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Rachmaninov : 24 Préludes / Vladimir Ashkenazy

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Page Artiste Vladimir Ashkenazy


Détails sur le produit

  • Interprète: Vladimir Ashkenazy
  • Compositeur: Serge Rachmaninov
  • CD (3 mars 2007)
  • Nombre de disques: 1
  • Label: Decca
  • ASIN : B000KQGOB8
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 86.939 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. - prelude in c sharp minor, op.3, no.2
  2. 10 preludes op 23 - prelude in f sharp minor, op.23, no.1
  3. 10 preludes op 23 - prelude in b flat, op.23, no.2
  4. 10 preludes op 23 - prelude in d minor, op.23, no.3
  5. 10 preludes op 23 - prelude in d, op.23, no.4
  6. 10 preludes op 23 - prelude in g minor, op.23, no.5
  7. 10 preludes op 23 - prelude in e flat, op.23, no.6
  8. 10 preludes op 23 - prelude in c minor, op.23, no.7
  9. 10 preludes op 23 - prelude in a flat, op.23, no.8
  10. 10 preludes op 23 - prelude in e flat minor, op.23, no.9
  11. 10 preludes op 23 - prelude in g flat, op.23, no.10
  12. 13 preludes op 32 - prelude in c, op.32, no.1
  13. 13 preludes op 32 - prelude in b flat minor, op.32, no.2
  14. 13 preludes op 32 - prelude in e, op.32, no.3
  15. 13 preludes op 32 - prelude in e minor, op.32, no.4
  16. 13 preludes op 32 - prelude in g, op.32, no.5
  17. 13 preludes op 32 - prelude in f minor, op.32, no.6
  18. 13 preludes op 32 - prelude in f, op.32, no.7
  19. 13 preludes op 32 - prelude in a minor, op.32, no.8
  20. 13 preludes op 32 - prelude in a, op.32, no.9
  21. 13 preludes op 32 - prelude in b minor, op.32, no.10
  22. 13 preludes op 32 - prelude in b major, op.32, no.11
  23. 13 preludes op 32 - prelude in g sharp minor, op.32, no.12
  24. 13 preludes op 32 - prelude in d flat major, op.32, no.13

Descriptions du produit

RACHMANINOV : 24 PRÉLUDES / VLADIMIR ASHKENAZY


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Format: CD Achat vérifié
Serge Rachmaninov n'a pas, comme Chopin ou quelques autres, décidé d'écrire 24 préludes. Il a commencé par en écrire un, en Ut" mineur, isolé dans un recueil, connu pour son écriture ample sur 4 portées, , qui deviendra tellement célèbre que le compositeur en concevait quelque agacement et ne le désignait que par "it". Puis, il écrivit une série de 10 (Scriabine également était familier des préludes isolés dans un ensemble plus vaste ou des recueils aux nombres non classiques). C'est probablement en se mettant à l'ouvrage sur une dernière série qu'il décida d'en écrire 24 au total, comme ses illustres prédécesseurs.La précédente série en contenant 10, cette dernière série en contint donc 13.

L'interprétation d'Askhenzy nous rappelle avec émotion les antécédents du compositeur. Nous y entendons Liszt, Chopin, mais aussi Schumann voire Schubert. C'est une version toute en demi-teintes et en nuances qui nous est livrée ici.

Ceci peut être gênant dans certaines pièces. je dois avouer personnellement que j'entends le clèbre prélude en sol mineur de manière plus carrée que l'inteprétation qu'en donne Askhenazy, techniquement parfaite mais en demi-teinte. Après tout, c'est probablement une question de goût ^personnel; je dois reconnaître que le version de ce prélude proposée ici a bien des charmes.
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Amazon.com: 4.0 étoiles sur 5 4 commentaires
2 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Definite Recording of the Rachmaninov Preludes 7 février 2013
Par PP35 - Publié sur Amazon.com
Format: CD Achat vérifié
Here is the young Vladimir Ashkenazy's amazing command of the piano combined with sincere straight from the soul vast array of expressions.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Perhaps I am being sentimental... 25 juin 2011
Par Alexander Arsov - Publié sur Amazon.com
Format: CD
But I still find Ashkenazy's recording of Rachmaninoff's complete preludes one of the finest. Admittedly, my only other experience with a complete recording of these marvellous pieces is Weissenberg's crude and insensitive one on RCA. Of course there is the amazing Nikolai Lugansky, whose Preludes Op. 23 for Erato are stupendous, but even his incandescent pianism does not erase memories of Ashkenazy more lyrical but equally moving approach. Besides, Lugansky's collection is pretty incomplete. (Did he ever record the Preludes Op. 32? If he did, I have never heard them). At any rate, despite a little over-caution here and there, Ashkenazy remains, for me, an excellent choice for a complete recording of these marvellously original and monstrously under-recorded works. And there are many individual highlights as well.

To be sure, Vladimir Ashkenazy is not the most imaginative or most daring pianist in the world. But he is certainly one of the most sensitive. The more lyrical preludes are his forte, and Op. 23 Nos. 1, 4 and 10 as well as the famous Op. 32 Nos. 5 and 12 are well worth hearing for the subtlety with which Ashkenazy reveals Rachmaninoff's melodic and harmonic richness. This is not to say that in the more extroverted preludes Ashkenazy is technically handicapped or anything like that. The only slight disappointment is the ubiquitous G minor prelude (Op. 23 No. 5) where he gets the tempo right but lacks completely the crispness and precision of Lugansky or the emotional explosion of Horowitz. But in the ebullient Op. 23 No. 2 or the menacing Op. 23 No. 6 Ashkenazy displays an excellent balance between stunning virtuosity, crashing left hand and a fine handling of the melodic line. He does only slightly less well in the apocalyptic middle section of Op. 32 No. 4 or the majestic Op. 32 No. 10, reportedly Rachmaninoff's favourite piece from the cycle. The last prelude, Op. 32 No. 13, is one of the finest examples of something typical for Ashkenazy: achieving a massive sound without resorting to ugly banging.

The sound quality is excellent, especially for a DECCA recording of solo piano made in 1974-75; I have heard a great deal worse sound in most of Jorge Bolet's recordings for the same label a decade or so later. I am curious what kind of piano Ashkenazy used in these sessions. Surely it is no Steinway, the lighter but more luminous sound suggests Bechstein and this may have something to do with a sound which is not found on record as often as it should be. At any rate, the piano sounds perfectly natural and the sonority is wonderfully deep; only very occasionally slight harshness in the high register or certain flatness in the lower one mars the otherwise impeccable sonics, but neither is big deal.

I appreciate Mr Grabowski's informed opinion, and I will give Richter a try if he insists, but I venture to differ with him as to the merits of Ashkenazy's preludes. There is more than completeness to recommend this set. Except for the fairly disappointing G minor, Ashkenazy easily stands comparison with the more technically accomplished Lugansky and he is way superior to Weissenberg's incoherent playing. With the same exception in mind, Ashkenazy is not so inferior to any of the preludes recorded by Rachmaninoff himself or Horowitz, though he of course doesn't have the originality of either. Nevertheless, as far as sheer musicianship is concerned, Vladimir Ashkenazy remains one of the finest combinations of poetry and power in the music of Rachmaninoff I can think of. As a bonus, you get the preludes complete and in one very well-filled disc (80 minutes).
15 internautes sur 17 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Nice sound, performances that hit and (more often) miss 1 décembre 2007
Par The Man in the Hathaway Shirt - Publié sur Amazon.com
Format: CD
It's hard for me to imagine a set of Rachmaninoff Preludes--these most emotional of piano works--that illicit no emotional response from, but that's how I'd describe Ashkenazy's amazingly banal interpretations. Technique is decent, though tested in some places (vs. Richter, who plays these as though they're childishly easy), such as No. 1 of Op. 32, but worse is his seeming lack of understanding of the emotional highs and lows of this music. In the second prelude of Op. 32, for example, he doesn't find the tension and release that's there; it all gets rather repetitive. He's best where he can just bang the hell out of the piano without having to produce much in the way of colors, ie, No. 3 of Op. 32. But even here, at the key transitional point (at 1:18 in), there isn't a bit enough change--no difference in color, phrasing, line. This is the big plateau, the payoff moment, but he does nothing special, just plays it like he's been playing till now. And that's the main problem with most of these, come to think of it: great pianists like Richter find mini dramas in them, short one-act plays. Each piece, despite being only a few minutes in length, goes through a metamorphosis. With Ash, it does not--we come out the other end in the same state we went in. Just compare Richter's No. 1 of Op 23 with the present performance to see what I mean.

Nowhere is this more evident than in Rachy's own favorite Prelude, the B minor of Op. 32. Richter tells a story. Ashkenazy plays the piece. When the main theme returns in the coda, it's undergone a change under Richter, gaining wistfulness and that fleeting feeling, because Rachmaninoff knew "the Return" (privately the called this "the Return" prelude) would never come. Ash just recaps it. The great upheaval has no meaning. On the positive side, Ashkenazy gets a wonderful rich sonority in the lower register in the transition before the coda recap, starting around 3:07, and he plays the part just before that recap beautifully and with high polish.

If you're looking for a *complete* set of these works, I'd still stick with this one, just because there are so few others out there, and all are as bad or worse. At least Ashkenazy has the sound right: Weissenberg and Howard Shelley don't even get that, Weissenberg hurries through them so fast he destroys the very structures he creates. (His handling of No. 4 in D baffles me to no end; did he have to pee?) Moura Lympany is scattershot with no imagination. I have to admit I've never heard (or even heard of) Rustem Hayroudinoff. I also see Lugansky has done an Op. 23, and while this isn't "complete," I'd love to hear it and have high hopes, based on other performances I've heard from this artist.

Still, for a complete set this may be on the "better" side of the spectrum, compared to the competition. I wish Richter had recorded them all, because frankly he has no peer. Look for his incomplete set on Olympia, and make do with these for the rest. There is no complete definitive version out there--odd, considering how popular these works are with audiences. --Oh, and do try to hear the composer's own performances of the Preludes he did record--far from complete, but wonderful.
7 internautes sur 12 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 A good start, but there are much better "complete" sets out there.... 1 janvier 2008
Par Michael Black - Publié sur Amazon.com
Format: CD
Just for the sake of completeness, you may want to try the full set of recorded Rachmaninoff preludes by Alexander Budyonny, a Russian pianist with the right "feel" and absolutely superb technique. I agree with the previous reviewer that no one can compare to Sviatoslav Richter in this category, but the reviewer seems to overlook (other than Shelley, Weissenberg, etc.) other important artists who have contributed to this important ouevre by Rachmaninoff.
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