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  • CD (25 octobre 1990)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B0000026G7
  • Autres versions : Téléchargement MP3
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Descriptions du produit

TILSON THOMAS MICHAEL / CHICAG


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Format: CD
...coïncidant avec chaque saison : "Washington's birthday" (hiver, 22 février, anniversaire du célèbre président), "Decoration day" (printemps, commémoration de la fin de la guerre de Sécession), "Fourth of July" (quatre juillet, célébration de l'Indépendance) et "Thanksgiving" (souvenir du débarquement des puritains anglais).
Les trois premiers volets avaient déjà été séparément présentés au public avant qu'Antal Dorati ne fasse entendre l'ensemble, le 9 avril 1954 avec l'orchestre de Minneapolis. Hélas, aucune trace discographique n'en subsiste puisque le chef hongrois n'enregistra jamais la musique de Ives.
Leonard Bernstein avait gravé une notable version avec le New York Philharmonic (CBS), mais Michael Tilson Thomas fut ici le premier à enregistrer la partition telle que révisée à la demande de la Charles Ives Society, d'après les manuscrits conservés à l'Université de Yale.
Les cuivres de Chicago exécutent avec une confondante discipline les fanfares tirées des populaires folktunes. Voilà une interprétation très méticuleuse où l'on peut admirer en toute transparence les moindres détails d'instrumentation.

Le chef américain nous propose aussi les deux rédactions successives de la méditation existentielle "The unanswered question" (mouture originale de 1806, révision de 1930-1935) établies selon les investigations de Paul C. Echols et Noel Zahler.
Complète ce CD : "Central park in the dark", tableau sonore d'une chaude nuit d'été. Lourde pénombre silencieuse entrecoupée de noctambules chanteurs de rues et autres bruits citadins.
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Format: CD
Charles Edward Ives est né en 1874 à Danbury, Connecticut (USA). Son père, George Ives, était chef de la musique de l'artillerie de l'Union dans l'armée des États-Unis durant la guerre de Sécession. L'une des choses ayant pu avoir influencé sa future esthétique musicale fut d'avoir écouté dans la place de Danbury la fanfare de son père jouant simultanément avec d'autres fanfares venant des autres côtés de la place. Celui-ci lui donna quelques cours de théorie musicale avec une grande ouverture d'esprit, encourageant son fils à expérimenter des harmonisations bitonales voire polytonales ; Charles Ives s'entraîna ainsi à chanter des mélodies dans une tonalité, tandis que son père l'accompagnait dans une autre tonalité. Son père lui fit également découvrir la musique de Stephen Foster (1926-1964), le créateur de la chanson populaire américaine. Charles Ives partit pour New Haven en 1893, fut diplômé à l'Hopkins School puis, en septembre 1894, suivit à l'Université de Yale les cours d'Horatio Parker (1863-1919), et y termina ses études dans des domaines très divers, comprenant le grec, le latin, les mathématiques et la littérature. Il eut une remarquable carrière dans les assurances, fut président de l'Ivy League, association élitiste regroupant les meilleurs des anciens élèves des huit plus anciennes universités privées du nord-est des États-Unis, tout en étant à cette époque un compositeur prolifique, jusqu'à ce qu'il soit victime d'arrêts cardiaques en 1918.Lire la suite ›
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x8d3eb834) étoiles sur 5 16 commentaires
35 internautes sur 35 ont trouvé ce commentaire utile 
HASH(0x8d255c24) étoiles sur 5 My vote for the finest Ives orchestral recording ever made 24 septembre 2002
Par Amazon Customer - Publié sur Amazon.com
Format: CD
Take the insight of Michael Tilson Thomas, who's been conducting Ives throughout his career (his old Boston Symphony "Three Places" is still one of the best around), add one of the finest orchestras in the world and its celebrated brass section (Ives said he conceived all his music as if through "sort of a brass band with wings"), and finish with some genuinely inspired playing, and you've got a recording for the ages. It was a broadcast of the Chicago live performance, heard by chance on the radio, that gave me the idea to write my biography of Ives. Meanwhile the Holidays Symphony is one of Ives's greatest and most communicative works, and the "Decoration Day" movement one of the summits of his music. When Stravinsky was asked to define a masterpiece, he answered with "Decoration Day."
18 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x8d255c78) étoiles sur 5 "Thanksgiving and Forefathers' Day": It's what's for today. 28 novembre 2003
Par Bob Zeidler - Publié sur Amazon.com
Format: CD
The "Holidays Symphony" of Charles Ives, comprised of four movements to symbolize the passing of the four seasons by connecting them to important American holidays, was originally intended to be four standalone works, each of which could be performed separately in conjunction with its respective holiday.

Only later did Ives combine them as a four-movement "symphony." So, on this Thanksgiving Day of 2003, I chose to "deconstruct" them, just so that I might concentrate - for the occasion - on "Thanksgiving and Forefathers' Day."

This movement should, in my opinion, be numbered among the finest Ives compositions of all. It is brilliantly written and scored, with many original instrumental touches, particularly for percussion, where Ives calls upon low church bells, tubular bells and celesta, as well as an offstage ensemble of 4 horns, trombone and contrabassoon, all to marvelous effect. The ending, where the chorus enters singing to the words of the hymn tune "Duke Street," is simply breathtaking in its spirituality; truly transcendent and sublime.

But there are aspects to this movement that I've not seen anyone else mention, aspects that are startling in a prescient way, and therefore worth some mention. There is a quiet interlude, at about midpoint, scored for a reduced chamber ensemble of woodwinds, cornet, strings and celesta, that is "proto-Copland" in its sound texture, typical Coplandesque "Americana" yet written decades before "Appalachian Spring," which this section anticipates in a most remarkable way, with nearly identical chamber orchestra textures and, even, thematic ideas. The interlude then is followed by a penultimate section, prior to the choral entry, that has textures - and harmonies for that matter - similar to what William Schuman would, like Copland, write decades later. This brief section provides a perfect transition to the choral entry. And this is precisely where words fail me, because what Ives achieves here simply turns me to jelly. Only at the end of "From Hanover Square North" (from his Orchestral Set No. 2) and in the final movement of his masterpiece, the Symphony No. 4, was Ives able to match this "Holiday" in transcendent beauty.

The other three holidays/seasons ("Washington's Birthday"/Winter, "Decoration Day"/Spring and "The Fourth of July"/Summer) are all of a piece with this Thanksgiving one. Tilson Thomas has this music in his blood, having been an Ivesian from a very young age as conductors go. The Chicago Symphony Orchestra, famed for its brass choir, earns kudos for ALL of its choirs in this performance, easily the best available and one not likely to be topped any time soon. And of course it doesn't hurt to have the Margaret Hillis-directed CSO Chorus for the conclusion of "Thanksgiving and Forefathers' Day" (the one movement that I just HAD to listen to, not that I excluded the rest of the work, or the disc for that matter).

The album is nicely rounded out with Ives's two contemplations: "A Contemplation of a Serious Matter" and "A Contemplation of Nothing Serious," more commonly known as "The Unanswered Question" and "Central Park in the Dark." Better yet, "The Unanswered Question" appears in two versions: the original as written in 1906, and a revised version, written some 20-odd years later, in which the trumpet and woodwind phrases are somewhat altered to add to the enigmatic nature of the work. In both versions, the Chicago strings play with an atmospheric perfection rarely heard. The ragtime piano in the foreground of "Central Park in the Dark" is hard to top, also. But for this particular "contemplation" I do have a preference for James Sinclair's (British) Northern Sinfonia Orchestra performance (on Naxos #8559087), for which I had written, "Much of Ives's music is all about space and distance, and the bar-room piano heard very faintly in the background truly gives this sense of space, as well as a sense of evening mist in the park."

The renowned Ives biographer Jan Swafford writes on this page, "My vote for the finest Ives orchestral recording ever made." I'm not of a mind to argue with Swafford, Ives expert that he is, especially on this particular day, and equally especially by virtue of the phenomenal performances that Tilson Thomas elicits from his Chicago orchestral and choral forces throughout.

Cue it up, folks. It's "what's for Thanksgiving."

Bob Zeidler
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x8dbb18cc) étoiles sur 5 An fiery introduction to Ives 7 novembre 2002
Par Bruce Hodges - Publié sur Amazon.com
Format: CD
With Michael Tilson Thomas and the magnificent Chicago Symphony Orchestra in top form, this collection includes some of the best, most colorful works by this American master. Of the four holidays, "The Fourth of July" is irresistible - about seven minutes of extreme orchestral complexity, flaring up just like the rockets themselves and then expiring in exhaustion. Ives packs more into this score than some composers do in an hour, with colliding rhythms, blaring fortissimos and "Columbia, Gem of the Ocean" sailing above everything else. It is as exhilarating a ride as any composer has ever given us. "Decoration Day" eventually arrives at a somber moment at the cemetery with a touching trumpet solo playing "Taps," then ends with a joyously raucous march back to town. The moody "Washington's Birthday" and the stirring "Thanksgiving" complete the set, and by the end you may be thinking there has never been a composer who has captured the vivid, clashing emotions of the holidays with such accuracy.
Similarly melding the gentle with the explosive is the extraordinarily evocative "Central Park in the Dark," written in 1906. This densely written gem finds time to include the ragtime classic, "Hello, my Baby," among other tunes that make their surprise appearance during the chaotic climax.
Perhaps the most unusual feature of this disc is the inclusion of both versions of "The Unanswered Question," a gentle evocation of some of the sublime mysteries of the universe. The differences between the two versions are small, but
significant - and I won't spoil the thrill of discovery by revealing them here. Suffice to say that the piece is haunting in its quest to define the indefinable, and will likely linger in your mind long afterward.
Michael Tilson Thomas is one of the most exciting and knowledgeable interpreters of this music anywhere, and the Chicago orchestra shows why many people consider it one of the best ensembles in the world. This is perhaps not a recording for a quiet morning, but it is absolutely a candidate for "Top Ten Discs of 20th-Century American Music." A hugely exciting disc.
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x8d8762ac) étoiles sur 5 Fine Strong Symphonies 2 mai 1999
Par Un client - Publié sur Amazon.com
Format: CD
Tilson Thomas delivers the goods here. My first experience with the Holidays Symphony was Bernstein's recording, very dear in my memory. Tilson Thomas' is just as evocative, and digital to boot. My favorite is Thanksgiving and/or Forefather's Day - a very emotional, cathartic movement, very rewarding. The Unaswered Question is musically a simpler construction. A good recording for a High School music appreciation class, yet it isn't just program music. Play it for your young Junior High student and solicit a response... they might suprise you. Well performed.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x8d87603c) étoiles sur 5 Essential Ives Recording 13 septembre 2007
Par Frank C. - Publié sur Amazon.com
Format: CD
Since becoming my favorite "classical" composer some many years ago now, Ives' incredibly unique and uncompromising music has an unexplainable quality that works magic over repeated listens. With the Holidays, this is a case in point.

Not only do I consider Ives Holidays to be sitting at the pinnacle of Ives orchestral oeuvre (along with Robert Browning, Orchestral Sets Nos. 1 and 2, and the mighty Fourth), but you will not find a better or more convincing performance on disc as of late 2007. To my ears, the only competition is Sinclair's excellent "Washington's Birthday" on Naxos (coupled with a tremendous Third Symphony), but sadly that is only one of the four movements. The Two Contemplations also found here are excellent, with one of the finest and most mysterious "Unanswered Question" on any recording to date.

Just a few words in my own not-so-humble opinion regarding this music...

All too often, music such as this by Ives gets thrown around as highly "experimental". Nothing could be further from the truth. To label this extraordinary music as experimental is belittling Ives' creative vision and heartfelt aesthetics. This music was not written as a "test" to see whether it passes or fails, but rather music that is simply visionary and unprecedented at the time at which it was written, and even by today's standards. Careful and repeated listens will reveal hidden themes, sometimes so subliminal that they escape even the most attentive of listeners. Also, Ives' unbelievably creative use of polyrhythms and interrelationships of multiple polyphonic lines and melodies shows this composer in complete mastery of his idiom. Some "scholars" today say that this was all thrown together in some haphhazard manner to see what would happen - that to me is completely unfair and unjustified. Use your OWN ears to make your own judgment here, folks.

As for sound, this recording is quite excellent (a 1986 recording), but to compare it to the best of 2007 digital recordings will begin to show its age slightly. Nonetheless, more than worthy.

In sum, if you are serious about Ives and want to hear one of the FINEST recordings ever made of his music, get this disc. Nothing is glossed over here and MTT and the Chicago Symphony need not apologize in their realization of Ives' craggy and sometimes downright rough-and-tumble music. If the incredibly transcendent ending of Thanksgiving and Forefather's Day doesn't convince you, then maybe 'ole Charlie isn't for you afterall...

Michael Tilson Thomas and James Sinclair should be considered when looking for any Ives recording, as they are arguably two of the finest conductors of Ives on the planet.

This recording is essential and amazing.
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