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Page Artiste Ludwig van Beethoven


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Détails sur le produit

  • Interprète: Vienna Philharmonic Orchestra
  • Compositeur: Ludwig Van Beethoven
  • CD (19 février 2003)
  • Nombre de disques: 1
  • Label: Naxos
  • ASIN : B00007FKQ1
  • Autres éditions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 167.519 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. I. allegro con brio
  2. II. marcia funebre: adagio assai
  3. III. scherzo: allegro vivace
  4. IV. finale: allegro molto
  5. I. adagio - allegro vivace
  6. II. adagio
  7. III. menuetto: allegro vivace - trio: un poco meno allegro
  8. IV. allegro ma non troppo

Descriptions du produit

- Registrazioni del 1933 e 1936London Philharmonic Orchestra, Vienna Philharmonic Orchestra

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Format: CD
Lecture cursive, aérienne, ailée et fluide de l'Héroique excitante comme aux premiers jours .
Nous manque sans doute le pathos du mouvement lent "alla Furtwangler" mais ou est la vérité ? En 1803 Beethoven a 32 ans; tout lui a réussi et les premières manifestations de sa surdité viennent d'apparaitre . La marche funèbre doit-elle contenir toutes les tragédies du XX ème siècle ( = celui de la musique enregistrée ) et dans cet enregistrement Beethoven est clairement le grand frère de Haydn .
L'héroique retrouve une unité parfois perdue dans les interprétations romantico-tragiques de bcp de chefs plus récents ou les 2 derniers mouvements restent un peu à la traine, mal reliés au déferlement de pathos et de sublime des 2 premiers mouvements .
Naturellement 1936 est déja une année noire en Autriche ( assassinat du chancelier Dolfuss en 1934 ) mais Weingartner a 73 ans, est en fin de carrière et dirige la III ème symphonie comme il l'a toujours dirigé depuis 30 ou 40 ans: témoignage réflexe fort de 430 concerts avec la philharmonie de Vienne . Il quitte Vienne en 1937 et mourra en Suisse en 1942 à l'age de 79 ans.
Splendide restitution sonore et on a l 'impression d'entendre un bon enregistrement mono des années 50 .
Magnifique découverte pour ceux qui comme moi n'avait jamais entendu Felix von Weingartner ( 1863 - 1942 ).
Remarque sur ce commentaire 3 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par Mélomaniac 1ER COMMENTATEUR DU HALL D'HONNEURTOP 100 COMMENTATEURS le 27 mai 2006
Format: CD
Dans cette "Héroïque" de 1936, on appréciera surtout le "con brio" et le finale, particulièrement fringants, ou la célérité virtuose qui s'empare de la Philharmonie de Vienne dans le scherzo.
La direction nette, linéaire du chef allemand témoigne un soin constant aux phrasés mais reste en marge des affects de l'oeuvre.
Un tel sérieux demeure la pierre de touche d'une certaine tradition interprétative.
Mais Weingartner n'a pas toujours été si sage... comme le montre cette "Quatrième" captée à Londres en 1933.

En l'écoutant, l'on reste fasciné par la vitalité incessante qui innerve l'oeuvre de bout en bout, parfois au risque du tempo unique (une durée si peu différente entre le finale et l'adagio, dont le souffle court est vraiment étonnant...)

Ces phrasés secs et nerveux, on les retrouva bientôt chez Pierre Monteux, Hermann Scherchen ou Carl Schuricht.
Mais une virtuosité aussi souriante, avec des violons d'une espièglerie mozartienne qui relient cette symphonie au classicisme viennois, quels chefs surent en user avec autant de malice ?
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1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The grand old man of Beethoven (and, well..Brahms, too) 29 mars 2015
Par John K. Gayley - Publié sur Amazon.com
Format: CD Achat vérifié
Admit it: there seems to be a new Beethoven symphony cycle released about once every 5 minutes. Everyone has to take their stab at it. But its like trying to find words to describe the almighty in a way that enthralls everyone: who can do it perfectly? There's so much here, and so many, ultimately, are found wanting.

But "newer" or "newest" clearly isn't always synonymous with "better"....better sonics, maybe. Better, more penetrating approach? Perhaps, but perhaps not. I find it very telling to read about the yardsticks various reviewers use to assess each new entrant to the fray. Newer observers may use Chailly as their touchstone (and why not? there's a lot there); some compare the newcomers to the two cycles by the late great Claudio Abbado. Those with some mileage on them may use Bruno Walter, or Reiner, or one of the 4 cycles by Von Karajan. Those with both mileage and baggage will inevitably assess any new release against the profundity of Furtwangler.

All worthy comparisons. I do the same. But, ultimately, I gravitate back to Weingartner. Why? Because even 80 - 85 years ago, Felix Weingartner got so many things right about Beethoven that his recordings can serve as touchstones for assessing both modern instrument symphony cycles with 20th century notions of symphonic norms, as well as those put forward by various groups using so-called "historically-informed performance" methods. Weingartner's recordings of Beethoven symphonies invariably seem to drill down into the core of the work itself, without excessive inflection or overlay of ego or melodrama. It would be foolish to assert Weingartner didn't have a point of view; of course he did. But the point-of-view seemed to involve wiping off accumulated varnish, following the score, and finding the tempo giusto.

And, man, did he succeed. I find his performances of the Beethoven (and Brahms) symphonies as invigorating and insightful as anything that's come out over the past 40 years. New renditions of the Beethoven symphonies follow me home like lost puppies; as I write, I have two more sitting in my Amazon cart, and two more I'm considering. But before they end up on my shelf, they have to get by Felix Weingartner. For those of you who think the world of modern Beethoven started with Furtwangler, you owe it to yourself to check this guy out.

This release is a good place to start, because it contains both a crowd-pleasing warhorse in the Eroica, and a symphony (#4) that has always been a "sleeper", but is dyno-mite in the right hands. Invariably, when I "test"-drive new cycles, I gravitate to these two symphonies first. The Eroica has to be taken at speeds and with punctuation that underline its shocking, revolutionary nature, but also has to be able dwell on the pathos...particularly 7 or so minutes into the march funebre and in the finale. In contrast, the 4th needs to be given sufficient heft to convince naysayers that it has a legitimate place in the Beethoven symphonic pantheon, while also being executed in a sufficiently lithe and graceful way to bring out the delight in the writing.

Weingartner succeeds on all counts. Listen to his tempi, his logical architecture and the transparency with which he handles all the details. I always stifle a smile when someone tells me Gardiner, Harnoncourt, Norrington, or Zinman invented snappy Beethoven tempi; they clearly haven't heard Weingartner! He keeps things moving along in a way that might surprise the HIPster crowd, but Weingartner isn't "Beethoven-lite." You'll come away refreshed, informed, but also surprised..."why didn't I know about this guy?"

In terms of recordings, there are several choices. None of them are in perfect sonics. Remember, these were recorded in the late '20s through the late '30s, so they're...vintage. So if your primary objective is a new recording that sounds like its in your living room, you might decide to check out here. but for the rest...

--The cheapest (and arguably the best) set of Weingartner Beethoven comes on Naxos Historical. These are spread over 5 or so releases, and have been lovingly remastered and restored by Mark Obert-Thorn, a living legend in the field of classical music restoration. Thorn and his team find the best physical recordings available, and have used computer programs and other filters to clean up the sound. However, they also have been careful not to scrub the sound up so thoroughly tat it excessively constricts the dynamic range. Thorn claims to be a "moderate interventionist" which means he tries to strike a balance between removal of extraneous sounds that naturally accumulate from aged and imperfect original recordings, and also staying true to the orchestral sound and dynamic range.

--Opus Kura (A Japanese label) also has released these same recordings, using very good original masters gathered in Japan. Opus Kura recordings tends to be more expensive. They are perhaps less interventionist, so there is more surface noise, but their products also have somewhat more bass presence and high end range than Naxos. However, their program notes are in Japanese.

Either way, its hard to go wrong. I have managed to find most of both sets, and don't think the difference is so utterly striking as to tilt the scale. Personally, if you haven't experienced Weingartner, I'd opt for a few of the Naxos series, given their availability and price. You can then decide on a relatively risk-free basis whether the experience is worth your while, or you just think I'm all wet.

--Lastly, Obert-Thorn and two other sonic wizards, Ward Marston and Andrew Rose, have banded together to form "Pristine Classical" whose website features a stunning wealth of older recordings that have been painstakingly restored. New restored releases appear almost monthly. These are really top-drawer, and their prices reflect it. To date, it appears they have the Eroica by Weingartner, but not the others. (in any case. afficionados of older recordings should go check out their website...these guys are the best in the restoration business).
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Ultimate Eroica! 29 août 2008
Par Patrick W. Crabtree - Publié sur Amazon.com
Format: CD Achat vérifié
Naxos was very timely in issuing this most excellently re-mastered CD. It was just a few years back as I was reading an early Ellery Queen mystery when I picked up in the text a reference to "Weingartner's Beethoven recordings," which were lauded (in the novel where they were referring to the original 78 RPM records) as the very best renditions ever recorded. I checked around and, sure enough, Naxos had retrieved these historic recordings from the archives and had re-mastered them!

It would appear today that no one knew Beethoven better than renowned composer/conductor Felix Weingartner (1863-1942) -- of course, he obviously didn't actually know the old Master but he seemed to be inside Beethoven's head when it came to rendering his symphonies. Weingartner was particularly renowned for his well-read monograph, "On the Performance of Beethoven's Symphonies".

Here, we have two historic Columbia Records performances, both re-mastered by renowned restorer Mark Obert-Thorn:

1. Beethoven's Symphony No. 3 in E flat major, opus 55 ("Eroica," an Italian word which alludes to, "Heroic symphony, composed to celebrate the memory of a great man"), by the Vienna Philharmonic Orchestra, recorded May 22-23, 1936 in the Grosser Musikvereinsaal, Vienna, (4 movements, 45:27 total). The source recordings for this performance were US Columbia "full-range" pressings. This work is generally regarded as Beethoven's first "Romantic Period" symphony, crossing the line from the "Classical Period".

2. Beethoven's Symphony No. 4 in B flat major, opus 60, by the London Philharmonic Orchestra, recorded November 13-14, 1933 in EMI Abbey Road Studio No. 1 in London, (4 movements, 30:00 total). The source recordings for this performance were chiefly from "Royal Blue" shellac discs. (Written in 1806, this work was dedicated to Count Franz von Oppersdorff and was shrewdly described by Robert Schumann as, "...a slender Greek maiden between two Norse gods," an allusion to the magnitudes of both the "Eroica" and Fifth symphonies.)

Weingartner was the first conductor to ever record all of the Beethoven symphonies. His ability to effect a balance in the orchestra between control and flexibility was his hallmark. This rendering of "Eroica" may arguably be the best one ever yielded to date -- it's certainly one that would peg any Beethoven fan as remiss if they failed to hear it. The recording of the Fourth shares similar accolades.

Of course these recordings harbor the limitations of the technology of the period but you'll be pleasantly surprised at their overall quality. Anyone who is either serious about Beethoven or who is building a classical music collection cannot afford to pass this one by.

My highest recommendation.
12 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Absolutely amazing recordings 24 septembre 2004
Par The Man in the Hathaway Shirt - Publié sur Amazon.com
Format: CD Achat vérifié
Oh that some conductor were performing Beethoven symphonies with this kind of authority today. These early 30s recordings by Felix Weingartner and the Vienna Philharmonic with No. 3 and the London Philharmonic with No. 4 are superb in every way, with rock solid, propulsive interpretations and disciplined and tight playing by the ensembles. They belie the myth that orchestras back in "those days" were loose and undisciplined, albeit chock full of feeling with thick vibrato. If it weren't for the sound you would almost think you are listening to modern ensembles. The London Philharmonic in particular sounds very similar to its present-day incarnation. And Weingartner leads both groups in rousing, crisp performances that know they are masterworks. The Eroica is truly heroic, with a recap in the first movement that will make your hair stand on end. The variations at the end are magnificent and the funeral march has all the dark menance with none of the overstatedness of some other conductors. I would place this recording second only to Cluytens, who conducts my very favorite Eroica ever. That puts this performance above *Furtwangler,* but that's the straight dope. The Fourth is almost as great--after listening to this I put on Leonard Bernstein, Vienna Philharmonic 1980--often cited as a great recording--and it paled in comparison, with puny ideas (no ideas) and only lots of speed to show for itself. (More on that and Lenny's other Beethoven symphonies with the VPO in an up-coming review.) The slow movement is as tender as I've ever heard but Weingartner never loses the forward-flowing rhythm that moves things along. The wind playing, so critical (I think this symphony has some of Beethoven's best scoring, particularly for the winds and the timpani), is masterfully blended here. The precision and perfectionism are all the more remarkable when you realize in these recordings the playing was done in one take, with no editing possible.

Sound is quite good for the time, with a very natural concert hall quality and nothing unduly emphasized. There is some deterioration in the second side of the 4th, during the exposition section, but it's the sort of thing one has to expect in historical reissues and should not dissuade anyone already familiar with (and accepting of) these kinds of recordings. Personally, I'd gladly trade all the DDD recordings that have been made in the past 20 years for performances like these. We're lucky these discs have been preserved, and lovingly restored.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Classic "Straight" Eroica! 7 juillet 2004
Par Jeffrey Lipscomb - Publié sur Amazon.com
Format: CD Achat vérifié
This is the finest transfer of Weingartner's classic "straight" Eroica that it has been by pleasure to hear. While there is no getting around the excessive reverberance of the Vienna concert hall, this excellent transfer by Obert-Thorn is even better than the Brian Crimp effort once on an EMI LP set devoted to "The Art of Felix Weingartner." While I marginally prefer the Opus Kura (Japan) transfer of Weingartner's Beethoven 9th, this Naxos CD provides just about all we can expect to hear from the Eroica (the Opus Kura here is just too cavernous and noisy, even though the orchestral sound is at times more immediate).

I continue to marvel at how much variety of expressive nuance Weingartner achieves here within a single, rather uptempo pulse. Of the other "classical" conceptions of this work on CD, only Erich Kleiber/VPO (1955 on Decca) and Carl Schuricht/BPO (live 1964 on a deleted Originals CD set) are in the same league. Perhaps the closest to a combination of Weingartner and Klemperer in over-all approach - lean, direct, and rhythmically supple, yet weighty in emphasis - was the Lovro von Matacic account with the Czech Philharmonic. That first appeared on a stereo Parliament LP and is now available in an excellent CD transfer from Supraphon.

Of course, there are also several superb "personalized" readings of the Eroica that deserve a hearing - among my favorites are those by Furtwangler, Kabasta, Knappertsbusch, Scherchen and Mengelberg.

This transfer of the 4th Symphony is also superb - it's a big improvement over the old Columbia Entre LP (coupled with the 2nd) that has served me well all these years. It's also a wonderful performance: along with the Schuricht, I would say it's the benchmark for the "straight and true" approach to this work. Again, there are also some remarkable, more "romantic" interpretations that merit a hearing: most notably, Furtwangler, Konwitschny, Mengelberg and Georgescu.

Very highly recommended!
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 MASTERLY! 19 août 2003
Par Ralph J. Steinberg Lover of German Music - Publié sur Amazon.com
Format: CD Achat vérifié
Weingartner's "Eroica" has long been considered to be one of his two greatest recorded achievements (the other being the Ninth, although I would personally extend this list, somewhat). Here, it comes alive in probably the best transfer it has received, on CD or LP (the Preiser comes close, but the Naxos has a little more "top." The performance is very flexible and spontaneous in tempo, while maintaining the forward thrust and architecture that holds the work together. The Fourth Symphony is every bit as good, especially the moderate tempo for the Finale, which allows for the interplay of the chattering string figurations played against the rather leisurely pace; something similiar can be found in the Finale of Mozart's 39th Symphony, in Weingartner's London Philharmonic rendition. The sound of the Fourth is much improved in this transfer, with the rather dull and boxy sound of the original suitably brightened up. I understand that one regular reviewer regards this as his favorite "Eroica"; I would not argue with anyone over that sentiment. Incidentally, Christopher Dyment, in his "Weingartner: Recollections and Recordings", speaks a great deal about this performance of the "Eroica" and remarks on how it resembles Richard Wagner's performance, as described by Eduard Hanslick. It seems that Weingartner, far from being a "modernist" in the sense of Toscanini, actually followed a rather strict Wagnerian course of interpretation; it is well known that Wagner warned about arbitrary and random tempo fluctuations, as seeming practiced later on by his disciple, Hans von Buelow, whom Weingartner criticized for his mannered way with the classics. At any rate, here is another of the great Weingartner Beethoven recordings, one that belongs in every music lover's CD collection. BUT THE OPUS KURA OF THE EROICA IS EVEN BETTER!
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