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Quintettes Avec Piano, Serenad

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Détails sur le produit

  • Interprète: The Schubert Ensemble of London
  • Compositeur: Ernö Von Dohnanyi
  • CD (2 avril 2001)
  • Nombre de disques: 1
  • Label: Hyperion
  • ASIN : B000002ZVX
  • Autres éditions : CD  |  Téléchargement MP3
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Liste des titres

Disque : 1

  1. I. allegro
  2. II. scherzo. allegro vivace - trio - reprise
  3. III. adagio, quasi andante
  4. IV. final. allegro animato - allegro
  5. I. marche. allegro
  6. II. romance. adagio non troppo
  7. III. scherzo. vivace
  8. IV. thème & variations. andante con moto
  9. V.rondo. final
  10. I. allegro non troppo
  11. II. intermède. allegretto
  12. III. moderato - tempo del primo pezzo

Commentaires en ligne

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Commentaires client les plus utiles sur (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards) 4.8 étoiles sur 5 5 commentaires
0 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Good! 11 février 2015
Par benoit st-germain - Publié sur
Format: CD Achat vérifié
very good
15 internautes sur 15 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Both Piano Quintets and the 'Serenade' (String Trio) 9 mars 2005
Par J Scott Morrison - Publié sur
Format: CD
This review is actually to mention and comment briefly on competing recordings of Dohnanyi chamber works, primarily the First Piano Quintet, an amazing, melodic, well-crafted work from Dohnányi's student years and his Opus 1. Every movement has its felicities, including the catchy final movement with its 5/4 meter and obligatory fugal ending. There are competing versions of that work recorded by the Gabrieli Quartet with Wolfgang Manz, piano; the Vanbrugh Quartet, with Martin Roscoe, piano; and the Takacs Quartet with András Schiff. All are actually quite wonderful performances and I suspect the main draw for any of these recordings will be the Quintet's discmates. The couplings: Schubert Ensemble (Second Piano Quintet, the delightful 'Serenade,' which is a string trio), Gabrieli Quartet (Second String Quartet, Op. 15), Takacs (Sextet, Op. 37).

On this disc is the Second Quintet, Op. 26, which is considerably advanced from the Op. 1, but is still in the ambit of Brahmsian harmonic warmth. And sandwiched between the two quintets is the delightful 'Serenade.' The Serenade, written in 1902, is for string trio, that rarest of chamber music forms; it is difficult to write music with full-sounding romantic harmonies with just three instruments. However, by judicious use of double-stops and lots of cello and viola arpeggios using 4ths, 5ths, 6ths and 10ths, the harmonies are filled out admirably and richly. Indeed, this piece is every bit as yummy as a cup of hot dark rich chocolate. If you love Brahms, you'll love this piece. It has been much-recorded and even rescored (by Dimitry Sitkovetsky) for string orchestra; this recording holds its own with that company.

Recommended both for performances and for the repertoire represented. You can't go wrong with this one if you love Brahms or music of that ilk.

Scott Morrison
29 internautes sur 32 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Wonderful chamber music 1 janvier 2003
Par Music fan from Finland - Publié sur
Format: CD
Dohnanyi's two piano quintets and the serenade for string trio belong to the category of finest chamber music ever written. It is sad that they are so little known today, because the melodic inventiveness, the solid structures and overall material of these works prove him to have been a true genius in the shadow of his contemporaries Bartok and Kodaly. The Schubert ensemble of London plays with great affection for this music. In my collection of over 200 records of classical music this ranks to top 5 without a doubt. An absolute must-have for a romantic music lover!
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Masterly music in overall very good performances 20 décembre 2015
Par G.D. - Publié sur
Format: CD
The music of Erno Dohnányi remains semi-popular – not quite mainstream, but popular enough that most of his instrumental works have received multiple recordings (his vocal music, in particular his operas, has fared less well). The serenade for string trio featured here is, in fact, his most popular work, but that seems to be just a function of the relative scarcity of high-quality string trio repertoire – although it’s a fine work it doesn’t hold a candle to the masterpiece that is the second piano quintet, for instance. I doubt that any of Dohnányi’s music will ever really make the mainstream, however – while superbly crafted and full of good ideas, it is staunchly conservative and it doesn’t exhibit any really strong, personal voice. But that is really not a very good reason not to investigate the brilliant and enjoyable music on this disc.

The first piano quintet is Dohnányi’s op. 1 and was completed when the composer was 18, but don’t think it is anything but a mature work! Yes, the language is heavily indebted to the great romantic masters – Dvorak and Brahms, in particular, with a hint of a Hungarian twist (the finale features a Hungarian folk melody, for instance), but the structure is seamless and the general tone is almost surprisingly restrained and thoughtful. The Brahmsian first movement is the highlight, a truly memorable movement, and the finale is very enjoyable if mostly rather light. The middle movements may be slightly less memorable, even though they, too, exhibit Dohnányi’s melodic gifts: the scherzo is relatively anonymous and the slow movement reflective and beautiful without quite managing to go anywhere particularly interesting. Still, this is a splendid work overall, well worth investigating, even if it is obviously not quite on the level of the second quintet.

The second quintet dates from 1914 and is one of Dohnányi’s genuine masterpieces, worthy of comparison with the greatest works of the genre. It is still generally romantic in character, but the language is more troubled, darker and more dramatic. The opening movement is dark and intense and absolutely captivating. The middle movement is a rather troubled and shadowy intermezzo, and the finale a thoughtful and restrained moderato (interestingly, the piano is mostly relegated to an accompanying role). The whole work is memorable from start to finish, tautly constructed and with truly memorable ideas; it’s a work that deserves a central place in the chamber music repertoire.

The Serenade is lighter in character, though it can hardly be characterized as light music. The style is this time around indebted to the classical masters – Beethoven in particular – though filtered through a romantic sensibility. The opening movement is light and buoyant and carefree; it is followed by a pretty Romanza and a rather inconsequential scherzo. The center of the work, and the longest movement, is a set of ingeniously wrought and powerful variations, but the final rondo, though happy and seemingly carefree, is superb as well. The popularity of the work is well deserved: though it is probably not a masterpiece (the fourth movement apart) it is brimful of good ideas and memorable melody.

I don’t really have much with which to compare the performances, though the Schubert Ensemble seems to play both quintets pretty “straightforwardly” – there is plenty of drive and energy, but perhaps they are a bit short on variety and depth; one feels that in the second quintet, it may theoretically be possible to find even a little bit more fire, intensity and, well, depth than they manage to find: Perhaps they are just a little bit too quick on their feet? If this is a reservation, it is intended as a relatively minor one, though, and it applies mostly to the second quintet, however – the first is a delight and the playing is generally excellent. The Serenade is played with sparkle and wit, and the sound is very good. In the absence of comparisons the final verdict has to be a bit tentative, but I really, really enjoyed this disc and can probably justify a top rating.
0 internautes sur 18 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Madama Butterfly Met Opera 9 septembre 2013
Par George J. - Publié sur
Format: CD Achat vérifié
Licia Albanese was always my favorite Cio-Cio-San. I have seen many Butterflys; I don't go back as far as Geraldine Farrar. It was a delight to have Mme.Albanese's complete Butterfly, even with a few cuts. The rest of the cast is a usual Met Butterfly, but Licia raises this to an outstanding performance, even if it is over 70 years old. Anyone who wants to hear how Butterfly should be done, listen to this one.
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