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Mahler : Symphonie n° 2

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Détails sur le produit

  • Chef d'orchestre: Simon Rattle
  • Compositeur: Gustav Mahler
  • CD (23 mars 2011)
  • Nombre de disques: 1
  • Label: Parlophone
  • ASIN : B004CVKO86
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 90.598 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Symphony no. 2 in c minor 'résurrection': I. alleg

Disque : 2

  1. Symphony no. 2 in c minor 'résurrection': II. anda
  2. Symphony no. 2 in c minor 'résurrection': III. in
  3. Symphony no. 2 in c minor 'résurrection': IV. urli
  4. Symphony no. 2 in c minor 'résurrection': V. im te - Kate Royal
  5. Symphony no. 2 in c minor 'résurrection': wieder s
  6. Symphony no. 2 in c minor 'résurrection': ritardan
  7. Symphony no. 2 in c minor 'résurrection': wieder z
  8. Symphony no. 2 in c minor 'résurrection': langsam.
  9. Symphony no. 2 in c minor 'résurrection': etwas be
  10. Symphony no. 2 in c minor 'résurrection': mit aufs - Rundfunkchor Berlin

Descriptions du produit


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Amazon.com: 4.2 étoiles sur 5 23 commentaires
16 internautes sur 17 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 different but not better than Rattle's CBSO M2 from the '80s 12 mars 2011
Par Amazon Customer - Publié sur Amazon.com
Format: CD
You have to hand it to Simon Rattle: whenever he re-records something, it never sounds the same as his previous effort. Overall, I think that Rattle's earlier and much celebrated recording of the "Resurrection" symphony from Birmingham is actually better. For one thing, it boasts having the incomparable Janet Baker. Kozena and Royal are both decent, but don't really distinguish themselves either. Other differences await as well.

As much as I can tell, Rattle's Birmingham recording only had two minor flaws. The first of which was his repeated habit - "habit", in that he did it right after the first movement's climax as well - of dragging the tempo on the rapid ascending run in the low strings on their third entrance. This wasn't such a problem at the start of the symphony, but it had the strange effect of undermining what had just happened immediately after the first movement's climax (as previously mentioned). I'm happy to say that in spite of Rattle's often times start-and-stop quality to his phrasing, the first two movements are truly better this time around. Exaggerated, yes, but what is most impressive is his unveiling of the grinding dissonances in those chords leading into the first movement's recapitulation. When the cellos enter with their descending line (which runs somewhat counter to those dissonant chords), he makes a symphony out of each and every note leading into the full orchestra's tutti on the descending octave jump - doubled by bass drum - that marks the climax of the development section (and thus, announces the start of the recapitulation as well). It's as terrifying as it is thrilling! The other flaw was that the dubbed-in organ sounded rather artificial in his Birmingham outing (recorded before the new hall in Birmingham was constructed). I'm happy to report that the organ in Berlin's Philharmonie sounds as natural as it does powerful (especially true in the bass pipes). But from the third movement on, I'm afraid that I prefer Rattle's first recording.

In spite of capturing some of the macabre irony that's at the core of the scherzo, Rattle's Berlin recording just has too much of that stop-and-start quality that sometimes undermines his best work. Klemperer was always good with the scherzo, but listen to what a thrilling glimpse of heaven Paavo Jarvi (Virgin Classics) turns the climax of this movement into. Rattle falls just a bit short in comparison.

Vocal movement: Baker vs. Kozena? . . . Baker!

It's in the finale that I feel that Rattle's earlier effort truly trumps this one. Once again, the Berlin Phil. brass section comes up sounding a bit strained, taxed, and thin sounding while battling their way through the fifth movement's long march section (dead souls rising out of their coffins, etc.). The climax of that long march passage really misfires this time. I can't quite analyze why, but it doesn't help that the rapid gong strokes (tam-tam) don't register through the thick noise of blaring brass and alarmist triangles. It's a "close, but not quite".

It's also in the finale that some of the odd balances begin to register more clearly. Both sets of timpani often times dominate over the entire aural spectrum. And you know things aren't quite right when a suspended cymbal can drown out an entire brass section (this happens several times). The long choral passage is a tad too protracted for my liking, but there's also no denying that the Rundfunkchor Berlin do a nice job. That now leaves just the ending, which is always the main point of the entire symphony.

As previously in Birmingham - and, like Bernstein on each and every one of his outings - Rattle stretches each chord throughout the fortissimo choral passage at "aufverstehen" (rise!). In addition, we get a real solid "whap" on the Berlin Phil's big tam-tam on the last choral note. There's plenty of organ too, but the percussion polyphony at the end is problematic: we hear the high pitched tam-tam and the three deep bells (beautiful sounding bells!) quite clearly, but the low tam-tam suddenly comes close to being inaudible. This may seem like a petty and 'overly technical' point, but it undermines the very end of the symphony. You need to have the full choir of percussion because the only other thing that's happening is the sounding of the dominate and tonic chords in the brass (as well as sustained pedal from the organ and timpani).

All in all, this is still a very good representation of Mahler's monumental "Resurrection" symphony. I think we all wish that it could have been even better, and that may explain some of the exaggerated opinions in the other direction. Once again, Rattle is undermined by some strange balances in the Philharmonie, and a low brass section that can't quite pump-it-up in the thickest and most powerful passages. That's not the mention his sometimes exaggerated, stop-and-start phrasing that makes it sound as though he's trying to out-Bernstein Bernstein. But you have to hand Rattle this much credit: he believes and knows that a gratuitous speed-up is just as valid as a gratuitous ritard. in tempo. Many conductors only know how to slow down (Maazel comes to mind).
13 internautes sur 15 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Original and thoughtful - and in beautiful sound 21 mai 2009
Par Ralph Moore - Publié sur Amazon.com
Format: CD
A swift survey of the many reviews of this version of Mahler's mighty "Resurrection" symphony reveals a bewildering range of responses, utterly unhelpful to anyone looking for guidance in how to pick a recording. The truth is that there are many successful recordings of this work out there, and many will give satisfaction, be it Mehta, Solti, Bernstein or - my favourites - either of the two Klemperer versons, one live, one studio, but this is a worthy addition.

To dispense with the more obvious absurdities I have read: first, the sound. Some complain of too great a dynamic range; I do not have the best equipment but neither do I play these discs on cheap tat, and to my ears the recording quality is incomparably spacious, full, rich and detailed. It strikes me that it's sometimes the same reviewers who recommend harsh, faded historical recordings who then take a self-aggrandising delight in finding imaginary flaws in a wonderful modern version such as this. Secondly, the quality of orchestral playing: you will read cutting criticism of the CBSO - that they are "ragged" and "amateur". Complete rubbish. I heard them many times when I lived in the Midlands, and they were very fine indeed - as they are here. Thirdly, we hear that Rattle is self-consciously "arty" and deliberately, perversely "different". Well, I note that it's the same reviewers who moan elsewhere about the bland, homogenous state of modern conducting who have taken umbrage that Rattle has imposed a clear interpretation upon the music. You can't have it both ways and Rattle is to be commended for having an identifiable, individual overview of the work, even if you don't like it. It is true that he takes an inordinate amount of time making some points and fails to generate the kind of febrile momentum and grim, ironic intensity achieved by Klemperer, but he also avoids the stasis courted by Bernstein in over-indulgent mood. This is a performance which has clearly been very carefully planned and thought through, relying on tightly controlled, painstakingly wrought contrasts. This description implies some slight lack of grandeur and a certain deliberateness in Rattle's manner; there is perhaps some slight disappointment in the final climax, but also compensation in the monumental quality of Rattle's vision. The first movement in particular is awesome - in the true sense. The contributions by a mature-voiced but unfailingly wise and sensitive Dame Janet Baker, the silvery Arleen Augér, and a subtle CBSO Chorus, add enormously to the overall quality. I have also read elsewhere that the praise accorded this recording is the result of the pathetic desire of partisan British critics to crown a new conductor-king. Well, I have no particular bias that way and have not by any means invariably admired Rattle's work, but to my ears this is a performance worthy to stand alongside half a dozen other great ones as another enriching interpretation of a tremendous work.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Rattle asks the listener to take more time, but it's well worth it--beautiful Mahler that touches the depths of the soul 29 février 2012
Par Andrew R. Barnard - Publié sur Amazon.com
Format: CD Achat vérifié
For Sir Simon Rattle, Mahler's "Resurrection" Symphony is sacred ground, as it was the piece that first inspired him to become a conductor. Not only did he go on to become one of the world's most extraordinary musicians, but he developed a long history interpreting the symphony. Now that he is at the helm of the Berlin Philharmonic, arguably the world's greatest orchestra, he must be almost in a daze, conducting a piece that evokes strong memories for him with an orchestra that can shock listeners with its skill--and Mahler is a particular strength of theirs. For many, the concern is that everything is so ideal for Rattle that he'll wallow in the strength of the orchestra without adding much new interpretive value.

The very opening of the first movement lets us know that Rattle is at least trying to say something new. It's his slow tempi that will instantly catch the listener's ear. If you want the opening movement to push and pull with fiery intensity, you've come to the wrong place. I'm not sure if Rattle's approach is the most desirable, but within minutes I'm surrounded by sounds that are achingly beautiful. No one can voice like Rattle, certainly not in Mahler. If you're willing to take the time, there's a world of amazing detail waiting. And while Rattle isn't aiming for excitement, he's terrifying; just listen to the climaxes and you'll be knocked off your seat.

Rattle seems to know that balance is important, quickening his pace in the 2nd movement. He's completely satisfying, digging into the music with vigor. This movement provides relief after the portentous preceding movement; Rattle lets it soar. The Berliners are captivating, responding to Rattle's every move with grace and an incomparable expressivity.

After the timpani rudely awakens us from our dreams of blissful contentment, we're back to tossing and turning again. But Rattle is poised, choosing wit over outright agitation. By this time it has become clear that Rattle wants us to love this symphony, not fear it. In the 3rd movement that doesn't mean he's timid (the big climaxes couldn't be more chilling) but he takes time to show forth Mahler's soft side--and voice with an unrivaled mastery. It's emotionally gripping, to be sure, though some will wish he would quicken his pace. I for one am perfectly content, mesmerized, in fact.

One would think that Rattle would have no beauty left for the 4th movement. But, no, he shows more tenderness than ever before. Magdalena Kozena, his wife, sings with unquestionable poignancy. I was moved to tears. Rattle finds a way to combine tragedy and optimism that is spell-binding. Once again, I'm thoroughly impressed.

Rattle launches us into the massive finale with the full strength of the Berliners. This movement goes through a wide range of changing episodes, the kind of material that finds Rattle in his element. The music is wrought with anticipation; while preparing us for the unforgettable conclusion, Rattle wants us to enjoy the journey all the way through. When the brass make their entrance after several moments, it's with passion and astonishing power. As the movement progresses, Rattle becomes fiery and lets the Berliners play as if though their life is at stake but it never becomes slightly chaotic. When the Berlin Rundfunkchor enters, it's with haunting beauty. Kate Royal sings her part with sincerity and Rattle conducts with trustful expectation. There's good reason for expectation; after several moments of blissful sounds, it's time to experience the true power of resurrection. For many listeners, including myself, this is when Rattle is going to be tested the most. But he blossoms here more than ever. I'll just say that it's glorious, expansive, enough to lift one above the clouds. Rattle finds a way to express hope and love while still letting the music catch on fire. The last closing minutes leave me shouting with excitement. But when it's all over, I catch myself wiping away tears. That's something only the most genuine conductor can accomplish.

In closing, this isn't a "Resurrection" for those who want the most dramatic Mahler on the market. Rattle takes a deeper approach, one that asks us to come to the work. But if you don't mind taking extra time, Rattle has achieved something extra special, wholly musical. While the orchestra is stunning, I don't think Rattle is guilty of relying on the Berliners to a fault; this is intimate Mahler that speaks to the heart. I owe Rattle my sincerest gratitude for making this symphony so touching.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Don't Let the Critics Fool You 20 janvier 2014
Par PG - Publié sur Amazon.com
Format: CD Achat vérifié
I don't love all of Sir Simon's Mahler, but he has a way with #2, and you have to be one doctrinaire son-of-a-gun not to notice it. The EMI studio version was wondrously exciting as well, even if you didn't agree with everything he did. (Like the slow chromatic descent that ends Movement I, for example.) This will also plaster you to the wall! The orchestra plays rapturously, and the soloists (including the current Mrs. Rattle) are fine. There are great Mahler 2nds out there, so it's not like you have to run out and grab this if you already have Bernstein (NY), Tennstedt (the incredible LPO concert version), or the other Rattle lying around. But if you're in the market for new Mahler, you won't be sorry.
5 internautes sur 6 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Let Down By Poor Sound 24 août 2009
Par D. Fitzke - Publié sur Amazon.com
Format: CD
Whatever people think of this individual reading (I happen to like most of it) the recording has always let it down. When originally issued it was very bright and harsh up top while extremely light in the bass. Some balances were also a little odd (up front cymbals and a nearly non-existent rute in the third movement, but this may have been Rattle's hand). It made for extremely uncomfortable listening.

Remastering has slightly softened the top end and added a marginal amount of depth but it can't put in what was never there to begin with -- bass frequencies. This sound picture seems to have been a trait of many Mike Sheady engineered recordings. A simple comparison with many Mahler 2's and even Rattle's own beautifully recorded Mahler 3 show the stark difference.
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