{"id":1096850,"date":"2025-10-10T18:16:53","date_gmt":"2025-10-10T22:16:53","guid":{"rendered":"https:\/\/myscena.org\/norman-lebrecht\/lhebdo-lebrecht-walton-britten-tippett-works-for-piano-and-orchestra-bis\/"},"modified":"2025-10-16T17:48:53","modified_gmt":"2025-10-16T21:48:53","slug":"lhebdo-lebrecht-walton-britten-tippett-works-for-piano-and-orchestra-bis","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/norman-lebrecht\/lhebdo-lebrecht-walton-britten-tippett-works-for-piano-and-orchestra-bis\/","title":{"rendered":"L&#8217;Hebdo Lebrecht | Walton, Britten, Tippett: \u0152uvres pour  piano et orchestre (BIS)"},"content":{"rendered":"<p class=\"has-drop-cap has-medium-font-size\">Si vous avez besoin d&#8217;une preuve que le mieux est l&#8217;ennemi du bien, \u00e9coutez le <a href=\"https:\/\/www.prestomusic.com\/classical\/products\/9799273--michael-tippett-piano-concerto-benjamin-britten-diversions-william-walton-sinfonia-concertante\">nouvel album de la pianiste Clare Hammond<\/a>, qui reprend les quasi-concertos de trois compositeurs britanniques parmi les plus acclam\u00e9s.<\/p>\n<p>William Walton s&#8217;est fait conna\u00eetre en 1923 avec <em>Fa\u00e7ade<\/em>, m\u00ealant po\u00e9sie et musique de chambre, et a men\u00e9 une longue carri\u00e8re aux succ\u00e8s mitig\u00e9s. Ses concertos pour alto et violon \u00e9taient exceptionnels, tout comme sa premi\u00e8re symphonie. Sa musique pour <em>Henry V<\/em> de Laurence Olivier est \u00e9pique, mais le reste de sa production l&#8217;est moins.<\/p>\n<p><em>La Sinfonia Concertante<\/em>, pour piano et orchestre, a \u00e9t\u00e9 salu\u00e9e en 1929 comme \u00ab ind\u00e9niablement originale \u00bb par l&#8217;auguste critique wagn\u00e9rien Ernest Newman. Elle comporte un th\u00e8me impertinent qui n&#8217;aurait pas d\u00e9tonn\u00e9 dans <em>My Fair Lady<\/em>, mais l&#8217;\u0153uvre tourne en rond pendant 20 minutes. Hammond joue de mani\u00e8re h\u00e9ro\u00efque et le BBC Symphony fait son devoir, mais il y a des limites \u00e0 la r\u00e9surrection lorsque le corps d&#8217;une \u0153uvre est r\u00e9ticent \u00e0 coop\u00e9rer.<\/p>\n<p><a href=\"https:\/\/myscena.org\/fr\/norman-lebrecht\/lebrecht-weekly-walton-britten-tippett-works-for-piano-and-orchestra-bis\/tippett-piano-bis2604\/\" rel=\"attachment wp-att-1096769\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-1096769 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/10\/Tippett-piano-BIS2604.jpg\" alt=\"Tippett\" width=\"300\" height=\"300\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2025\/10\/Tippett-piano-BIS2604.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/10\/Tippett-piano-BIS2604-150x150.jpg 150w, https:\/\/myscena.org\/wp-content\/uploads\/2025\/10\/Tippett-piano-BIS2604-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>Le concerto pour piano de Michael Tippett, compos\u00e9 en 1955, a une ouverture inhabituellement discr\u00e8te et introspective, inspir\u00e9e du quatri\u00e8me concerto de Beethoven. Le soliste qui l&#8217;a cr\u00e9\u00e9 a d\u00e9clar\u00e9 que l&#8217;\u0153uvre \u00e9tait injouable. De nos jours, elle ne semble pas terriblement difficile, mais quelque peu trop s\u00e9rieuse et sans direction claire \u2013 des grappes de notes \u00e0 la recherche d&#8217;une r\u00e9v\u00e9lation. Je me suis \u00e9clips\u00e9 discr\u00e8tement.<\/p>\n<p>L&#8217;interpr\u00e9tation de Hammond de <em>Diversions for piano (left hand) and orchestra<\/em>, compos\u00e9es en 1940 par un Britten vingtenaire, nous convainc que ce dernier sait exactement ce qu&#8217;il a \u00e0 dire et comment il entend l&#8217;exprimer. \u00c9crite pour Paul Wittgenstein, qui n&#8217;avait qu&#8217;un bras, l&#8217;\u0153uvre fut un \u00e9chec lors de sa cr\u00e9ation et demeura longtemps n\u00e9glig\u00e9e. En la r\u00e9\u00e9coutant apr\u00e8s plusieurs ann\u00e9es, je me dis qu&#8217;on ne changerait pas une seule note, tant Britten est s\u00fbr de son talent. \u00c0 c\u00f4t\u00e9 de lui, les autres prennent des tons s\u00e9pia.<\/p>\n<hr \/>\n<p>Traduction : A. Venne<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Si vous avez besoin d&#8217;une preuve que le mieux est l&#8217;ennemi du bien, \u00e9coutez le nouvel album de la pianiste Clare Hammond, qui reprend les quasi-concertos de trois compositeurs britanniques parmi les plus acclam\u00e9s. William Walton s&#8217;est fait conna\u00eetre en 1923 avec Fa\u00e7ade, m\u00ealant po\u00e9sie et musique de chambre, et a men\u00e9 une longue carri\u00e8re<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/norman-lebrecht\/lhebdo-lebrecht-walton-britten-tippett-works-for-piano-and-orchestra-bis\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2760,"featured_media":1096828,"comment_status":"closed","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":[34360],"tags":[45210,64046,64047],"class_list":{"0":"post-1096850","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-lhebdo-lebrecht","8":"tag-bbc-symphony-orchestra-fr","9":"tag-clare-hammond-fr","10":"tag-george-vass-fr","11":"type-article-fr","12":"type-critique-de-disque"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/10\/gandr-collage99.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/10\/gandr-collage99-300x169.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/10\/gandr-collage99.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\/1096850"}],"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=1096850"}],"version-history":[{"count":5,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1096850\/revisions"}],"predecessor-version":[{"id":1096916,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1096850\/revisions\/1096916"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1096828"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1096850"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1096850"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1096850"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}