{"id":1057721,"date":"2024-03-29T08:00:36","date_gmt":"2024-03-29T13:00:36","guid":{"rendered":"https:\/\/myscena.org\/?p=1057721"},"modified":"2024-03-29T10:47:07","modified_gmt":"2024-03-29T15:47:07","slug":"critique-cd-nikolai-medtner-les-trois-dernieres-sonates-pour-piano-atma-classique-2024","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/viktor-lazarov\/critique-cd-nikolai-medtner-les-trois-dernieres-sonates-pour-piano-atma-classique-2024\/","title":{"rendered":"Critique CD | Nikolai Medtner: Les trois derni\u00e8res sonates pour piano (Atma Classique, 2024)"},"content":{"rendered":"<blockquote><p><b><i>Nikolai Medtner\u00a0: <\/i><\/b><b><i>Les trois derni\u00e8res sonates pour piano<br \/>\n<\/i><\/b>Benjamin Bertin, piano<br \/>\nAtma Classique, 2024<\/p><\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-1057614 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner-Les-trois-dernieres-sonates-pour-piano-Benjamin-Bertin-cmyk.jpg\" alt=\"\" width=\"221\" height=\"197\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner-Les-trois-dernieres-sonates-pour-piano-Benjamin-Bertin-cmyk.jpg 1000w, https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner-Les-trois-dernieres-sonates-pour-piano-Benjamin-Bertin-cmyk-300x268.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner-Les-trois-dernieres-sonates-pour-piano-Benjamin-Bertin-cmyk-600x536.jpg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner-Les-trois-dernieres-sonates-pour-piano-Benjamin-Bertin-cmyk-768x686.jpg 768w\" sizes=\"(max-width: 221px) 100vw, 221px\" \/><\/p>\n<p>Le pianiste canadien Benjamin Bertin pr\u00e9sente un album d\u00e9di\u00e9 \u00e0 Nikolai Medtner consacr\u00e9 aux trois derni\u00e8res sonates du compositeur. L\u2019excellente qualit\u00e9 de l\u2019enregistrement, du piano et de l\u2019\u00e9dition contribue \u00e0 la grande qualit\u00e9 artistique globale de cet album paru chez ATMA Classique.<\/p>\n<p>Le jeu raffin\u00e9 de Bertin refl\u00e8te son solide pedigree pianistique. L\u2019\u00e9quilibre d\u00e9licat cr\u00e9\u00e9 par son style \u00e9l\u00e9gant et sa compr\u00e9hension ind\u00e9niable du romantisme russe m\u00e9riterait l\u2019apport suppl\u00e9mentaire d\u2019une prise de risque dans les moments culminants, ce qui ne ferait qu\u2019am\u00e9liorer le jeu de ce pianiste accompli. Bertin est \u00e0 cheval sur les \u00e9l\u00e9ments dionysiaques et apolliniens de la musique de Medtner. \u00c9tant donn\u00e9 sa ma\u00eetrise de ces concepts d\u2019interpr\u00e9tation, le choix de l\u2019un ou de l\u2019autre n\u2019est plus qu\u2019une question de go\u00fbt et d\u2019esth\u00e9tique.<\/p>\n<p>Le premier mouvement de la <i>Sonata romantica en si b\u00e9mol mineur<\/i>, op. 53, no 1 de Medtner s\u2019ouvre sur un jeu sensible, expressif, d\u00e9licat et nuanc\u00e9. La musique est obs\u00e9dante, avec des \u00e9clats de lumi\u00e8re intercal\u00e9s dans une mer de t\u00e9n\u00e8bres et de d\u00e9sespoir. Bertin utilise une vari\u00e9t\u00e9 de touches pour capter l\u2019anxi\u00e9t\u00e9, diff\u00e9rencier les textures et cr\u00e9er des couches sonores finement assembl\u00e9es. Pianiste techniquement comp\u00e9tent, il poss\u00e8de l\u2019imagination et la sensibilit\u00e9 po\u00e9tique n\u00e9cessaires pour rendre pleinement justice au caract\u00e8re sinistre de l\u2019\u0153uvre de Medtner.<\/p>\n<p>La deuxi\u00e8me sonate de l\u2019opus 53, <i>Sonata minacciosa en fa mineur<\/i>, est en un seul mouvement. Bertin exploite la gamme des couleurs harmoniques et ex\u00e9cute les passages pittoresques avec le talent d\u2019un virtuose et le go\u00fbt d\u2019un artiste intelligent. La derni\u00e8re sonate, <i>Sonate-Idylle en sol majeur<\/i>, op. 56, s\u2019ouvre sur un mouvement pastoral de type baroque, que Bertin interpr\u00e8te avec clart\u00e9, attention aux effets color\u00e9s et sensibilit\u00e9. Le deuxi\u00e8me mouvement commence sans pr\u00e9tention avant d\u2019\u00e9voluer vers une po\u00e9sie musicale des plus saisissantes.<\/p>\n<p>L\u2019album se termine sur la transcription par Boris Shatskes de la chanson de Medtner sur le po\u00e8me d\u2019Alexandre Pouchkine, <i>Quand les roses se fanent<\/i>, op. 36, no 3. Cet album est une contribution pr\u00e9cieuse au catalogue d\u2019enregistrements de Medtner et un d\u00e9but remarquable.<\/p>\n<h4>Playlist<\/h4>\n<p><iframe loading=\"lazy\"  id=\"_ytid_91054\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/n5nS6iBd278?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_15085\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/R47XG5mkKtI?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>L\u2019excellente qualit\u00e9 de l\u2019enregistrement, du piano et de l\u2019\u00e9dition contribue \u00e0 la grande qualit\u00e9 artistique globale de cet album paru chez ATMA Classique.<\/p>\n","protected":false},"author":35946,"featured_media":1057634,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17261,17038,17267],"tags":[58188,54846,57720,49679,28797],"class_list":{"0":"post-1057721","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-classique-fr","8":"category-critiques-de-disques-et-livres","9":"category-piano-fr","10":"tag-album-review-fr","11":"tag-cd-fr","12":"tag-classical-fr","13":"tag-nikolai-medtner-fr","14":"tag-piano-fr-2","15":"volume-volume-29","16":"issue-vol-29-issue-6-fr","17":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner.webp","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner-300x144.webp","large":"https:\/\/myscena.org\/wp-content\/uploads\/2024\/03\/Nikolai-Medtner.webp"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","value":[]},{"key":"source_url","label":"Source URL","value":""},{"key":"author_name","label":"Author","value":""},{"key":"editchoice","label":"Edit Choice","value":[]},{"key":"is_cover_story","label":"Is Cover Story","value":[]},{"key":"performer_1","label":"Performer 1","value":""},{"key":"performer_2","label":"Performer 2","value":""},{"key":"other_info","label":"Other info","value":""},{"key":"ink_amazon","label":"Ink Amazon","value":""},{"key":"archambault","label":"archambault link","value":""},{"key":"price","label":"Price","value":""}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1057721"}],"collection":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/users\/35946"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1057721"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1057721\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1057634"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1057721"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1057721"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1057721"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}