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Totentanz, Sonnet à Pétrarque & Concerto n°1 pour piano Super Audio CD

5.0 étoiles sur 5 3 commentaires client

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Détails sur le produit

  • Interprète: Sergio Tempo
  • Orchestre: Orchestre della Svizzeria Italiana
  • Chef d'orchestre: Ion Marin
  • Compositeur: Franz Liszt & Ion Marin
  • CD (10 octobre 2012)
  • : Requires SACD-compatible hardware
  • Nombre de disques: 1
  • Format : Super Audio CD
  • Label: Avanti Classics
  • ASIN : B005JA8N14
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 128.984 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Descriptions du produit

TOTENTANZ, SONNET À PÉTRARQUE & CONCERTO N°1 POUR PIANO

Critique

"Der heute 39-jährige Venezolaner Sergio Tiempo ist ein heißblütiger Virtuose und ein intelligenter Vollblutmusiker, der den Zuhörer direkt erreichen und mitreißen möchte. Im Booklet seiner neuen, bekenntnishaft persönlichen und in jeder Beziehung extremen Stereo-SACD gemahnt er an die Visionen großer Komponisten, die Interpreten nie erfüllen könnten. Zugleich entschuldigt er sich für den Wahnsinn , der ihn und den Dirigenten des Tschaikowsky-Konzerts, Alexandre Rabinovitch, bei ihrem Live-Konzert in Lugano im Sommer 2005 angetrieben hätte. Damals , beim Progetto Martha Argerich, verwandelten die beiden das berühmteste Schlachtross des Konzertrepertoires in einen raubtierartigen Dialog, in ein einziges Donnergrollen zwischen dem entfesselt virtuosen Pianisten und dem kompakt und scharf dagegenhaltenden Orchester. So erlebte das Schweizer Publikum die verrückteste, dämonischste, gefährlichste, zugleich auch rhetorisch zwingendste und elektrisierendste Aufführung dieses Evergreens seit Langem: ein einziger, unendlicher Kometenschweif der Leidenschaft, der dramatischen Zuspitzung, der Ausdrucksbesessenheit. Das künstlerische Credo seiner langjährigen Förderin Martha Argerich trieb Tiempo mit wahrhaft vulkanischem Temperament weiter und wies so den im Grunde braven Tschaikowsky als dämonischen Nachfahren Franz Liszts aus. Durch zwei ähnlich extreme Liszt-Stücke, die Tiempo diesem Highlight seines Albums voranstellt, wird der Hörer auch entsprechend eingestimmt: Die konzertante Paraphrase über Dies irae wurde bereits 2004 in Lugano mitgeschnitten und zeigt sich in Tiempos Lesart als unterschätztes Schlüsselwerk von Liszts komplexer musikalischer Philosophie. Hier leitet Ion Marin das schlanke, aber schlagkräftige Orchestra della Svizzera Italiana. Diese raffinierte Synthese aus Todesnähe und strukturellem Experiment kontrastiert Tiempo dann mit einer aktuellen Studioeinspielung der drei lyrischen Petrarca-Sonette, in denen er seine Kantabilität und seine große, suggestive Erzählkraft ausspielt. Ein Extralob verdient auch der Tonmeister der drei unterschiedlichen, aber sehr homogen aufeinander abgestimmten Quellen." Stereoplay, A.C., February 2012 (Stereoplay, A.C., February 2012) (Stereoplay, A.C., February 2012)

...'Der Venezolaner Sergio Tiempo -wirkt- wie ein wilder, ungezügelter Heißsporn, der seine Zuhörer überwältigen möchte: Seine furiose Live-AufFührung des Tschaikowsky-Konzert s beim Progetto Martha Argerich in Lugano ließ er sechs Jahre lang liegen, bevor er es jetzt mit einem weiteren Live-Dokument des Lisztschen ,Totentanzes" koppelte und freigab: Er selbst charakterisierte seine Deutung als puren Wahnsinn". Und tatsächlich verwandelte er mit dem gleichgestimmten Dirigenten Alexandre Rabinovitch Tschaikowskys Schlachtross in ein fauchen des Raubtier, in ein einziges Donnergrollen, und das Schweizer Publikum erlebte die verrückteste, dämonischste, elektrisierendste Aufführung dieses Evergreens seit langem. So hat Tiempo sein Idol Martha Argerich an Vulkanismus fast noch übertroffen.' (Crescendo Des Wichtigsten CDs des Monats, A. C., February 2012)

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Format: CD Achat vérifié
L'essentiel de ce disque me semble être le concerto de Tchaïkovski, que je n'avais pas entendu depuis un bon bout de temps ... La première écoute m'a tout d'abord surpris par endroits, et notamment dans les passages en octaves aux deux mains des 1er et 3ème mouvements que le pianiste aborde dans un tempo d'enfer avec à mon goût un peu trop de pédale forte ce qui rend ces octaves pas assez claires - c'est mon point de vue. J'ai repris l'écoute partition en mains - avec la partition d'un ami pianiste qui a joué ce concerto plusieurs fois où je lisais ses annotations notamment celle-ci : "no rush" ... ! Mise à part cette petite réserve, l'exécution de ce cheval de bataille par Sergio Tiempo reste ébouriffante ! Plus une oeuvre est jouée, voire ressassée comme ce concerto de Tchaïkovski, plus il est difficile d'en faire jaillir un intérêt nouveau ...C'est pourtant ce à quoi arrive Sergio Tiempo ! Et j'aurais vraiment été heureux d'être parmi les auditeurs le jour où il l'a joué. Il semble que la présence du public ait complètement galvanisé tant le pianiste que l'orchestre dirigé de main de maître.
Quant aux autres œuvres sur ce disque, les trois Sonnets de Pétrarque sont tout simplement magnifiques, poétiques à souhait. Je ne parle pas de la plage 1 - Totentanz - ne l'ayant pas encore écoutée, cette oeuvre de Liszt n'étant pas pour moi d'un très grand intérêt.
Mais ce disque vaut la peine pour les Sonnets de Pétrarque et le concerto de Tchaïkovski ! ...
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Format: CD
'Rare au disque, le virtuose argentin Sergio Tiempo est régulièrement l'invité du festival Progetto Martha Argerich à Lugano, et c'est là qu'est né ce CD éblouissant (Avanti Classic). Une démonstration de liberté pianistique qui transfigure la Totentanz avec orchestre et les trois Sonnets de Pétrarque pour piano solo. Sonorité fluide et chantante aux nuances infinies, férocité rythmique, puissance sonore: Sergio Tiempo se révèle un démiurge hors du commun, capable de traduire aussi bien la part démoniaque que l'angélisme de Liszt. En complément, si l'on ose écrire, le 1er Concerto de Tchaïkovski brille également de mille feux. Les chefs Ion Marin et Alexandre Rabinovitch-Barakovsky font des miracles à la tête de l'Orchestra della Svizzera italiana'.
La Tribune de Genève, 31/10/2011 L.S.
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Par Hamel le 12 janvier 2012
Format: CD Achat vérifié
l'un des plus grands pianistes vivants avec Benjamin Grosvenor, Simon Trpceski, Yuja Wang et quelques autres ; dans un répertoire qui n'est pas à sa hauteur mais qu'il rend moins tonitruant que d'habitude. On est même étonné de pouvoir encore redécouvrir certains passages dans le concerto de Tchaikovski avec une nouvelle oreillle.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 5.0 étoiles sur 5 4 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Some great Reviews 21 février 2012
Par Vaucaire - Publié sur Amazon.com
Format: CD
Gramophone Choice, B.M., April 2012

`...In both Liszt's Totentanz and Tchaikovsky's First piano Concerto, [Sergio Tiempo] more than fulfills his early and extraordinary promises. Indeed, it is no exaggeration to say that he may well be the most dazzling and spontaneous pianist of his generation. At every point he turns the heat up to near boiling point, joyfully and unapologetically flaunting his virtuoso bird-of-paradise feathers. His octave technique is superhuman: try the famous cannonade of octaves in the first movement of the Tchaikovsky,... Every bar sparks with a fearless, vivid and audacious life, and no other recent version of the Tchaikovsky comes within distance of this.Tiempo's endless pianistic resource is no less evident in Liszt's Petrarch Sonnets, their florid emotional live,..., ideally suited to such volatility and imagination. Well recorded and accompanied, with the pianist's own playful and perpective essay, this is a record in a thousand'.

International Record Review, N.S., February 2012

`...Tiempo does indeed live for the moment, and the two concerto works are exciting and exhilarating in the extreme. Totentanz is exceptionally finely crafted, with faultless ensemble with conductor Ion Marin, and Tiempo copes with fiendish demands with light touch and crystalline clarity. Too often this is a heavy and bombastic work which sinks under its own weight, both in the musical content and the thickness of the scoring, both orchestral and pianistic, but there is none of this here. This is certainly a version to return to, with all the thrill and spontaneity of a live performance and a very impressive collaboration... Tiempo's impetuousness (in Tchaikovsky's first piano concerto) is undeniably exciting , driving through the finale's molto meno mosso into the Coda with an unmarked accelerando...
Tiempo's Totentanz is especially impressive, but the solos Liszt works are finer still. Tiempo is not hidebound by barlines and regularity of metre, and there's a degree of rhythmic waywardness and freedom which allows him to unfold these works in an improvisatory manner. This is matched by a full-blooded tone, never forced, and pedaling of real subtlety, with the filigree passagework on the `Sonetto 104' totally clear, while the opening of `Sonetto 47' is a model of colouring, the shade of the oscillating left-hand chords contrasting with the light of the right-hand melody.
With so many performances these days that are somewhat conservative and predictable, it's wonderful to encounter a young firebrand who has so much to say, with a prodigious technique married with the widest range of tone and colour'.

The Sunday Time, S.P., 22 January 2012

`The two works here involving the orchestra were recorded live at Lugano Festival in 2004 and 2005, and show a pianist of electrifying brilliance. Liszt's Totentanz is, of course, all demonic brilliance - Tiempo attacks with ebullient swagger... The finale (of Tchaikovsky's First Piano Concerto) bristles with excitement.'

The Independent, A.P., 29 January 2012

"A strong sense of lyricism and a taut technique colour Sergio Tiempo's live recording of Liszt's Totentanz and Tre Sonetti...and Tchaikovsky's first Piano Concerto... the hurtling passions and moments of introversion in the Tchaikovsky are cleverly navigated."

The Daily Telegraph, G.N., January 2012

`An exciting, full-blooded performance of Liszt's Totentanz, recorded live in 2004 ..., finds [Venezuelan pianist Sergio Tiempo] fully in command of the music's technical and stylistic facets. Confidence, dynamism, and personality also emanate from Tchaikovsky's First Concerto, recorded the following year : Tiempo and his conductor Rabinovitch-Barakovsky are certainly not afraid of exploring fresh interpretative avenues that contribute to a genuine feeling of spontaneity. The three Petrarch Sonnets attest to Tiempo's sensitivity and limpid touch.'

Sacd.net, J.B., 06/01/2012

" ...this is virtuosity at the service of poetic art and Tiempo provides poetry and art in spades. Very high class playing indeed." (about the Petrarch Sonnets)

Other great releases :
La Belle Epoque/Ravel/Faure/
Recital : Haendel ? Brahms ? Bach ? Liszt
Liszt Recital
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Outrageous Excitement Coupled With First-Rate Musicianship 6 mars 2015
Par T. Beers - Publié sur Amazon.com
Format: CD Achat vérifié
I completely agree with the other reviewers about the remarkable virtuosity displayed by Sergio Tiempo throughout the performances on this spectacularly well-engineered CD (SACD, compatible with all regular CD players as well). As heard courtesy of my SACD player working with very good quality (but not super expensive) amplifier and speakers, the recorded sound has stunning impact, delivering both piano and orchestra with astonishing depth and color. But what makes this CD so special for me are the musical qualities of the performances. Tiempo tears through both concertos in the Argerich manner; not surprising given that she has been a keen supporter of his developing career. But too many times, I find Argerich's own performances too breathless and almost slapdash. Not Tiempo, at least on the evidence of this disc. The breathtaking "live" performances still manage to exhibit a wealth of subtle phrasing, so much so that they unfold as if these warhorses could only be played this way. Likewise the studio recording of the three Liszt Petrarch Sonnets. I confess that I'm not much of a Liszt fan and could never understand why the great Bela Bartok was so enthusiastic about so much of Liszt's music, the Totentanz (Dance of the Dead) in particular. I've heard plenty of performances of it, by the likes of pianists as fine as Alfred Brendel, but it's always sounded to me like so much flashy trash. Well, as played by Tiempo it certainly is flashy, but also just plain fascinating. Of course Bartok would love it; so much of his own music seems anticipated by it! Finally, I want to point out the quality of the orchestral contribution in the performances of Totentanz and the Tchaikovsky concerto. The program book lists the orchestral players by name, and if you count them up you will be astonished to discover that the orchestra totals forty (yes, 40!). They sound much larger, with a richly colorful projection that can only be described as de luxe, unbelievably good for a radio band this size. Both Ion Marin, who conducts in the Liszt, and Alexandre Rabinovitch, who leads in the Tchaikovsky, turn in first-rate performances, partnering Tiempo phrase for phrase notwithstanding the pianist's challenging tempos and very personal use of rubato. Damn exciting stuff, but of a stunning musicality that is really rare these days. I hope Tiempo has a long and prosperous career. May he go from strength to strength!
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Radiant music making from a fresh and gifted Sergio Tiempo 19 août 2012
Par Grady Harp - Publié sur Amazon.com
Format: CD
Sergio Tiempo is rapidly gaining his place among the young stars of the piano. In case you have not heard him or know of his reputation, the following is helpful:' Sergio Daniel Tiempo (born 1972) was born in Caracas, Venezuela, and began playing the piano at an early age. His first teacher was his mother, Lyl Tiempo, who began teaching him before he turned three. He achieved early acclaim by appearing on Argentine television when he was four years old and gave concerts in London and France at age seven. In 1980, eight years old, he received special recognition at the Ealing Music Festival (London). His list of teachers has included Maria Curcio, Michel Béroff, Jacques Detiege, and Nelson Freire. He has also attended the International Piano Academy Lake Como, where he worked with Dimitri Bashkirov, Fou Ts'ong, Murray Perahia and Dietrich Fischer-Dieskau. He has also been taught by and performed with Martha Argerich. Argerich remains one of his staunchest supporters.

Having digested that, Tiempo is too little known in the USA. This past week he appeared in the Hollywood Bowl with Gustavo Dudamel playing the Ginastera Piano Concerto No. 1. The audience took notice! Now in reflection his recordings sound even more spectacular. This recording was made during a live performance at the Lugano Festival. He opens the program with a fireworks piece - the Totentanz of Liszt - with Ion Marin conducting the Italian Swiss Orchestra. Not being a devotee of the works of Liszt it is startling to discover just how dramatic this piece can become in the right hands. Tiempo's technique is flawless: he is a firebrand and a poet all in one. This work is followed by Tiempo alone performing three Petrarch Sonnets of Liszt, and it is here that Tiempo's solid virtuosity is evident. He is a wizard at the keyboard and plumbs the depths of these works, bringing out the beauties few have been able to match on recording. And this, remember, is a live performance.

Joining Alexander Rabinovitch-Barakovsky at the podium the concert concludes with one of the most thrilling performances of the Tchaikovsky Piano Concerto #1. Tiempo covers the spectrum of pyrotechniques and plangent poetry and stands with the finest interpreters of this concerto today. He is simply astonishing. Hopefully he will become a frequent guest with all of the American orchestras now. Surely with his backing by both Martha Argerich and his fellow Venezuelan Gustavo Dudamel he should become a permanent fixture in the Los Angeles music scene! Grady Harp, August 12
5.0 étoiles sur 5 Sergio Daniel Tiempo: Flash, Sizzle, and Subtlety too - in Lugano 6 juin 2012
Par drdanfee - Publié sur Amazon.com
Format: CD Achat vérifié
It is a pleasure to listen to this super-audio disc, showcasing as it does some extremely fine piano playing by child prodigy, Sergio Daniel Tiempo. How fine? Just run through the nice selection of stellar reviews already posted. Yups. This disc is that good, and ... that much 'live concert' fun and musical excitement.

The disc gets off to a rousing start with Franz Liszt's variations-like fantasy on the familiar Dies Irae theme that so bewitched Rachmaninoff. The pianist, orchestra departments, and leader Ion Marin do this bombastic music to a fare thee well. The most that many pianists can do with the Totentanz is to set it on fire as often as possible, hoping that the variety can become a dazzling Lisztian fireworks display, drawing us into the colors, explosive gear shifts, and general excitement. Tiempo and Marin get the players making a much more nuanced deal, and though Totentanz still has its share of hoo-ha that cannot help reminding us of Tchaikovsky's 1812 Overture, or Orff's Carmina Burana played on picnic boom boxes, one hears the work as better than it typically gets played.

Then we go solo on the keyboard. Tiempo gives us three of the Petrarch sonnets from Liszt's second year in Italy. His sense of flow befits the ruminations of these three works, hand to glove. One gets not only a helpful sense of colors, but also of foreground and background in the playing. Tiempo digs into each Sonnet as if he were truly in love with its message. There is remarkable virtuosity in these three Lisztian forays, but the music comes first. Only in passing retrospect may a listener note how effortlessly Tiempo tossed off something that sounds too jazzed up or too effortful in other hands. Or, in still other hands, just plain and flat. All through the three sonnets, the mastery of flow and background/foreground texturizing continues to throw up magic from both an instrumental angle - one revels in how Liszt's command was inseparable from the western grand piano - and from a mesmerizing music-making angle.

If Tiempo could sustain this kind of heart, color, and all else he serves up in abundance, across the rest of the voluminous Liszt oeuvre ... one surely would spend years hearing him do it.

Then this disc wraps up with the desperately familiar Tchaikovsky piano concerto. Now Alexander Rabinovitch-Barakovsky steps up to the conductor's stand. This live performance is such fun with such sizzle that I cannot imagine many people objecting. It is played pretty freely, but never really sounds stretched, mauled, or flattened. What comes across is a zest for music-making that would do any performer proud, and the audience hears it, too. Engineering has managed to deftly balance the piano with the orchestra departments, and surround sound fills in the rich tonal colors and touches of the venue. Tiempo seems to be running wild for joy at times in a fresh air field, and his athletics and musicianship are such that I could never begrudge him. Nor the composer, for that matter. It is readings like this that keep over-exposed war horse pieces, standing tall in the concert hall, season after season. Just when you think to yourself, Oh no, not THAT PIECE, again, you realize you are hearing a reading that enters into the familiar music in ways that suddenly seem irresistible. Nobody is bored to be playing the Tchaikovsky this time out; nobody seems bored to be listening to it, live, in Lugano; and if you find yourself wandering off to think over your tax receipts or something, we will all lament your sophistication and jadedness.

If you happen to have been listening to Sergio Daniel Tiempo since those early releases ... as I have ... you will perhaps further rejoice that this disc proves his staying power, as well as his kaleidoscopic gifts. The younger player did well. You could hear that he loved music. The young man is still engaged in the music, if not more so. You can still hear, how much he loves music, and how it tends to spill over around him to the conductor and players. Lugano was fortunate to hear him at the festival. We are lucky that the engineers captured some of it in surround sound high resolution audio.
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