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Page Artiste Mariss Jansons


Produits fréquemment achetés ensemble

  • Chostakovitch : Symphonie n° 10
  • +
  • Shostakovich: Symphony No. 7 [Hybrid SACD]
Prix total: EUR 37,82
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Détails sur le produit

  • Orchestre: Orchestre Royal du Concertgebow d'Amsterdam
  • Chef d'orchestre: Mariss Jansons
  • Compositeur: Dimitri Chostakovitch
  • CD (7 mai 2013)
  • : Requires SACD-compatible hardware
  • Nombre de disques: 1
  • Format : Super Audio CD
  • Label: Rco Live
  • ASIN : B00BWJ078S
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 4.8 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 48.209 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Description du produit

Das RCO unter Mariss Jansons mit Schostakowitschs 10. Sinfonie. Schostakowitsch üerwindet mit der Arbeit an der 10. Sinfonie die Ära Stalin. Sein Ziel war es, in diesem Werk den Gefühlen und Gedanken der Menschen nach Stalins Tod Ausdruck zu geben. Dem Royal Concertgebouw Orchestra gelang es unter seinen legendären Dirigenten Kirill Kondraschin und Bernard Hatinik das Publikum für Schostakowitsch zu begeistern. Gemeinsam mit Mariss Jansons wurde diese zündende Kraft der Interpretation weitergeführt, wie vorangegangene Konzerte und die preisgkrönte Aufnahmen der 7. Sinfonie beweisen.

Critique

**** an engrossing performance --Philip Clark, Sinfini 21 May 2013

Jansons ensures scrupulous observance of Shostakovich s markings ... a distinguished reading. --Mark Pullinger, International Record Review June 2013

You expect quality from this source- and you get it here in abundance… words like beauty keep appearing on my listening notes. --Edward Seckerson, Gramophone August 2013

Jansons seems to me to demonstrate a firm grip on the vast, brooding first movement and he appears to have a very good grasp of the structure. He s helped by superb playing by the orchestra; in the opening minutes, for example, the strings display a wonderful deep and grainy timbre. I found Jansons conception of the music highly convincing; he realises the brooding power of the music expertly and the climaxes are titanic. --John Quinn, musicweb-international.com 29th July 2013

Of all the orchestra own labels, RCO Live is surely the most consistently impressive in its release after release of outstanding recordings... Jansons is able to make the music broad and expansive, which again plays to the strengths of both the orchestra and the hall. But he s also able to maintain the drama and the tension, partly through the sustained and supported playing of the wind section, but also through very sparing use of rubato... Jansons shows us that you can have the best of both worlds, provided that is, you re conducting one of the world s great orchestras in one of the finest acoustics available for a release at the cutting edge of modern recording technology. --Gavin Dixon, classical-cd-reviews.com- 24th July 2013

Jansons seems to me to demonstrate a firm grip on the vast, brooding first movement and he appears to have a very good grasp of the structure. He s helped by superb playing by the orchestra; in the opening minutes, for example, the strings display a wonderful deep and grainy timbre. I found Jansons conception of the music highly convincing; he realises the brooding power of the music expertly and the climaxes are titanic. --John Quinn, musicweb-international.com 29th July 2013


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Format: CD Achat vérifié
Au risque de paraitre "vieux xxx" je tiens à tempérer les enthousiasmes précédemment formulés

Oui l'orchestre du ConcertGebouw est une belle machine et Mariss Jansons un des meilleurs chefs de notre temps...
Mais ...
L'interprétation ne m'a pas scotchée. Il s'agit d'une belle version luxueuse mais sans l'âpreté que lui donnaient K Sanderling voire même plus étonnamment H v Karajan sans parler bien sûr des références russes de Kondrachine ou Mravinsky.

Qualité de la restitution sonore: Elle est globalement meilleure que celle de nos deux russes mais en net retrait par rapport à celle de Kurt Sanderling
Je sais que je vais encore déplaire en disant que je m'étonne qu'on ne parvienne pas aujourd'hui à mieux enregistrer qu'on ne le faisait à l'époque de l'enregistrement analogique:
Oui le SACD est un support superlatif, là n'est pas la question. Mais les enregistrements qui rendent le mieux sur ce support sont ceux d'avant l'ère numérique.
Est ce parce que le digital donne au producteur de disque l'illusion de pouvoir accumuler les filtres sans détérioration que les ingénieurs en usent et abusent?
On multiplie les pistes, on nettoie les bruits, rajoute de la réverbération, améliore l'enveloppe etc.
Au final les instruments paraissent plus maigres (sans leur vraie volume, ni leur caisse en bois) que dans les meilleures prises de son analogique faite avec un nombre de micro raisonnable (3 dans l'idéal, plus éventuellement quelques rares appoints pour l'arrière de l'orchestre si besoin)

Donc Oui , mais ...
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Par LD COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 11 mai 2013
Format: CD
Composée en 1953, proposée à la sagacité de l'Union des compositeurs soviétiques très peu de temps après la mort de Staline, la 10ème Symphonie de Dimitri Chostakovitch était également sa première symphonie écrite depuis la fin de la guerre. Souvent perçue comme la clé de voûte de son oeuvre symphonique entier, cette symphonie fait sans doute un bilan des souffrances et tourments des périodes passées, les transcende, sonne également comme une trouée, le meilleur signe que la résistance - même passive - de l'artiste qui attend son heure trouve à s'épanouir dans son art lorsqu'il lui est donné la possibilité de le faire rayonner.

Avant la déstalinisation officielle, avant que Chostakovitch ne puisse soumettre à nouveau la partition de son abrasive 4ème Symphonie - composée au mitan des années 30, elle ne fut créée qu'en 1961 - la 10ème Symphonie montrait le compositeur au sommet de son jeu. Sans renier une seule seconde sa manière et en retrouvant sans doute une intégrité musicale plus grande, il reliait de façon forte le passé et le présent et ouvrait vers un avenir ressenti avec un pessimisme moins foncier. D'où l'appellation de "tragédie optimiste" que lui avait accolé le compositeur Andrei Volkonski.
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Format: CD
`My aim was to convey human feelings and passions in this work,' Shostakovich said of his Tenth Symphony in 1953. Stalin was dead, and after his music had been publicly criticized for being too abstract in 1948, Shostakovich had finally gathered the courage to farther start a new composition. With the Tenth Symphony, Shostakovich has matured into being able psychologically to put his memories of Stalin to rest.

In the late seventies it was Kondrashin and Haitink that led the Royal Concertgebouw Orchestra into the venue of recording more intensively and performing the Shostakovitch symphonies - and still, in later years, (2008 to 2010) with advanced recording technology, the RCO presented us with an astonishing reading of Shostakovitch Symphony No. 7 with Jansons, and Symphony No. 15 with Bernard Haiting.

The recording at hand of the symphony No. 10 conducted by Mariss Jansons was made in 2009 and released only now, (four years later) sonically it is a spectacular achievement (refer here in its SACD multichannel playback auditioning on a large playback system in a large listening space).
It has just a bit more "body" to the sound compared with the 2010 recording of the Symphony No. 15 (SACD) conducted by Haitink with the sonic effort that possesses some of the most rare of "ethereal" tone properties ever captured in a recording.
This 10th symphony SACD recording at hand has a bit more transparency and "directness" of sound compared to M. Jansons 2008 (SACD) of the Shostakovich symphony No. 7 (which by itself is an award winning RCO-Live release).
So, sonically viewed, this recording of the symphony No. 10 bridges the gape between the superlative 15th and the 7th, and plucks the best sonic properties from either.
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Amazon.com: HASH(0x9dda103c) étoiles sur 5 3 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9dbecfcc) étoiles sur 5 Finding energy while allowing for more sun and less crudeness--a major victory for Jansons 1 août 2013
Par Andrew R. Barnard - Publié sur Amazon.com
Format: CD
Mariss Jansons' reign at the Concertgebouw has been somewhat frustrating. With the orchestra's in-house label producing their own CDs, we've been able to hear a front rank virtuoso orchestra in wonderful sound. The variable has been Jansons, though, who has struggled finding involvement. Too many recordings have been refined and sensitive with a deficit of energy.

Jansons' recent Shostakovich 7th was a success, so I approached this new 10th with optimism. From the beginning of the 1st movement, we notice that the playing is particularly vibrant, with beautiful sounds everywhere. Jansons doesn't try to sound grim and phrases with naturalness that eschews Soviet crudeness. Usually I'd fear such an approach would be too polite, but I was surprised to discover that Jansons was still able to maintain momentum and energy. We're a long way off from the chilling, dark world that Karajan created. Jansons is still suspenseful, though, with a tangible sense of grief. We feel like a lone individual crying for help more out of desperate loneliness than raw fear. Everything is voiced superbly, enabling us to catch new layers of detail (the recorded sound aids greatly) but nothing is generic--the woodwinds still scream and the climaxes build with frustrated energy. But it's Jansons' feeling of sadness that gripped me.

Jansons wakes up to the sarcastic world of the 2nd movement's portrait of Stalin and moves through the movement with driving conviction. But we encounter a new world of variety, including some surprising dynamic contrasts and highlighted inner lines. With such a great orchestra and sound, one only hopes that the conductor doesn't enervate the scene. Jansons goes beyond, with a feeling of expectation and mystery that carries us through a field of stunning nuance without losing the sarcasm. I must say that I was floored.

Jansons doesn't treat the tricky 3rd movement as a slow movement, letting the uncanny episodes of ambiguous flavor come forth with definite authority. Every time Shostakovich has a line that seems jagged or animated, Jansons jumps at the opportunity. Such an approach lends a strong feeling of irony, which is surely what Shostakovich had in mind.

Shostakovich wasn't keen on chasing the clouds away in his finales, which leaves the interpreter with a challenge. The work should be brought to a satisfying culmination, but it's hard to create fireworks out of thin air. Jansons stays within Shostakovich's bleak mood while making a go for triumph wherever possible. Compared to Karajan, for instance, we end up coming much closer to jubilance. Jansons reads into the irony of the affair splendidly.

At the end, I find myself impressed and captivated by a reading that is committed without seeming so gloomy. I enjoy the light and in the face of the playing and sound, I think this reading is going to find a niche in my library.
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HASH(0x9dbfead4) étoiles sur 5 A polished, even suave account of the Tenth that sidesteps its difficulties 2 août 2013
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
Jansons is Latvian, but his father had a strong connection with musical life in St. Petersburg during the era when Mravinsky was all-powerful as leader of the Leningrad Phil. and chief ally of Shostakovich. I've never heard a recording from the father, but Jansons the son has been very unlike Mravinsky in his approach to Shostakovich. It's ironic that an arch loyalist to the Soviet system like Mravinsky should have captured the Tenth's tension, anguish, and savage mockery so acutely. Art surmounts politics. We have a recording of the Tenth Sym. that goes even further from Dimitri Mitropoulos and the New York Phil., who gave the American premiere in 1954, a year after the Russian premiere. It's in mono but is so hair-raising that the sonics hardly matter.

The usual recommendation for the Tenth has long been Karajan, who recorded it twice, in analog and digital sound. The interpretatons are very similar to each other; I seem to be in a minority preferring the digital remake, which sounds much better in the Karajan Gold remastering. Jansons' new reading has the advantage of excellent sound, virtuosic playing, and expert orchestral balances. On any given day the Royal Concertgebouw can equal the Berlin Phil. in power and visceral impact, but Jansons persistently holds them back, to judge by their many recordings together on the orchestra's house label. This has been a frustration for me, as it was with Jansons' predecessor, Riccardo Chailly. As the lead reviewer mentions, one exception was Jansons' Shostakovich Seventh. An earlier complete symphony cycle for EMI that took ten years to complete and wandered from orchestra to orchestra across the Atlantic is variable.

Although acknowledged today as a masterpiece, the Tenth remains problematic, and I sometimes wonder if too much is expected of it. The heart of the score is the first two movements, which is where most conductors put most of their energy - Mitropoulos is rare in finding drama in the second, lighter half of the score. The long first movement features both weighty and delicate writing; its moods swing between gloom, meditation, suppressed anxiety, and lyrical beauty. Jansons tries to unify the music in the direction of beauty alone - as did Haiitnk to some extent in his pioneering Decca account of the Tenth. Jansons succeeds in his aim but at the cost of the darker side of the music. Sometimes ambiguity is the whole point.

In the Scherzo, Mravinsky showed the way with a bitter whirlwind that was genuinely frightening. Jansons unleashes considerable power, but there's no emotional assault. In part this may be due to the Concergebouw's ingrained habit of producing a balanced, mellow sonority. They resist going on the attack. The third movement is marked Allegretto, which is not as fast as an Allegro but also implies lightness and the spirit of the dance. Jansons captures both qualities in a refined way that contradicts the Soviet performance style Shostakovich wrote for. But Westernizing Shostakovich's symphonies has been a long-standing trend, and we can always return to Kondrashin, Mravinsky, and Rozhdestvensky for echt Soviet recordings - all, I think, are more convincing than Jansons' refinement.

The finale has a split personality, caught between the wistful, anxious mood of the Andante's sorrowful song - one of the most inspired sections of the Tenth - and the light, bouncy Allegro that follows. It feels so anticlimactic that few conductors do more than simply get through it (again Mitropoulos is the exception). Jansons accepts at face value that the Allegro is a carefree whirligig, and why not? He, and Shostakovich, have a right to lighten the mood, even though the lumbering bass line suggests more depth.

The Shostakovich Tenth offers a bulging presence in the catalog, and anyone seeking a great interpretation already has Mitropoulos (live and in the studio), Karajan (two DG recordings), Stokowski (a concert reading only available in an expensive box set issued by the Chicago Sym.), the dark horse Frank Shipway, and the composer's son Maxim Shostakovich to choose from, along with the aforementioned Russians. I had high hopes for recent recordings by Gergiev, Petrneko, and now Jansons, but none, to my ears, joins the rank of the greats. Of the three new ones, Jansons' is the tamest and suavest.

My desert island choice would be Mitropoulos, for its passion and distinctiveness.
HASH(0x9dbf896c) étoiles sur 5 Excellent 19 juillet 2016
Par musicnerd - Publié sur Amazon.com
Format: CD Achat vérifié
Excellent. Rivals the Karajan. Main difference is that the Berlin under Karajan has a dark, heavy sound whereas the Concertgebouw usually is a bit lighter.
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