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Bruckner: Symphony No 3 by Anton Bruckner, Günter Wand, NDR Symphony Orchestra (1992) Audio CD Import

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Détails sur le produit

  • CD
  • Format : Import
  • Label: RCA
  • ASIN : B00G2IZZ6I
  • Autres éditions : CD
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
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Par claude toon MEMBRE DU CLUB DES TESTEURS le 6 novembre 2010
Format: CD
Il existe un huitaine d'éditions de la 3ème de Bruckner. Celle-ci n'est pas la première avec son très long premier mouvement, mais a l'avantage de ne pas être amputée jusqu'au déséquilibre (Édition courte sauvée par Boehm à Vienne chez Decca).
Le scherzo possède même une curieuse petite coda insolite chez Bruckner adepte du "da capo".
A vienne, Haitink interprète en orfèvre et allège le trait : une prouesse dans cette symphonie où le risque de souligner répétitions et longueurs est hélas facile.
Une référence qui a été rééditée dans la collection DUO également.
Pour la version originale de 1873 et plus longue, on pensera à Georg Tintner (Naxos), ou à Kent Nagano qui a signé il y a peu une belle version énergique mais lumineuse chez Harmonia Mundi avec un meilleur orchestre.
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Amazon.com: 4.4 étoiles sur 5 5 commentaires
3 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 One of the 2 Finest Modern Recordings Available 8 novembre 2011
Par MV1234 - Publié sur Amazon.com
Format: CD Achat vérifié
A performance so magnificent that it'll leave you limp and rung-out, like a rag. And, it'll leave you thinking that this is how all great music should be played. Haitink invests this recorded performance with incredible commitment and intesity.

The version used is the absolutely best one of all: the 1878 Nowak edition, with the extended scherzo coda. Once you've heard the longer coda, you'll feel shortchanged by performances which don't offer it. The recorded sound is excellent.

And the other super-excellent recording? Solti and the CSO. Solti? Yes! Solti! Both different, both use the Nowak edition, and both are the very best there is, and likely to remain as such.
3 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Vienna Philharmonic Sound, with slowish Haitink tempos 30 avril 2012
Par RLB - Publié sur Amazon.com
Format: CD Achat vérifié
The tempi for this recording are slowish; not dragging but slowish. The overall impact of Bruckners' scoring is reduced, as opposed to say Karajan's reading and interpretation recorded on DG. Where Karajan's symphonic climaxes flow with the music, Haitink's rather slowish tempi stall the scale and grandeur of Bruckner's music. While the VPO play beautifully (as always) and the recording is pretty good, but no better than that, to balance Bruckner interpretations Karajans DG/BPO should be in your collection. This recording will appeal to those liking slower, lower voltage Bruckner, Haitink fans, longer phrasing and fine detail. In fact, for slower tempi readings, I"d say Tintner, with his interpretation looses nothing in sound, musical flow, comprehension of Brucknerian phrasing and orchestral detail.
Audition Haitink before buying.
5.0 étoiles sur 5 A GREAT Place to Start in learning Bruckner, THE Version of #3---Taht's It! ! ! 27 mars 2015
Par NUC MED TECH - Publié sur Amazon.com
Format: CD
03-26-2015 In my Bruckner Top Ten all-time readings, this Vienna Philharmonic take on the 2nd version of the Bruckner 3rd Symphony, the one evised in 1877/78. The original 1873 work was the one so cruelly received by the pompous public and hissed, whistled and booed mercilessly. After the revision in '77, tings went better but the composer never shook off the pin of such public humiliation. This splendid performance ould, surely, please the recluse composer, and it's length of 61:41 is generous, opulent and fully appreciated upon millions of listeners, me included. The 3rd was recorded in December of 1988, having been composed in February/March of 1873.
Haitink had already recorded the 9 Symphonies with his home orchestra, the fabulous Concertgebouw of Amsterdam for Philips and here he was working with another elite global ensemble, his fellow Dutchmen. I find it a curiosity that with no great or even very good composer to their credit, Holland, never the less, has given the world such a fantastic Symphony Orchestra, not really unlike the USA, yes?

ARTISTIC IMPRESSIONS AND THOUGHTS
For other 1878 3rd Symphonies, consult the CSO/Solti on London. that is about the only viable competition I am aware of in the 2nd version of this fine composition. That 1873 original has several performances in the catalog, Tintner, Nagano and, I believe, Miss Young's entry, which I am totally unfamiliar with. Not nearly as invasive as the earliest rendition, this corrected 1878 copy just makes a great deal of sense, the 74 one, even I admit, may be too long. Tintner's , for instance, reaches the 77th minute, but produces some yawns, along the way. Both Inbal and Nagano try their best not to bore us, but frankly, even as a lifelong Brucknerian, even I must admit it is all just a bit much. HOWEVER, The final 1890 version is, to my ears, far to short, cold, aloof and dry. Or, put another way, As I get older, I prefer my tea less sweet, and ike my coffee the same. The 1873 is just too surgerie sweet for my now more discerning palette, and that's good for the body, Yes??
My first Bruckner 3rd, in fact, was the LP Concertgebouw in that 2nd version, which, thus far, I can't locate the CD transfer, but will continue the search. I think it is part of the entire Dutch cycle, but I don't know if I want or need. what would be a number of duplications on my shelves, the 4th, 7th, 8th and 9th, if not more. I suppose I could donate them to the local library, where they would be sure not to get worn-out, L.O.L.
A paragraph or two about this work, and it's importance. For the first time, we have that wonderful whirling, swirling, pounding Scherzo that it became even more popular as the composer continued to write. The meager beginnings of those long, arcing Adagios is also present in this 3rd, with the "Andante" running out to nearly 17 minutes, and presenting several breathlessly beautiful moments and ideas. For me, the 3rd joins with the other best installments, such as the 4th, and the 7th thru the 9th. The Bruckner finale is a lifelong problem for the composer, as so many sound awkward, rough, and even grating upon the ears. Why?? I simply do not know. Except for the 4th, 5th 8th and surely the 9th, his last movements lack something. Those I DID name, lack not one jot, as they are quite splendid, as is.
This 1988 Philips CD is a sure bet for hours of pleasurable listening and studying of a great symphonist, but less than a great composer, since his output was limited to these "symphonic Boa Constrictors," as Richter called them. And, rightly so, with a smile. So, in closing, all my best wishes to you all, and God bless you, my friends, Tony.
AMDG! ! !
4.0 étoiles sur 5 One of Two Best Versions of Bruckner's Best Version 18 août 2013
Par frankebe - Publié sur Amazon.com
Format: CD
Differing with some others, I think the 1873 version is the best put together of the three (four?) versions of this symphony; the first movement is more logical and continuous, with none of the awkward transitions of the later revisions; the finale certainly makes more sense with the additional story-telling and the "polka" occurring three times instead of two, with its second appearance being part of the development(!). I compare this especially to the ultimate 1889 version, which really seems like "Bruckner's 3rd's Greatest Hits" instead of a complete musical work.

The first movement is my favorite piece of music by Bruckner. In my opinion it is flawless in this original version, and superior to all the other re-makes. AND, no one performs it as convincingly as Inbal. I am especially captivated by the way he builds up the second climax at the beginning of the piece. He is the ONLY one who allows the trumpet and the horn to bray-out loud and clear throughout this passage, and the effect is electrifying. No one else quite makes the repetitions seem so noble and glorious. I also love the soft but distinct timpani towards the end--very, very quiet, yet you can hear every single stroke.

Every tempo in every movement is perfect. Unlike some reviewers' feelings, I do not find Inbal to be just playing the notes. He is quite romantic with his dynamics and phrasing. The first movement has many examples of this. Inbal's tempos are generally brisk, but never uncomfortable. Like Carlos Paita, Inbal always slows down whenever it will enhance a musical passage, and he does this several times in this movement.

Bruckner tends to stop everything to begin a new idea; this is the perfect time to change tempo without seeming agogic, and several of these contrasting ideas work best when they seem at peace. For instance: just before the recapitulation (during the previously-cited section with the soft timpani) is a series of descending tones by the strings. Kept in-tempo, this sounds like a simple scale, which does not seem very original. But Inbal slows this way down so you don't notice it as a scale per se, but as a downward-drifting mist.

It becomes the Shekinah Glory of God descending upon the priests and filling the temple.

Other conductors may play this just as slowly, but since they play the whole movement slowly there is not the awe-inspiring contrast that Inbal gives us. The soft three chords before the final peroration of this movement is another example where Inbal makes the most of the contrast and the beauty of this music.

The only criticisms I have is that (a) Inbal does not approach the endings with much imagination, or emphatically enough to make them work, and (b) the balance is bad in the last third of the slow movement: the chugging accompaniment becomes very annoying and should be far more in the background.

One last thing: If you buy this particular item, you get the original, very witty CD cover picture, which delights me every time I see it!

~ ~ ~

UPDATE: Since writing this review in August of 2010, the recording label "Figaro", otherwise known as "Querstand Records", has released a recording by Herbert Blomstedt. If you have never heard the 1873 version of this symphony, the Blomstedt recording is now my top recommendation. It sweeps the field. (However, I still maintain my positive comments about Inbal, above.)

The Blomstedt performance is virtually perfect in every conceivable way, and at 63 minutes I can only echo Jim Svejda to say that the biggest problem with Bruckner symphonies is that they are all much, much too short.
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4.0 étoiles sur 5 Bruckner's 3rd and its spatial effects 5 mars 2014
Par jt52 - Publié sur Amazon.com
Format: CD
Anton Bruckner's 3rd symphony is best known because the composer dedicated it to his idol, Richard Wagner, when the two spent an alcohol-soaked evening together in 1873. For me, its distinguishing features are first of all its clear influences (Beethoven's 9th symphony mostly) and stylistic anticipations (Mahler, in the scherzo). But Bruckner also seems here to have been very focused on spatial effects - the music seems to approach from a great distance again and again, or to switch perspectives almost in an echoing way through dynamics and orchestral effects.

The opening "Gemassigt" mimics a gradually approaching roar, beginning very softly, then swelling into a characteristic Brucknerian brass forte. The "Gemassigt" repeats the effect within the development section (around 9' in on this Haitink performance). The opening of the scherzo also seems to arise from the distance and the finale is the crowning example of this idea, not only rising from a very soft volume but containing a cycle-of-fifths main theme which seems to unfold in space. To achieve these effects, Bruckner also relies on repetitive patterns and strident, even brutal contrasts of very soft and very loud music. This all harkens back to the opening of Beethoven's 9th, in the same key as Bruckner's 3rd, with its throbbing rise out of nothingness. In a way, Bruckner's effort stands as a sort of reverie on the 9th, with certain ideas expanded and converted into forms so typical of Bruckner's ever-recognizable style.

This 1988 release from maestro Bernard Haitink and the Vienna Philharmonic is good without being exceptional. Haitink is effective, takes tempi on the slow side, and leads an enjoyable performance without ever reaching the power or the attention to detail of the recordings by Eugen Jochum and Nicholas Harnoncourt with which I compared it. One high point is the way Haitink brings out the dynamic effects at the end of the Adagio, so the performance has its moments. The performance uses the 1877 edition of the frequently revised 3rd. If you're like me, your eyes glaze over when the topic turns to different versions of the Bruckner symphonies. I actually couldn't reconcile the Haitink with the Harnoncourt disc - both supposedly use the 1877 version but there are some major differences, so I expect the conductors are making bespoke editorial revisions as part of their score study. The sound quality is also ok without being better than that - it has some of the edginess of early digital. 4 stars - a pretty good but not outstanding disc.
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