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Détails sur le produit

  • Interprète: Miah Persson
  • Chef d'orchestre: Ivan Fischer
  • Compositeur: Gustav Mahler
  • CD (13 janvier 2009)
  • : Requires SACD-compatible hardware
  • Nombre de disques: 1
  • Format : Super Audio CD
  • Label: Channel Classics
  • ASIN : B001PBCZ92
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.7 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 114.422 en Musique (Voir les 100 premiers en Musique)
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Description du produit

Description du produit

Conductor Iván Fischer, a nominee for the 2008 Classic FM Gramophone Award for Artist of the Year, co-founder and Music Director of the Budapest Festival Orchestra, has been responsible for creating a vibrant orchestra with an enviable international touring profile which appears at all the major venues and festivals of the world. As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, every year he leads two weeks of programs with the Royal Concert-Gebouw Orchestra. Besides his contract with the NSO of Washington, he works regularly with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Critique

The sleeve-notes for Ivan Fischer's new recording of Mahler's Fourth contain a statement by Fischer that initially makes one's heart sink. Culminating in a 'lovely vision of paradise', the symphony, Fischer argues, shows Mahler taking us 'to his own inner child, to his dreams of angels, fairytales, angst and pure divine love'. Concerns that we're in for an hour of unremitting sentimentality are mercifully unfounded. Childhood, in Mahler, is viewed as both an idealised lost Eden and a place of primal trauma - and Fischer is as interested in the abysses that threaten to open round this music as he is in its surface calm. The combination of naive excitement and indefinable menace is strikingly sustained throughout, while the final vision of paradise, coolly voiced by Miah Persson, is at once funny, savage and unbearably sad. Fischer's insistence that the symphony should be treated as chamber music means this won't appeal to those who like a high-decibel count in Mahler, but the Budapest Festival Orchestra's playing is exceptional in its dark-hued subtlety. It's a provocative, iconoclastic performance, and highly recommended. Tim Ashley - Friday 13 March 09 Tim Ashley --The Guardian - 5 out of 5 stars

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Commentaires en ligne

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Format: CD
Décidément Ivan Fischer est un mahlérien accompli qui semble avoir tout compris de ce compositeur complexe voire déroutant. Moins analytique que les enregistrements de référence (Boulez chez DG, Reiner chez RCA Living Stereo), Fischer nous dévoile un Mahler moins moderne que romantique mais plus poête que jamais. Les sonorités atypiques de l'Orchestre du Festival de Budapest sont particulièrement indiquées pour une telle prestation: le velouté des cordes, le fruité des vents, l'impact des cuivres, sont du plus bel effet. La cinquième étoile est manquée de peu à cause d'une prise de son présentant le défaut hélas assez récurrent chez Channel Classics d'un niveau d'enregistrement très bas qui nécessite de pousser le bouton de volume de l'ampli au maximum. Vraiment dommage!
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Par HERVÉ Thierry COMMENTATEUR DU HALL D'HONNEUR le 6 juin 2009
Format: CD Achat vérifié
Parmi les ouvrages symphoniques de Gustav Mahler, la Quatrième Symphonie est celle qui se laisse écouter le plus facilement. Aussi, nombreux sont les éditeurs à l'avoir inscrite à leur catalogue. Après avoir déjà remarquablement enregistré pour le label Channel Classics la Deuxième et la Sixième, on attendait impatiemment qu'Ivan Fischer aborde la plus viennoise des oeuvres du Maestro. Comme pour les précédentes, c'est avec l'Orchestre du festival de Budapest qu'il exprime la pureté et la transparence d'une fresque qu'une oreille distraite jugerait presque naïve - peut-être à cause de la tonalité en sol majeur -, mais derrière laquelle les meilleures volontés décèleront des trésors d'imagination et de raffinement. Certes, Mahler déclare ses intentions pacifiques sur le ton de la légèreté, mais il le fait dans une écriture qui appelle une grande concentration et une technique orchestrale prodigieuse. Si l'interprétation d'Ivan Fischer est d'une grande justesse, c'est surtout parce qu'elle fait appel à ses talents de conteur, et non à ceux de lecteur. Écoute après écoute, ses choix s'affirment comme étant d'une rare pertinence : la conduite rythmique, l'équilibre des émotions et l'allure des pupitres y sont gérés à la perfection. Dans l'ultime mouvement, Das himmlische Leben (La vie céleste), la prestation de la soprano Miah Persson est vécue comme un moment de grâce, son timbre aérien incarnant efficacement la simplicité et l'innocence prescrites par le compositeur. Enregistré de fort belle manière au Palais des Arts de Budapest en Septembre 2008, sans le crier sur les toits, ce disque cumule les mérites. Un must !
Remarque sur ce commentaire 9 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par Jacques le 17 novembre 2009
Format: CD Achat vérifié
Orchestre fluide , excellent soprano , prise de son de haut niveau . Que demander de plus! Un Mahler épanoui .
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.5 étoiles sur 5 15 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Very fine Mahler 4, not equal to the greatest 12 avril 2014
Par Charles F. O'Connell - Publié sur Amazon.com
Achat vérifié
Everything well done, highly enjoyable, a first class outing, but falls short of the greatest Mahler 4ths. This symphony is unique among Mahler's symphonies in needing a special gentle, almost nostalgic touch throughout, a kind of paean to a vanishing world. Fischer's reading sometimes slides into the ominous sound world more associated with the 6th and 7th symphonies, a fearful look at the world to come. A Gramophone review in its composer recommendations series made a similar point. My own top choice remains Szell's great recording, followed by Sinopoli's Dresden recording. There is also a version also by the Cleveland Orchestra under von Donanhyi--superbly played with just the right emotional weight and corresponding sound. Also worth investigating is an often overlooked recording by Armin Jordan on Erato, which may be out of print. And Haitink's earlier Philip's recording remains a fine choice. Fisher's recording then: Top drawer, but short of best ever.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Outstanding 8 septembre 2010
Par e981 - Publié sur Amazon.com
Format: CD Achat vérifié
This is the best recording of a symphony I have ever heard. I think the performance is great as well, though I am not a scholar on the subject. Generally speaking, Mahler is not my favorite composer, though I am very glad to have bought this. This truly sets a new standard for recording symphony. From what I understand, a Grimm Audio AD1 analog to digital converter was used in the making of this recording and now I wish SACDs recorded with this device would be labeled as such so I could find them more easily. I'm an audiophile with a respectable system, I listen mostly to classical ( primarily chamber music and vocals ), jazz, and acoustic rock. I collect SACDs.
19 internautes sur 21 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Stuff of Dreams 30 novembre 2009
Par Eric J. Matluck - Publié sur Amazon.com
Format: CD Achat vérifié
I first discovered the Mahler Fourth over 30 years ago, when I was in high school. I don't remember who the conductor was but the recording was part of a compellation issued by the Readers' Digest. At the time it seemed both enchanting and disturbing, and I'd never been able to hear this piece as "untroubled." Unfortunately, every performance I'd listened to since then tended to favor one emotional pole at the expense of the other: too sunny or too tortured. So, for years, I'd tried a number of "classic," "sleeper," and "what was I thinking?!" performances, none of which satisfied. Then this came out. I had seriously unkind things to say about Ivan Fischer's "Resurrection," but loved his Rachmaninoff Second and so, after reading positive reviews of this recording from both sides of the pond, decided to take a chance and see what he was up to here.

Finally I found the Mahler Fourth of my dreams. With all due respect to others who have had their say on this interpretation, I find nothing emotionally lightweight about it at all. The first movement reminds me of the powdered candy I used to pour from a long paper tube onto my tongue: it seemed intensely sweet at first blush but left the most surprisingly bitter aftertaste. I don't know where that wonderful aftertaste comes from but I think the sound of the orchestra has something to do with it. There's always a special treat to hearing Mahler played by an Eastern European ensemble, with its tart winds, and the Budapest Festival Orchestra here offer a wonderful anodyne to what I hear as the corporate blandness of so many better-known Symphonies and Philharmonics. My ear was constantly arrested by orchestral colors and turns of phrase that seemed different but intuitively "right." Yes, the expression "like hearing the work anew" is in serious need of retirement but I'm going to trot it out one more time because it applies so well here.

I've never heard the scherzo done better. The solo violin sounds more diabolical than in any other version I know and the phrasing is wonderfully pointed. In contrast, the trios, in which Fischer achieves a sense of aching nostalgia, are meltingly beautiful.

If the glockenspiel had been given just a little more presence in its one fast variation in the third movement, Fischer's interpretation would have been, for me, perfect. As it is, it's as near to perfection as I ever hope to find. The opening cello melody and its variations are beautifully inward and profoundly moving and the oboe-led second thematic group leaves a lump in my throat. From there the movement builds effortlessly and inevitably, yet the "Gates of Heaven" episode sounds like the most glorious surprise (the slight acceleration leading into the E major chord is magnificent). Fischer sees this as the real climax of the symphony, playing it as the climax of the first movement magnified, as it were, and in this way he ties together the two "slow-ish" movements (with the scherzo between them), making a proper introduction to the finale.

For three decades I've found the finale the dead spot in this symphony. Not that the movement isn't beautiful, per se, but that it seems a sad anticlimax, especially after the adagio. By not overplaying the third movement ("beautifully inward" and "profoundly moving" do not mean "milked") and taking this finale at a blithe amble, Fischer alone makes it seem an inevitable and perfectly fitting conclusion, and Miah Persson's voice, shorn of any sense of artifice or souped-up "sophistication" is just ideal.

Did I happen to mention that this performance is more rich in portamento than any I know?

This won't be a Mahler Fourth to all tastes, any more than any other is or ever will be, but it's nice to be reminded, every now and again, that some things are worth waiting for.
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Confused before? This lays it out.. 3 janvier 2017
Par Laurence Leabow - Publié sur Amazon.com
Achat vérifié
I really am glad I got this! Just SUPER stuff. I own a bunch of recordings of this symphony, and this IS the desert island one, If I HAD to pick.
Really quickly..
Bernstein with NY is great but maybe too cute.
Bernstein with Amsterdam is REALLY SAD. Don't think I mean bad! Or even dreary. Sad.
Levi sounds wonderful, but doesn't have a point of view.. or something. Sterile?
Abravenel is really sweet, and worth listening to. Childlike but just this side of cloying. . yay.
Chailly, um, It's great. I forgot how at the moment, but I will update this review soon!
Zinman... Ok, I'm not prepared for a review, lol. Not as good as this one ..
But this is great. Killer recording, great sense of space around instruments, freshness and lightness, a childlike quality but presented maturely. What did I just say? That sounds ridiculous... But see if you don't agree.
I have been known to get bogged down when I listen to this piece. I lose the thread. That never happens with other Mahler...
And it didn't happen with This wonderful recording.
I have the Fischer Mahler 9 and it is great in its way, but my least favorite 9 to listen to. It is not GRAND. If you have heard it, and feel a similar way, don't let it keep you from buying this. I smiled right from the beginning, and I didn't find myself wondering if Mahler put in some intense subtext I wasn't smart enough to get... As I sometimes do. I became really certain he didn't. The sleigh bells are much quieter. It's better.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 This one's a keeper. 4 janvier 2014
Par Donald Clarke - Publié sur Amazon.com
A thoughtful, personal interpretation with nothing bizarre about it, yet not like any other I've ever heard, and I've heard 80 or 90 Mahler Fourths. Certain phrases are slowed down and/or hushed ever so slightly to make a contrast with the previous or the next, yet nothing is stretched or jerked around too much: it is all very musical. The quality of the interpretation and of the playing and of the recording all add up to a new experience of the symphony -- I'm hearing details I've never heard before. If you love this piece as much as I do (and I once mortgaged my house to lease Horenstein's from EMI so I could put it out on CD) you need to hear this one. The soprano is fine, in my opinion, more listenable than most; like Fischer, a personality worth getting to know.
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