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Sonates et Partitas

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Page Artiste Itzhak Perlman

Détails sur le produit

  • Interprète: Perlman Itzhak
  • Compositeur: Bach Johann Sebastian, Perlman Itzhak
  • CD (17 octobre 1988)
  • Nombre de disques: 2
  • Label: EMI Classics
  • ASIN : B000002RQF
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 257.723 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Adagio son n1 sol min bwv1001
  2. Fuga son n1 sol min bwv1001
  3. Siciliana son n1 sol min bwv1001
  4. Presto son n1 sol min bwv1001
  5. Allemanda part n1 si min bwv1002
  6. Double part n1 si min bwv1002
  7. Corrente part n1 si min bwv1002
  8. Sarabande part n1 si min bwv1002
  9. Bourree part n1 si min bwv1002
  10. Grave son n2 la min bwv1003
  11. Fuga son n2 la min bwv1003
  12. Andante son n2 la min bwv1003
  13. Allegro son n2 la min bwv1003

Disque : 2

  1. Allemanda part n2 re min bwv1004
  2. Corrente part n2 re min bwv1004
  3. Sarabanda part n2 re min bwv1004
  4. Giga part n2 re min bwv1004
  5. Ciaccona part n2 re min bwv1004
  6. Adagio son n3 do maj bwv1005
  7. Fuga son n3 do maj bwv1005
  8. Largo son n3 do maj bwv1005
  9. Allegro assai son n3 do maj bwv1005
  10. Preludio part n3 mi maj bwv1006
  11. Loure part n3 mi maj bwv1006
  12. Gavotte part n3 mi maj bwv1006
  13. Menuet 1 part n3 mi maj bwv1006
  14. Menuet 2 part n3 mi maj bwv1006
  15. Bourree part n3 mi maj bwv1006
  16. Gigue part n3 mi maj bwv1006

Descriptions du produit


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Amazon.com: 4.4 étoiles sur 5 20 commentaires
31 internautes sur 31 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Perlman's love for Bach is evident 1 mai 2002
Par Chefdevergue - Publié sur Amazon.com
Format: CD
Is this the Bach collection for baroque purists? Of course not. Nor will it please the lovers of the old-school romantics. However, it is a superb collection if approached on its own merits. Nobody can fault the sound on these CDs, it is just simply wonderful. It is also clear that Perlman does not approach unaccompanied Bach lightly --- two full decades of recording passed before he felt confident to record these works, and his respect and love for Bach comes through with every note.
Whether or not you approve of the use of vibrato, it is obvious that Perlman has carefully thought through every bit of phrasing. The result is very satisfying, and the musical ideas flow comfortably from one passage to the next. I don't find the vibrato to be a distraction --- and let's face it, all of us who play unaccompanied Bach throw a little vibrato in there from time to time. This is a far cry from some of the grotesque, turn-of-the-century romantic parodies of Bach, where the vibrato and phrasing nearly obliterates Bach's original structure. Listen to how Perlman puts together these pieces. He is not guilty of romantic self-indulgence here.
Compare it to Milstein and Szeryng if you must. I believe that Perlman holds his own here. He certainly has produced the best Bach collection in the last 30 years, no doubt.
69 internautes sur 80 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Very good - but not in a class with Szeryng or Milstein 5 novembre 1999
Par Hans U. Widmaier - Publié sur Amazon.com
Format: CD
Perman's unbelievable fame tends to obscure the superior accomplishments of others. That's a real pity because interested newcomers to this repretoire will be steered away from the two recordings that tower like giants over all others: those of Henryk Szeryng and Nathan Milstein. Perlman is not in their class. He has, of course, the technical, musical and tonal resources to play these peices beautifully. But his renditions just don't have the overwhelming grandeur of Szeryng's and Milstein's (as different as those two are from each other). Perlman plays well (extremely well, better than most mortals can even dream of), but he breaks no new ground, shows us no new dimensions in these pieces. You get what you would expect: gorgeous tone, fluid lines, tasteful phrasing, solid intonation. But he remains so conventional, so caught up in the reigning aesthetc ideal. All the truly great Bach players have managed to transcend mere beauty. To mention just a few: With Casals, we seem to witness the creation of the world, foundational events of immeasurable vastness. With Gould, we experience Bach's logico-mathematical genius. With Szeryng, Bach's music becomes a cathedral, a giant structure pointing beyond itself. Milstein's Bach is a life elixir, a joyous celebration of unlimited creativity and playfulness. Perlman's Bach? It's beautiful, but no more than that. My recommendation: Don't follow Perlman's fame. Get the Szeryng and Milstein sets and witness true greatness.
23 internautes sur 25 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 One of the very best 19 mai 2005
Par Peter Lavezzoli - Publié sur Amazon.com
Format: CD
Although I favor the Milstein set (from the 50s on EMI, not the DG set from the 70s, which I think is inferior), I do favor Perlman over the much heralded Szeryng, as well as Heifetz and Grumiaux. In terms of tempo and dynamics, I think Perlman found the right balance in most cases. His Chaconne is stunning, but I especially appreciate his insights into the more delicate movements, such as the Andante of Sonata 2. To me, only the 50s Milstein is superior in this regard. And as much as I love the 50s Milstein set, the sound of the violin is quite dry. Reverb was not yet in vogue in the 50s. So this Perlman set, besides being an insightful interpretation, also has superior sound quality, and is very smooth on the ears. I will also say that Perlman's intonation is impeccable, I have heard no flaws there. I think he makes the right choices throughout the set, and although no single rendition of these works is definitive (although for me, the 50s Milstein on EMI comes closest, and is my top recommendation), I think Perlman is about as good of a compromise between "feeling" and "form" as we can expect. Certainly head and shoulders above Szeryng, his renditions do not impress me.

I think we should be careful not to unfairly judge Itzhak Perlman simply because he happens to be a successful and popular artist. It didn't hurt Yehudi Menuhin in his day. It's always fashionable to dismiss someone who is popular in favor of a more obscure talent, but sometimes this has no real merit. The fact is that Perlman is indeed one of the best violinists in the world, and this recording is perhaps his crowning achievement, as it would be for any great violinist. Technically, I think he is beyond reproach here, and artistically, his insights are among the best I've heard in these pieces.
20 internautes sur 22 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Anachronistic but beautiful interpretation 18 septembre 1999
Par Anna T. - Publié sur Amazon.com
Format: CD
This is one of the two extremes of Bach interpretation, the other extreme being a dry, technical reading with little or no vibrato. Perlman's brilliant, full, rich tone is completely different from what would have been heard in Bach's time--in fact, the use of vibrato did not become commonplace until the late 19th century, during the Romantic movement. But in fact, there is no reason why this beautiful tone cannot be applied to Bach too! Since it is an extreme, this recording may not please purists, but I have always thought that Bach would have liked to be able to hear his music performed as it often is today, using the full range of technical possibilities that have been developed since his time. In addition, the magnificent violins that Perlman uses for his recording, a Guarneri del Gesu of 1740 and a Stradivari of 1714, are truly pleasurable to hear. This is my favorite recording of Bach's music for unaccompanied violin, and it is one that I often turn to in my own study of the music.
6 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Singing Tone, Technical Wizardry 30 janvier 2005
Par Johannes Marlena - Publié sur Amazon.com
Format: CD
Perlman blows you away with his technical finesse. He also displays with great verve and clarity the inner logic of each piece, so this makes a great set for one's first introduction to these masterpieces of baroque, especially if you're curious why Perlman became such a big star in the first place. Some find Perlman's use of vibrato annoying, but for this listener there is a sweetness and singing quality that brings out the unique beauty and character of each particular partita and sonata, none more so than in the Partita No. 2 and its great Chaconne. Partita No. 3 as well as Sonatas Nos. 1 and 2 are particularly gorgeous. Perlman may not plunge into the spiritual depths as other violinists, and the violins he chooses could be warmer in sound, so while these interpratations may not be the final word on Bach's masterwork (then again, what single violinist can do this?), they certainly are essential listening. ****1/2

Other references: Received "rosette" (highest rating) in Penguin Guide; Top recommendation from Jim Svejda's classical guides
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