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Dvorak : Quatuor à cordes n° 12, Op. 96 "Américain"- Quintette pour piano, Op. 81 CD, Import

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4,8 étoiles sur 5 6 commentaires provenant des USA

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Détails sur le produit

  • Interprète: Quatuor Juilliard
  • Compositeur: Antonin Dvorak
  • CD (14 avril 1992)
  • Nombre de disques: 1
  • Format : CD, Import
  • Label: Columbia
  • ASIN : B000026T2E
  • Autres éditions : CD  |  Cassette
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
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Liste des titres

Disque : 1

  1. String Quartet N 12, Op 96 "American" : Allegro Ma Non Troppo
  2. String Quartet N 12, Op 96 "American" : Lento
  3. String Quartet N 12, Op 96 "American" : Molto Vivace
  4. String Quartet N 12, Op 96 "American" : Finale, Vivace Ma Non Troppo
  5. Piano Quintet In A Major, Op 81 : Allegro Ma Non Tanto
  6. Piano Quintet In A Major, Op 81 : Dumka, Andante Con Moto
  7. Piano Quintet In A Major, Op 81 : Scherzo Molto Vivace
  8. Piano Quintet In A Major, Op 81 : Finale, Allegro

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9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Sterling performances of Dvorak by the Juilliard Quartet with Rudolf Firkusny 24 septembre 2012
Par Kenneth Bergman - Publié sur Amazon.com
Format: CD
Dvorak composed his 12th string quartet, "American," in summer 1893 while in Spillville, Iowa. In many respects, this quartet is similar to the "New World Symphony" in that it uses short, syncopated melodies based on the pentatonic scale, a scale used world-wide for folk tunes. Most memorable is the second movement Lento, which features a sorrowful melody played by the cello over a violin-viola drone-like figuration. It may be based on native American music that Dvorak heard while in Iowa. The lively scherzo imitates a Scarlet Tanager whose song was noted down by Dvorak. The concluding rondo's central section is a chorale.

The American Quartet is Dvorak's best known chamber work and has been recorded many times by chamber groups. Besides this recording by the Juilliard Quartet, I have the well-known 1986 version of the Emerson Quartet. Comparing the two, the Emerson gives a smooth, polished performance that is slightly faster than the Juilliard, especially for the Lento, but lacks the dramatic punch that the Juilliard recording provides. The Juilliard's Lento is more "soulful," whereas the Emerson is rather tame by comparison. My preference is definitely for the Juilliard.

The other music on the Juilliard CD is Dvorak's 2nd Piano Quintet in A, considered by many to be his greatest chamber work. Pianist Rudolf Firkusny, known for his interpretations of Dvorak's piano music, joins the Juilliard for this performance. The Quintet is a gorgeous work, though it is modeled to some extent on Schumann's Piano Quintet in E-flat, Op. 44, especially the second and fourth movements. After a first movement that combines energy with lyricism, the second movement Dumka, soulful at the start, follows a seven-part structure (similar to Schumann), ABAXABA, where B is a contrasting livelier song section and X is a brief development, in quick-time, of the A theme. The finale, a type of sonata-rondo that treats the principal theme fugally in the development section, concludes with a Dvorak hallmark: a slow, lyrical reminiscence of the themes before accelerating into the final notes (compare with the Dvorak Cello Concerto).

My comparison recording here is one performed by pianist Stephen Kovacevich with members of the Berlin Philharmonic Octet in 1972. They take faster tempos in all movements. As a result it is a hard-driving performance that emphasizes drama over lyricism. I prefer the slower paced Firkusny/Juilliard performance because it brings out the lyrical passages without sacrificing drama. (Dvorak was a great admirer of Schubert's music, and his chamber music is similar to Schubert's in its lyricism as well as its sometimes unorthodox key relationships.) One criticism of Firkusny/Juilliard is their perhaps overly slow tempo for the second movement Dumka, scored as "andante con moto." This quintet takes the A sections at an adagio tempo, which enhances the sorrowful songlike character of this lovely section but makes this long movement perhaps overly long. Dvorak apparently intended something faster. The Kovacevich/Berlin performance, on the other hand, is almost an allegretto.

Despite this and a few other misgivings, I rate the Juilliard performances of both these works very highly. They combine robust, committed playing that speaks to both the dramatic and lyrical aspects of each, and Firkusny handles the piano role in the Quintet superbly. The American Quartet was recorded in 1967 and the Piano Quintet in 1975, but were re-mastered and re-released by Sony in 1992. The acoustic quality seems excellent to my ears for both works. There are many fine recordings out there of these highly regarded chamber works, but this CD, recorded when the Juilliard and pianist Firkusny were at their best, would be hard to beat.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 GREAT "AMERICAN" MUSIC FROM THE NEW WORLD 23 décembre 2013
Par NUC MED TECH - Publié sur Amazon.com
Format: CD
12-23-13. For years, the Julliard String Quartet has provided America and the world with premium performance of the great and not so great chambver pieces for Columnbia Recordsand here on Sony's discounted Essentiall ClaSSICS, HEY APPEAR WITH THE DVORAK American Quartet, the Op. 96 inF along with it's customary partner, the wonderful Quintet for piano and strings in A, Op.81. This recording lasts, sadly, for only 61:02 and is over before you knowit. The quartet runs33:45 and the piano quintet, a bit longer at 36:51. The pianist is the talented Rudolf Firkusny. First the quartet. The composer spent time in a Czech community in Iowa back in the years before the outbreak of WWI, yet another attempt the West made to destroy itself for what reason, I have no sane justification. We manages to escape, how, I don't know.
In his book, "Civilization," Lord Kenneth Clark said that there were times in history, since the time of Christ, when we, that is Western cultrure came to the brink of destruction, only to be able to pull back before we went over the edge. The first two times werethe beginnings of the 8th and 9th Centuries, with the initiation and resumtion of the horrific devestation of the Northmen, the Vikingsx, with their universal policy of plunder and killing, "Oh God, from the wrath of the Northmen, protect us!" Was a prayer on everyone's lips in this very dark years, as the Dark Ages, still , maintain, not nearly dark as it has been portrayed. ,The second crisis was around the years 1350-1370 when the European continent was ravaged severly wy. A wave of sickness that came to be called the Black Plague, or simply the "Black Death." We now know it was bubvonicx Plague, caused by the virus infesting the fleas on rats, and entering Europe through her ports, abord merchant vessels . The estimates continue to be adjusted, but schaolarships appears to have settled on 1/3 to perhaps 1/2 of the populationperishing in this aweful and hideous dceath. I would argue that there was a third point in WESTERN history when we all nearly lost our way, that being ther War from 1914-1919.
Ever so briefly, the War broke out in 1914 and tore the continent apart until the guns finally went silent in 1918. Several millio civilians and military were lost but the destruction, almost complete of the great shard continental culture, was nearly complete. In all three cases, we escaped by the skin of our teeth, and, to this day, we have been mending fences. But, the point is, we didn't fall completely, but managed to survive. Just prior to this cataclysim, Dvorak spent time in Spiellmen Iowa in a Czech community , where hefrolicked in th transplant Bohemian culture and the composer was rejuvinated. ZIn ther 1890's he wrote his New World Symphony and these chamber pieces. Thedy are amongst his best and most popular works. Silky smooth piano quintet wildcover later.
In the quartet, DVORAK WASTES NO TIME
3 internautes sur 4 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Clean, efficient readings that could be more eloquent 23 août 2006
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
As a bargain coupling of Dvorak's two most famous chamber works, this CD can't be faulted. The Juilliard Qt. plays with alertness and vivacious rhythms in the 'American' Quartet, and the same forthright style flows over into the Piano Quintet with Rudolf Firkusny, a Czech pianist famed in his day as a Dvorak specialist. Even so, I don't find his playing as eloquent as Richter's in his classic performance on EMI, nor is the quartet as moving and satisfying as with the Alban Berg Qt., also on EMI.

Certainly these are enjoyable readings. I just don't find them anywhere near the best to be had on CD, and Sony's rather edgy digital sound, coupled with the Juilliard's somewhat stark sonority, isn't a great asset.
2 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A feast for Dvorak lovers 23 octobre 2007
Par Miles D. Moore - Publié sur Amazon.com
Format: CD
I can't believe Sony Classical has let this CD go out of print, it is so beautiful and idiomatic. The "American" string quartet, with its vigorous, folksong-like melodies, is of a glorious piece with the New World Symphony, and the Op. 81 Quintet is simply the most beautiful piece of music Dvorak ever wrote (which is saying something). Rudolf Firkusny qualified as one of the foremost authorities on the performance of Dvorak's music, and the Juilliard Quartet of course is simply beyond praise. Find a copy of this recording if you can, and here's hoping Sony gets the message and puts it back in print!
18 internautes sur 19 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 ravishing 16 mai 2000
Par Un client - Publié sur Amazon.com
Format: CD
One of the great works of chamber music played immaculately. Great sound given the age of the recording, and everything else about it -- the ensemble, the tempo, the dynamics -- is just right. With a piece as popular as this there is often the temptation for musicians to try to put their individual touch on it, but this recording has no self-indulgences.
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