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Symphony 9;Adagio

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Page Artiste The Cleveland Orchestra

Détails sur le produit

  • Interprète: Christoph Von Dohnanyi
  • Orchestre: Cleveland Orchestra
  • Compositeur: Karl Amadeus Hartmann, Mahler
  • CD (7 avril 1999)
  • Nombre de disques: 2
  • Label: Decca
  • ASIN : B00000IJ02
  • Autres versions : Téléchargement MP3
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Commentaires client les plus utiles sur (beta) HASH(0x9b190834) étoiles sur 5 8 commentaires
16 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9b1782dc) étoiles sur 5 Impressive Achievement 16 avril 1999
Par Un client - Publié sur
Format: CD
Christoph von Dohnányi's core repertoire is in the Wagnerian tradition and its Expressionist offshoots into the 20th century - Wagner, Bruckner, Mahler, Strauss, and Bartok. Furthermore, he acquits himself very well, even superbly, though he doesn't seem quite at home in other strands: Mozart, Mendelssohn, Schumann (his account of the Schumann symphonies is exceptional) Tchaikovsky, and Ravel. Dohnányi sweats to build a convincing, personal road. You may not agree with what he comes up with, but you can't dismiss it either. Dohnányi forces you to engage his ideas. His approach stands at the opposite end of the desire for the "definitive." With a reformer's zeal, he wants us to hear. His main fault is that he doesn't want to relax. I've never heard a really unbuttoned performance (except his Dvorak 8th). Most of his accounts, though, reveal a side of the composer missed by everyone else. Dohnányi approaches music differently and his orchestra reflects this. The rhythmic and textural clarity remains as do the rich detail and lucid structure, but Dohnányi wears his passions and enthusiasms on his sleeve.
Until this new account of the Mahler Ninth by Dohnányi and his Clevelanders, I have never heard an account that communicates so vividly the undergirding psychology of this symphony - the titanic struggle against the forces of death, negation and hostility. The outer movements are spacious and build with tension. The climaxes erupt like a volcano. The quiet passages are played with utmost tenderness and gentleness. While it lacks the emotionalism of Walter and the brooding angst of Bernstein, it does not lack for emotive power. Dohnányi treats the Ninth as truly symphonic and not episodic as many have done. Dohnányi musical mind is architectural. This performance of the Mahler Ninth reveals an architect's foresight, always making the musical structure palpable, even sensuous - all sculpted by the musical line. With conductors "in the moment" like Walter or Bernstein, you sometimes ran out of room at the extremes of tempo and dynamics. The slow pulse broke down and the music temporarily died. Dohnányi always knows where he is and where he is going.
This recording is an impressive achievement and it makes one wonder why Decca did not renew their contract with Dohnányi and his Clevelanders.
11 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9b178744) étoiles sur 5 Excellent playing in every way. 27 septembre 2001
Par Stephen Swanson - Publié sur
Format: CD
I own numerous versions of what could be the greatest symphony ever written, and I believe this glorious recording with Dohnanyi and his Clevelanders is without question the most spectacularly well played. Mr. Dohnanyi has a fantastic ear for balances, which is extremely obvious throughout the symphony, and the orchestra responds in kind. The performance does not, however, sport the miraculously profound interpretation of Jascha Horenstein in his 1950's version with the Vienna Symphony. This is the only real drawback to the Cleveland recording, which is superior in every way, but which does not plumb the absolute depths of expression as Horenstein does. Had I not picked up the Horenstein recording on a whim I would have been blissfully ignorant of that fact upon listening to the Dohnanyi. This is not to say Dohnanyi is not a noble interpreter; he is one of the greatest and most underrated of recent times (listen to his mid-80's recording of Beethoven's 5th for an example how exciting and emotional a recording can be that is still extremely respectful of the score). He gave a Mahler 1 performance here in Dallas last May that was one of the greatest concerts I have ever been to. Nonetheless my first recomendation for Mahler's 9th for the interpretation is the Horenstein. But the Cleveland recording is by far the most well-played, as well having an excellent interpretation (listen to the glorious string playing in the last minutes of the piece).
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9b178768) étoiles sur 5 Definitive 7 mai 1999
Par Un client - Publié sur
Format: CD
I agree with most of what Mark from Charlotte has said. Although I think Dohnanyi and the Cleveland Orchestra do produce a definitive performance in this recording. It will become the standard of comparison. The tempos are just right. In particular, the playing of the horns give the symphony a forward looking 20th century feel to it. Dohnanyi interpretes it as a rueful reflection of life in light of pending death. Marvelous! The Hartmann piece is a great coupling that maintains the spirit of Mahler.
3 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9b178690) étoiles sur 5 The filler by Hartmann is engrossing, but the Mahler is a trudge 8 juin 2011
Par Santa Fe Listener - Publié sur
Format: CD
Here at amazon the five-star constellations are dazzling in the sky, but this Mahler Ninth from Cleveland has serious defects. Speaking of his approach to Mahler, Dohnanyi placed himself firmly in the anti-Bernstein camp as reported by the Gramophone: "Christoph von Dohnanyi believes that to know Mahler, or at least to come close to his intentions, one has to strip away the excesses of so many recent conductors and get back to basics." Really? by basics, the conductor apparently means a steady, methodical approach to the first movement that made my heart sink. Decca cut short Dohnanyi's projected Mahler cycle in the mid-Nineties about halfway through. As with so much of Dohnanyi's catalog, he was so measured and dull that the scores barely came to life. This is a Ninth without imagination or daring. It's one thing to be anti_Bernstein, but this verges on anti-Mahler.

After the grim slog of the first movement, there's not much bite or sarcasm in the Scherzo. Not everyone agrees with Simon Rattle that this movement expresses everything that Mahler hated about the country while the Rondo-Burleske expresses everything that he hated about the city. You can play the movement cheerfully, in fact, as an affectionate sened-up of the rustic Austrian landler. Dohnanyi takes that approach, after a fashion, but the proceedings are flat rather than fun, despite lovely playing by the Clevelanders and especially clear sound from Decca. First Dohnanyi takes one step, then he takes another. There is no variety of mood, and the transitions are stilted and stiff. the Rondo-Bruleske unfolds the same way, without flavor or change of mood, and this is music that practically explodes with manic changes.

At 84 min. Dohnanyi is one of those who spill the Ninth over on to a second CD, which I take as a good sign, since the final Adagio doesn't need rushing; at 25 min. he gives us a true Adagio, and it begins with calm eloquence. There are times when Dohnanyi is so poker-faced that I wonder if he feels anything; here he evokes a sad nostalgia. It's not wrenching or cosmic, not tragic or poetic, but at least the music rises above what came before. The string sonority of the superb orchestra, caught with real depth by the engineers, carries this movement. We get a 15 min. filler in Karl Hartmann's Sym. #2, subtitled "Adagio." My copy is a download, so I don't have notes that might explain the connection that Dohnanyi sees between Hartmann and Mahler -- on the surface, following one intense Adagio with another isn't good programming. But Hartmann's slow music is a strong, jarring clash with Mahler's and makes sense, even if I rush to end the CD before proceeding on after the sublime silence that ends the Ninth. Hartmann is far more played in Germany than here, but I can see why he has followers. After the crashing opening, we get a doleful song on the saxophone and a development that is more like a tone poem than a symphony, the idiom sounding like exotic Hindemith, if such a contradictory beast is possible.

I was engrossed by the Hartmann, actually, as much as I found myself wandering in the Mahler. It's worthwhile seeking out Dohnanyi's recordings of modern German music -- expressionistic bleakness comes naturally to him in a way that Mahler doesn't.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x9b178bb8) étoiles sur 5 Passionate late Mahler 30 mai 2015
Par Stephen Ferre - Publié sur
Format: CD Achat vérifié
One of the best recordings of one of Mahler's greatest symphonies. I used to love the Giulini/CSO before I heard this. It's completely changed my mind.
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