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Symphony 7 Import

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4,8 étoiles sur 5 7 commentaires provenant des USA

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Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle

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Détails sur le produit

  • CD (9 juin 1992)
  • Nombre de disques: 1
  • Format : Import
  • Label: RCA
  • ASIN : B000003EYA
  • Autres éditions : CD
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
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Liste des titres

Disque : 1

  1. Sym No.7 in A, Op.92: Poco Sostenuto; Vivace
  2. Sym No.7 in A, Op.92: Allegretto
  3. Sym No.7 in A, Op.92: Presto; Assai Meno Presto; Presto
  4. Sym No.7 in A, Op.92: Allegro Con Brio
  5. Sym No.101 in D, 'Clock': Adagio, Presto
  6. Sym No.101 in D, 'Clock': Andante
  7. Sym No.101 in D, 'Clock': Minuetto: Allegretto; Trio
  8. Sym No.101 in D, 'Clock': Finale: Vivace
  9. A Midsummer Night's Dream, Op.21: Scherzo

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2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Toscanini's Seventh for the Ages 28 avril 2014
Par Ricardo Mio - Publié sur Amazon.com
Format: CD Achat vérifié
In 1929 Toscanini recorded 20 sides with the New York Philharmonic and followed in 1936 with 30 more. According to some critics, they are his finest achievement in the studio and demonstrat that all the critical clamor was fully justified. Beethoven's Seventh on this CD is from 1936 and sounds amazingly natural and surprisingly clean and clear. The Toscanini that emerges is not the severe and unyielding conductor we know from the later NBC recordings. No indeed. Tempos are alive, phrases breathe and are beautifully shaped. This is Seventh that lives. According to some critics, it has yet to be rivaled. It is a Seventh for the ages. The accompanying piece, Haydn's Symphony No. 101 "Clock" is from 1929 and is wonderfully well-played.

Toscanini was a fanatic. He approached music as religion, and performance as a sacred rite. His aim was to let music speak for itselt and to add only those inflections necessary to elicit the structure, balance and image which the composer had written in the score. The transparent textures that critics so often praised in the concert hall are clearly evident in these recordings. Five stars.
7 internautes sur 7 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Toscanini with the New York Philharmonic 20 janvier 2006
Par Robert E. Nylund - Publié sur Amazon.com
Format: CD
Arturo Toscanini (1867-1957) conducted the New York Philharmonic from 1926 to 1936 and later returned to make guest appearances until 1945. He resumed making commercial recordings, too, after having made a series of acoustical recordings in 1920 and 1921 with the Scala Orchestra for the Victor Talking Machine Company. He had not been terribly happy with the results of the acoustical process, which forced the musicians to crowd around a horn, because of its limited frequency range.

The advent of electrical recording, which was finally perfected in early 1925, enabled a full orchestra to be recorded with much greater fidelity (as high as 10,000 cycles per second). Using one carbon microphone, it was possible to achieve amazing results, compared to the limited possibilities with the old acoustical process.

Toscanini made his first electrical recordings in 1926 with the New York Philharmonic for the Brunswick company. Using a large room in Carnegie Hall, the orchestra recorded the Scherzo and Nocturne from Felix Mendelssohn's incidental music for the Shakespeare comedy "A Midsummer Night's Dream." These recordings were later included in the RCA Victor compact disc set of the complete New York Philharmonic recordings conducted by Toscanini.

This compact disc included three outstanding examples of Toscanini's New York Philharmonic recordings for the Victor company, made between 1929 and 1936. The results were quite good, even if Toscanini hated having to stop every four to five minutes while the engineers changed the master for the 78-rpm discs. Despite still limited fidelity, the recordings benefited from being recorded on the stage of Carnegie Hall, longtime home to the Philharmonic (until Philharmonic Hall was completed in 1962).

His recording of Beethoven's seventh symphony remains an amazing document. There is a great flexibility and variety in the performance. It was probably never excelled in his later performances with the NBC Symphony Orchestra, even RCA achieved higher fidelity in the commercial recording made in the early 1950's. It is a very exciting and powerful performance. One is particularly moved by the second movement, with its deeply tragic and emotional funeral march. The scherzo of the third movement seldom was played with more energy, while the first and fourth movements have an intensity rarely surpassed by other conductors and other orchestras.

Haydn's "Symphony No. 101," is also called "The Clock" because of its mechanical-sounding tune in the second movement. Toscanini was very selective in conducting a relatively few of the composer's 100-plus symphonies. He clearly enjoyed this work and later included it in NBC broadcast concerts, finally making a commercial recording in one of the NBC studios (not the spacious 8-H) that had particularly dull acoustics. This performance is energetic, enthusiastic, and highly enjoyable. The third movement is played with appropriate intensity (somewhat faster) because Haydn tended to use an Austrian folk dance rather than the traditional minuet employed by most composers of the time.

This performance of the Scherzo from Mendelssohn's "A Midsummer Night's Dream" is more precise and more delightful than the 1926 recording for Brunswick. It benefits, of course, from somewhat better sound at the hands of the RCA engineers.

These are indeed a good sampling of Toscanini's work with the New York Philharmonic, even if the sound is not up to his later commercial recordings with the NBC Symphony.
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Toscanini at his best 10 août 2001
Par Hermes Camacho - Publié sur Amazon.com
Format: CD
There is no question of the absolute power and control Toscanini had over every orchestra he directed. His extreme dictatorship, musicianship, intense personality, and servitude to the composer's score made him the greatest Maestro, both past and present, and revolutionized the way present maestri conduct.
If you are a fan of Beethoven's Seventh Symphony, this is the recording to own. Obviously the sound is not great, but it is very good and easy to listen to. Toscanini's interpretation was probably the basis of the majority of recordings after him, as it was the one that followed Beethoven's tempos the closest, if not exactly (particularly the 2nd movement "walking tempo" Allegretto, and the famous correct tempo he took in the trio of the third movment). Here he had a virtuoso ensemble of players. The unanimity of the attacks, the warmth and weight of the sound, the intensity in which they played makes this a remarkable recording. The fourth movement is EXACTLY the tempo Beethoven indicated and the coda is absolutely triumphant and hair-raising.
A word on the Mendelssohn...much more fleet and virtuosic than the 1926 version, Toscanini truely does wonders to this classic score. It's magical in a way that cannot be described and you can almost see pictures in your mind of the characters from Shakespeare's play. This is a brilliant recording.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Emotion and sense of noblesse 21 décembre 2005
Par Hiram Gòmez Pardo Venezuela - Publié sur Amazon.com
Format: CD
This kinetic and passionate version of the Seventh Symphony is simply electrifying, though it does not overcome to his version of 1939.

Toscanini conferred Beethoven that dignity that has been gradually decreased. This absence of grandness and lack of noblesse and wildness has been possible thanks to the notable efforts of Mr. K conducting the Berlin Philharmonic. And many other directors have simply extracted the Dionysian essence of the work, decreasing the fortissimos and reducing the fierceness and intensity in many passages, to avoid perhaps to saturate the audience with such will sounds. When you think and play Beethoven under this approach, you are murdering the most important values implicit inside Beethoven 's work.

So if you want to know how Beethoven should sound, please return to the classic directors who were perhaps less indulgent and unmerciful with the audience.
2 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Precise and Deeply Psychological. 31 janvier 2005
Par Pupil - Publié sur Amazon.com
Format: CD
The struggle is terrible.

Toscanini shows us why Beethoven was the very first composer to introduce psychoanalytics in his compositions. The furious, perfect, poetic and justly famous seventh symphony receives its objective due. The final movement, an ode to the enormous struggle of life, the timeless battle of the angelic and tenebrous, the conscious and unconscious, the mind and the soul, teaches us multitudes. Here the lesson is very clear; the inspiration has never been more precise.

Beethoven's 9 (kabbalistic) symphonies should be studied in meditation. As the Sage Samael Aun Weor once said, we must "imbibe ourselves within the music, as the bee does within the honey, which is the product of his whole labour."

Highly, highly exhalted and recommended.
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