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Klaus Tennstedt : The Great EMI Recordings (Coffret 14 CD)

5.0 étoiles sur 5 1 commentaire client

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Page Artiste Klaus Tennstedt


Détails sur le produit

  • Interprète: Klaus Tennstedt
  • CD (1 janvier 1970)
  • Nombre de disques: 14
  • Label: Parlophone
  • ASIN : B004OUFSOA
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 139.507 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. A night on the bare mountain
  2. Quatrième mvt sturmisch bewegt - Chicago Symphony Orchestra
  3. Troisième mvt feierlich und gemessen ohne zu schleppend - Chicago Symphony Orchestra
  4. Deuxième mvt kraftig bewegt doch nicht zu schnell - Chicago Symphony Orchestra
  5. Premier mvt langsam schleppend im anfang sehr gemachli - Chicago Symphony Orchestra
  6. Don juan op 20
  7. Schicksalslied op 54
  8. Ein deutsches requiem op 45 VII selig sind die - Jessye Norman
  9. Ein deutsches requiem op 45 VI denn wir haben h - Jessye Norman
  10. Ein deutsches requiem op 45 V ihr habt nun traurig - Jessye Norman
  11. Ein deutsches requiem op 45 IV wie lieblich sind d - Jessye Norman
  12. Ein deutsches requiem op 45 III herr lehre doc - Jessye Norman
  13. Ein deutsches requiem op 45 II denn alles fleis - Jessye Norman
  14. Ein deutsches requiem op 45 I selig sind die d - Jessye Norman
  15. Hary janos op 15 entrance of the emperor and his
  16. Hary janos op 15 intermezzo
  17. Hary janos op 15 battle and defeat of napoleon
  18. Hary janos op 15 song
  19. Hary janos op 15 viennese musical clock
  20. Hary janos op 15 prelude
  21. Prelude lohengrin act1 - Berliner Philharmoniker
  22. Lohengrin wwv 75 act 3 prelude sehr lebhaft - Klaus Tennstedt
  23. Lieutenant kije op 60 5 burial of kije
  24. Lieutenant kije op 60 3 kije s wedding
  25. Lieutenant kije op 60 2 romance
  26. Lieutenant kije op 60 1 birth of kije
  27. Leonore op 72
  28. Also sprach zarathustra op 30 das tanzlied
  29. Also sprach zarathustra op 30 der genesende
  30. Also sprach zarathustra op 30 von der wissensch
  31. Also sprach zarathustra op 30 das grablied
  32. Also sprach zarathustra op 30 von den freuden u
  33. Also sprach zarathustra op 30 von den grossen s
  34. Also sprach zarathustra op 30 von den hinterwel
  35. Also sprach zarathustra op 30 opening
  36. Symphony no 1 in c minor op 68 IV adagio all
  37. Symphony no 1 in c minor op 68 III un poco all
  38. Symphony no 1 in c minor op 68 II andante sost
  39. Symphony no 1 in c minor op 68 I un poco soste
  40. Tod und verklarung op 24
  41. Symphonie n3 mi bem maj op55 allegro quatrième mvt
  42. Symphonie n3 mi bem maj op55 scherzo troisième mvt
  43. Symphonie n3 mi bem maj op55 marcia deuxième mvt
  44. Symphonie n3 mi bem maj op55 allegro premier mvt
  45. Symphonie n6 fa maj op68 allegretto cinquième mvt
  46. Symphonie n6 fa maj op68 allegro quatrième mvt
  47. Symphonie n6 fa maj op68 allegro troisième mvt
  48. Symphonie n6 fa maj op68 andante deuxième mvt
  49. Symphonie n6 fa maj op68 allegro premier mvt
  50. Symphonie n8 fa maj op93 allegro vivace quatrième mvt
  51. Symphonie n8 fa maj op93 tempo troisième mvt
  52. Symphonie n8 fa maj op93 allegretto deuxième mvt
  53. Symphonie n8 fa maj op93 allegro vivace premier mvt
  54. Fidelio ouverture
  55. Coriolan ouverture op62
  56. Der geschopfe des prometheus op43 ouverture
  57. Egmont op84 ouverture
  58. Lieutenant kije op 60 4 troika
  59. Symphonie n8 ut min finale quatrième mvt
  60. Symphonie n8 ut min adagio troisième mvt
  61. Symphonie n8 ut min scherzo deuxième mvt
  62. Symphonie n8 ut min allegro moderato premier mvt

Descriptions du produit

Description du produit

Beethoven : Symphonies n°3 ‘Eroica’, 6 ‘Pastorale’ & 8 - Ouvertures : Prométhée,
Coriolan, Egmont, Fidelio, Leonore
Brahms : Symphonie n°1 - Un Requiem allemand * & ** - Schicksalslied **
Bruckner : Symphonie n°8
R. Strauss : Ainsi parlait Zarathoustra - Don Juan - Mort et transfiguration
Moussorgski : Une nuit sur le mont chauve
Kodály : ‘Háry János’ Suite
Prokofiev : ‘Lieutenant Kijé’ Suite
* Jessye Norman, Jorma Hynninen - **London Philharmonic Choir, BBC Symphonie Chorus
London Philharmonic Orchestra / Klaus Tennstedt
Bruckner : Symphonie n°4 ‘Romantique’
Dvorák : Symphonie n°9 ‘Nouveau monde’
Mendelssohn : Symphonie n°4 ‘Italienne’
Schubert : Symphonie n°9 ‘la Grande’
Schumann : Symphonies n°3 ‘Rhénane’ & 4 - Konzertstück pour 4 cors Op.86 ***
Wagner : Grandes pages symphoniques d’opéras (Le Ring, Tannhäuser, Lohengrin, Rienzi, Les Maîtres
chanteurs de Nuremberg)
*** Norbert Hauptmann, Manfred Klier, Christopher Kohler, Gerd Seifert
Berliner Philharmoniker / Klaus Tennstedt
Mahler : Symphonie n°1 ‘Titan’
Chicago Symphony Orchestra / Klaus Tennstedt

Description

The Great EMI Recordings propose en 14CD l'art de Tennstedt à travers les plus grandes pages symphoniques du répertoire (en dehors des Mahler ci-dessus) avec les orchestres philharmoniques de Berlin et de Londres poussés à leur quintessence : Beethoven, Brahms, Bruckner, Dvo?ák, Mendelssohn, Schumann, Richard Strauss. sans oublier les grandioses extraits d'opéras de Wagner !

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Format: CD
Klaus Tennstedt reste, au disque, surtout connu pour ses interprétations de Mahler, que ce soit en studio ou en concert, notamment dans ses enregistrements EMI récemment réédités, mais aussi dans d'autres lives avec le London Philharmonic Orchestra dont il fut directeur musical pendant une période brève (1983-1987) mais intense et créative, et qu'il dirigea souvent dans les années suivantes, au gré de sa santé déclinante et jusqu'à sa retraite forcée en 1994 : certains de ces concerts ont été édités chez BBC Legends (1e symphonie, 7e symphonie) et chez LPO (2e symphonie, 6e symphonie, 8e symphonie).

Le LPO est encore en bonne place dans ce coffret, même si la baguette de Tennstedt profite aussi du Chicago Symphony Orchestra dans une fameuse « Titan » qui répond à celles effectuées avec le LPO autant qu'à celle de Giulini également à Chicago ; et surtout des Berliner Philharmoniker dans une grande partie du coffret.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 5.0 étoiles sur 5 5 commentaires
5.0 étoiles sur 5 Remarkable. Enjoyable. 14 juin 2016
Par FTS - Publié sur Amazon.com
Format: CD Achat vérifié
These are really remarkable recordings by a conductor who made quite an impact even though he wasn't around that long.
29 internautes sur 30 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A bargain set showcasing a great conductor 8 juillet 2011
Par Ralph Moore - Publié sur Amazon.com
Format: CD
At this price, this bargain set of 14 CDs could be recommended as a superb introduction for the novice to some of the cornerstones of the Romantic classical canon, embracing as it does seminal Beethoven symphonies through Schubert, Mendelssohn, Schumann, Brahms, Dvorak, Wagner, Bruckner and Mahler to Strauss. Obviously, these are all in the Austro-Germanic school at the core of Tennstedt's repertoire, although Mussorgsky, Prokofiev and Kodaly also get a look in on these well-filled discs. The more seasoned collector will want them as a memento of one whom some would call the last great conductor - with all due respect to Abbado, Gergiev and Temirkanov.

Although occasionally patchy and inconsistent, Tennstedt's greatness is clearly revealed by these recordings; it helps that he is directing some of the finest orchestras of his or any day in the Chicago Symphony Orchestra, the Berlin Philharmonic and, of course, his beloved London Philharmonic Orchestra. It has often been said that Tennstedt was best live. Two symphonies here are live recordings; otherwise EMI has made a judicious selection from the studio recordings. For someone who had to be coaxed into the recording studio, Tennstedt was mighty busy for EMI in the mid 80's. I drew attention in my recent review of his similarly packaged and equally impressive Complete Mahler Symphonies EMI box set to what I might call his tectonic quality; whatever he is conducting is moulded and shaped in function of his overview of the music's structural integrity. Very often, one begins by thinking that Tennstedt has undercooked the tempo and tension a piece requires, only to be ultimately convinced, if not seduced, by the aptness of his pacing; Tennstedt delivers climactic release in his own time.

His beat is not in fact by any means extreme in the Celibadache fashion, although amongst the most daringly slow items here is the Brahms Requiem, which takes risks with etiolated tempi but stays this side of the stodginess that mars Rattle's account with the BPO. I think it's a grand interpretation, far preferable to Gardiner's perkiness and in the tradition of Klemperer, Previn and - my favourite versions - Karajan. As is so often the case with Tennstedt, the metronome will tell you that the speeds are abnormally slow yet he injects momentum and tension when required. A key point for me is "Aber des Herrn Wort" which takes off as it should and the contribution of the two soloists is superb: both Jorma Hynninen and Jessye Norman have big, V8 voices whose majesty and might suit Tennstedt's sepulchral conception. Brahms' First Symphony is played on a comparably large scale. It is not so much slower than my favourite interpretation, which is one of Karajan's later recordings, the live performance at the Royal Festival Hall in 1988 on the Testament label.

Ultimately, Tennstedt's conception of how music from the Central European tradition should be played is all of a piece: he favours a massive solidity, unfailingly beautiful orchestral tone and a constant sense of spiritual profundity. In this, he reminds me very much of Karajan. Just as that conductor has no shortage of detractors, Tennstedt may be criticised for the very features which are virtues to some and flaws to others. I am puzzled by reviewers elsewhere who first confirm Tennstedt's stature in the pantheon of Twentieth Century conductors then go on either flatly to excoriate or at least damn with faint praise the bulk of the recordings here. Just as Karajan's insistence upon rich tone from his orchestra was condemned as "superficial", "bland" and "smooth", Tennstedt's direction of the LPO and the Berlin Philharmonic may be dismissed as prizing "pure sound" above interpretative novelty; certainly, I was newly struck by the virtuosity of the playing here and its sheer beauty as sound.

Time and again when listening to these discs I found myself warming to Tennstedt's sincerity of utterance. Not everything here is in marmoreal vein: his "Also sprach Zarathustra" is thrilling and takes its place among my preferred versions alongside Karajan and Maazel, while the "Night on a Bald Mountain" is similarly electric. I have long known and loved the thrust and drive of his 1978 analogue recording of Schumann's mini-masterpiece the "Konzertstück" for four horns and orchestra.

You may alight on any of the big symphonies in this collection and find yourself swept along by Tennstedt's power and conviction, although I would particularly commend his energised versions of the two Schumann symphonies and the marvellously fluid and flexible performance of Dvorak's "New World". Bruckner's grand gestures also ideally suit this most Romantic of conductors. However, I can understand doubts about the live Mahler symphony. This extends some five or six minutes beyond the norm - although some of that is vociferous applause at the end. Tennstedt uses the extra time to underline a coarser, more menacing mood than he evoked in his more delicate 1978 recording, yet the climax of the fourth movement is heroic, giving full scope to the Chicago brass, and the audience reaction is appropriately enthusiastic. This account by no means bored me and I suspect its measured majesty will grow on me with time. The Beethoven symphonies, however, could be termed conventional in the same way that Gunter Wand's Beethoven can seem faceless to some and faithful to others. I find them to be direct and unfussy. The "Eroica" is a live recording from a 1991 performance in the Royal Festival Hall and presses all the right buttons. Both the "Pastoral" and the Eighth are studio recordings: the former is light, sprung and joyful, the latter weighty in traditional mode. Similarly, I find no fault with the overtures which seem to me to models of concentrated propulsion.

The "Tannhäuser" overture on the second Wagner disc of orchestral excerpts is especially thrilling and powerful; indeed that disc of overtures and preludes is markedly more exciting than the disc of orchestral excerpts from the "Ring". The playing in the latter is sometimes a tad stodgy, just as Tennstedt's accompaniments to Jessye Norman's Wagner recital album of the same era were uninspired and as such constitutes one of this set's few comparative failures, rather as the Mahler Nine on the comparable bargain Mahler box set failed to lift off. The Berlin Philharmonic is for once hardly on form: the strings in "Wotan's Farewell" are decidedly edgy, orchestral tone is often rather coarse and blatty, there are blips in the brass playing and ensemble occasionally goes awry. To compound the disappointment, whoever typeset or proofread the booklet text thinks Wagner wrote something called "Forest Murmers".

The recording quality on this set is not perhaps the finest; apart from two Schumann items in analogue sound most here are early digital and hence rather opaque, yet still too bright when the sound peaks, with too great a contrast between loud and soft. Nonetheless, the sound is very acceptable, if not on the same level even as the recent spate of bargain box sets in analogue sound from Sony/RCA which are exceptionally full and vivid.

We have the standard EMI bargain box packaging: cardboard sleeves and a booklet containing timing and location details plus a biographical article about the conductor.
27 internautes sur 30 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A great conductor in a wide survey, but not everything is superb 6 août 2011
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
There is enough superb material here that there's no reason to pass up EMI's bargain box of a conductor still beloved in England, where he made a deep impression leading the London Phil., yet neglected in the U.S. The very best of Tennstedt isn't here, however, with some exceptions, since he was reborn in the concert hall, not in the studio. One has to look to a slew of posthumous concert recordings, on Profil, Testament, BBC Legends, and the LPO's house label, to discover the extraordinary passion that Tennstedt was capable of. Without those concert recordings, I don't think he would be ranked among the greatest conductors.

Like Kubelik, Tennstedt could be dismayingly variable, and when he was off, his roots as an obscure Kapellmeister in East Germany showed. The performance would be stolid, conventional, and dutiful. Some of that is evident here, even in a composer like Beethoven who was central to Tennstedt's repertoire - his live Beethoven far surpasses anything EMI captured. There is also the issue of the conductor's long struggle with cancer (as Kubelik struggled with crippling arthritis), but there is no simple correlation here. At moments when he was gravely ill, Tennstedt could summon a fiery, phoenix-like performance.

Since so few listeners are likely to know all of these recordings beforehand, let me give them simple ratings with a few comments, realizing, of course, that this is my personal view.

Beethoven:
Symphony No. 3 in E flat major, Op. 55 'Eroica'
Symphony No. 6 in F major, Op. 68 'Pastoral'
Symphony No. 8 in F major, Op. 93

Fidelio Overture Op. 72c
Leonore Overture No. 3, Op. 72b
The Creatures of Prometheus Overture, Op. 43
Coriolan Overture, Op. 62
Egmont Overture, Op. 84

Score: B- to C-
I cannot explain how a conductor of riveting Beethoven performances could turn around and produce thoroughly ordinary ones. Anyone who came to Tennstedt's Beethoven symphonies through his studio recordings for EMI would hardly guess at the galvanizing maestro heard on several BBC Legends reissues. Those CDs of the First, Fifth, Seventh, and Ninth are glorious. These of the Eroica, Sixth, and Eighth lack all distinction. Even the overtures, which should be sure fire, are variable.

Brahms:
Symphony No. 1 in C minor, Op. 68

Score: C
Tennstedt avoided the Brahms symphonies but left an impressive live Sym. # 1 on BBC Legends.
Sadly, this 1984 Brahms First is rather ordinary. It was one off the earliest accounts to appear in the CD format, and at the time some comparisons were drawn to Klemperer. I have no idea why. After three movements that proceed with energy and conviciton but no real involvement, Tennstedt becomes almost wan in the finale.

Ein Deutsches Requiem, Op. 45

Score: A
My rating is a provisional one, based on the live performance, now on BBC Legends, that was made at the same time. The pacing is slow, but the spiritual impact is profound. I trust some veteran Amazon reviewers who gave this recording five stars, and it comes in much better sound than the dodgy live radio broadcast.

Schicksalslied, Op. 54

Score: -
This performance is unknown to me.

Bruckner:
Symphony No. 4 in Eb Major 'Romantic'
Symphony no. 8 in C minor

Score: A

All of Tennstedt's Bruckner done for EMI was superb. Live concert readings of both works exist and are even better in their spontaneity and passion.

Dvorak:
Symphony No. 9 in E minor, Op. 95 'From the New World'

Score: A
A knockout, worth considering as the best "New World" in the modern era. It's great to see it back in print again.

Kodály:
Háry János, Op. 15

Score: A
Another out-of-print recording that finds Tennstedt at his best; there's a live reading on BBC Legends also. Tennstedt left few recordings of Russian music, but the ones we have are exciting and by no means Teutonic in style.

Mahler:
Symphony No. 1 in D major 'Titan'

Score: B-
This is a live recording with the Chicago Sym. that has gained some acclaim, but both of the Mahler Firsts that he made for EMI strike me as lacking magic. Seek out the live reading on the LPO label, which is the best of his four accounts on disc.

Mendelssohn:
Symphony No. 4 in A major, Op. 90 'Italian'

Score: A
A lovely reading from Berlin, full of warmth and musical insight. The maestro has found the secret of making repetitive music sound fresh each time around. The finale is thrillingly fast.

Mussorgsky:
A Night on the Bare Mountain

Prokofiev:
Lieutenant Kijé Suite, Op. 60

Score: A
The Mussorgsky and Prokofiev recordings came on the same CD as the Kodaly 'Hary Janos Suite' and are equally exciting. It's good to have them back in print.

Schubert:
Symphony No. 9 in C major, D944 'The Great'

Score: A
There's also a live account on BBC Legends, and both are magnificent. The Schubert "Great" is repetitive and hard to bring alive. Tennstedt has no such problem, and the orchestra is fully engaged.

Schumann:
Symphony No. 3 in E flat major, Op. 97 'Rhenish'
Symphony No. 4 in D minor, Op. 120

Score: B to C+
I know of no other Schumann symphonies in print under Tennstedt, but here, as in EMI's Beethoven recordings, he seems pulled back into his Kapellmeister past. Both readings are solid and assured, yet also foursquare at times.

Konzertstück for four horns, Op. 86

Score: A
I'm working from memory but believe that this is an exciting reading with riveting horn playing.

Strauss, R:
Also sprach Zarathustra, Op. 30
Don Juan, Op. 20
Tod und Verklärung, Op. 24

Score: A
In a just world, Tennstedt would be recognized as the equal of other great Straussians who crowd the limelight, especially Karajan. These are magnificent readings that sound warmer and more spontaneous than Karajan's, if less cosmic in scale.

Wagner:
Die Walküre: Ride of the Valkyries
Götterdämmerung: Siegfried's Rhine Journey
Götterdämmerung: Siegfried's Death & Funeral March
Das Rheingold: Entrance of the Gods into Valhalla
Siegfried: Waldesrauschen
Leb wohl, du kühnes, herrliches Kind! (from Die Walküre)
Tannhäuser: Overture
Rienzi Overture
Lohengrin: Preludes to Acts 1 & 3
Die Meistersinger von Nürnberg: Overture

Score: B+/A
Here from the early 90s are two Wagner discs that Tennstedt recorded with the Berlienrs, one of excerpts from the Ring, the other a collection of ovrtures (they can also be found in a bargain twofer reissue). Several of these selections are duplicated in a magnificent live Wagner concert with the London Phil. on the orchestra's house label, which is a must-listen. The Berlin versions aren't as spontaneous, but they display the conductor's complete involvement and intense expressivity.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Fine Box Set of Tennstedt Recordings 16 mai 2013
Par JohnK - Publié sur Amazon.com
Format: CD
This set of 14 generously-filled discs provides a survey of recordings laid down by Klaus Tennstedt between 1978 and 1990, mostly with the London Philharmonic and Berlin Philharmonic. The repertoire ranges from Beethoven to Prokofiev, though there are only two pieces outside the central European tradition (Lt. Kije and Night on Bald Mountain). I was only disappointed by two of the performances in this set - the Brahms 1st Symphony with the LPO and the Mahler 1st Symphony with the CSO. Everything else in the set is either very good or excellent, with very serviceable (mostly digital) sound. At budget price the buyer need not hesitate.
5.0 étoiles sur 5 A Tribute to a Great Conductor! 25 juin 2015
Par Rickyb - Publié sur Amazon.com
Format: CD Achat vérifié
Tennstedt comes to US countries from The Stalin and Putin Russia that pervaded East Germany. He had to jump across the barbed wire to many different orchestras. When he was finally free he was able to flower first in Sweden, Canada and in the US. This set is one of the best of Klaus Tennstedt. Very few in the US know of him. It is sad that politics keeps great artists held prisoners to their so called countries. This issue is one of the best I have heard of the great conductors that have passed away. Klaus was little known for his great conducting, hindered in his youth because of the vicious teeth of Russian Communism. The same was true for Rafael Kubelik. That is another story.
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