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Brahms : Symphonie n° 4 - Ouverture tragique - Le Chant du Destin ("Schicksalslied") Import

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Page Artiste Bruno Walter

Détails sur le produit

  • CD (31 octobre 1995)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B000002A80
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 57.217 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit


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Amazon.com: 4.3 étoiles sur 5 15 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Incomparable 28 mars 2012
Par ilprofessore - Publié sur Amazon.com
Achat vérifié
There is something quite unique about these recordings that Bruno Walter made in Hollywood in the last years of his life. It is in the playing that one sometimes find in youth orchestras but rarely in jaded professional ensembles. Passion and inspiration! One can only guess that these men and women used this music to express their gratitude for the honor of playing for a great man rather than for the hacks and musical mediocrities they usually worked for out there in Lotus Land. To mix languages: they played their herz out. Some of the writers here have commented on the occasional poor intonation, and they are right. Compared to the technical perfection of other major American orchestras, even of the time, some of this instrumental playing is not of the highest quality, technically, but there is something else to compensate: fire and warmth. The music transforms the players. Stravinsky--or was it his alter-ego Craft?--once said that Walter should stop entreating his orchestras to "cantare," sing. What they needed to hear from him was "ballare," dance, said Stravinsky. In the case of these recordings, Igor couldn't have been more wrong. It is Brahms as Brahms should be played with all the lyricism and Sturm and Drang of the great composer's warring emotions. The gorgeous melodies, cantabile, are all the more dramatic when contrasted and punctuated by unabashed outbursts of percussion and brass. Others have come along since with a drier and less youthfully romantic view of how Brahms should be played, but when it comes to capturing Brahms as Brahms must have once been played in the great music halls of Old Europe there is no better collection to own than these classic recordings.
6 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Bruno Walter Conducts Brahms Symphony Last Symphony 19 mai 2011
Par Grady Harp - Publié sur Amazon.com
Format: CD Achat vérifié
Bruno Walter was not only one of the very finest conductors of both symphony and opera in the 20th Century, he was an unassuming poet whose every thought and gesture was about the composers' intentions. On the podium he was revered by orchestras and singers and choruses and always demanded (and got) as close to perfection as the moment allowed. Few in audiences knew that Walter sang along with his music, so involved was he in the beauty of the composers' compositions: it was only in the recording studio that often breaks had to be taken during sessions to remind him that his voice could be heard on the microphones!

In the early 1960s, knowing that Bruno Walter would not live much longer, John McClure of Columbia Records assembled the 'Columbia Symphony Orchestra' - musicians drawn form the finest of the studio musicians in Los Angeles - and set up a recording site in the American Legion Hall next to the Hollywood Bowl where he facilitated such recordings as the Brahms 'Schicksalslied', Wagner, Mahler, and others. Bruno Walter himself auditioned choruses for these recordings and elected to engage the Occidental College Concert Choir as trained by Howard Swan to sing the choral elements. His performance of the rarely performed or recorded `Schicksalslied' ('Song of Destiny'), a work for orchestra and chorus based on Friedrich Hölderlin's poem of the same name. Walter's balance of the mixed chorus and orchestra is perfect allowing the text to soar with the orchestra's strong underpinning support.

Walter also recorded all of the Brahms symphonies with the Columbia Symphony Orchestra, and while the orchestra is not on a par with the New York Philharmonic with whom he recorded the symphonies earlier, this recording of the Brahms 4th is one of the final works the master recorded before his death. The architecture of the symphony is grand, if a bit ponderous at times, but the beauty of hearing his interpretation form a conductor who had spent his life with it make is a special experience. There are great conductors from this period who created great performances but there are few who have the innate sensitivity to the Brahmsian line that Bruno Walter understood so well. Grady Harp, May 11
0 internautes sur 4 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Walter: Brahms 4th Tragic Overture, Schicksalslied 13 mai 2007
Par David - Publié sur Amazon.com
Format: CD Achat vérifié
Brahms is my favorite composer. Brahms was concerned that he followed Beethoven, so much so that he waited until late in life to publish his symphonies. I do not understand why. The Fourth is a masterpiece.

The performances of these pieces by Bruno Walter and the Columbia Symphony are also masterful.

The technology for the initial recording is dated, but the remastering was done with great care. The result is a really fine recording.
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Five Stars 22 janvier 2015
Par 3FingerBob - Publié sur Amazon.com
Achat vérifié
The Best Ever Brahms' Fourth.........
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Maestro! Maestro! 22 février 2015
Par Musicman Bob - Publié sur Amazon.com
Format: CD Achat vérifié
Anything of Bruno Walter is tops.
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