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Ferneyhough / Complete Works for String Quatret & Trios

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Page Artiste Arditti String Quartet


Détails sur le produit

  • Interprète: Claron Mcfadden, Quatuor Arditti
  • CD (25 mars 2014)
  • Nombre de disques: 3
  • Label: Outhere Sa
  • ASIN : B00I3LDETW
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 96.020 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Sonatas for string quartet: alpha
  2. Sonatas for string quartet: beta
  3. Sonatas for string quartet: gamma
  4. Sonatas for string quartet: delta
  5. Sonatas for string quartet: epsilon
  6. Sonatas for string quartet: zeta
  7. Sonatas for string quartet: eta
  8. Sonatas for string quartet: theta
  9. Sonatas for string quartet: iota
  10. Sonatas for string quartet: kappa
  11. Sonatas for string quartet: lambda
  12. Sonatas for string quartet: mu
  13. Sonatas for string quartet: nu
  14. Sonatas for string quartet: XI
  15. Sonatas for string quartet: omicron
  16. Sonatas for string quartet: pi
  17. Sonatas for string quartet: rho
  18. Sonatas for string quartet: sigma
  19. Sonatas for string quartet: tau
  20. Sonatas for string quartet: upsilon
  21. Sonatas for string quartet: phi
  22. Sonatas for string quartet: chi
  23. Sonatas for string quartet: psi
  24. Sonatas for string quartet: omega
  25. String quartet no. 2
  26. Adagissimo

Disque : 2

  1. String quartet no. 3: l. -
  2. String quartet no. 3: ll. -
  3. String quartet no. 4: I. - - Claron Mcfadden
  4. String quartet no. 4: II. - - Claron Mcfadden
  5. String quartet no. 4: III. - - Claron Mcfadden
  6. String quartet no. 4: IV. - - Claron Mcfadden
  7. Streichtrio
  8. String trio

Disque : 3

  1. String quartet no. 5
  2. Dum transisset: l. reliquary
  3. Dum transisset: ll. totentanz
  4. Dum transisset: lll. shadows
  5. Dum transisset: lv. contrafacta
  6. Exordium
  7. String quartet no. 6

Descriptions du produit

A l'occasion de ses quarante ans (1974-2014), le Quatuor Arditti, l'une des formations les plus célèbre de la musique contemporaine, a choisi d'enregistrer pour la seconde fois, ? c'est un fait suffisamment rare pour le souligner ?, l'intégralité des quatuors à cordes de Brian Ferneyhough. Les pièces de ce disque créent une fascination auditive immédiate et illustrent bien la complexité selon ce compositeur, c'est-à-dire une écriture réputée injouable pour les instrumentistes mais un plaisir certain pour l'auditeur, pris dans le vertige d'un univers sans limite ni lignes de fuite. Ce coffret de 3CD sera non seulement l'un des indispensables de cette année 2014 mais aussi la meilleure façon d'appréhender la musique d'un compositeur fondamental, dont la musique héritière émancipée de Schoenberg, d'écriture paroxystique, reste d'une expressivité radicale, chaotiques en apparence mais sublimées ici par la liberté et l'excellence de son interprétation.

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Format: CD
Ce beau coffret bien présenté, élégant et doux à toucher publié en 2014 nous propose en 3 CD l'intégrale de la « musique de chambre pour cordes » du compositeur Brian Ferneyhough (se composant de 6 quatuors, 3 petites pièces pour quatuor et 2 trios), à l'occasion du 40ème anniversaire du « Quatuor Arditti », fondé en 1974.

Dans sa « préface » au projet, Irvine Arditti rappelle que c'est le plus grand projet que l'ensemble ait porté et qu' « aucun des enregistrements réalisés jusqu'ici avec le quatuor n'a été aussi conséquent que celui-ci ». Les musiciens ont découvert l'univers du compositeur à l'occasion de son « quatuor n°2 » en 1980. Ce fut l'oeuvre la plus difficile qu'ils eurent à aborder jusqu'à ce moment-là. Pour le violoniste, ce fut « une expérience extrêmement enrichissante, prouvant qu'aucun quatuor à cordes n'est insurmontable si l'on y consacre suffisamment de temps ».
Depuis ce temps, le compositeur dédia tous ses quatuors aux « Arditti ». Leur récompense ? « Dans la maîtrise pure et l'inventivité de chaque oeuvre à faire de nos interprétations un voyage d'inspiration sans fin, sans jamais nous lasser, dans une tentative de repousser nos limites, non seulement pour cette musique, mais également pour toutes les oeuvres exigeantes que nous aurions à aborder ».

L'enregistrement de toutes les pièces de ces disques fut réalisé récemment, en 2011 et 2012, principalement au « Hans Rosbaud-Studio » de Baden-Baden.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 5.0 étoiles sur 5 3 commentaires
20 internautes sur 20 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Arditti & Ferneyhough 1 mai 2014
Par Antony J Sharp - Publié sur Amazon.com
Format: CD Achat vérifié
The pairing of the Arditti Quartet and Brian Ferneyhough in one incomparable, inspirational and compendious triumph of musical excellence. The Aditti Quartet are clearly feeling this immensely complex music with every fiber of their bodies and instruments. Their intense passion for all the works is abundantly clear as they careen from pppp to ffff via Mr. Ferneyhough's exuberant maze of scintillating, crystalline highlights, through tumbling glissandi, to the darker recesses of deep, quiet reflection or tremulous anxiety and back again.

The 4th Quartet is accompanied by the soprano Claron McFaddon who provides a thrilling additional aspect to the sound of the quartet. Her performance is every bit as accomplished and sympathetic to Mr. Ferneyhough's music as that of the string players. Mr. Ferneyhough's work is often lauded as transcendental and this performance certainly deserves that accolade.

I apologize if my review appears overly effusive, but I have only just received this set of discs and I am writing this as I am listening to the final piece; still truly amazed at what fine musicians and an exceptional composer can achieve.

If you appreciate contemporary music this is a purchase you must make. If you don't, try it. This is music of incredible beauty.
11 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A PERFECT MATCH OF COMPOSER AND PERFORMERS - Brian Ferneyhough and the Ardittis 7 juin 2014
Par Daniel B. - Publié sur Amazon.com
Format: CD Achat vérifié
Musicians make the case for the music they perform and without their participation how could any composer find an audience? The Arditti String Quartet, still led by its founder, the stunningly gifted virtuoso, Irvine Arditti, is celebrating its fortieth year of music making.
And what an amazing near half century it has been! Rather than excel as yet another ensemble performing works from the past, the Ardittis have commissioned scores of new quartets from scores of contemporary composers. Some, like Luigi Nono and Stockhausen, would never have written a string quartet without their persistence. I hasten to add here that I have no problem with quartets like the Julliard, Guarneri, Emerson, Amadeus, etc. who perform the composers established in the Western Canon of music. I am continually listening to the music of past centuries. But, my God, we are 21st century people, and great composers in our midst are writing the Music of Our Age - and we are made richer, more sensitive, far deeper by listening and absorbing it. Which brings us to Brian Ferneyhough, one of those great composers of our age. The Ardittis came to the McPhail School of Music in March of 2014 and performed works of four contemporary composers, including DUM TRANSISSET by Ferneyhough. Maestro Ferneyhough sat directly ahead of me and generously chatted with me before the concert began. I proudly told him my copy of this set was preordered at Amazon. He smiled and nodded. I have been listening everyday to one or more of the eleven (!) selections on these 3 cds, and my appreciation for his genius is growing along with each experience. This is challenging and exacting music, and rewards the listener by placing him in a visionary state of being. And the Ardittis, already in that visionary state, play with consummate beauty and commitment. How can YOU FELLOW LOVER OF MUSIC resist? Buy this - Listen - Be rapt.
5 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 indefatigable creator,performers. .. .wondrous music. . . 22 août 2014
Par scarecrow - Publié sur Amazon.com
Format: CD
The Arditti did perform all the Quartets live,some years ago in two consecutive evenings with Ferneyhough in attendance.

The trajectory of Ferneyhough's developed sense of string timbre, form ratcheted up fast.Quickly he located his creative voice.
The Second Quartet,was brilliant for its time (1980), when the avant in-music was playing games to escape the neo-liberal ordfer. This SQ is about silence,but a silence discussed, talked about, how it throws into relief what we do indeed hear. . . its arch form has a classic shape,eternal in its import to it. the Second SQ reveals here the "semi","seeds" of the fragment, the musical particle, the quantum moment which came into prominent discourse; from here we accelerate the process. . .
The "Third Quartet" (1986-87), with its 23 textural types,again we find this philosophic, for the fragemental way, the manner music proceeds; It is never a "narrative", a "telling", a "throwing" into an illusional space, a place,Those may be pre-compositional interventions,materials, "energies","Sparks"---'tellur' for Ferneyhough in his deep sense of intellectual history of the Renaissance painters, thinkers, poets,places, emblems, signs, signatories, legions that unite one genre,throws a bridge between the two. . .one with the next, how an image becomes an architecture for timbre. . . the assemblage, the concern for what the "fragment" does, what does it imply, how can it be structured over longer lengths.

Throughout all the quartets there are fine "breaks", "interventions"---"(escapisms)" of solos, duets, and trios, but all seamlessly woven structured within the overall schema,the control, the appraisal of density has always been a concern---- there is no surfeit which draws too much magnetic attention to its gestures.
Gestures(gesti) come to be defined, come to inhabit also,abodes"places", that shape, that come to define how the music unfolds, how it proceeds, to go for the nervous system as Deleuze told us in his essay on Francis Bacon, the painter, both accomplices fair well withinr Ferneyhough's lifeworld existence.

The Fourth Quartet then joins the Schoenberg's apostasy in the added timbre,a new accomplice, the text carrying-- persona, the human condition now brought into the field of play; gone--- rising closer with the soprano voice; as the soprano must grab attention,(exploding fragments)---- grab the particles hovering within the string striations welters,the pre-composed rhythmic reservoirs(A-H) the string timbres, hovering round her.I suspect Ferneyhough utilized his "filters" in the soprano picking,opting, choosing designated tones, from the larger array allowed the strings, this is un-freedom,(unpredictability) and freedom,where the voice inhabits within the "fruitful lands" for the soprano proclaims herself.

We have the String Trio as well, for Ferneyhough a genre stands independent, resistant to the tyranny of the quartet, the weight of its eternal presence----a Trio all to itself, it is not predictably a string quartet with a player in abstencia. .The trio may recall, Webern's of Schoenberg's wondrous abstraction.Curious how this trio, the form itself may have migrated, exiled within the larger quartets. . .

There was some durational distance(gestation) then to the Fifth Quartet,a ten year gulf. This quartet completed in 2005 (began much earlier----It is dedicated to Michael Finnissy. We have a longer.stronger sense of time,longer shapes, diagonals going further downstream of the music's discourse,"hyperspaces","hyper shapes", that take more acoustic vectors.. . You sense Ferneyhough's experience with his other music that naturally intervenes in the SQ genre work...Here now no sense of impeccable-ness full throttle-- we have the dreaded'' irrational'' creeping into the procedures,(perhaps an ontology with Artaud); the expressive forever present within the body of who we are, and come to be----iterations, now,musical moments, furioso filigrees, are piled up, impacted within themselves,a trespass, stepping on each others shoe-boots---as the music unfolds...... . The schema here is how the "fragment" can come to inhabit larger spaces,what the "fragment" implies for development---- as the "Exordium", a satellite work also herein----,that moves from moment to moment in a "jouissance" of the moment- without cause for what may happen downstream. I suspect Ferneyhough's always knows what structural riches, what discoursal bounty is waiting for him in the latter moments of his works. . .
As we approach the precipice of the expanded Sixth String Quartet, well now we have expressive personas,larger shapes that re-claim lost territory, as the Cello that opens the Sixth,its ascending" arrogance" and well into it, not till Bar 32, does his unrelenting voice stop,joining others "Other" argument end with his brethren also filing a claim. .
Arditti have remained a faithful source,a performative reservoir of high artistry,the process goes beyond artistry, when you fix inward the imaginative realsm brought to this music. . .Arditti has been a well-honed cadre to this repertoire---- we all admire, the perseverance expounded of so profound a musical indefatigable creator . . . . .
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