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J.-S. Bach : Messe en si mineur

5.0 étoiles sur 5 1 commentaire client

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Page Artiste Otto Klemperer

Détails sur le produit

  • Chef d'orchestre: Otto Klemperer
  • Compositeur: Jean-Sébastien Bach
  • CD (1 janvier 1970)
  • Nombre de disques: 2
  • Label: EMI Classics
  • ASIN : B004HF0PF4
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 420.561 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Kyrie eleison kyrie n1 messe en si min bwv 232 rem
  2. Christe eleison kyrie messe en si min bwv 232 rema
  3. Kyrie eleison kyrie n3 messe en si min bwv 232 rem
  4. Gloria in excelsis gloria messe en si min bwv232 r
  5. Laudamus te messe en si min bwv232 remast
  6. Gratias agimus tibi messe en si min bwv232 remast
  7. Domine deus messe en si min bwv232 remast
  8. Qui tollis peccata messe en si min bwv232 remast
  9. Qui sedes ad dextram messe en si min bwv232 remast
  10. Quoniam tu solus messe en si min bwv232 remast
  11. Cum sancto spiritu messe en si min bwv232 remast

Disque : 2

  1. Credo in unum deum messe en si min bwv232 remast
  2. Patrem omnipotentem messe en si min bwv232 remast
  3. Et in unum dominum messe en si min bwv232 remast
  4. Et incarnatus est messe en si min bwv232 remast
  5. Crucifixus messe en si min bwv232 remast
  6. Et resurrexit messe en si min bwv232 remast
  7. Et in spiritum messe en si min bwv232 remast
  8. Confiteor unum messe en si min bwv232 remast
  9. Et expecto messe en si min bwv232 remast
  10. Sanctus messe en si min bwv232 remast
  11. Osanna in excelsis messe en si min bwv232 remast
  12. Benedictus messe en si min bwv232 remast
  13. Agnus dei messe en si min bwv232 remast
  14. Dona nobis pacem messe en si min bwv232 remast

Descriptions du produit


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Format: CD Achat vérifié
Dès l'attaque du premier accord du Kyrie vous savez que cette version va vous entrainer dans une progression dont l'intensité est incomparable.
Vingt ans après avoir remisé mes disques vinyle à la cave, je redécouvre cette interprétation qu'aucun autre enregistrement m'a fait oublier.
L'avance implacable de ce flux tendu, la fugue monumentale du premier mouvement, son architecture savante et puissante, est un des sommets
de l'histoire de la "musique classique".
Découvrir la version enregistrée par EMI avec Klemperer vous fera oublier celle que vous posséder déjà.
Remarque sur ce commentaire 3 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur (beta) HASH(0x99d03a50) étoiles sur 5 3 commentaires
HASH(0x99e73750) étoiles sur 5 Monumental performance of an awesome work 27 mai 2015
Par RT46 - Publié sur
Format: CD
Klemperer's performances of Bach get to the heart of the debate between "Historically Informed" purists versus the idea of Bach as a composer for the ages. If you listen to some of these HI performers it can be difficult to separate Bach from his contemporaries (Bach was only the third choice as the Thomaskirche Kantor in Leipzig). Only with Mendelssohn and later performers did people recognize Bach's greatness. If you listen to Klemperer, it is clear that Bach is the towering genius head and shoulders above everybody else . Klemperer himself regarded the B Minor Mass as the greatest musical work in all of Western civilization (above Beethoven's 9th and Mahler's Symphony of 1000), which respect clearly shows up in this performance. Of course it gets back to the greatness of Bach that so many different musicians with so many different styles can find something in his music.

My personal experience with this recording dates back to 1982 with the LP version. I always enjoyed being able to count on solid bass lines (sadly lacking in some HI performances). Another point is how on the opening chorus near the beginning Klemperer withdraws the Contrabass to give the upper voices a light airy effect, bringing it back to give full power to the entrance of the bass singers. This contrasts to most other conductors who have the Contrabass drone on aimlessly and have no power remaining for the bass voice entrance. However in the late 80's I started to perceive Klemperer as too slow and heavy-footed, and did not get the CD version when abandoning the LP. I got various recordings by Rilling, Daus, and Mauersberger. Just recently I found myself gravitating back to the Klemperer, sensing a musical expressiveness that was not obvious before, plus the way the spiritual aspect comes through. I also read that Klemperer did this performance with somewhat reduced forces (baroque scholarship was starting to have its influence), although the technique is still very much big orchestra. Surprisingly I also discovered that while it might not be quite as clear as with some, Klemperer does bring out the dance effect respectably well. The clincher for me is the way Klemperer brings out the feeling of pain and joy fused together. For those willing to listen to this recording on its own terms (rather than getting hung up with "authentic" performance practices), it is an awe-inspiring experience, especially "Crucifixus" "et resurrexit" "et expecto" (when the dead are raised to life on the last day), and "Sanctus".
HASH(0x99c23720) étoiles sur 5 Unique and Monumental Approach to the B-Minor Mass from Klemperer. 2 mars 2015
Par W. Chiles - Publié sur
Format: CD Achat vérifié
Klemperer's unique brand of old-school Bach might well be anathema to devotees of current H.I.P. (historically informed performance) practice but to those open to a different approach it has a quality of serious monumental approach one will NEVER hear in a fleet footed lightweight performance so prevalent today. His tempos will seem downright leaden and the full voiced professional chorus he employs will sound nothing like todays' 24 voiced professional ensembles but somehow the old man can maintain a sense of tension even at his slow pace. Moreover, the BBC chorus is able to maintain spot on intonation even in the treacherous Qui Tollis and Crucifixus choruses at tempos that sound glacial to present day listeners.

I've heard performances as various in approach as Herrweghe's fleet-footed lyrical Virgin recording, Gardiner's brisk exciting DG archiv, Richter's even more exciting if bombastic old DG archiv from 1961, Jochum's big Bach somewhat faster & lighter 1970s recording and a more lightweight bridge performance from the mid 1970s by Corboz and the Lausanne ensemble. I find value and emotional expression in each and wish enthusiasts were a bit more open minded about approach. (If you peruse the reviews, you will find one particularly snarky anti-romantic one in a style that I thought had died with Alexander Wolcott.) I've sung tenor in both the Barenreiter editions (from 1955 and an absurd 2010 edition based on ink analysis that came up with some most unmusical variants that were easily discarded) and in one case was part of a 180 voice chorus that simply had to do away with the fleet footed approach to maintain clarity of line. I have to admit it still worked bringing the audience to its feet at end. Even though you might miss the rapid fire "Cum Sancto" counterpoint the sheer power of massed voices in the Et Resurrexit, Gloria and Dona Nobis Pacem choruses have a power that totally eludes small baroque ensembles. And while we're at it, why does everyone today have to employ period ensembles with those dreadful sounding vibratoless cat-gut strings and weak out of tune winds playing with a constant mezzo-voce swell on every phrase? Give me modern instruments any day, even if you insist on the light and rapid period approach.

The soloists are comprised of one of the finest teams available in the mid 1960s. They were accustomed to slower tempos and a fuller voiced approach and have no difficulty with maintaining freedom of expression and breath control. The recorded sound (from 1967) and remastering are clear, warm and attractively detailed. There is a great deal of recorded competition in this approach from Jochum, Solti, Karajan, Munchinger and Richter among others, but for my money, Klemperer brought a unique style to his Bach. Rare for his day, he insisted on clarity of counterpoint and controlled vibrato with a lack of interpretive mannerism not indicated in the score. If you are open to a different approach to the B-Minor Mass you owe it to yourself to hear this recorded performance. And let's show some appreciation for the efforts of musicians like Klemperer to keep this music alive in the pre and post war era, or we might not be hearing it at all today.
4 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x99bf4288) étoiles sur 5 A Devout and Virtuoso Performance 28 juin 2012
Par George T. Thompson - Publié sur
Format: CD
My first contact with Bach's Mass in B Minor was in the 1960s with the LP recording by Ivor Jones and the Bethlehem Bach Choir. Since that time, I have listened to numerous renditions of Bach's summation of his lifework as a church musician. However, Klemperer's 1967 recording is, to my ears, mind, and heart, the greatest of all these many performances. Not only is the musicianship of all involved as soloists, choir, orchestra, and conductor superb, but the performance itself engages and moves the inner man toward the worship of the same God whom Bach worshipped and served his whole life long. The only performance that comes close to this one is Hermann Scherchen's 1959 recording on Westminster Records, which, sadly, is currently out of print.

I learned just today at Amazon.Com that Tehra is reissuing Scherchen's 1959 recording of the B Minor Mass. Bravo, Tehra! Listeners will now be able once again to experience these two great performanances--Klemperer's and Scherchen's--of Bach's "magnum opus."
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