Qobuz Store wallpaper
Catégories :
Panier 0

Votre panier est vide

Philippe Herreweghe|Bruckner: Symphony No.7 in E major (Philippe Herreweghe)

Bruckner: Symphony No.7 in E major (Philippe Herreweghe)

Philippe Herreweghe

Disponible en
16-Bit CD Quality 44.1 kHz - Stereo

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Téléchargez cet album dans la qualité de votre choix

This is the first recording of the original version of Anton Bruckner's Symphony No. 7 on period instruments. Who would have thought it would take this long? But since Norrington and Harnoncourt, the two other likely conducting contenders, have not gotten around to the Seventh yet, it turns out that Philippe Herreweghe and his Orchestre des Champs-Elysees became the first to take on the Seventh with catgut strings and period winds and brass. But while there are impressive moments and extraordinary passages in this performance, it is, overall, a failure. The inwardness at the start of the opening Allegro moderato is exquisite and the gravitas of the brass at the close of the central Adagio is bottomless, but most of the time, the performance seems lightweight and the interpretation seems superficial. The problem is not that the strings are occasionally lean and hard, or that the winds are sometimes piquant and tart, or that the brass are too often raw and rowdy. The problem is not that Herreweghe lacks Brucknerian credentials: his recording of the master's Mass in E minor is deeply beautiful and profoundly spiritual. The problem is that this particular performance of Bruckner's Seventh simply does not hang together over the long run. After the inward opening, the rest of the Allegro moderato wanders lost and lonely. Before the gravitas of the closing, the rest of the Adagio is dainty and desultory. And the rest of the performance is even more lost and desultory, themes meandering aimlessly, harmonies modulating pointlessly, and structures vast, confused, and rambling. Harmonia Mundi's sound is rich, deep, warm, and real. Because this is the original version of the Seventh, Herreweghe does not include the spurious cymbal clash at the climax of the Adagio.
© TiVo

Plus d'informations

Bruckner: Symphony No.7 in E major (Philippe Herreweghe)

Philippe Herreweghe

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 70 millions de titres avec votre abonnement illimité.

Écoutez cet album et plus de 70 millions de titres avec votre abonnement illimité.

1
Symphony No.7 in E major: I. Allegro moderato
00:18:21

Philippe Herreweghe, Conductor - Anton Bruckner, Composer

2004 harmonia mundi

2
Symphony No.7 in E major: II. Adagio. Sehr feierlich und sehr langsam
00:20:23

Philippe Herreweghe, Conductor - Anton Bruckner, Composer

2004 harmonia mundi

3
Symphony No.7 in E major: III. Scherzo. Sehr schnell
00:09:17

Philippe Herreweghe, Conductor - Anton Bruckner, Composer

2004 harmonia mundi

4
Symphony No.7 in E major: IV. Finale. Bewegt doch nicht schnell
00:11:51

Philippe Herreweghe, Conductor - Anton Bruckner, Composer

2004 harmonia mundi

Descriptif de l'album

This is the first recording of the original version of Anton Bruckner's Symphony No. 7 on period instruments. Who would have thought it would take this long? But since Norrington and Harnoncourt, the two other likely conducting contenders, have not gotten around to the Seventh yet, it turns out that Philippe Herreweghe and his Orchestre des Champs-Elysees became the first to take on the Seventh with catgut strings and period winds and brass. But while there are impressive moments and extraordinary passages in this performance, it is, overall, a failure. The inwardness at the start of the opening Allegro moderato is exquisite and the gravitas of the brass at the close of the central Adagio is bottomless, but most of the time, the performance seems lightweight and the interpretation seems superficial. The problem is not that the strings are occasionally lean and hard, or that the winds are sometimes piquant and tart, or that the brass are too often raw and rowdy. The problem is not that Herreweghe lacks Brucknerian credentials: his recording of the master's Mass in E minor is deeply beautiful and profoundly spiritual. The problem is that this particular performance of Bruckner's Seventh simply does not hang together over the long run. After the inward opening, the rest of the Allegro moderato wanders lost and lonely. Before the gravitas of the closing, the rest of the Adagio is dainty and desultory. And the rest of the performance is even more lost and desultory, themes meandering aimlessly, harmonies modulating pointlessly, and structures vast, confused, and rambling. Harmonia Mundi's sound is rich, deep, warm, and real. Because this is the original version of the Seventh, Herreweghe does not include the spurious cymbal clash at the climax of the Adagio.
© TiVo

À propos

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...

A Rush of Blood to the Head

Coldplay

Parachutes

Coldplay

Parachutes Coldplay

Ghost Stories

Coldplay

Ghost Stories Coldplay

Everyday Life

Coldplay

Everyday Life Coldplay
À découvrir également
Par Philippe Herreweghe

Bruckner: Mass No. 2 in E Minor & Te Deum

Philippe Herreweghe

Johann Sebastian Bach : Oster-Oratorium, BWV 249

Philippe Herreweghe

Mozart: Messe en ut mineur

Philippe Herreweghe

Mozart: Messe en ut mineur Philippe Herreweghe

J.S. Bach : Matthäus-Passion, BWV 244 (Passion selon saint Matthieu)

Philippe Herreweghe

J.S. Bach : Christmas Oratorio

Philippe Herreweghe

J.S. Bach : Christmas Oratorio Philippe Herreweghe
Dans la même thématique...

Bach: The Brandenburg Concertos

il Gusto Barocco

Gershwin : Rhapsody in Blue, An American in Paris...

Leonard Bernstein

Vaughan Williams: A London Symphony (Symphony No. 2)

Richard Hickox

Grieg : Peer Gynt, Op. 23 - Piano Concerto

Edward Gardner

Mahler: Symphony No. 2, 'Resurrection'

Sir Simon Rattle

Les Grands Angles...
Fabio Biondi & Europa Galante, 30 ans de liberté

Le violoniste et chef italien Fabio Biondi, célèbre notamment pour son interprétation des “Quatre Saisons” de Vivaldi avec son orchestre Europa Galante, est de ceux qui rejettent toute forme de cloisonnement dans la musique. Retour sur le parcours d’un musicien doté d’une grande souplesse d’esprit et figure incontournable du violon baroque.

Guido Cantelli, l’aristocrate de la baguette

La réédition massive et parfaitement restaurée des enregistrements de studio de Guido Cantelli, au début des années 1950 pour EMI et RCA, viennent raviver le souvenir d’un chef d’orchestre dont le lumineux témoignage commençait singulièrement à s’émousser. « Chef d’orchestre des temps nouveaux », Guido Cantelli était un aristocrate de la baguette, toujours à la recherche du beau son à travers un strict respect des partitions qu’il dirigeait avec ferveur.

Herbert von Karajan et les grands maîtres du classique

Trente ans après sa mort, l’Autrichien Herbert von Karajan (Salzbourg 1908 - Anif 1989) incarne toujours la figure du chef d’orchestre. À la tête de l’orchestre philharmonique de Berlin, qu’il a élevé au rang de marque mondiale pendant presque trente-cinq ans (1955-1989), il a méthodiquement réenregistré le cœur de son répertoire : Beethoven, Brahms, Bruckner, Verdi, Wagner, Strauss…

Dans l'actualité...