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Schumann : Symphonie n° 2 - Ouvertures

4.5 étoiles sur 5 2 commentaires client

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Page Artiste Claudio Abbado


Détails sur le produit

  • Orchestre: Orchestra Mozart
  • Chef d'orchestre: Claudio Abbado
  • Compositeur: Robert Schumann
  • CD (10 juin 2013)
  • Nombre de disques: 1
  • Label: Deutsche Grammophon
  • ASIN : B00CIWOJUU
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 80.154 en Musique (Voir les 100 premiers en Musique)
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Digital Booklet: Schumann: Symphony No.2; Overtures Manfred, Genoveva
Digital Booklet: Schumann: Symphony No.2; Overtures Manfred, Genoveva
Album uniquement

Descriptions du produit

Claudio Abbado s interpretation of the Second Symphony is his first recording of a Schumann symphony for DG. The noble Genoveva and stirring Manfred overtures are exalted additions to this album.


About his Second as performed at the Lucerne Easter Festival, the Neue Zürcher Zeitung extolled Abbado s reading as of the purest beauty, while Berlin s Der Tagesspiegel found Abbado s way with the symphony liberating.

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Par Denis Urval COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 8 juillet 2013
Format: CD
De Schumann, Claudio Abbado avait surtout enregistré les Scènes de FaustSchumann: Scenes From Goethe's Faust, le concerto pour piano à plusieurs reprises (avec Maurizio Pollini, Murray Perahia, Alfred Brendel, Maria Joao Pires), et celui pour violoncelle, avec Natalia GutmanSchumann : Concerto Pour Violoncelle Op.129 - Brahms : Sérénade N°1. Il n’avait jamais abordé les symphonies au disque. Il a choisi la seconde, et on peut s’en réjouir quand on a comme lui pour cette œuvre une affection et une admiration particulière (captation, Vienne, novembre 2012).

Son orchestre Mozart (fondé à Bologne en 2004, où on retrouve des fidèles comme l’altiste Wolfram Christ), est ici assez étoffé, avec un peu plus de 70 musiciens. Abbado recherche moins l’allègement à tout prix et la transparence pour elle-même que la finesse et la grâce. Ce sera donc une belle exécution, d’esprit apollinien : le danger d’une approche « chambriste » est que toute la tension de la musique se perde dans un mezzo forte et un adoucissement permanents ; mais ce danger est pour l’essentiel conjuré ici. Et qui n’admirera pas qu’il n’y ait jamais, dans toute l’exécution, la moindre dureté, des cuivres laidement agressifs, quelque chose qui viendrait rendre l’ensemble moins harmonieux. Après, si l’Adagio espressivo est parfaitement mené, l’Allegro molto vivace final reste assez sage et on peut le concevoir plus fiévreux.
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Format: CD Achat vérifié
Avec Abbado et son orchestre Mozart on atteint les sommets de l'interprétation. Voilà un enregistrement avec lequel on s'échappe de tristes contingences matérielles.
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Amazon.com: 3.8 étoiles sur 5 4 commentaires
6 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Intimate jewel of a performance 26 novembre 2013
Par Firebrand - Publié sur Amazon.com
Format: CD Achat vérifié
This 2012 recording is a gracious, intimate rendition of the Schumann Second, a work that Abbado is eager to reveal as a treasure trove of beauty and brilliant ideas. While many versions of the Second strain for power and scale (often overdoing it), Abbado goes the opposite way: it is not necessary to shout. The performance by the Orchester Mozart (Abbado's all-star ensemble from Italy) is purposely understated, subtle, and chamber music-like, inviting you to hear the details in a fresh and different way. While the bigger and harder driving aspects of the work are certainly present in all the right places, they are less emphasized overall. The result is clean, clear, lighter, and impeccably phrased. There is a pleasant feeling of suspension that carries forward. The tempos are ideal and comfortable.

With due respect to other reviewers who complain about any "lack of energy", they miss the point, which is that a different energy can be just as effective. Abbado is not showing fragility in old age (witness his recent titanic performances of Mahler), but sharing a unique distillation of a work that he has grown to love. The Manfred and Genoveva overtures are handled in the same compelling fashion.

It is unlike any other recording of the Second, although the clarity, detail, high musicianship and understanding of Schumann probably would have impressed the late George Szell.

This is a rewarding and moving performance that has a place in any Schumann collection.
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 An aged Abbado remains in command, but his smaller-than-life-sized Schumann Second is restrained 18 juillet 2013
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
Claudio Abbado has recorded very little Schumann, and none of it the four symphonies, but he has covered Mendelssohn pretty thoroughly. So it's not a surprise that this new Schumann Second is light and airy enough to be mistaken for Mendelssohn. Its strengths also include orchestral clarity and a nice transparency, which is due in large part to the reduced string section. We are at the opposite pole from Leonard Bernstein's passionate Schumann or Klemperer's titanic Schumann, both with a full orchestral complement. In their hands Schumann's symphonic writing springs directly from the brow of Beethoven.

Just because the Orchestra Mozart is small, I don't want to give the impression that Abbado is bolting into the period performance camp, where Schumann has been treated (or mistreated) to by-the-numbers literalism (Zinman) and radical trimming down to forces even Mozart would have found skimpy (Dausgaard); in both cases, the tempos went licketty split, and were, for me, unworkable. In his pacing, Abbado is closer to Szell, although I think, contrary to what the product blurb says, that age has robbed the 80-year-old Abbado of force. It happens. You are still aware of a shaping hand, however, and the style throughout is Romantic (to the point of dreaminess in the slow movement, which is taken as an Andante rather than Schumann's marking of Adagio espressivo - at least the expressiveness is there). The HIP movement has accustomed us to conductors picking any random tempo they care to pick out of thin air, so Abbado's nods away from tradition are easy to adjust to. The finale could be more rambunctious, but here Abbado lends the score a touch of Mendelssohnian ebbullience, which brings a smile.

All told, anyone who wants a stylish Schumann Second in up-to-date sound will be happy with the results, and DG;s close miking guarantees that the bass lines are full and that nothing sounds scrawny. My only warning is that this isn't the most energized reading I've ever heard, and for that reason, Schumann's fervor is dampened. The two familiar overtures, Manfred and Genoveva, continue in the same restrained vein, only more so.
1 internautes sur 7 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Of Ephemerality 9 avril 2014
Par Bernard Michael O'Hanlon - Publié sur Amazon.com
Format: CD
Andy Warhol - the Pale Rider cometh - coined the statement that in the future, everyone will be famous for fifteen minutes. The maxim applies selectively to posthumous fame. Oblivion and/or eternity care nothing for our petty achievements. Me, not even a nanosecond of renown will come my way (and rightly so). What of Abbado? Having crossed the River Styx, will he receive his full tithe of fifteen minutes or something less . . . . . .

To my mind, what is one to say of a conductor who is congenitally humdrum in core repertoire such as Haydn, Mozart, Beethoven, Schubert, Brahms, Bruckner, Wagner et al? Even his Mendelssohn is cause for concern. Success came elsewhere.

This performance of Schumann's Second Symphony does not change this dynamic. In his twilight years, for reasons best known to himself, Abbado hobbled around with the period practice wolf-pack in his own fashion. Here, the occasional ululation - light textures and semi-clipped phrases - broadcast his lupine fealty. The Orchestra Mozart is not the last word in tonal lustre. If you get your cheapies from the English Chamber Orchestra or the Academy of St Martins in the Fields - fine enough ensembles in their own way - there is much to enjoy. The outer movements of the Symphony are not without excitement and panache within the parameters of a solid two-stroke outfit. The Scherzo is not Schumann at its most inspired. In response, Uncle Claudio jazzes up the articulation from the strings and successfully so.

Mysticism is not Abbado's strong suit - to wit, his mundane Bruckner 5 from Lucerne. Here, the rubber-chickens come home to roost in the slow movement: it's as otherworldly as Augustus Gloop.

Turning to the Manfred and Genoveva Overtures, I cannot hear anything special here - they're professional, polished and nothing more. The wildness and menace that Furtwangler and Giulini evoke in the former are muted.

Alternatives abound: Schumann, Symphonies 1 - 4 & Manfred Overture & Schumann: The Symphonies & Schumann: Sym Nos 1 - 4 / Overture & Schumann: Symphonies Nos. 1 & 2 & Schumann: Symphonies No. 3 "Rhenish" & No. 4 / Manfred Overture

The market is now awash with Abbado retrospectives. Fame-wise, I cannot answer for the longevity of his Mahler, Verdi, Janacek, Mussorgsky, Berg, Ravel, Prokofiev or Hindemith. On the basis of core Austro-German repertoire, you would not want to blink. Who knows - the Ghost of the Pale Rider might take their cover-art and work them into a variant of his Campbell Soup Cans.

As crows keep watch, the rest is silence on Boot Hill.
1 internautes sur 8 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 good will 1 septembre 2013
Par hektaphoros - Publié sur Amazon.com
Format: CD
So Abbado has approached to Schumann's Symphonies and i admit his choice of the second
symphony is very symphatic for me. For me it is one of Schumann's best works. Anyhow,
this symphony is full of correlations to both Beethoven's and Schubert's IX.Symphonies and some
of the reat concept of these works. Not the doubtless technical leaks of Abbado's minor personal
orchestra , the Ensemble Mozart,such as ensemble and intonation problems, but - for me- an undue approach
to this symphony makes this CD nor first neither second choice for every taste. Take Harnoncourt, Bernstein,
Kubelik, Szell, Skrowaczewski, Sinopli, ... ... ... ...
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