{"id":369783,"date":"2018-09-21T13:18:25","date_gmt":"2018-09-21T17:18:25","guid":{"rendered":"http:\/\/myscena.org\/norman-lebrecht\/rachmaninoff-concertos-pour-piano-no-2-et-4-deutsche-grammophon\/"},"modified":"2018-09-21T15:24:22","modified_gmt":"2018-09-21T19:24:22","slug":"rachmaninoff-concertos-pour-piano-no-2-et-4-deutsche-grammophon","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/norman-lebrecht\/rachmaninoff-concertos-pour-piano-no-2-et-4-deutsche-grammophon\/","title":{"rendered":"Rachmaninoff, Concertos pour piano no\u00a02 et 4 &#8211; Deutsche Grammophon"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\">Rachmaninoff, Concertos pour piano no\u00a02 et 4 &#8211; Deutsche Grammophon<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Daniil Trifonov &#8211; Philadelphia Orchestra, Yannick N\u00e9zet-S\u00e9guin<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Au milieu de l\u2019excitation suscit\u00e9e par la red\u00e9couverte d\u2019un enregistrement des <i>Danses symphonique<\/i>s par Rachmaninoff, voici une nouvelle lecture de deux concertos avec l\u2019orchestre pr\u00e9f\u00e9r\u00e9 de Rachmaninoff, interpr\u00e9t\u00e9s par le pianiste vivant qui lui ressemble le plus. Deutsche Grammophon a intitul\u00e9 l&#8217;album <i>Destination Rachmaninoff. D\u00e9part<\/i>, o\u00f9 figure en couverture un portrait du soliste Daniil Trifonov, assis dans le genre de compartiment de chemin de fer contemporain des disques de gomme-laque. Ne vous laissez pas distraire par ces coups de marketing.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Trifonov ouvre avec un <i>Concerto en do mineur<\/i> d\u2019une autorit\u00e9 discr\u00e8te, chaque accord \u00e9tant plus sombre que le pr\u00e9c\u00e9dent, Rachmaninoff \u00e0 son plus morose. Si ce concerto avait une couleur physique, il serait brun, stri\u00e9 d&#8217;\u00e9clats d&#8217;alb\u00e2tre de fantaisie \u00e9rotique. Trifonov peint le brun plus profond que n&#8217;importe quel pianiste de la g\u00e9n\u00e9ration actuelle, ou de la derni\u00e8re. Il habite l\u2019esprit contrast\u00e9 de Rachmaninoff, enracin\u00e9 en Russie mais attir\u00e9 par l\u2019Occident, profond\u00e9ment pessimiste mais anormalement \u00e9nergique, introspectif mais extraverti. La finale du <i>Deuxi\u00e8me Concerto<\/i> est plus proche de la source que n\u2019importe quel enregistrement de ma connaissance.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Le <i>Quatri\u00e8me Concerto<\/i>, toujours probl\u00e9matique, est propuls\u00e9 \u00e0 grande vitesse par Yannick N\u00e9zet-S\u00e9guin et interpr\u00e9t\u00e9 par l\u2019Orchestre de Philadelphie avec un certain poli qui captivait le compositeur. Le mouvement central avec la comptine \u00ab\u00a0Les trois souris aveugles\u00a0\u00bb, souvent jou\u00e9 pour para\u00eetre simpliste, prend une dimension mena\u00e7ante. La finale est un tourbillon chaotique. Entre les deux concertos, Trifonov joue des transcriptions de Bach, comme Rachmaninoff aurait pu le faire. Cet enregistrement se situe parmi les plus grands.<\/span><\/p>\n<p class=\"p4\"><span class=\"s1\">Traduit par Benjamin Goron<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rachmaninoff, Concertos pour piano no\u00a02 et 4 &#8211; Deutsche Grammophon Daniil Trifonov &#8211; Philadelphia Orchestra, Yannick N\u00e9zet-S\u00e9guin Au milieu de l\u2019excitation suscit\u00e9e par la red\u00e9couverte d\u2019un enregistrement des Danses symphoniques par Rachmaninoff, voici une nouvelle lecture de deux concertos avec l\u2019orchestre pr\u00e9f\u00e9r\u00e9 de Rachmaninoff, interpr\u00e9t\u00e9s par le pianiste vivant qui lui ressemble le plus. Deutsche<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/norman-lebrecht\/rachmaninoff-concertos-pour-piano-no-2-et-4-deutsche-grammophon\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2760,"featured_media":369774,"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":[17038,34360,17275,17267],"tags":[37204,37291,37292,37290,559,24106],"class_list":{"0":"post-369783","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":"category-musique-orchestrale","10":"category-piano-fr","11":"tag-concerto-pour-piano","12":"tag-daniil-trifonov-fr","13":"tag-destination-rachmaninoff-depart","14":"tag-orchestre-de-philadelphie-fr","15":"tag-rachmaninoff","16":"tag-yannick-nezet-seguin-fr-10","17":"type-critique-de-disque"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/09\/Trifonov-Destination-Rachmaninov2-1024x576.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/09\/Trifonov-Destination-Rachmaninov2-300x169.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/09\/Trifonov-Destination-Rachmaninov2-1024x576.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\/369783"}],"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=369783"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/369783\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/369774"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=369783"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=369783"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=369783"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}