EUR 6,95
  • Tous les prix incluent la TVA.
Livraison gratuite dès EUR 25 d'achats. Détails
Il ne reste plus que 7 exemplaire(s) en stock (d'autres exemplaires sont en cours d'acheminement).
Expédié et vendu par Amazon. Emballage cadeau disponible.
Missa Dei Filii - Litania... a été ajouté à votre Panier
Vous l'avez déjà ? Vendez sur Amazon

Missa Dei Filii - Litaniae

5.0 étoiles sur 5 3 commentaires client

Note: Cet article est éligible à la livraison en points de collecte. Détails
Récupérer votre colis où vous voulez quand vous voulez.
  • Choisissez parmi 17 000 points de collecte en France
  • Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
Comment commander vers un point de collecte ?
  1. Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
  2. Sélectionnez cette adresse lors de votre commande
Plus d’informations
22 neufs à partir de EUR 3,39 2 d'occasion à partir de EUR 3,38
Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


Offres spéciales et liens associés


Détails sur le produit

  • Interprète: Kammerchor Stuttgart, Tafelmusik
  • Orchestre: Frieder Bernius
  • Chef d'orchestre: Frieder Bernius
  • Compositeur: Jan Dismas Zelenka
  • CD (5 juillet 2010)
  • Nombre de disques: 1
  • Label: Deutsche Harmonia Mundi
  • ASIN : B002HQWQOI
  • Moyenne des commentaires client : 5.0 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 92.493 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

Liste des titres

Disque : 1

  1. Kyrie eleison (coro)
  2. Christe eleison (aria)
  3. Kyrie (da capo)
  4. Gloria in exclesis deo (coro & soli)
  5. Qui tollis peccata mundi(soli)
  6. Qui sedes ad dexteram patris (coro)
  7. Quoniam tu solus sanctus I (coro)
  8. Quoniam tu solus sanctus II (aria)
  9. Cum sancto spiritu I (coro)
  10. Cum sancto spiritu II (coro)
  11. Kyrie eleison (coro, soli)
  12. Pater de coelis (aria)
  13. Mater divinae gratiae (coro)
  14. Virgo prudentissima I (coro)
  15. Virgo prudentissima II (soli)
  16. Salus infirmorum (aria)
  17. Regina angelorum (aria)
  18. Agnus dei I (coro)
  19. Agnus dei II (coro come kyrie)

Descriptions du produit

MISSA DEI FILII - LITANIAE


Quels sont les autres articles que les clients achètent après avoir regardé cet article?

Commentaires en ligne

5.0 étoiles sur 5
5 étoiles
3
4 étoiles
0
3 étoiles
0
2 étoiles
0
1 étoile
0
Voir les 3 commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Je confirme l'autre commentaire à 5 étoiles. Zelenka est incontestablement un compositeur original, à l'audace subtile. D'une manière générale ses œuvres religieuses sont parmi les plus intéressantes de l'époque (voir notamment ses Lamentations), et les deux pièces de ce CD le sont tout particulièrement. Il y a un côté très somptueux, comme chez d'autres compositeurs saxons de cette époque, mais contrairement à d'autres qui tombent un peu dans la lourdeur (Heinichen par exemple), Zelenka parvient remarquablement, à mon sens, à faire coexister dans sa musique la splendeur, l'émotion baroque et une sorte de finesse un peu ironique.
Remarque sur ce commentaire 9 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Né en Bohême en 1679, Jan Dismas Zelenka se plaça au service de la Chapelle royale d'Auguste II, Roi de Pologne et Prince électeur de Saxe, et fut nommé directeur de la musique d'église à la Cour de Dresde en 1729.

La fin de sa vie fut consacrée à un ultime corpus d'oeuvres religieuses qu'il ne put compléter.
Sans Credo, Sanctus, Benedictus ni Agnus Dei, la "Missa dei Filii" limite ainsi sa forme liturgique au Kyrie et au Gloria dans l'état inachevé où elle nous est parvenue.
Mêlant la traditionnelle science de la fugue à une virtuose écriture concertante, cette messe représentative du « Stile misto » révèle l'habileté de Zelenka à synthétiser l'héritage archaïque des maîtres anciens et l'esprit de novation qui fusionnent dans l'esthétique baroque.

Datant des mêmes années, les sobres "Litaniae Lauretanae" furent dédiées à la Princesse Marie Josèphe pour célébrer sa guérison.

Particulièrement remarqué à sa parution et récompensé par la presse musicale, cet enregistrement de juin 1989 dirigé par Frieder Bernius se distingue par la netteté contrapuntique du Kammerchor de Stuttgart, subtilement soulignée par l'ensemble canadien Tafelmusik qui joue sur instruments d'époque.
On pourrait certes concevoir un accompagnement orchestral plus vigoureusement exalté, un zèle vocal encore plus enthousiaste pour embraser les savantes polyphonies du « Cum Sancto Spiritu ».
Lire la suite ›
1 commentaire 7 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Par BAGRATION COMMENTATEUR DU HALL D'HONNEUR le 10 mai 2012
Rien..Jan Dismas Zelenka, musicien à la Cour de Dresde, élegamment baroque, donne à entendre une merveille de Musique Religieuse ornée à souhait. C'est simplement élégant, brillant et beau.
1 commentaire Une personne a trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.6 étoiles sur 5 5 commentaires
10 internautes sur 10 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 a voice teacher and early music fan 1 septembre 2009
Par George Peabody - Publié sur Amazon.com
A RE-RELEASE (AT A REASONABLE PRICE) OF A 1989 ZELENKA-BERNIUS RECORDING

If Handel and Bach are the first two members of the Baroque Musical Trinity, then Jan Dismas Zelenka (1679-1745) must be the third. For this recording displays most of the attributes that define 'greatness'. It gave me seventy minutes of unending pleasure.

Zelenka's entire repertoire only extends to some one-hundred and fifty compositions and consists of a small number of instrumental selections, and a larger group of sacred vocal selections such as masses and requiems, psalms, magnificats, hymns and a few secular vocal works.

Zelenka's music is always fresh and creative, often surprising in its sudden harmonic turns and demanding instrumentations. Overall, his many compositions, both choral and instrumental, are marvelous examples of a subtle blend of Italian and French manners with a most distinctive personal style. Fluency of declamation and wide phrases with elegantly shaped melodies in his choral works are clearly Italianate. French influence is seen in the formal organization of the music into relatively short and contrasting sections.

The 'Missa Dei Filii'ZWV20 recorded on this disc is a mass in honor of the Son of God. As was usual in the first half of the 18th century, Zelenka's masses are so-called 'number works' in which the five parts of the ordinary of the mass (Kyrie,Gloria,Credo,Sanctus and Agnus Dei), are subidivided into smaller, musically independent single movements. Therefore, it is considered to be a 'short mass' because it contains only a 'Kyrie'(divided into three movements) and a 'Gloria' (divided into seven movements).

Zelenka left nine large scale settings of various litanae, the 'Litanae Lauretenae' subtitled 'Salus Infirmorum' (The healer of the infirm) was composed in 1744. It has nine movements with varied ensemble groupings:Trio (S.A.T.), quartet (S.A.T.B.), three arias, one each for soprano, alto, tenor and four choruses, all of which are very well sung on this disc and lovely to hear!

It's hard to believe that it took so long for Zelenka's music to surface, and I fervently hope that more recordings of it are on the way. All the music herein as a whole demands excellent vocal technique and brilliant virtuosity from all the singers and instrumentalists involved. Good example of this: 'Quoniam tu solus sanctus' as performed by Michael Chance, countertenor, in the 'Gloria'.

The performance of this music is impressive because the excitement never ceases at any time during the performance. Nancy Argenta, soprano, sings the best I have ever heard from her; Michael Chance, countertenor, is perfection with his flawless diction, wonderful flexibility and enchanting tone quality; Christopher Pregardien, tenor, has a warm and resonant sound and Gordon Jones, bass, sings with ease and 'lightness'. The Kammerchor Stuttgart, under the talented direction of Frieder Bernius, is very fine as per usual with a buoyant and 'yummy' sound. Tafelmusic: skillfully provides an excellent accompaniment; 'bravo' Jean Lamon. I can't imagine anyone into Early Music who would not welcome this recording.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 available in the 50th anniversary box 4 février 2012
Par Wyote - Publié sur Amazon.com
As far as I can tell, this is a fine recording - I enjoy it, though I haven't heard alternatives.

Anyway, what I'm really here to say is that this is available as part of the DHM 50th anniversary box set, which is getting hard to find but may be a good deal if you can. Deutsche Harmonia Mundi 50th Anniversary Box. So if you're considering this recording, you might consider that box. You really won't go wrong either way.
3 internautes sur 4 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Great music, Great Composer, Welcome Re-Release ... 1 décembre 2010
Par Gio - Publié sur Amazon.com
... but the weakness is the same. All the soloists and instrumentalists perform brilliantly. Nevertheless, I'm not satisfied with the totality of this recording. The broad-band timbre and tuning of the Kammerchor Stuttgart distresses me. Choruses of 35 singers may have been available to Zelenka and other baroque composers, so the issue is not historical authenticity. It's acoustic recordability. To my ears, the sound of the coro sections on this CD is just a big white noise whoosh. If you don't happen to mind that sound, then you can adjust my rating to five stars. Even if you share my lack of enthusiasm for recordings of semi-professional choruses, you will be excited and delighted by all the rest.
5.0 étoiles sur 5 Don't miss these great neglected masterpieces of the Bach era 2 août 2015
Par Discophage - Publié sur Amazon.com
The Czech Jan Dismas Zelenka (1679-1745) was a near-exact contemporary of Bach (1685-1750) and he spent part of his career in Dresden, less than a hundred kilometers from Bach's Leipzig; both vied for some of the same honors, and it is known (from a later report from Bach's son Carl Philip Emmanuel) that Bach knew his colleague personally and held him in high esteem. So it is tempting to try and hear echoes of Bach in the choral music of Zelenka. But the temptation should best be resisted. Zelenka speaks very much with his own voice. Despite its small catalog numbering (ZWV 20), Missa Dei Filii belongs to Zelenka's ultimate trilogy (1740/41), together with the Missa Dei Patris ZWV 19 and Missa Omnium Sanctorum ZWV 21. It consists only of Kyrie and Gloria, without the three other parts of the ordinary, and it is not known if Zelenka intended it that way or just left his mass incomplete (but the fact that the two others are complete gives a pointer). Given that the mass as it is runs 42 minutes, one can only imagine its length had Zelenka written the rest. That Missa Dei Patris runs 70 minutes with a Kyrie and Gloria of less than 30 gives a clue. Apparently Zelenka didn't write those three masses with a performance in view, and they weren’t performed during his lifetime: at least no instrumental parts have been found, only the conductor manuscript scores. Like its two companions, ZWV 20 is a work of extraordinary power and beauty, evoking less Bach than anticipating the great masses of Haydn. I can't start describing all the marvels of Zelenka's invention, the choral moments of extraordinary power and sweep (the Kyrie, the extraordinary Gloria, nine and a half minutes of lush and uniquely elaborate jubilation, for which little peers of that era come to mind, the imposing and almost funeral Qui Sedes ad dexteram patris over a nervous and panting instrumental accompaniment anticipating Gluck and Berlioz...), the beautiful melismata of the solo arias (Christe eleison, Qui tollis peccata mundi, starting with a five minute solo for soprano with florid violin accompaniment, then turning into an aria for the baritone, soon joined in duet by the tenor, for four more minutes, etc. Zelenka's ability to churn out irresistible arias seems not inferior to Handel's or Vivaldi's), the moods alternating between the grandiosely solemn, the deploratory and the jubilant. One often reads about Zelenka - and indeed in the liner notes - that he alternated, or even combined, old style and new style. But what's "old" about Zelenka's style? That he ended with a great choral fugue on the "cum sanctus spirito" verse? But Zelenka's concluding fugue doesn't sound in the least "old-style" or stern or cerebral and astringent: it develops extraordinary sweep and warmth and sounds like the greatest homage the mind of a musician can pay to his Lord, on the words "with the Holy Ghost in the glory of God the Father".

I'll be shorter on the Litany of Loreto ZWV 152, only to say that, with its companion the Litany ZWV 151 it is also part of those ultimate works of Zelenka (1741/4), and that it is a masterpiece of equal stature as the Mass. For those interested, the online International Music Scores Library Project (IMSLP) offers these works (but for some reason their copy of the Litanies is limited to the first two movements) and possibly a hundred more scores of Zelenka - and all scans of the autograph manuscripts, miraculously escaped from the World War II bombings (they had been sheltered in the cellar of the Japanese embassy!) and now kept at the Dresden Library: bless these people for having taken the time to scan all these invaluable documents and made them available to all. Those manuscripts are not always easy to follow and some pages are in tattered condition, but I find it incredibly moving precisely for that: it's like having the composer's ghost right over your shoulder.

Given what extraordinary masterpieces these are, it is incredible, and somewhat depressing, to think that they were so seldom recorded. So far as I could establish, with the help of the great Zelenka CD-discography featured on jdzelenka dot net and various other researches for LPs, this was the premiere recording of both pieces, and it remains to date, more than a quarter-century later, the only recording of the Litany, while only one more has been added to the catalog of Missa Dei Filii, in 1997, by the Dresden Chamber Choir and Baroque Orchestra under Hans-Christoph Rademann, on the obscure label Raumklang, Miserere-Missa Dei Filii.

If you want to look at things positively, you'll say that it's because this version by Frieder Bernius was so perfect to start with that everybody felt they had nothing better to say. If you want to look at it less positively you'll say that, in view of the zillion recordings of Bach's Mass in B, Handel's Messiah and Vivaldi's Gloria, it shows how badly discographic posterity errs in the way it treats the great masterpieces of the past. The good thing about it is that you don't need to break the piggy bank to acquire all the extant recordings of these two masterpieces. In fact, I just bought two more copies of the Bernius recording, to offer - I can't even say that it's putting my money where my heart is, given how cheap the disc sells on the marketplace.

Experience shows that an interpretation can always be bettered, but here it is hard to imagine how it could. Bernius conducts with passion and boasts some of the best early music soloists of the time (1989), Nancy Argenta, Michael Chance, Christoph Prégardien, one of the best period-instrument ensembles (the Canadian Tafelmusik Baroque) and his own vocal ensemble. That said, in the absence of comparison, you can never be sure. Well, I have purchased and listened to the other version of Missa ZWV 20: see my review of the other disc for the complete details. Suffice here to say that it confirms the excellence of Bernius’ version, not because it is inferior, on the contrary, because it is also excellent, almost as good as Bernius’ and in some details or individual movements even a touch better, but that it is in fact so similar in interpretive approach to Bernius that it’s not really a complete necessity to add it to your collection, unless you are a diehard Zelenkite.

That said and done, whether you buy this version or Rademann’s or both, don’t miss these extraordinary works of Zelenka. Based on these and other works of Zelenka that I've heard, he is one of the major composer of choral/religious works of the first half of the 18th century, of equal stature with Bach, Handel, Vivaldi and Telemann, and among all these, the one who remains still today badly and unfairly under-recognized. As with Bach, a life spent without Zelenka is liveable, but not as worthwhile and fulfilling as a life spent with him.
0 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Zelenka 16 mars 2015
Par Barbara F. Aslakson - Publié sur Amazon.com
Achat vérifié
Nice group. Good job. I love Zelenka's sonatas.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Discussions entre clients



Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?