Acheter d'occasion
EUR 11,85
+ EUR 2,49 (livraison)
D'occasion: Très bon | Détails
Vendu par tousbouquins
État: D'occasion: Très bon
Commentaire: Expédié par avion depuis les USA; prévoir une livraison entre 10 à 15 jours ouvrables. Satisfait ou remboursé
Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 4,49

Triple Quartet / Electric Guitar Phase / Music For Large Ensemble / Tokyo Vermont Counterpoint

3.0 étoiles sur 5 2 commentaires client

1 neuf à partir de EUR 11,90 3 d'occasion à partir de EUR 11,85
Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


Offres spéciales et liens associés



Détails sur le produit

  • Chef d'orchestre: Alan Pierson
  • Compositeur: Steve Reich
  • CD (20 novembre 2001)
  • Nombre de disques: 1
  • Label: Nonesuch Classique
  • ASIN : B00005NSQT
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 3.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 173.296 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?

  • Ecouter les extraits (Extrait)
1
30
7:17 Album uniquement
2
30
4:04
Ecouter le titre Acheter : EUR 1,09
 
3
30
3:28
Ecouter le titre Acheter : EUR 1,09
 
4
30
15:11 Album uniquement
5
30
14:50 Album uniquement
6
30
9:04
Ecouter le titre Acheter : EUR 1,09
 

Descriptions du produit

Descriptions du produit

TRIPLE QUARTET / ELECTRIC GUITAR PHASE / MUSIC FOR LARGE ENSEMBLE / TOKYO VERMONT COUNTERPOINT

Critique

« Triple Quartet » est une œuvre récente de Steve Reich. Ecrite en 1999, il en existe trois versions : une pour quatuor à cordes (interprété ici par le dédicataire, le Kronos Quartet), une autre pour trois quatuors à cordes (douze exécutants) et une troisième version pour orchestre à cordes (trente-six exécutants).

La principale inspiration de cette pièce en trois mouvements vient du dernier mouvement du quatrième quatuor à cordes de Bartok, puis de l’œuvre pour quatuor à cordes de Schnittke. Il en résulte que « Triple Quartet » est une pièce considérablement plus dissonante et expressionniste que toute autre de ses œuvres. « Triple Quartet » s’articule principalement autour de formes en variations (premier mouvement), de canons, contrepoints (second mouvement) et de cycles harmoniques complexes (dernier mouvement).

« Electric Guitar Phase », composé en 2001 est une nouvelle version de « Violin Phase » (1967) pour quatre guitares électriques. La particularité de cette œuvre est que le guitariste Dominic Frasca marque sa performance en assurant à lui seul les quatre parties de guitares électriques. Les instruments entrent les uns après les autres, en unisson ou en canon, permettant ainsi, grâce à diverses positions de créer des « phases » rythmiques ou mélodiques. Le caractère originel de l’œuvre s’en trouve dès lors complètement modifié aboutissant à une œuvre tout à fait différente de l’originale.

« Tokyo/Vermont Counterpoint » (2000) pour MIDI Marimbas est également une nouvelle version de « Vermont Counterpoint »  (1981) écrit originalement pour flûtes, flûtes alto et piccolos ; comme pour « Electric Guitar Phase », le résultat est une œuvre unique, possédant même ici une certaine distance humoristique avec la version antérieure.

Dans ces œuvres, Steve Reich entretient sa réputation de minimaliste. Sa musique répétitive est empreinte des sons de tous les jours et en réemployant le matériau de ses œuvres antérieures, il prouve qu’il est en perpétuel renouvellement et que, contrairement à sa musique, il est loin d’être répétitif.

 



Angélique Fouret - Copyright 2014 Music Story

Commentaires en ligne

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

Meilleurs commentaires des clients

Format: CD
Certes, les reprises de 'Violin Phase' à la guitare électrique et de 'Vermont Counterpoint' aux marimbas électroniques ne sont pas très heureuses. D'ailleurs elles ne sont pas du compositeur lui-même. Ce à quoi certains pourront dire qu'il a bien accepté qu'elles soient faites et enregistrées.
Il fait ce qu'il veut! Et il est vrai que 'Triple Quartet' est moins interessant que d'autres oeuvres comme 'Different Trains' reprennant le même concept additionné de l'enregistrement de voix superposé. Mais il a quand même son charme.
Mais rien que pour la version de 'Music for a Large Ensemble' qui n'avait été enregistré qu'une seule fois, sur un disque devenu assez rare, et avec quelques fautes (si, si! je vous jure!! Et ca donne un petit charme si on n'est pas strictissime. Il jouait dedans, il a choisi ce qu'il voulait!), cette version est la bienvenue. Oeuvre plus ancienne mais toujours d'une grande efficacite.
Alors ce CD, à acheter ou pas? Pour les inconditionnels de Reich, bien sur! Quitte à ne pas aimer certaines plages de ce disque, c'est interessant de l'avoir! Et pour les autres? Commencez par d'autres oeuvres, ça vaudra mieux je pense.
Bonne, écoute à tous!
Remarque sur ce commentaire 11 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 Un client le 2 août 2002
Format: CD
Reich est capable du meilleur (different trains ou the desert music par exemple) ou du quelconque.
Ces oeuvres appartiennent à cette seconde catégorie.
Pour écouter plusieurs quatuors joués simultanément, on oubliera le triple quartet et on écoutera l'octuor de Milhaud.
Remarque sur ce commentaire 6 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

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

Amazon.com: HASH(0x8f4a30cc) étoiles sur 5 12 commentaires
31 internautes sur 41 ont trouvé ce commentaire utile 
HASH(0x8f8a74e0) étoiles sur 5 Recycled Reich... 2 novembre 2001
Par svf - Publié sur Amazon.com
Format: CD
The music on this "new" Steve Reich release falls into two distinct categories:
ACTUAL NEW MATERIAL (15 minutes)
"Triple Quartet": A slight improvement over other recent ventures ("The Cave," "City Life"), however quite grating to listen to... a lack of critical rhythmic interest with static mildly dissonant harmonic content combines for an unrewarding listen that seems to go on for longer than the 14 minutes it actually lasts. A major disappointment compared to "Different Trains," the previous Kronos collaboration.
RECYCLED FILLER MATERIAL (40 minutes)
1. "Electric Guitar Phase": When this same piece is heard as "Violin Phase" (on the 1980 ECM recording) it's long and somewhat tedious yet rewarding upon further listening with an exciting virtuoso feel that a live violinist brings to the table. As performed on overdubbed electric guitars, it is devoid of humanity and fire, losing all hope of holding the listeners attention for the duration. Why this piece seemed worth recording on electric guitar is beyond me. Ugh.
2. "Music for a Large Ensemble": This arrangement/performance is a little cleaner and more transparent than its ECM cousin (that same record that had "Violin Phase" on it. Hmmm.) You can hear some details here that weren't as apparent on the older recording. However, despite the shiny finish, this performance seems to lack the fresh energy and attack heard on the ECM version. So an interesting listen for the overly Reich-obsessed, but nothing revelatory.
3. "Tokyo/Vermont Counterpoint": Completely inferior to the version for flutes as recorded by Ransom Wilson. It is a damn shame that this recording is unavailable on CD at this time: it is a performance brimming with energy, humanity and humor, a virtuoso tour-de-force. As performed on "MIDI Marimbas" (whatever that means) it sounds hollow, monochromatic, electronic, and dull. Blah.
OVERALL: Yet another disappointing Nonesuch Reich release, 75% unsuccessful recycling, 25% sub-standard new material. And I write this as a 10+ year admirer and fan of Steve Reich's music desperately wanting to like this CD. Rats.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x8f8ef0b4) étoiles sur 5 What a difference re-orchestration makes 4 novembre 2001
Par Kevin S. Currie - Publié sur Amazon.com
Format: CD
Last year I purchased the 'complete' Steve Reich works on Nonesuch and was confused as to the missing works. This, save for 'phase patterns' and 'pendullum music', completes it.

Electric guitar phase is amazing. I'd only heard its origional version for violin a few times and the middle and ending were too muddy. The treble and subtle harmonic overtones on the guitar are much better. The best thing about the phasing technique though is that rush you get everytime a new phase locks in. Wow!
I agree with the reviewer below who noticed that the 'Large Ensemble' was not as tight as they could be. The sheer syncopation written into this piece demands aboslute precision and I came away feeling that it hadn't been achieved here. In contrast, I could have done with a less tight vermont counterpoint. THe beauty of all Reich's couterpoint works have been that they allow the ear to 'pick' between following the whole or an individual line. I found this impossible to do here.
THe anchor of the CD (Triple Quartet) was brilliant. I wish that the two other versions (orchestral string section and three quartets live) could've been on the CD as well. In closing the first two peices are the meat and potatoes. The last two peices despite in my opinion their performance flaws, serve as a worthy soup and salad.
4 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x94c55e90) étoiles sur 5 Startling insight into an amazing composer 1 novembre 2001
Par E.G. Coxon - Publié sur Amazon.com
Format: CD
This is one of those rare recordings where I have no complaints...from the quality of the music to the quality of the performances to the quality of the packaging...this is the kind of thing that the classical music industry should be looking to if it hopes to revive it's dreadful record sales...
Instead of going in order of the tracks on the disc, let me go in order of the date of composition of each piece.
Electric Guitar Phase, though new in this orchestration, is of course 1967's Violin Phase reborn...This might be Reich's most static piece for tradional instruments (that is, besides early pieces for tape or "pendulum music")...For me, the original version of this piece never quite worked - the articulations possible on violin kept it from really "locking in"...This version has solved that problem completely...
The sharp attack on each note or dyad when done on electric guitars makes every new pattern clearer than any violinist could hope for...it's truly a revelation to hear this piece work so well. I always thought "piano phase" to be the best of Reich's phase pieces...I was wrong. This new recording should make listeners really sit up and take note - classical music ain't what it used to be, and thank G-d...one of our greatest composer's best pieces turns out to be for a bunch of electric guitars!
The next work (chronologically) is "Large Ensemble"...compared to the old ECM recording, I'm not convinced that this ensemble is playing as tightly as this piece needs them to...but at the same time, the sound quality is of course much better and warmer than the old recording. This one you can judge for yourself. I haven't totally made up my mind one way or another on this one...
Tokyo Counterpoint deserves some praise - I think that Reich is right when, in the liner notes, he points out that this transcription has a "sense of humor"...the playing is very tight. I am inclined to say that I like this version better than the original for flutes...in most ways I do, but the warmth of the flutes is missed. Either way, this is a very fine rendering.
The Kronos piece, although the most "high profile" of the works on here, I will not say much about it - others on here already have and echo many of my sentiments. It is a great piece, as you've surely heard is much indebted to Bartok, and is quite a departure for Reich...We know Kronos plays it great, we know the sound quality is great, and the piece works well in one long stroke from beginning to end, the three movements flowing into each other seamlessly.
One of the best Reich recordings out there.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x8f4eee28) étoiles sur 5 Reich Grab Bag 19 octobre 2001
Par Daniel Johnson - Publié sur Amazon.com
Format: CD
The first piece on this disc--the Triple Quartet--may be startling to listeners familiar with Steve Reich's music. A sort of "polychoral" work for three quartets (or, as in this case, a single quartet accompanied by recordings of itself), it sounds a lot less like `Music for Eighteen Musicians' than it sounds like, well, the soundtrack to `Psycho'. Reich has masterfully extended his pulsing, mathematical musical style to incorporate rich, expressionistic harmonies and melodies. You heard that right, I said "melodies"--this piece is actually quite lyrical at times, though it never fully escapes a slightly mechanical quality.
The next piece, on the other hand, may be one of the most unlistenably strident pieces Reich has ever written. It's 'Electric Guitar Phase,' a new adaptation of his `Violin Phase' (1967) performed on distorted electric guitar. Fans of Reich's phase-music know that its glacially slow development can be truly exhilirating, and will take immediately to the fresh spin this new instrumentation puts on a classic piece; those less familiar should consider themselves warned--it can also, depending on the listener, be EXCRUCIATING. (Me? Well, I love it.)
The last two pieces, originally composed within a few years of each other, fall somewhere between the first two both chronologically and stylistically--much easier on the ears than Electric Guitar Phase, but also more recognizably "minimalistic" than the Triple Quartet. `Music for Large Ensemble' is cerebral and pleasant, and `Tokyo/Vermont Counterpoint' (an adaptation of `Vermont Counterpoint' from flutes to electronic percussion) is charmingly silly and just as smart. Nothing really shocking there, but a handsome end to a very interesting set of recordings.
3 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x8f4ee9b4) étoiles sur 5 Please sir, can we have some more? 18 octobre 2001
Par Eastangle - Publié sur Amazon.com
Format: CD
Nonesuch has slowly been bringing out new recordings of Steve Reich's works that were previously available on other labels, so it's no surprise to find that once again a new release contains some old material too. In this case we get the excellent Music for a Large ensemble along with variations on Violin Phase (now orchestrated for electric guitar) and Vermont Counterpoint (in a version for `MIDI Marimbas'). The new piece, Triple Quartet, is a development from the Counterpoint series (where a solo performer plays against multiple taped versions of him or herself, playing other parts) and the result is at turns energetic and opulent. The opening movement thunders and gallops along, the interaction of the three quartets supplying a powerful and ambiguous rhythmic structure. Somehow, Reich seems to be able to endow any instrument or ensemble with percussive power. The second movement starts with a single voice, gradually joined by others until all twelve instruments play together in a glorious, lyrical, plaintive canon, in which the nods to traditional Jewish music are most apparent. In the final movement the fast pace bursts out again and brings the piece to an end. Power and beauty both.
Electric Guitar Phase is... interesting. If I'm honest, the early phase pieces have always seemed to me more remarkable as conceptual demonstrations than as listening experiences. Tokyo/Vermont Counterpoint, though, is a delight. Reich says in the sleeve notes that it has a sense of humour, which I'm not sure wasn't meant as a backhanded compliment, but it did make me smile and it's sharp as a pin. Music for a Large Ensemble though is the other real treasure on the disc (along with the Quartet). It gets a vibrant performance here, warmer than the original and reminding me at times of a gypsy band for some reason. To quibble just a little, it does seem a little muddy at times - I'm not quite sure why. Maybe a lack of thrust and definition in the bass chords?
Now, if I have one gripe, it's that we don't get a recording of the only other new Reich piece of the last few years - Know What Is Above You. Come on Steve fella, I know you've been slaving away on `Three Tales', but only twenty minutes of completed material in five years or so and we don't even get all of that? And while I've got you, what's happening about the long-awaited Cello Counterpoint? And can we have a recording of the chamber version of The Desert Music? A new Variations for Winds, Strings and Keyboards? Oh heck, I shouldn't whine - at least this CD's here, and it's a cracker.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Discussions entre clients


Rechercher des articles similaires par rubrique


Commentaires

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