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Schubert:Trout Quintet; Arpeggione Sonata; Notturno
 
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Schubert:Trout Quintet; Arpeggione Sonata; Notturno

19 avril 1999 | Format : MP3

EUR 10,99 (TVA incluse le cas échéant)
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Format: CD
Un cd da non perdere. Il timbro delicatamente autunnale del piano ottocentesco si sintonizza in modo illuminante con le sonorità incisive delle corde di budello, in particolare del violoncello e dell'arpeggione che Anner Bylsma suona con grande esperienza e finezza interpretativa. Che dire? L'ascolto di questa esecuzione ti rapisce e ti entusiasma. Il rapporto tra l'io e la natura, il fascino del paesaggio come espressione dell'infinito tendere (sensucht) protoromantico trovano in queste note un'espressione intensa.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x91d079c0) étoiles sur 5 6 commentaires
13 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x91c9bf78) étoiles sur 5 Lonely, but Noble Arpeggione Sonata 14 janvier 2001
Par ymatsui4 - Publié sur Amazon.com
Format: CD
Among three works in this CD, the most characteristic is the performance of the arpeggione sonata D821 by Bylsma and Immerseel. This sonata has long been treated as a bravura showpiece by virtuoso cellists. Bylsma's approach is fundamentary different: He treats the sonata as a serious work, consistent with the period of composition (two String Quartets D804 and D811-The Death and Maiden). Using five-stringed small cello, he plays with highest sense of delicacy. As a result, the music is no more a merry bravura, but somewhat lonely and at the same time quite noble one. I like this approach. Others, the most popular 'Trout' Quintet and the least known Piano Trio fragment ('Notturno'), also share the high musical standard, too.
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x91d37e04) étoiles sur 5 The sonorities of the FortePiano are a perfect match! 18 juillet 2000
Par Sam Ostroff - Publié sur Amazon.com
Format: CD
I agree with the Amazon editor above that the resonances of the modern piano do not do the 'Trout' justice. I cannot imagine that Schubert penned this work thinking of any instrument OTHER than the FortePiano, so ideal is the lightness of it's textures. I find myself swept away by the exuberance of Immerseel's playing. Matching that alone against all other versions of the 'Trout', modern piano or not, this one is the version to have. The brisk tempi are a treat! I hope you find this as rewarding a listening experience as I.
4 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x91d3e3b4) étoiles sur 5 A hasty outskirt at the trout's brook 25 septembre 2006
Par Discophage - Publié sur Amazon.com
Format: CD
Someone at Sony must like the idea of pairing Schubert's "Trout" quintet with his Arpeggione sonata, as two years before this recording the label had already published the same coupling played by Emmanuel Ax, Yo-Yo Ma and friends (Schubert: "Trout " Quintet or Schubert: Quintet, Op. 114 "The Trout" / Sonata, D. 821 "Arpeggione", see my comments). But in this newer one by L'Archibudelli (with mainstays fortepianist Jos Van Immerseel, violinist Vera Beths and cellist Anner Bylsma), besides the inclusion of the beautiful "Notturno" in place of the Lied on which Schubert had based his variation movement, the major difference lies of course in the use of period instruments. Well, "period" in a broad sense, not so much because some of the instruments used date from the early 18th century (after all, string players in the time of Schubert might indeed have been playing on instruments a century-old), as because Bylsma uses in the quintet a cello built some 15 years after the composition of the piece; more questionable still is the fact that he does NOT use an actual Arpeggione in the eponymous sonata, but a 5 stringed piccolo cello from 1700 - the same one that is more appositely featured in his 1990 Bach Viola da Gamba recording on Sony, (J.S. Bach: Sonatas for Viola da Gamba; J.C.F. Bach; Sonata in A). The Arpeggione, also called by its inventor, the Viennese guitar-maker J.G. Staufer, a "guitare d'amour" and also known as the "guitarre-Violoncell", is actually a cello-sized, guitar-shaped instrument with 6 strings tuned like a guitar and sharing with that instrument a few more technical characteristics but actually bowed like a cello rather than strummed. Now the whole point of period instruments seems to me to lie in the search for an "authentic" sound, e.g. a sound as close as possible to what it might have been in the time of composition and in the mind of the composer, and as it is, Bylsma's 5-stringed 1700 instrument is no more authentic than a modern cello. The LP recording of Schubert's sonata made in 1974 on an actual Arpeggione (kept in the Berlin Museum of Music Instruments) by Klaus Storck, for Archiv, has unfortunately not been reissued, and the recent CD recording made on the same instrument by Gerhardt Darmstadt for Cavalli isn't so good (Der Arpeggione, see my review), so Bylsma's choice is an opportunity missed.

But let us not fuss over these petty details, and welcome what we get, all considerations of "authenticity" aside. In terms of sound color, all those exposed to period instruments will know what to expect here: soft-grained string tone but also somehow less focused and more rough-hewn than modern instruments, which I find quite easy to adjust to; more dramatic differences are with the fortepiano, again soft-grained, with a general lack of resonance and short decay time as well as brittle top, making it sound somewhat like a toy-piano or the old out-of-tune salon piano you might still find in your grandmother's attic. It certainly does not elicit much sense of power and drama. Now how one reacts to that is a matter of personal taste, but I certainly do not think that it invalidates the use of modern instruments.

Besides playing on period instruments, Archibudelli's main interpretive slant in the "Trout" seems to be to zip through as fast as possible. Indeed, timings in each movement are the fastest or near-fastest I have met on the 20 or so versions I have heard on CD, including the swift-moving Ax-Ma & friends (Sony, see above) or Adès-Belcea (EMI, Adès: Piano Quintet; Schubert: "Trout Quintet"). Their first movement is brisk, even hurried, rather short on charm, tenderness and the long, lyrical respiration (although the violin and cello interplay has plenty of feeling) but very dynamic, with nervous accents. These 5 pals obviously have an evening appointment back in Vienna and can't afford to idle their time away on their countryside fishing outskirt! In defense of such an approach one may point that the opening movement is written "Allegro vivace" - but it is also in 4/4 time signature and not 2/2. Likewise Archibudelli's "Andante" is forward-moving, urgent, with dynamically dry and pointed fp phrasings at 0:59, but also with not much repose and respiration, and instrumental colors that lack a touch of fullness, resulting in a not so lyrical viola and cello cantilena at 1:19. For the scherzo they take Schubert's "presto" at face value (perhaps forgetting along the way that it is a 3/4 time signature and not a 3/8) and chose a tempo similar by a couple of seconds to the one adopted by Ax-Ma and friends, but unlike them (and commendably in my opinion) do not relax the tempo in the middle trio. I find that it is in the variation movement that their dynamic approach works best, as it fills the music with zest and carefree humor, while avoiding any mawkish fussing over theme and variations. The finale moves forward with decision - our pals seem happy and proud to have their "Trout" and in a hurry to go home and eat it. Still, another version on period instruments, by Hausmusik, originally on EMI Reflexe (paired with Hummels quintet for the same instrumental combination, Schubert: Trout Quintet/ Hummel: Piano Quintet - Hausmusik, see my review) and now in a cheap (at least, it was released as such), 5-CD box on Virgin (Mozart, Beethoven, Schubert, Mendelssohn, Hummel: Chamber Music [Box Set]), seems to me preferable because less radical in its interpretive approach.

As a weighty filler, all considerations of instrument put aside, Byslma and Van Immerseel contribute a fine, lyrical and light-footed reading of the Arpeggione sonata, if neither as dynamic and virtuosic as Ma and Ax's nor as profound in tone color and mood as in the classic 1968 recording of Rostropovich and Britten (Schubert, Debussy / Rostropovich, Britten or Rostropovitch plays Schubert, Schumann, Debussy and Britten).
HASH(0x91d3e780) étoiles sur 5 Five Stars 26 avril 2016
Par Byron F. Findley - Publié sur Amazon.com
Format: CD Achat vérifié
Just what I wanted to hear.
5 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x91d3e72c) étoiles sur 5 Otra obra maestra de L'Archibudelli 7 septembre 2000
Par Leopoldo Parra Reynada - Publié sur Amazon.com
Format: CD
Poco se puede decir del quinteto "la trucha" de Schubert; no por nada es una de las obras más populares para cuarteto de cuerdas y piano; sin embargo, en este disco encontramos un par de obras adicionales que bien valdrían por sí mismas el precio de este CD: el "Arpeggione" y el "Notturno" (este último popularizado por Nana Mouskoury en forma de una canción). La ejecución de L'Archibudelli resulta excepcional (baste con saber quienes forman este cuarteto de cuerdas: Vera Beths al violín, Jürgen Kussmaul en la viola, Anner Bylsma en el cello y Marji Danilow en el bajo, todos ellos reputados solistas); y como complemento sensacional, la participación de Jos van Immerseel tocando un piano construido a principios del siglo XIX, y cuidadosamente restaurado, que nos demuestra que estos instrumentos no eran tan inferiores como nos habían hecho creer. Por todo esto, seguramente no se arrepentirá de adquirir este disco, y muy probablemente se convierta en uno de sus favoritos (en lo personal, el "notturno" me conquistó por completo).
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