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Album MP3 à EUR 8,99

Symphony 73 in D La Chasse / Sym 92 in G Oxford Import


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


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Page Artiste Jesus Lopez-Cobos


Détails sur le produit

  • CD (17 novembre 1998)
  • Nombre de disques: 1
  • Format : Import
  • Label: Denon Records
  • ASIN : B00000F1C7
  • 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: 619.732 en Musique (Voir les 100 premiers en Musique)
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Amazon.com: HASH(0x95ec74ec) étoiles sur 5 1 commentaire
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x95ec984c) étoiles sur 5 From Switzerland with Love 10 février 2016
Par Huntley Haverstock - Publié sur Amazon.com
Format: CD
Brilliant! All three pieces are played with fire and fun. This is high spirited playing. Moreover, the recording is demonstration class.

Lopez-Cobos gets the most out of the Lausanne Chamber Orchestra - I don't know if I have heard a better performance of the "La Chasse" finale - it's a shot of pure, unadulterated adrenaline. The "Oxford" is played with the splendor, charm, and grace that is all to often discarded by the many HIP interpreters whose pacey, robotic renditions have clogged up the catalogue in recent years. The "Miracle" is also played well - energetic and witty in the outer movements, graceful and heavenly in the slow, dancing in the minuet.

The slow openings to the Oxford and Miracle are played regally and with passion - JLC does not rush through these beautiful scenes like so many of his contemporaries. JLC resists this HIP influenced trend, and the playing of the Lausanne Chamber Orchestra is refreshingly paced. As a result, the majesty and drama of works the like the Oxford are well accentuated.

Unlike earlier modern instrument performances, however, JLC and his Swiss players do not bog down in the minuets, nor do they cloud Haydn's textures with excessive vibrato. They play hard, but remarkably clear and balanced in the outer movements and the adagios are savored for all of their heavenly beauty. JLC manages changes in the mood and dynamics very well - the mood and tempo changes in the Adagio of the Oxford, for example, are handled expertly, as Haydn turns an elegy into a march of fire and brimstone. It sounds fresh and spontaneous - and intensely musical.

The textures are remarkably clear - another example, I might add, of the capacity of modern instruments to provide the kind of transparency and detail that HIP partisans insist can only be realized on 18th century instruments. These performances show the influence of Peter Maag, under whom the young JLC studied. Like Maag, JLC pays close attention to phrasing and this detail oriented approach reveals an unvarnished, yet stunningly beautiful Haydn.

Most importantly, this recording possess that intangible quality inherent to all great performances: conviction. Simply put, the players sound like they are having fun, savoring each phrase, and committed to an artistic vision that stirs their passions as much as it does ours. The Lausanners play like a band of friends.

A Solid 5-Star Recording.
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