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Mozart: Symphonie Concertante KV364 / Concertone KV190 Import

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Détails sur le produit

  • Chef d'orchestre: Zubin Metha
  • Compositeur: W.A. Mozart
  • CD (21 octobre 1985)
  • Nombre de disques: 1
  • Format : Import
  • Label: Deutsche Grammophon
  • ASIN : B000001G6M
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 45.403 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

PERLMAN / MEHTA / ISRAEL P. O.


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Par claude toon TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 23 mai 2013
Format: CD
C'est en 1779 à 23 ans que Mozart va composer la Symphonie Concertante, après son retour d'une tournée en Europe, notamment à Paris où a été créé le concerto pour piano n°9 dédié à Mlle "Jeunehomme". Par qui cette symphonie a-t-elle été commandée ? Mystère ! On suppose toutefois qu'elle a été écrite à l'intention des musiciens et de l'orchestre de la cour de Mannheim. Mozart est déjà au faîte de son art, et encore un homme plein de vie, un épicurien. Toute la musique de cette période porte la joie en elle. La symphonie concertante va surprendre. Par son ambition et sa durée (35'), l'ouvrage s'écarte résolument du mode divertissement. (Les symphonies 33 et 34 écrites à cette époque, ne dépassent pas les 20'.) Mais ce qui va surprendre le plus, c'est la gravité de son propos. "L'expression douloureuse de l'andante" est tout à fait inhabituel (J & B Massin). Même si à "douloureux", j'aurais substitué "mélancolique", il est évident que l'atmosphère annonce bien plus qu'un saut vers les œuvres très élaborées et géniales de la maturité, les grands concertos pour piano, les symphonies ultimes, le Requiem. Oui, par sa modernité cette musique regarde vers le romantisme qui approche. Mozart visionnaire ? Qui en doutait ?

L'orchestration est peu usuelle : 2 hautbois et 2 cors pour l'harmonie, cordes. Sur la partition, les altos sont divisés en deux groupes. (Partition pour les curieux.) Ce n'est pas surprenant, Mozart raffolait s'évader de l'orchestration classique.
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Amazon.com: HASH(0x9dd26270) étoiles sur 5 17 commentaires
37 internautes sur 40 ont trouvé ce commentaire utile 
HASH(0x9dba78d0) étoiles sur 5 Spectacular live performance 2 décembre 1999
Par Peter G - Publié sur Amazon.com
Format: CD
Mozart's Sinfonia Concertante is one of his most beautiful works, and here it gets one of the most remarkable performances I've ever heard. It has the sort of joy and expressiveness you can only find in a live performance. But there's a caveat: you have to like your Mozart big-orchestra and romantic. If you don't (and I don't, but I appreciate the musicianship here), you'll find yourself wondering what the piece really sounds like. If you do, this disc has absolutely no peer.
25 internautes sur 26 ont trouvé ce commentaire utile 
HASH(0x9dbf33fc) étoiles sur 5 Hearing the Enjoyment 27 avril 2004
Par Andrew Filmer - Publié sur Amazon.com
Format: CD
This recording was probably the best at the time of its release and some time after, and one of the other reviews is right in that it contains a more "live" sound than would be some others with much studio editing. Perlman gives his signature warm sound, and Zuckerman is probably the most notable violinist to also champion the viola. One hears the enjoyment in the music, which is what makes Perlman in particular so special as a musician. I give it 4, not 5 stars, though, because the last star must be reserved for the much newer recordings of Augustin Dumay/Viktoria Hagen/Salzburg (for one of the best interpretations of Mozart ever) and that of the Orpheus Chamber Orchestra (for a better understanding of how the work is as symphonic as it is concertizing).
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9dbbbd20) étoiles sur 5 "Stop hanging around the shopping mall - go and write another Sinfonia Concertante!" 25 juin 2012
Par Bernard Michael O'Hanlon - Publié sur Amazon.com
Format: CD
Pity Leopold Mozart. What is a man supposed to do? From afar, he had thundered "Aut Caesar aut nihil" at his son during the latter's calamitous stay in Paris in 1778; having unimpressed the world, Wolfgang meandered his way home without his mother: she lay entombed in a Parisian cemetery. Melchior Grimm had hosted Wolfgang for some four months during his stay in the French capital; Leopold so agreed with his assessment of his son that he actually passed the letter onto Wolfgang: "He is too trusting, too inactive, too easy to catch, too little intent on the means that may lead to fortune." And on the other hand, imagine Leopold's reaction when he read the autograph of the Sinfonia Concertante in E Flat, K 364 (written upon his return from Paris) - a stupendous act of creation which constitutes a Big Bang in its own right. Which father would not go mad with such a son - and all the more so as Leopold knew music. The earlier Concertone for Two Pianos is a gallant work but how endearing it is - it's the closest thing we have to a cello concerto unless K 206a emerges from oblivion.

This DG disc has been famous since its release in the early 1980s. It was panegyrised by the Penguin Guide which bestowed a rosette upon it. It's thrilling, gusty and urgent. Perlman and Zukerman play with immense insight and swagger. Come 9'30"ff in the slow movement of the Sinfonia Concertante, one could almost be listening to the Seven Last Words. To my mind, their rivals are the Oistrakhs, père et fils, with the Berlin Philharmonic from March 1972 (an exceedingly rare disc Mozart: Sinfonia Concertante, KV 364 in E Flat Major, Concertone KV 190 in C Major, Adagio KV 261, Rondo KV 269). Who among us can genuinely set one pair above the other? Igor Oistrakh might have less of a reputation but he is still a fine player in his own right. I can't separate them. Both are obligatory. The Israelis perhaps have the edge re the duet I mention above.

The weakness here - and it is a relative one - is the Israel Philharmonic Orchestra and Uncle Zubin (who thankfully on this occasion left his Foghorn Leghorn suit in the dressing-room). The Israelis play well enough. Even so, incandescence is lacking compared with their Berlin counterparts in the opening ritornello of K 364 and especially so at the big orchestral outburst which occurs at 5'09" in both performances (will someone please hose down the Berlin Philharmonic!). The horns of the Israel Philharmonic are emaciated in the fanfares that open the finale of K 364.

My good friend Rabbi Moses Finkelstein attended this very concert - he was selling matzo-balls in the foyer - and he is complimentary of the DG recording. Even so, the EMI alternative, analogue though it be, is warmer and more detailed. The Oistrakhs also offer K 261 and K 269 which are valuable makeweights.
12 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9dbf3e04) étoiles sur 5 CONCERTED EFFORT 30 août 2006
Par DAVID BRYSON - Publié sur Amazon.com
Format: CD
Why is Mozart's great double concerto for violin and viola called `Sinfonia Concertante'? I am only assuming provisionally that Mozart himself used the term - his voluble correspondence never (so far as I know) refers to the work. This is now the second performance of it in my collection, the first being a Supraphon production from 1962 issued on a Classics for Pleasure LP with Suk and Skampa as soloists. I betook myself to the oracles of Volker Scherliess (here) and W A Chislett (CfP) for guidance regarding the work's title but came away none the wiser. Chislett plays the hoary old game of telling us something true but irrelevant, namely that the title `sinfonia concertante' was applied to works harking back to the old concerto grosso style, with a `concertino' group of soloists balanced against the main band. True enough elsewhere, completely irrelevant here, so knickers to Chislett. Scherliess takes the route of veiled hints `a symphonically constructed work (similar but not identical in form to the concerto)'. Neither symphonic in any sense say I, and neither similar nor `identical' to a concerto, but simply that -- a concerto, just like Mozart's piano concertos. Mozart himself sees to the cadenzas just as Hummel does in his own double concerto for violin and piano, and no doubt for the same reason, namely that leaving two soloists to improvise would have been courting disaster.

We have here a live performance from 1982 at the Huberman festival in Israel. The applause is suppressed and the playing is as polished as in any studio account, but there is the sense of spontaneity that nearly always gives a special feel to live music. Speeds are fairly normal: the opening allegro maestoso has the proper majesty in its marching rhythm, the andante has the right soulfulness and sadness about it. The final `presto' is not particularly fast, a good deal more measured than the way Suk and Skampa take it, but lively, spirited and elegant. This being Mozart and not Haydn, I like it well enough like this. Zukerman takes the viola part, as it is thought Mozart did at the work's premiere, and he performs it as to the instrument born, just as Nigel Kennedy does in Walton's viola concerto or as Menuhin does in the 6th Brandenburg in his Bath Festival set.

The `Concertone' is highly welcome, being as rarely performed as it is. This is really a work that retains suggestions of the concerto grosso, although unmistakably late 18th century, after Haydn had transformed the idiom of instrumental music from being purely a process of development into one in which events and contrasts take place. As well as the two violins, there is a solo oboe and a solo cello, these parts being fully as prominent as those for the fiddles. It is an early piece and not the greatest Mozart by any means, but Mozart had a star on his brow from his most juvenile efforts onwards. As in the great work that comes with it here, the contribution of everyone is top-class. I was intrigued as to how the artists would interpret the tempo indication on the last movement `Tempo di Menuetto. Vivace.' On the face of it these instructions look mutually contradictory, as `tempo di' normally indicates a slowish minuet, but it is all convincing enough as done here, and certainly I have no better suggestions.

The liner note, or at least the one that comes with the disc in England, is journeyman stuff, but one is used to that. The recorded quality is very good without being exactly spectacular, and one would not be aware of the presence of an audience in any unwelcome ways. All very recommendable indeed, not least to those previously unfamiliar with the concertone.
6 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x9dbf3fb4) étoiles sur 5 Plus Ultra 24 mars 2004
Par hbubi - Publié sur Amazon.com
Format: CD
Guranteed to do two things. First, this disk will transform all skeptics into Mozart devotees. Second, it will be one of your favorite most frequently played disks. The Israel Philharmonic show with authority why it is one of the world' top five. Perlman and Zuckerman bring out the best in one another. Hence, success is assured.
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