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Concertos Pour Flûte Opus 10

5.0 étoiles sur 5 1 commentaire client

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Page Artiste Jean-Pierre Rampal


Détails sur le produit

  • Interprète: Jean-Pierre Rampal
  • Chef d'orchestre: Claudio Scimone
  • CD (4 octobre 2004)
  • Nombre de disques: 1
  • Label: Warner Classics
  • ASIN : B00009RAY7
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 362.012 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Concerti per flauto op.X rv 433 fa majeur allegro
  2. Concerti per flauto op.X rv 433 fa majeur largo
  3. Concerti per flauto op.X rv 433 fa majeur presto
  4. Concerti per flauto op.X rv 439 sol mineur allegr
  5. Concerti per flauto op.X rv 439 sol mineur fantas
  6. Concerti per flauto op.X rv 439 sol mineur il son
  7. Concerti per flauto op.X rv 439 sol mineur largo
  8. Concerto op.10 nø3 rv 428 en re majeur allegro
  9. Concerti per flauto op.X rv 428 re majeur cantabi
  10. Concerto pour flûte op X rv 428-allegro
  11. Concerti per flauto op.X rv 435 sol majeur allegr
  12. Concerti per flauto op.X rv 435 sol majeur largo
  13. Concerti per flauto op.X rv 435 sol majeur allegr
  14. Concerti per flauto op.X rv 434 fa majeur allegro
  15. Concerti per flauto op.X rv 434 fa majeur largo
  16. Concerti per flauto op.X rv 434 fa majeur allegro
  17. Concerti per flauto op.X rv 437 sol majeur allegr
  18. Concerti per flauto op.X rv 437 sol majeur largo
  19. Concerti per flauto op.X rv 437 sol majeur allegr
  20. Allegro (concertos pour flûte rv 427)
  21. Largo (concertos pour flûte rv 427)
  22. Allegro (concertos pour flûte rv 427)
  23. Allegro molto (concer. pour flûte rv414)
  24. Largo (conertos pour flûte rv 414)
  25. Allegro (concertos pour flûte rv 414)

Descriptions du produit

CONCERTOS POUR FLÛTE OPUS 10

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Par opus79 TOP 500 COMMENTATEURS le 31 juillet 2013
Format: CD Achat vérifié
Au début des années 50, Jean-Pierre Rampal enregistre une version historique de l'opus 10 d'Antonio Vivaldi, avec l'orchestre de chambre Louis de Froment (disponible sur ce site); en 1966, il propose une nouvelle gravure des concertos pour flûte du «Prêtre roux» avec I Solisti Veniti. C'est la première collaboration du flûtiste avec Claudio Scimone, un chef d'orchestre étroitement lié au renouveau du baroque italien.
Est-il bien nécessaire de présenter Jean-Pierre Rampal qui était à la flûte ce que Maurice André était à la trompette ? Cette personnalité hors du commun qui possédait une technique sans faille au service d'une grande musicalité a popularisé un instrument mais aussi les œuvres du baroque tardif, notamment les concertos de Vivaldi.
Depuis, les baroqueux ont investi ce répertoire et le brillant Emmanuel Pahud s'est imposé, mais le plaisir de retrouver le jeu exceptionnel de Jean-Pierre Rampal reste intact. Ce CD enchantera les nostalgiques, mais aussi ceux qui souhaitent découvrir le premier flûtiste mondial et le baroque avant les baroqueux.
Saluons le label Apex pour la réédition des enregistrements Erato.
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Amazon.com: HASH(0x922d02b8) étoiles sur 5 1 commentaire
0 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x922d2168) étoiles sur 5 Once pathbreakers, now often terribly outdated stylistically 15 septembre 2011
Par Discophage - Publié sur Amazon.com
Format: CD
Tthis is Rampal's classic recording of the Opus 10 Flute Concerti with Claudio Scimone, made for Erato in January 1966, and first reissued to CD by Erato in 1986, on ECD 88189, Vivaldi: Concerti per flauto opus X, but with two other complements, RV 429 and RV 441. The first CD release with the two fillers here was in 1992 on Erato's Rampal edition, Vivaldi: Flute Concerto Op. 10, Concertos RV 427 & 414. Note however that Erato blundered when they attributed the Ryom catalog numbering of RV 414 to one of those two complements, and the mistake has been passed over from reissue to reissue. If you check on Vivaldi's catalog of compositions, you'll be surprised to see that RV 414 is a cello concerto. What Rampal plays is in fact the flute concerto RV 438. For more about that story, see the second comment after this review.

Jean-Pierre Rampal was a pioneer of Vivaldi’s Opus 10 Flute Concertos. His first recording – and the cycle’s recording premiere - was made for Vox circa 1950, with Louis de Froment conducting his own ensemble (reissued to CD by Tuxedo, but in a poor transfer, Six Flute Cti Op 10, or Sechs Flötenkonzerte op.10, and also available in download form from Denon, Vivaldi - Six Flute Concerti or Musical Concepts, The Young Rampal - Vivaldi Flute Concertos (VOX Reissue)). He then re-recorded it for Les Discophiles français, and with Karl Ristenpart’s Saarland Chamber Orchestra in 1954 (reissued on Les Années Ristenpart /Vol.1), in, according to the contemporary reviews, much improved sound (and that LP was soon complemented by another one with other flute concertos). So this here is Rampal’s third go at the cycle. Of course, by then, Rampal wasn’t alone any more in the field, main competition coming from I Musici, first in 1958 with Gastone Tassinari (who had also previously recorded the complete flute concertos, for Vox, in the mid-1950s, with an ensemble called “I Musici Virtuosi di Milano” – not the same as “I Musici”, based in Rome), not reissued to CD, then in 1969 with Severino Gazzelloni (I'm sending the product links of all the non-Rampal versions mentioned in this review to the comments). Still, Rampal led the field for many years, and it’s not a coincidence that his recording with Scimone were part of Erato’s early batch of CD reissues in 1986.

That said, things move on fast in the domain of interpretation, especially of early 18th century music, and once trail-blazers soon sound terribly dated. The first period-instrument ensembles started recording Vivaldi in the late 1970s - Harnoncourt’s Concentus Musicus Wien, Hogwood’s Academy of Ancient Music (who recorded the Opus 10 concertos with Stephen Preston in 1977), Pinnock’s English Concert (with Linda Beznosiuk in 1987) - and they were soon superseded by new ensembles emerged in the late 1980s and early 1990s, like (to limit myself to those who recorded the complete Opus 10 cycle, or its original versions in the form of chamber concerti) Camerata Köln (1988, chamber concerti versions) and Il Giardino Armonico (1990, also chamber concerti). In turn, those changes and advances in Vivaldi interpretation influenced even modern-instrument performers, as illustrated by Emmanuel Pahud with the Australian Chamber Orchestra in 2005 – an outstanding version.

And heard after them and a few others, Rampal and Scimone do sound terribly dated. Allegros often trudge terribly and orchestral textures are thick, as in the opening of La Tempesta di Mare (track 1) or the “Fantasmi” of “La Notte” (track 5), when not elephantine as in the Largo of No. 5 (track 15), where, to boot, the harpsichord sounds like scraping the teeth of a comb, or in the opening Allegro of The Bullfinch (track 8) where Rampal’s fluting also sounds non-committally elegant. Many Largos are nonchalantly elegant but not very evocative (as the one after “Fantasmi”, track 5 at 1:05, or the one of Opus 10 No. 4, track 12), more appropriate for galant French music for the aristocratic salon than for the Venetian Carnival. Rampal’s flute is playful enough in the opening Allegro of 10-4; but the orchestral support again lacks dynamism and verve and sounds a touch lachrymose, and there’s also a touch of sentimentalism I find in their phrasings in the Largo. Again string textures are thick rather than vigorous and punchy in the opening of 10-6 (track 17). Even though Scimone whips his Solisti Veneti to fine dynamism in the opening and concluding Allegros of RV 427 (tracks 20 and 22), one of the two fillers, the orchestral textures are again overblown - the "grand concerto" approach doesn't suit Vivaldi very well.

What’s left? Oh, sure, a number of things: Rampal’s commendable effort at ornamenting; the robustness and welcome playfulness of the Finales of Tempesta di Mare (track 3), Opus 10-4 (track 13), Opus 10-5 (track 16) and Opus 10-6 (track 19), the vigor of the second Presto and of the Finale of La Notte (track 5 at 2:26 and track 7) and of the Finale of the Bullfinch (track 10), the unsentimental elegance of the middle Largo of the Bullfinch (track 9), the wistfulness and beautiful ornamentation of the Largo of Opus 10 No. 6 (track 18), the laid-back tenderness of the first movement of Op. 10-5 (track 14), the moving restraint and beautiful ornamentation in the Largo of RV 427 (track 21), the drive and joy of the Allegros of RV 438 (23 and 25). The slow movement there sounds too slow (but about the correct tempo indication, see the second comment) and romanticized, but one may easily be won over by the meditative and mourning bareness of the flute & cello duet which makes up most of the movement.

But even with that, there is, in the Opus 10 concerti, more drive, more vigor, more imagination in timbres and phrasings, more evocativeness, and more excitement, in any of the versions mentioned above, and a few more on period instruments which I haven't mentioned. This is best reserved to those who prefer their Vivaldi clean, proper, elegant, and none too challenging, suitable for background music.

If (still) interested, check for availability and best price on the disc's other reissues, the ones mentioned above, the Warner reissue of the original Erato program with RV 429 and 441 on Vivaldi: Flute Concertos - Concerti Per Flauto Op. 10; Due Concerti per Flauto, RV 429-441 [Erato #2292-45401-2], the later Erato/Warner reissue of the same program as here with RV 438 and RV 427, Vivaldi: 8 Concertos for flute & orchestra. The Erato recording was also licensed by Columbia in the LP era, and reissued by CBS (not yet Sony) on a convenient and cheap twofer CD with the complete flute concertos (and Rampal in the non-opus 10 Concerti has much to offer still today), but somewhat more opaque sound than on the Erato editions, Vivaldi: The Flute Concertos. Finally, note that the version of the same Opus 10 Concertos published by CBS Masterworks in 1985, MK 39062, also with Scimone and I Solisti Veneti but with no fillers, ASIN B0000025XQ (sorry I've exhausted my 10 authorized product links), is NOT the 1966 recording, but Rampal's fourth recording of the cycle. It is very similar in approach to 1966.
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