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Schumann: Violinsonaten
 
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Schumann: Violinsonaten

8 septembre 2008 | Format : MP3

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Détails sur le produit

  • Date de sortie d'origine : 8 septembre 2008
  • Date de sortie: 8 septembre 2008
  • Label: Universal Music Division Classics Jazz
  • Copyright: (C) 2008 ECM Records GmbH, under exclusive license to Universal Music Classics & Jazz - a division of Universal Music GmbH
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 1:11:39
  • Genres:
  • ASIN: B0025HAHTK
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 107.160 en Albums (Voir les 100 premiers en Albums)

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Par Denis Urval COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 28 octobre 2008
Format: CD Achat vérifié
Rendant compte du disque précédent de Carolin Widmann Boulez/Sciarrino/Ysaye/Widmann, j'avais émis le vœu qu'il nous soit donné de l'entendre dans autre chose que le répertoire contemporain. C'est chose faite ici avec les trois sonates tardives de Robert Schumann. Le résultat est marquant, comme espéré. Dès le premier mouvement de la Première Sonate, la phrase respire naturellement, la sonorité est profonde et généreuse, le climat est créé en quelques mesures. J'ai comparé avec l''estimable duo Beikircher-Koehlen Schumann: Violin Sonatas : ce n'est pas du tout pareil. Il y a chez la violoniste allemande un sérieux du propos (je le dis dans le bon sens), une présence et un engagement qui retiennent l'attention dans un univers d'interprètes impeccables et si souvent impersonnels. Je ne sais pas si elle peut réciter du Eichendorff ou du Heine, mais elle joue Schumann comme si elle avait à la fois une grande familiarité avec son univers poétique et une idée bien arrêtée des raisons pour lesquelles cette musique nous parle aujourd'hui. Le partenariat avec le pianiste Dénes Varjon est naturel. Me comble le mélange de douceur dans les inflexions des phrases lyriques et de tranchant dans les moments animés aux figures répétées obsessionnellement.Lire la suite ›
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Amazon.com: HASH(0x932f9e28) étoiles sur 5 10 commentaires
26 internautes sur 29 ont trouvé ce commentaire utile 
HASH(0x934cbb10) étoiles sur 5 Excellence with an Edge 4 mai 2009
Par J. F. Laurson - Publié sur Amazon.com
Format: CD
Before receiving ECM's new disc of the three Schumann Violin Sonatas, I'd almost forgotten how wonderful these works are. Violinist Carolin Widmann (sister to the clarinetist/composer Jörg Widmann) reminds me vividly and energetically of that fact. There is no dearth of recordings, but no glut, either. For one, you really want a complete set of them--including the Third Sonata, (new Grove says WoO27, the Bärenreiter and Schott Urtext scores say WoO2), not just opp. 105 and 121. The last work Schumann composed before he decomposed three years later, it's a sonata spotted with inspired, echt-Schumann moments. It took its final shape when Schumann added two more movements to the two (second and fourth movement) that he had already contributed to the "FAE-Sonata"--the sonata that he, Brahms (third movement), and Albert Dietrich (first movement) co-wrote for the birthday of Joseph Joachim.

Widmann and pianist Dénes Várjon are not household names, although collectors of Hungaroton releases might be familiar with the latter as part of the Takács Piano Trio and piano partner of Miklós Perényi. This recording shows Widmann and Várjon as fabulous musicians who are--particularly important in this repertoire--very well matched. Fleet and spunky, finding a good balance between assertive and lyrical, without overdoing either, Carolin Widmann navigates through sonatas every bit as securely as colleagues Marwood, Kremer, Faust & Co.

Gidon Kremer, who recorded the first two sonatas with Martha Argerich (DG), floats above the music, his slightly abbreviated phrases and beautifully contained violin sound seemingly unconcerned by gravity. Underneath him (sonically, though not interpretively) Argerich is her tempestuous best, bursting out at the seams, eager and independent minded. The sonatas becomes two stories, Kremer's and Argarich's, and it's ever titillating. Tempos change from one second to another, and movements like the third of op.105 ("Lively") run along like mice on tip-toes. It's a terrific way to interpret Schumann and even "incomplete" that disc should be on every well-stocked Schumann shelf.

Isabelle Faust and Silke Avenhaus on CPO offer all three sonatas and excellent performances, making it the ECM disc's primary competition. Like Kremer, Faust has a tendency towards clipped phrases, but her touch is not as soft as Kremer's which gives her consistently fast readings a trace of aggression and restlessness. No one plays the 2nd movement of op.121 so fast, though Widmann and Várjon come close and are even more rhythmically incisive. The dry acoustic allows for all details to come out, the balance between the instruments is perfectly even.

Compared to those accounts, Maria Egelhof and Mathias Weber (Thorofon) sound merely competent and sometimes even flatfooted (better in op.121 than op.105), as do Alban Beikircher and Benedikt Koehlen (ArteNova), who, however, delight with a stunning slow movement in op.121, the closely recorded pizzicato beginning being particularly delightful.

Widmann/Várjon meanwhile are a more cohesive unit than any of the couples above. They are the most flexible with tempos, allowing themselves time to indulge (3rd movement of op.105 or 1st movement of op.121) and really stepping on it, too (2nd movement of op.121, Scherzo of WoO2). Widmann's tone is particularly soft, her touch more supple even than Kremer's. When fortissimo is asked for, she remains sonorous with no hint of screeching. And for the gorgeous third movement of op.121, they have something truly special in store. It begins with Carlolin Widmann's pizzicato that barely sounds like pizzicato and more like a spiccato sulla tastiera. It's the most gentle way you'll ever hear this movement opened--slow, but melodious and with a forward momentum that gracelessly plucked notes could never muster. According to Widmann, who is very fond of exploring new ways of treating pizzicatos lovingly, that movement started out as a casual after-Dinner jam session but was surreptitiously recorded by Manfred Eicher who sensed that something beautiful was going on. It was, said Widmann, a moment of music-making that comes very rarely; that it doesn't get any better that. She was talking about the moment itself, but the same could be said about the result.

Coincidentally it's also the movement that works best in the resonant, not to say cavernous, Auditorio Radio Svizzera in Lugano. The acoustic is delightful bordering lush to these ears--for the most part. Friends of a dry acoustic, though, might find the natural reverb of the ECM recording to be testing their limits. Both instruments come to the ears from a little further back than the closer recorded recordings of Kremer & Faust.

It's my favorite recording of these works now, but it's not perfect. What I find somewhat objectionable is the soft rumble in the bass that's caused by every stomped foot, heavily pressed pedal, and every soundly rung low note on the piano. These low, ambient sounds feel as if someone upstairs ran about barefoot. On headphones that's not a problem, nor at low levels, but with bass-rich speakers at neighbor-unfriendly levels it can be rather distracting. Fortunately that's but a small caveat in light of all the goodness contained on this disc.
11 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x936fc828) étoiles sur 5 compared with Kremer and Argerich 9 avril 2009
Par Y. Dai - Publié sur Amazon.com
Format: CD
First I have to say that I am a layman of classical music although I own many classical music CDs. So my comment is clearly not from an expert.
I have already owned Kremer and Argerich's version of Schumann's violin sonatas. However, upon hearing the sampler of this CD, I did not hesitate to buy it. Compared with this CD, Kremer and Argerich's version is clearly too coarse to be labeled as maestros' work. In that version, piano and violin seem to fight with each other fiercely. I don't think Schumann's work needs to be played like that. Widmann's version is clearly more sublime and refined. It reminds me of the similarity between the style of these violin sonatas and that of Schumann's piano work. So if Schumann formed a coherent style, then Widmann's version is clearly more consistent with what the composer wanted to express.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x931d0048) étoiles sur 5 They take chances! 15 mai 2014
Par P. Kelley - Publié sur Amazon.com
Format: CD Achat vérifié
This performance is outstanding on many levels, but what is so remarkable is how the pianist and violinist seem to have such an innate understanding of Schumann's musical idiom. The playing is passionate, even frenzied, but never out of control. While I sometimes wish the hall weren't so live, after a while you get used to it. It is certainly not a cover for sloppiness by any measure.

Listen to the slow movement of the D minor sonata. The day before he died the emaciated Schumann, who had refused all food up until then, agreed to take some wine which he gently licked from his wife Clara's fingers. As he did so, he managed to say to her, "I know you." This moment of unbearable tenderness is captured perfectly here.
3 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x931d000c) étoiles sur 5 Simply outstanding 12 juin 2011
Par Kevin Troy - Publié sur Amazon.com
Format: CD
This is an excellent recording of fantastically good music. The give-and-take between Varjon and Widmann is musical collaboration at its best. Can't recommend highly enough to anyone who's interested in romantic-era chamber music -- whether you've never listened to classical music or are a well-versed afficionado.
HASH(0x9324e708) étoiles sur 5 This is an excellent disc but, in an ideal world, should be one of a pair to collect 6 septembre 2015
Par I. Giles - Publié sur Amazon.com
Format: CD
Schumann wrote these three works late in life at the end of 1853 just months before attempting to kill himself by drowning in early 1854. Although saved from immediate death, he eventually died in 1856 at the psychiatric clinic to which he had been admitted.

These three works, along with the violin concerto that preceded them have been associated with an assumed decline in his mental powers. Recent scholarship has revisited the medical notes made at the time and it now seems certain that, far from a decline in his mental powers, Schumann was in fact in the last stages of syphilis resulting in progressive paralysis. This would not directly affect his mental powers of composition so these late works can be re-evaluated in the light of this medical research. Thus any departure from the expected approach to composition can be seen as an intentional compositional decision rather than as a decline in thought processes.

The third sonata, here entirely completed by Schumann, was originally a shared work designed as a birthday present for the violinist, Joachim, who was to identify the three composers involved. Schumann had written two of the movements, the second and fourth. Within days of the presentation of the shared work Schumann supplied the other two movements and presented the complete work written by himself to Joachim who pronounced it to be ‘…. Its concentrated-energetic manner the completion of the sonata forms a splendid complement to the other movements. Than is indeed another whole!’ It is this whole work by Schumann that is presented here as the third sonata. This was finally published in 1956 having previously been suppressed by Clara Schumann amongst others as inferior. This recording allows those judgements to be challenged.

There are currently two versions of these three works and both are undoubtedly of equal merit both as interpretations and also as recordings. The differences between the two are well matched by the recordings which complement the interpretive approaches with well-judged sound. Again, these two sets of recordings are exemplary.

The first recording to be issued was that of Isabelle Faust and Silke Avenhaus on the CPO label, recorded in 1999 and issued in 2000. This disc firmly confirmed the credentials of all three works which were given interpretations of considerable commitment and interpretive understanding. Typical of Isabelle Faust, the playing is precise and meticulous in terms of making the most of every detail and still rising to the many dramatic moments. This is a very satisfying disc in every way. The recording keeps a respectful distance and allows space around the players.

The second recording to be issued was that by Carolin Widmann and Denes Varjon on the ECM New Series label, recorded in 2007 and published in 2008. This disc firmly confirmed the previous credentials of all three works which were given interpretations of considerable commitment and emotional passion. The passionate nature of the playing is well matched by a warm and close balance that involves the listener emotionally while avoiding all the excesses of over-close use of microphones.

Magazine reviews of the times were unanimous in their praises of both individual discs and collectors have been strongly advised to investigate these three works and judge for themselves the power of their non-diminished creative powers. Those assessments still stand as valid today.

The problem for collectors is which to choose. Both are excellent discs in every way but still significantly different. Generally Widman takes a stronger and more forthright approach to nearly all the movements and this makes for compelling listening. Faust takes more mercurial, more fanciful approaches to most movements and these result in slightly shorter overall playing times throughout. This is not to imply any lack of pace or imagination in the Widmann disc nor lack of passion in the Faust disc. Both approaches are completely consistent with widely perceived understandings of the composer and both have a recognisably ‘correct’ feel to them.

Essentially, by buying just one of these two discs, collectors will certainly miss out on a completely valid, authoritative and convincing complementary view. The best answer would be to obtain and enjoy both. Those looking for just one disc will be satisfied with either but will inevitably miss out on a fuller view! There is no solution which will identify a clear winner here.

This is an excellent disc but, in an ideal world, should be one of a pair to collect
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