineering is superb). The sound is glorious.

It truly deserves its legendary status.
8 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A magisterial and authoritative performance of consummate Brahms 5 octobre 2008
Par Y.P. - Publié sur Amazon.com
Format: CD Achat vérifié
This disc contains 2 concertos in the same key (B flat major) by Mozart and Brahms, performed by Wilhelm Backhaus on piano, with Karl Böhm conducting Wiener Philharmonker. The performance of Mozart's B flat concerto might not be everybody's favorite; it is an earnest and sincere performance nonetheless. The real treasure of this disc, in my opinion, is the Brahms B flat concerto.

Allow me to make a bold and personal statement: I have never heard any Brahms concerto performance (live or on record) which comes close to this recording in its grace and charm, and above all its understated yet overwhelming emotional power. Both the piano and orchestra playing are absolutely marvelous. However, what makes this recording so special was that some "miracle" seemed to have happened during the recording session: The piano and orchestra sounds are completely meshed with each other, and the music making seemed to come from a "whole". The excellent sound engineering and masterful transfer all add to the whole experience. This is a performance I worn out 2 audio cassettes (in grade school) before getting a CD. -- There is no way I can describe the "experience" in words. You have to experience it yourself!

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Backhaus performed in seventy seasons, and established himself as one of the greatest German pianists. However, English speaking countries (notably U.S. and U.K.) have curiously not warmed up to him. He met with Brahms and heard him conduct both his piano concertos with d'Albert (Backhaus's teacher) as soloist. This performance is not Gardiner's "revolutionary Brahms". It is, on the other hand, Teutonic tradition at its finest. Bachkaus would die 2 years after this recording was made. This recording, together with some of his Beethoven recordings, is a testament of his pianism.

By the way, this has a sister version Brahms: Piano Concerto No.2/Mozart: Piano Concerto No.27, but they are both discontinued. Grab either one of them while they are still available.

My highest recommendation.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Backhaus and Böhm in perfect accord 25 février 2016
Par Ralph Moore - Publié sur Amazon.com
Format: CD
The immediacy of the 24-bit remastered sound in this recording - nearly fifty years old - is really striking, even if it is a little bottom-heavy, but that brings out the grandeur of Backhaus's playing and is also probably a product of both the instrument he favoured - a Bösendorfer - and his majestic, direct, unfussy style of playing.

This is rightly a classic recording, offering a reading of the Brahms 2 which will satisfy anyone and an account of Mozart's last piano concerto which will likewise content all those who like traditional, sonorous, faintly romanticised Mozart. Böhm and the VPO are in inspired form, matching the soloist for depth and brilliance. Even more astonishing is the fact that the pianist was 83 years old at the time of recording the Brahms; the Mozart was made fifteen years earlier but there is no diminution in the clarity, fluency and firmness of his touch. He combines sweetness and strength with poetic phrasing and a complete lack of self-consciousness or artifice; he and Böhm seem to be in complete harmony in their music-making, whereas the more fired-up affair between Richter and Leinsdorf of the same concerto seven years earlier evinces more signs of strife - nonetheless productive - between conductor and soloist.

To hear pianism of similar leonine majesty allied with poetic sensibility, you have to go back to Edwin Fischer but he never enjoyed this quality of sound.
4 internautes sur 4 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Fine remastering applied to a memorable Brahms and an older style Mozart 5 août 2013
Par I. Giles - Publié sur Amazon.com
Format: CD
This remastered disc couples together the much admired Brahms 2 with Backhaus from 1967 with the much earlier Mozart 27, in mono, from 1955. In both cases the VPO is conducted by Bohm. There is a considerable difference in recorded sound, good for its age though the Mozart is, and this clearly shows the technological leap forward that recording made in the intervening years.

On the subject of the recording, this is the new 24 bit remastered version and this has greatly increased the depth of field, the tonal range and the general sense of presence. This is simply because analogue tape recordings contained more information than could be put onto early generation CDs and explains why those CDs were so strongly criticised by owners of high end record players with LPs at that time. The latest 24 bit technology has rectified that issue and that improvement is clear on this disc.

The Brahms was the last of three versions that Backhaus made through his life and this one was made at 83 years of age when he still had a further 3 years of performing and recording life ahead of him. It must be immediately stated that his advanced age makes absolutely no apparent difference to his ability to play the music exactly as he sees it without audible technical compromise. Indeed, one of the marvels of this recording is the extreme clarity that he brings to the piano part. This, coupled with sensitive conducting and playing by the VPO, allows a constant flow of musical detail to be exposed and appreciated by listeners without recourse to false recording balances.

Essentially Backhaus takes a non-dramatic view of this concerto which allows for much genial playing from the orchestra in a musical partnership. The first movement is taken steadily as is the following allegro appassionato. This is very different from the driven view of Richter for example or the strongly drawn versions of Gilels or Fleisher. This could be seen as somewhat controversial and certainly idiosyncratic as nowhere is there the slightest sign of the 'appassionato' of Brahms' heading. Instead, what we have is something approaching gracefulness and gentility.

The final two movements are where this performance really takes off and earns the 'legendary' status. The slow movement is a simply beautiful rendition with solo cello playing plus generally sensitive and sumptuously warm orchestral playing to match piano playing of the same nature. The final movement is all about Viennese charm and grace with a trace of the dance about it. This is truly memorable and matches Brahms' description of 'allegretto grazioso' precisely. In total therefore, a memorable and therefore legendary performance.

The concluding Mozart is full of much of the same approach, undemonstrative playing of taste and balance typical of Backhaus. (His Beethoven 4 is really worth searching out on either CD or DVD). However the world has moved on in terms of period understanding and performance as regards Mozart and there are too many features of these performances which, though good on their own terms, are no longer the terms by which we recognise Mozart today. Even a few years later Curzon was more in tune with developing ideas and I would suggest that Perahia or Uchida on CD or Barenboim on Blu-ray from the late 1980's would be safer stylistic and musical choices.

I would suggest that this disc is primarily a triumph for the Brahms performance especially, idiosyncratic though it undeniably is. The Mozart will be more of a personal response for those who are not bothered by developments in performing practice over the last 50 years since this recording was made. The 24 bit remastering for both recordings has been markedly successful and lovers of Backhaus' Brahms need not hesitate if considering an upgrade from a previous version.
19 internautes sur 20 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Defintely One of the Very Best Brahms 27 août 2004
Par BLee - Publié sur Amazon.com
Format: CD
I would echo what the other reviewer said of this record: this is definitely one of the best Brahms if not the very best. And this is so on the account of both the painist and the conductor. Meanwhile, I have heard a few other perfomances side by side including Arrau/Haitink, Gilels/Jochum, Brendel/Hintink and even Karin Lechner/Marturet etc.

This was not the only collaboration between Backhaus and Bohm even on Brahms No. 2. Here Bohm is most extraordinary, not only his Brahms but also his Mozart, so that both pieces in both parts are equally inspiring. The balance between the piano and orchestra is by far the best and there is a special chesmistry between the two, so that there is a lot of poetry on top of music. Suffice to say that this record offers a most gratifying musical experience that is now almost extinct.

There is a saying that if we are looking for excitement from Brahms, one should turn to his Hungarian music, or perhaps to a lesser degree his No. 1 Piano Concerto written some twenty earlier, at a time when Schumann passed away and he himself in a turmoil. No. 2 we is essentially involved with the inspirations he incepted from the beauty of the Alps when he was approaching 50: when he was steady and mature enough. Well, perhaps such background doesn't show, and doesn't count at all: great music is open to all kinds of interpretation after all.

Yet in view of such a background, criticism against Arrau's tempo or overall approach is hardly sustainable. The truth is, the performance as quoted is most satisfying, a perfect model for exams and competitions. Note particularly his beautiful tone, and his phrasings, so much so that all his notes are meaningful, each one of them, quite ready for first instance digestion. There was renowned Russian conductor who found Richter "oppressive" and in Arrau a living Brahms years after he had accompanied both pianists on Brahms.

Gilels wasn't quite as "oppressive" as Richter albeit both were demanding, each in their own way. But the emphasis on the whole range as well as on each and every voice on the piano, armed with his sheer masculinity. That often put Jochum in a awkward position. Being a authoritative Bruchnerian, Jochum knew full well what this masculinity is about. Probably he did not quite agree with the pianist, and he was so busy rounding off such effects with the orchestra- and he has done it with so much grace. With respect, Brendel/Haitink is the least satisfying of all, that is to say including Karin, who simply lacks masculinity.

However, take note that not everyone would readily appreciate Backhaus' greatness right away. His playing ( or recreation if you like) often baffles you at first, posing a lot of questions to you. It at first puzzles one as to why Mozart Concerto no. 27 was to be played that way, and even more so his Brahms. And the result is, we have to go deeper and deeper into the score and the background etc.

But the remastered sound is really superb so that you will clearly hear the grandioso sound of the Bosendorfer he was playing, and you will note the subtle balance of his left hand part and when the pedel was on and the effects that he was painting etc.

It is also noteworthy that Martha Argerich (Gulda's pupil), after she has become one of the world's top most pianist, remarked that she particularly found Backhaus amongst all recorded masters of the piano instructive ( not Rubinstein, not Richter.) And Idel Biret ( famous Naxos artist & Kempff's pupil) finds Backhaus' Brahms the golden yardstick.

Last but not the least, the record is IN STEREO. So are Backhaus' Decca Beethoven Sonatas ( all with the exception of one ). The recorded sound of the sonatas are almost, but not quite as good as this one as remastered.
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