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Mozart-Concerto pour Clarinette/Hautbois/Basson Compilation

4.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Interprète: Multi-Artistes
  • Orchestre: Orchestre Philharmonique de Vienne
  • Chef d'orchestre: Karl Böhm
  • Compositeur: Multi-Artistes, Wolfgang Amadeus Mozart
  • CD (23 mars 1990)
  • Nombre de disques: 1
  • Format : Compilation
  • Label: Deutsche Grammophon
  • ASIN : B000001GDI
  • Autres éditions : Broché
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 15.553 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. - concerto pour clarinette en la majeur k 622 - Alfred Prinz
  2. - concerto pour hautbois k 314 (285d) - Karl Böhm
  3. - concerto pour basson k 191 k 186e en si bemol majeur - Karl Böhm

Descriptions du produit


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Par Un client le 5 mars 2003
Format: CD
Ce concerto est à mon goût d'une grande qualité. L'orchestration est légère et très méliodieuse. On y retrouve tout le savoir faire de ce grand compositeur qu'était Mozart qui sait allier le travail du solliste et de l'orchestration. C'est un album à avoir absolument dans sa collection.
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Amazon.com: 4.4 étoiles sur 5 5 commentaires
33 internautes sur 33 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Big-Boned Mozart 8 décembre 2000
Par Christopher Smith - Publié sur Amazon.com
Format: CD Achat vérifié
.... I'm biased toward performances such as these--warm, spacious, generous interpretations, with none of the thin, bloodless warblings that characterize period piece recordings. The soloists are in fine form, and then there's Karl Bohm, one of the greatest Mozart conductors ever, directing. The feature attraction is of course the clarinet concerto--the last concerto Mozart ever wrote--with its complex interweaving of melancholy and peaceful resignation. I bought this because the first recording I ever had of this concerto featured the clarinet soloist here--Alfred Prinz--on a Decca recording from the '60s. It's obviously a piece close to his heart, and he pours everything into it--especially the Adagio, which is one of the most beautiful Mozart ever composed. The other two concertos are perfectly agreeable, lighter pieces, more in keeping with the many Serenades and Divertimenti Mozart wrote in the late 1770s and early 1780s. The oboe concerto is very appealing, with a particularly ambitious Andante, but the oboe doesn't have nearly the range of the clarinet and there can't be any comparison to what the clarinet concerto achieves. Both the oboe and bassoon concertos are well worth having though, and they complement the profundities of the clarinet concerto nicely; just don't expect them up to the same heavenly standard.
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 I am thankful for an oboe version 19 juillet 2014
Par Jon Miller ('Kirk') - Publié sur Amazon.com
Format: CD
... of k314 on this disc rather than the flute version of it (excepting the Karlheinz Zoeller versiom). Dietmar Turetschek plays it very well with
an attractive tone. In general Bohn is a bit more more relaxed and mellower than Marriner and Orpheus in their
Wind Concerto sets, which is a mixed blessing depending upon ones mood at the moment. The Bohm/Prinz can be a balm-it was that most recently-not soporific because it is played with sufficient vigor but definitely unrushed, and it
catches the autumnal flavor and ambiguity of the work. I do wish that George Pieterson had recorded it-his
reedier, more plangent tone in the Mozart Clarinet Quintet with the Grumiaux Ensemble sounds perfect. The bassoon
concerto is also mellow and jovial while being played with a sufficiently plummy tone. This is a valuable trio
of performances

peers-Bassoon concerto- Thunemann/Marriner/Philips; McGill/Dohnanyi/Decca; Orpheus/DG
Oboe concerto- Neil Black/Marriner/Philips; Lothar Koch/DG; Orpheus/DG
Clarinet concerto-Tuckwell/Maag/Decca; Thea King (bass clarinet)/Tate/ECO/Hyperion
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Uncle Karl earns his Supper 25 février 2013
Par Bernard Michael O'Hanlon - Publié sur Amazon.com
Format: CD
It was Mozart who demonstrated once and for all that the concerto could be just as weighty a medium as the symphony. It is a pity that his achievement was not heeded more comprehensively. I have often thought that the likes of Beethoven, Brahms et al would have been more-rounded figures if they had composed a concerto for woodwind. Imagine a bassoon concerto by the Master of Leviathans - Anton Bruckner. Richard Strauss, composer of the Alpine Symphony & Ein Heldenleben, showed that it could be done with his chaste contribution to the repertoire. Provided he dropped all the claptrap - no hammer-blows of fate or cowbells or portentous sub-texts - a clarinet concerto by Mahler would be a fascinating prospect.

Yes, I know: Vivaldi wrote thousands of such specimens; the ghost of Stravinsky can wade through them as penance. As always, it is the Salzburg Kid who leads the pack.

As Einstein astutely observed, K191 was written with immense love for this most endearing of instruments. If various authorities are credible, it was not his only offering in the domain (sadly, his two other concertos for bassoon have been lost to eternity). It cannot be an easy to compose such a work, what with the instrument's lack of projection. How delicately Mozart allows it to shine. IF he pokes fun at its drollness in the heavenly slow movement, the instrument readily forgives him and presses on to the high spirits of the finale. The manuscript is missing so search your cupboards.

The Oboe Concerto is a masterpiece. How well Mozart understands the matinal nature of the instrument. What a hand is to a glove, K 270 is to this instrument; for that reason, I have never liked K 314 - Mozart's arrangement of this concerto for flute. Most of the autograph was rediscovered in Salzburg in 1920.

Little needs to be said of the Clarinet Concerto. Mozart's sole contribution to the genre has acted like pesticide on the competition; what other clarinet concerto comes anywhere near it? Moreover, is it valedictory in its marrow? I don't know. What if Mozart had lived another thirty years after its composition - what a thought: how would we regard it? Much like the Oboe Concerto, a work to revel in, without any intimations of mortality?

Place Uncle Karl in front on the Vienna Philharmonic in the last decade of this life and the results can be lethal (to wit, his survey of Mozart's late symphonies or his second recording of K 297b). Happily, the opposite is the case here. This `Pop Out' series was released in 1991 by Deutsche Grammophon to commemorate the bicentenary of Mozart's death. The notes are identical across the 25 discs and 16-bit remastering is in play . These Mozart concertos are alertly and stylishly played. Bohm thankfully keeps his foot off the brake. None of the soloists, being principals of Vienna Philharmonic, is world-famous virtuosos but how musical they are. The traditional edition of the Clarinet Concerto is in use. While K 622 and K 191 have been remastered elsewhere, the difference is marginal and I would rather have the Oboe Concerto than the alternative for flute.

All in all, this is a winner. Well done Uncle Karl!
4 internautes sur 17 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 biased American oboist 29 novembre 2003
Par Un client - Publié sur Amazon.com
Format: CD
I got this recording solely for the oboe concerto. It's interesting to note the differences in the sound quality on the Viennese style of oboe compared to the typical Loree...for me, the tone seems too spread and squawky. The interpretation isn't horrible, but it isn't great either. Overall, it just didn't excite me the way other recordings do. I still think it's good to have this recording just to get a comparison...the Mozart is an essential part of oboe rep. and the more interpretations you hear, the better.
0 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 rice crispies 6 septembre 2009
Par b. billingsly - Publié sur Amazon.com
Format: CD
Sound quality is poor and features a loud pop followed by a skip in the third movement
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