- Outlet Anciennes collections, fin de séries, articles commandés en trop grande quantité, … découvrez notre sélection de produits à petits prix Profitez-en !
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
Ludwig van Beethoven : Lieder
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Prime bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Offres spéciales et liens associés
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Voulez-vous nous parler de prix plus bas?
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Liste des titres
Disque : 1
Description du produit
Description du produit
Ludwig van Beethoven (1770-1827) : An die Hoffnung, op. 94 - 8 Mélodies, op. 52 - Adelaide, op. 46 - Der Liebende, WoO 139 - Klage, WoO 113 - 6 Mélodies, op. 75 - 6 Mélodies, op. 48 - 3 Mélodies, op. 83 - An die Geliebte, WoO 140 - An die ferne Geliebte, op. 98 / Roger Vignoles (piano) - Stephan Genz (baryton)
GRAMOPHONE AWARD WINNER 'Stephan Genz has one of the most beautiful voices around today, used with such authority and imagination that I have found myself playing his Beethoven recital over and over again. I have never heard these songs sung more beautifully. An instant classic' --Gramophone
'Strongly recommended' --Hi-Fi News
'This disc, immaculately recorded, should win many new friends for Beethoven's songs' --The Daily Telegraph
Commentaires client les plus utiles sur Amazon.com
Bjorling version, which is impossible to beat.
Although Beethoven's songs have received some attention on disk, they remain the least-known part of his output. Beethoven composed over 80 songs, in addition to his folk-song arrangements, dating from all stages of his career. They are among the most deeply-felt portions of his output.
Beethoven's songs generally have two main themes. First, the songs are largely pastorale in character. The lyrics are full of nature imagery and suggest that a good human life is one lived close and in accordance with the simplicity of nature. (In his instrumental work, the "Pastorale" symphony is Beethoven's most famous composition that exemplifies this theme.) Second, the songs address intimate love relationships. In particular, they sing of lost and distant love, and it is tempting to see many of these songs as based on Beethoven's own personal experience.
Both the pastorale theme and the distant love theme are central to Beethoven's great song-cycle "An die Ferne Geliebte" (to the distant beloved), opus 98. This cycle is the highlight of this CD, as it must be of any performance of Beethoven songs. Beethoven composed this cycle in 1816 to poetry by Alois Jeittles, a young Jewish medical student and friend.The lyrics were apparently written at Beethoven's direction as they have no existence apart from the setting in this cycle.
The work consists of six connected songs in which Beethoven celebrates his distant love and the continuation of his feelings in memory and in creativity. The cycle is set against a highly pastorale backround of nature imagery. The last song in the cycle repeats the opening theme of the first song in a moment of great intensity:
"For before these songs yields,
What separates us so far,
And a loving heart reaches
For what a loving heart has consecrated"
This is deeply intense music, the most personal, intimate, and romantic that Beethoven composed.
The disc also includes a related short song, "An die Geliebte"
WoO 140. Beethoven made a gift of the text of this song to Antonie Brentano. Much recent scholarship identifies Antonie Brentano as the subject of Beethoven's letter to his "Immortal Beloved" -- the great and final attempted love affair of Beethoven's life. This short song, and the song cycle, show the intimate character of the feelings that Beethoven poured into his songs.
There are many other excellent songs well-performed on this disk.The CD includes a song dating from the same period as the song-cycle, "An die Hoffnung" (to hope) opus 94. This is a long thorough-composed songs, with both declamatory and lyrical portions in which Beethoven shapes his musical line closely to the poetic text. There is an earlier version of this song, opus 32, not included on this CD.
The other major collection included on this CD is the "Gellert songs" opus 48, a series of songs on religious themes. The performance on this CD expands the scope of the songs by including verses from Gellert's poems that Beethoven did not choose to set. The best-known of these songs is the fourth, "God's Glory in Nature" although the final and longest song, "Song of Penitence" is the most intense.
Beethoven wrote several songs in a lighter, more lyrical vein, and they are represented here by songs such as "Maigesang" opus 52 no. 4, "New Love, New Life", opus 75 No. 2, and the "Song of the flea" from Goethe's Faust, opus 75 no. 3.
Finally, the disk includes Beethoven's early song "Adelaide", opus 46. This song was highly popular during Beethoven's lifetime and it was performed with Beethoven at the piano for the dignitaries assembled at the Congress of Vienna in 1815. The song is sentimental in character and includes virtuosic piano writing in its final two verses. It remains endearing.
This disc includes text and translations of each of the songs together with unusually informative and critical program notes.
This is rare music which will bring joy to any lover of Beethoven or lover of song.
This disc is thoroughly welcome from every point of view. In the first place it is extremely well performed by both artists, individually and as a partnership: in the second place the sound-quality is excellent; and thirdly it sheds a welcome and rather overdue illumination on an aspect of Beethoven's output that is very unlike the heavyweight wrestler side of his personality that his special votaries like so much about him, as indeed I do myself. I can imagine Brahms being young, but Beethoven - it's a difficult image. Beethoven as a wooer suitor or lover is a picture that eludes me as well. However nobody can reach age 45 without going through teens and twenties, and I have a great liking for the early songs here. I wonder how well known Adelaide is, for instance. It is a simply lovely thing, and beautifully though it is done here I should mention an obscure performance that is even better, by the tenor Fritz Wunderlich on an old deleted cd also containing Beethoven's oratorio Christ on the Mount of Olives. Adelaide is a stylised effort, unique of its type among the choices here, and it highlights for me just how varied the songs are in this short selection. Presumably most experienced music lovers know An die ferne Geliebte, but it would not do to assume that it is typical of Beethoven's songs generally. A number of the others are to poems by Goethe, for instance, and in general I found myself reflecting that these and certain other texts are really more interesting in themselves, and consequently productive of more interesting music, than are the words to the famous cycle, which are of a somewhat generalised and innocuous early-romantic kind, not really saying a great deal.
Stephan Genz is a superb singer, but I do not believe it required him to scotch any suggestion that Beethoven's vocal line is instrumentally conceived. The origin of this suggestion was Beethoven's own remark that ideas came to him first as if played by an orchestra, so that he had to be clear with himself whether his vocal melodies were really singable. There is nothing actually wrong with vocal writing that is instrumentally inspired: if there were, the entire vocal output of Bach himself would be guilty of this offence. If these 23 songs of Beethoven are properly representative, I would risk the conclusion that Beethoven was as sure in his vocal idiom as was Schubert.
Such a production as this deserves, and gets, liner commentary of high quality. I could just have done without the high-flown exordium, particularly the slightly ridiculous first sentence. Why `Ludwig', for instance? Was there perhaps some obscure Arthur van Beethoven for whom this lofty claim could not be made? It also evokes irreverent images of a Christmas pantomime -
`Oh no he isn't'.
`Oh yes he is'.
Coming down quickly from this bad eminence, Julian Haylock offers a detailed, knowledgeable, sympathetic, balanced and helpful commentary on the songs one by one. Haylock has also provided the translation of all the numbers except the ferne Geliebte set, for which there was already a translation conveniently to hand. I like the presentation as well, particularly picking as a start-point the solemn and impressive An die Hoffnung, from 1815 and therefore knocking on for Beethoven's great last period. All in all, this is an admirable production in every respect that I can think of. We all think we know Beethoven, do we not? There is more to him than I had thought, for one.
Rechercher des articles similaires par rubrique