{"id":355882,"date":"2018-02-07T13:35:00","date_gmt":"2018-02-07T17:35:00","guid":{"rendered":"http:\/\/myscena.org\/norman-lebrecht\/cd-review-haydn-symphonies-no-26-no-86-mozart-violin-concerto-no-3\/"},"modified":"2018-02-07T13:40:40","modified_gmt":"2018-02-07T17:40:40","slug":"cd-review-haydn-symphonies-no-26-no-86-mozart-violin-concerto-no-3","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/norman-lebrecht\/cd-review-haydn-symphonies-no-26-no-86-mozart-violin-concerto-no-3\/","title":{"rendered":"Critique de Disque &#8211; Haydn: Symphonies No. 26 and No. 86. Mozart: Violin Concerto No. 3."},"content":{"rendered":"<h6><strong>Haydn\u00a0: Symphonies n\u00b0 26 et n\u00b0 86 \u2013 Mozart\u00a0: Concerto pour violon n\u00b0 3<br \/>\n<\/strong>Handel and Haydn Society. Harry Christophers, chef d\u2019orchestre. Aisslinn Nosky, violon. Coro \u2013 COR 16158. Dur\u00e9e\u00a0: 69 min 15 s<\/h6>\n<p><a href=\"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Haydn-Symphonies-No.-26-and-No.-86.-Mozart-Violin-Concerto-No.-3.-Handel-and-Haydn-Society.-Harry-Christophers.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-355878\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Haydn-Symphonies-No.-26-and-No.-86.-Mozart-Violin-Concerto-No.-3.-Handel-and-Haydn-Society.-Harry-Christophers.jpg\" alt=\"\" width=\"225\" height=\"224\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Haydn-Symphonies-No.-26-and-No.-86.-Mozart-Violin-Concerto-No.-3.-Handel-and-Haydn-Society.-Harry-Christophers.jpg 225w, https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Haydn-Symphonies-No.-26-and-No.-86.-Mozart-Violin-Concerto-No.-3.-Handel-and-Haydn-Society.-Harry-Christophers-100x100.jpg 100w\" sizes=\"(max-width: 225px) 100vw, 225px\" \/><\/a>Le chef d\u2019orchestre britannique Harry Christophers poss\u00e8de sa propre maison de disques, Coro, qui produit un flot d\u2019excellentes prestations, principalement avec son propre groupe <em>The Sixteen<\/em>. Cet enregistrement, cependant, est avec l\u2019autre groupe de Christophers, la v\u00e9n\u00e9rable <em>Handel et Haydn Society<\/em> de Boston, la plus ancienne organisation des arts de la sc\u00e8ne des \u00c9tats-Unis. Il pr\u00e9sente deux \u0153uvres de Haydn \u00e9crites \u00e0 20 ans d\u2019intervalle et le <em>Concerto pour violon en sol majeur<\/em> de Mozart ins\u00e9r\u00e9 entre les deux. Cela montre un Haydn \u00e0 la fois pass\u00e9 et futur, avec son prot\u00e9g\u00e9 enclav\u00e9 au milieu.<\/p>\n<p>La <em>Symphonie n\u00b0 26 <\/em>\u00ab\u00a0Lamentations\u00a0\u00bb de 1768 rappelle les oratorios de Bach et de Haendel, incluant des phras\u00e9s qui pourraient s\u2019int\u00e9grer facilement au <em>Messie<\/em> ou \u00e0 <em>La Passion selon saint Matthieu<\/em>. D\u00e9votionnelle dans le sens le plus simple du mot, elle est extr\u00eamement courte \u2013 deux mouvements de quatre minutes avec huit minutes au milieu \u2013, laissant l\u2019auditeur avide d\u2019en entendre davantage. La <em>86<sup>e<\/sup><\/em>, l\u2019une des symphonies parisiennes de Haydn, a une ouverture majestueuse suivie d\u2019un <em>Allegro<\/em> fr\u00e9n\u00e9tiquement anim\u00e9, une danse sur le bord du volcan fran\u00e7ais de la fin des ann\u00e9es 1780. Haydn est trop prudent pour aborder un contexte politique, mais il est bien entendu.<\/p>\n<p>Le <em>Concerto<\/em> de Mozart est jou\u00e9 par la violoniste canadienne renomm\u00e9e Aisslinn Nosky (anciennement de Tafelmusik), sans histoires ou faux-semblants, restaurant l\u2019\u0153uvre dans son d\u00e9cor courtois. En cette semaine grise de janvier, cet album sans pr\u00e9tention jette de fragiles lueurs d\u2019espoir. NL<\/p>\n<p>Traduit par M\u00e9lissa Brien<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Haydn\u00a0: Symphonies n\u00b0 26 et n\u00b0 86 \u2013 Mozart\u00a0: Concerto pour violon n\u00b0 3 Handel and Haydn Society. Harry Christophers, chef d\u2019orchestre. Aisslinn Nosky, violon. Coro \u2013 COR 16158. Dur\u00e9e\u00a0: 69 min 15 s Le chef d\u2019orchestre britannique Harry Christophers poss\u00e8de sa propre maison de disques, Coro, qui produit un flot d\u2019excellentes prestations, principalement avec<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/norman-lebrecht\/cd-review-haydn-symphonies-no-26-no-86-mozart-violin-concerto-no-3\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2760,"featured_media":355881,"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":[17261,17265,17038,394],"tags":[35130,35131,35132],"class_list":{"0":"post-355882","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-classique-fr","8":"category-contemporaine","9":"category-critiques-de-disques-et-livres","10":"category-musique-classique","11":"tag-aisslinn-nosky-fr","12":"tag-handel-and-haydn-society-of-boston-fr","13":"tag-harry-christophers-fr","14":"type-critique-de-disque","15":"volume-volume-23","16":"issue-vol-23-issue-5-fr","17":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Haydn-header.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Haydn-header.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Haydn-header.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"volume","label":"Volume","value":[]},{"key":"number","label":"Number","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":""},{"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":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","value":[]}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/355882"}],"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=355882"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/355882\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/355881"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=355882"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=355882"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=355882"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}