
Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez 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
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de 12,49€/mois

Philippe Herreweghe, Conductor - Anton Bruckner, Composer
2004 harmonia mundi
Philippe Herreweghe, Conductor - Anton Bruckner, Composer
2004 harmonia mundi
Philippe Herreweghe, Conductor - Anton Bruckner, Composer
2004 harmonia mundi
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
- 1 disque(s) - 4 piste(s)
- Durée totale : 00:59:52
- Artiste principal : Philippe Herreweghe
- Compositeur : Anton Bruckner
- Label : harmonia mundi
- Genre : Classique Musique symphonique
2004 harmonia mundi
Améliorer les informations de l'album
Pourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.