{"id":1078756,"date":"2025-03-01T11:03:20","date_gmt":"2025-03-01T16:03:20","guid":{"rendered":"https:\/\/myscena.org\/norman-lebrecht\/lhebdo-lebrecht-schubert-melodies-orchestrales-et-9e-symphonie-chandos\/"},"modified":"2025-03-01T15:19:54","modified_gmt":"2025-03-01T20:19:54","slug":"lhebdo-lebrecht-schubert-melodies-orchestrales-et-symphonie-no-9-chandos","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/norman-lebrecht\/lhebdo-lebrecht-schubert-melodies-orchestrales-et-symphonie-no-9-chandos\/","title":{"rendered":"L&#8217;Hebdo Lebrecht |  Schubert : m\u00e9lodies orchestrales et <em>Symphonie No 9<\/em> (Chandos)"},"content":{"rendered":"<p class=\"has-drop-cap has-medium-font-size\">De nombreux compositeurs ont essay\u00e9 de revamper Schubert. Mahler a r\u00e9alis\u00e9 une version pour orchestre \u00e0 cordes du quatuor \u00e0 cordes <em>La jeune fille et la mort<\/em>, Joseph Joachim a orchestr\u00e9 une sonate pour piano \u00e0 quatre mains, Liszt a transform\u00e9 la <em>Wanderer Fantaisie <\/em>en quelque chose ressemblant \u00e0 un concerto pour piano. M\u00eame l&#8217;atonal Anton von Webern s&#8217;y est essay\u00e9. Tout cela avec les meilleures intentions du monde et sans nuire \u00e0 l&#8217;original cristallin, mais on peut se demander pour quelle valeur ajout\u00e9e. Schubert, comme le strudel aux pommes, n&#8217;a pas besoin d&#8217;\u00e9dulcorant.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-1078695 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/02\/CH5354.jpg\" alt=\"\" width=\"150\" height=\"150\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/02\/CH5354.jpg 150w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/02\/CH5354-100x100.jpg 100w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/>Ce que nous avons sur <a href=\"https:\/\/www.chandos.net\/products\/catalogue\/CHSA%205354\">cet album<\/a>, ce sont des mises en musique orchestrales peu connues de quatre m\u00e9lodies parfaites r\u00e9alis\u00e9es par des compositeurs c\u00e9l\u00e8bres. Benjamin Britten a ajout\u00e9 deux clarinettes et des cordes \u00e0 <em>La<\/em> <em>Truite<\/em>. Max Reger a ins\u00e9r\u00e9 un cor et des bois dans <em>Im Abendrot <\/em>et Brahms des cordes et du cor au merveilleux <em>Geheimes<\/em> (Secret). Berlioz fait quant \u00e0 lui appel \u00e0 tous les moyens orchestraux dans le galopant<em> Erlk\u00f6nig<\/em>.<\/p>\n<p>La soprano Mary Bevan donne une voix rayonnante \u00e0 ces \u0153uvres, s&#8217;effor\u00e7ant vaillamment de ne pas se laisser pi\u00e9tiner par Berlioz ou compromettre par Reger. La partition de Britten, de 1942, est d\u00e9tach\u00e9e \u00e9motionnellement et peu int\u00e9ress\u00e9e \u00e0 marquer des points. Le plus doux de tous est une Romanze pour voix et ensemble que Schubert a compos\u00e9e comme entr&#8217;acte dans <em>Rosamunde<\/em>, parfaite en soi.<\/p>\n<p>L&#8217;accompagnement est assur\u00e9 par Edward Gardner et le City of Birmingham Symphony Orchestra, d&#8217;une grande qualit\u00e9. Une fois les m\u00e9lodies achev\u00e9es, l&#8217;orchestre se laisse aller \u00e0 une pi\u00e8tre interpr\u00e9tation de la <em>Grande Symphonie en do majeur<\/em> de Schubert, tombant quelque part entre la magnitude de Beecham et les girations de Gardiner. Cette prestation manque de caract\u00e8re. Schubert doit tourner la page.<\/p>\n<hr \/>\n<p>Traduction : A. Venne<\/p>\n","protected":false},"excerpt":{"rendered":"<p>De nombreux compositeurs ont essay\u00e9 de revamper Schubert. Mahler a r\u00e9alis\u00e9 une version pour orchestre \u00e0 cordes du quatuor \u00e0 cordes La jeune fille et la mort, Joseph Joachim a orchestr\u00e9 une sonate pour piano \u00e0 quatre mains, Liszt a transform\u00e9 la Wanderer Fantaisie en quelque chose ressemblant \u00e0 un concerto pour piano. M\u00eame l&#8217;atonal<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/norman-lebrecht\/lhebdo-lebrecht-schubert-melodies-orchestrales-et-symphonie-no-9-chandos\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2760,"featured_media":1078698,"comment_status":"closed","ping_status":"closed","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":[17038,34360],"tags":[44859,37201,56734],"class_list":{"0":"post-1078756","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"category-lhebdo-lebrecht","9":"tag-city-of-birmingham-symphony-orchestra-fr","10":"tag-edward-gardner-fr","11":"tag-mary-bevan-fr","12":"type-critique","13":"type-critique-de-disque"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/02\/gandr-collage68-e1740762187757.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/02\/gandr-collage68-300x300.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/02\/gandr-collage68-e1740762187757.jpg"},"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\/1078756"}],"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\/2760"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1078756"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1078756\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1078698"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1078756"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1078756"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1078756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}