{"id":977969,"date":"2020-12-16T08:42:08","date_gmt":"2020-12-16T13:42:08","guid":{"rendered":"https:\/\/myscena.org\/la-scena-musicale-team\/250-bougies-pour-beethoven-nos-oeuvres-preferees\/"},"modified":"2021-04-16T21:34:49","modified_gmt":"2021-04-17T01:34:49","slug":"250-bougies-pour-beethoven-nos-oeuvres-preferees","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/la-scena-musicale-team\/250-bougies-pour-beethoven-nos-oeuvres-preferees\/","title":{"rendered":"250 bougies pour Beethoven : nos oeuvres pr\u00e9f\u00e9r\u00e9es"},"content":{"rendered":"<p>Nous c\u00e9l\u00e9brons aujourd&#8217;hui le 250e anniversaire de naissance de Ludwig van Beethoven.<\/p>\n<p>Baptis\u00e9 le 17 d\u00e9cembre 1770 \u00e0 Bonn, le compositeur affirmait lui-m\u00eame \u00eatre n\u00e9 le 16. Voici les oeuvres pr\u00e9f\u00e9r\u00e9es de notre \u00e9quipe!<\/p>\n<h4><b><i>Sonate pour piano no 32 en ut mineur<\/i>, op. 111<\/b><\/h4>\n<p><strong>Andr\u00e9anne Venne<\/strong><\/p>\n<div>\n<p>On l&#8217;a appel\u00e9e l\u2019adieu au piano de Beethoven et m\u00eame l\u2019adieu \u00e0 la sonate.<\/p>\n<p>Mon inclination pour le d\u00e9pouillement a d\u2019abord d\u00e9termin\u00e9 ma pr\u00e9f\u00e9rence pour le piano solo. Dans la <em>Sonate\u00a0<\/em><i>pour piano no 32 en ut mineur<\/i>, op. 111, la voix du piano communique une solitude souveraine. Mais, pourquoi ai-je choisi cette sonate en particulier ?<\/p>\n<p>Pour la gravit\u00e9 temp\u00e9tueuse des notes qui fuguent entre la valse lourde et la tourmente, qui se poursuivent fi\u00e9vreusement comme les images d\u2019un vieux film d\u2019animation triste. L\u2019harmonie qui semble \u00e0 tout moment vouloir se rompre sans jamais perdre son air affirme avec puissance sa perfection. La rondeur de l\u2019ensemble nous enveloppe d\u2019une fracassante coh\u00e9sion m\u00e9lancolique.<\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_60897\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/ccyHT1sFmsg?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<\/div>\n<p>Si quelques sonates se sont vu attribuer des sobriquets, comme la fameuse <i>Sonate au clair de lune <\/i>(<i><span lang=\"FR\">Sonate n\u1d52 14 en do di\u00e8se mineur<\/span><\/i><span lang=\"FR\">, opus 27 n\u1d52 2)<\/span>, celle-ci pourrait bien m\u00e9riter, \u00e0 mon sens, celui de Sonate du tonnerre.<\/p>\n<h4><strong>Ultimate Beethoven: The Late Piano Sonatas and Late String Quartets<\/strong><\/h4>\n<p><strong>Phil Ehrensaft<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">As one of the great virtuoso pianists of his time, Beethoven first composed his new ideas at the keyboard, then moved to a second stage in his orchestral music and moved into the ultimate phase with his string quartets. The Arditti String Quartet, ardent champions of New Music, would only perform one set of pre-1900 compositions: Beethoven\u2019s late quartets, on the basis that it took three-quarters of a century for other composers to catch up on what he started.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For the late piano sonatas, that\u2019s a very hard choice. From the first recordings of the complete Beethoven sonatas by Artur Schnabel during the 1930\u2019s through the present, masters have climbed this ultimate pianistic mountain. Among this embarrassment of riches, I\u2019m listening most to Toronto\u2019s <\/span><b>Stewart Goodyear<\/b><span style=\"font-weight: 400;\">, who performs the late sonatas at the rapid speed indicated by Beethoven\u2019s metronome markings, at a comfort level that enables him to focus on interpretation (Marquis Classics, 2010).\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_48822\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/cYAP0Xoyyzg?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><span style=\"font-weight: 400;\">Tidal HD, a pioneer in streaming music in CD quality, and now in super-audio for recordings remastered in MQA (superaudio) quality, there\u2019s a staggering choice of complete Beethoven string quartet cycles. Which is pretty damn good for a service run by a rap star turned music moghul. I\u2019m currently listening to the late quartets in the <\/span><b>Tak\u00e1cs<\/b> <b>Quartet<\/b><span style=\"font-weight: 400;\"> complete Beethoven cycle for three reasons: 1) this set streams in super-audio quality; 2) it is the Tak\u00e1cs Quartet; and 3) it is the Tak\u00e1cs Quartet.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_70929\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/U50kwTh0Zcc?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<h4><\/h4>\n<h4><strong>Le<i> Quatuor \u00e0 cordes <abbr class=\"abbr\" title=\"num\u00e9ro\">n<sup>o<\/sup><\/abbr>\u00a01 en fa majeur<\/i>, opus 18 <abbr class=\"abbr\" title=\"num\u00e9ro\">n<sup>o.<\/sup><\/abbr>\u00a01<\/strong><\/h4>\n<p><strong>Dino Spaziani<\/strong><\/p>\n<div>J&#8217;aime assister\u00a0aux concerts mettant en vedette les grandes symphonies de Beethoven, surtout la cinqui\u00e8me et la neuvi\u00e8me. Par les temps qui\u00a0courent, les concerts en salles sont impossibles. Je trouve que, pour la maison, ses quatuors \u00e0 cordes sont fantastiques. On y retrouve un\u00a0m\u00e9lange d&#8217;\u00e9l\u00e9ments dramatiques et de d\u00e9dramatisation qui me plaisent bien, avec un\u00a0certain sens du ludique aussi. La l\u00e9g\u00e8ret\u00e9 qu&#8217;on retrouve m\u00eame dans les passages intenses se pr\u00eate \u00e0 toutes sortes d&#8217;activit\u00e9s casani\u00e8res.<\/div>\n<div>\n<p><iframe loading=\"lazy\" title=\"Beethoven String Quartet No 1 Op 18 in F major Alban Berg Quartett\" width=\"702\" height=\"527\" src=\"https:\/\/www.youtube.com\/embed\/-ICs8KdIfQA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<div>Mon favori est le premier : Le <i>Quatuor \u00e0 cordes <abbr class=\"abbr\" title=\"num\u00e9ro\">n<sup>o<\/sup><\/abbr>\u00a01 en fa majeur<\/i>, opus 18 <abbr class=\"abbr\" title=\"num\u00e9ro\">n<sup>o.<\/sup><\/abbr>\u00a01 fut compos\u00e9 en\u00a01799, publi\u00e9 en\u00a01801, d\u00e9di\u00e9 avec les cinq suivants au prince\u00a0Joseph Franz von Lobkowitz. Il s&#8217;agit du premier\u00a0quatuor \u00e0 cordes\u00a0sur les seize que Beethoven a publi\u00e9.<\/div>\n<h4><strong>Symphony No. 2<\/strong><\/h4>\n<p><strong>Robert Markow<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Beethoven\u2019s <\/span><b>Second Symphony<\/b><span style=\"font-weight: 400;\"> probably holds the dubious distinction of being the least known of the composer\u2019s nine works in the genre. Why this should be so is something of a mystery. It crashes in with an immensely powerful outburst from the full orchestra, only to dissolve into utterly gracious lyricism from the woodwind choir. An opening so startling can only herald a work of vast scope and grandeur, and indeed, this symphony turned out to be longest written to date (a record Beethoven himself promptly broke again with his next symphony, the <\/span><i><span style=\"font-weight: 400;\">Eroica<\/span><\/i><span style=\"font-weight: 400;\">). Then there is all that rough humor. In the Scherzo, for instance, we regularly encounter asymmetrical arrangements of loud and soft presentations of a three-note motif (\u201cha-ha-ha\u201d) as it is tossed about the orchestra, sometimes in shouts, sometimes in whispers\u00a0 \u0336\u00a0 an unsettling effect. Or what about the material that opens the rambunctious finale \u2013 the musical equivalent of a hiccup, a growl, a burp, and a fairy dance, all within the space of a few seconds? But best of all is this symphony\u2019s slow movement \u2013 one of the most gorgeous creations in all Beethoven, with a serene beauty worthy of Schubert. The outstanding Columbian-born conductor <\/span><b>Andr\u00e9s Orozco-Estrada<\/b><span style=\"font-weight: 400;\"> leads the <\/span><b>Frankfurt Radio Symphony Orchestra<\/b><span style=\"font-weight: 400;\">, one of Germany\u2019s best, in a performance that bristles with energy and excitement, enhanced by the astringent sounds of period trumpets and horns.<\/span><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_61215\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/ytOL_iszvAE?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<div>\n<h4><em>Sonate pour piano No. 27 en mi mineur,\u00a0<\/em>op. 90<\/h4>\n<p><strong>Justin Bernard<\/strong><\/p>\n<div>Un contrat de r\u00e9daction r\u00e9cent pour la salle Bourgie m&#8217;a replong\u00e9 dans l&#8217;\u00e9coute de l&#8217;int\u00e9grale des sonates pour piano de Beethoven. Je connaissais bien s\u00fbr les plus connues. La Path\u00e9tique, la Sonate au clair de lune, la Waldstein, l&#8217;Appassionnata&#8230; j&#8217;ai d\u00e9couvert, \u00e0 cette occasion, de petits bijoux trop rarement entendus \u00e0 mon go\u00fbt. Je pense notamment \u00e0 la Sonate no 27 qui succ\u00e8de \u00e0 la plus c\u00e9l\u00e8bre Sonate &#8220;Les Adieux&#8221;. On y retrouve toute l&#8217;\u00e9nergie, la rage de vivre beethovenienne. Dans d&#8217;autres passages, Beethoven nous accorde des moments de douceur m\u00e9lancolique qui nous r\u00e9confortent. Ici, la Sonate no. 27 est interpr\u00e9t\u00e9e successivement par Michael Korstick, Jonathan Biss et Paul Lewis<\/div>\n<\/div>\n<div>\n<p><iframe loading=\"lazy\" title=\"Beethoven: Sonata No.27 in E Minor, Op.90 (Korstick, Biss, Lewis)\" width=\"702\" height=\"395\" src=\"https:\/\/www.youtube.com\/embed\/Fi9jVgP94ZA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<h4><strong>Piano Sonata Op. 54<\/strong><\/h4>\n<p><strong>Arthur Kaptainis<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Beethoven\u2019s two-movement Piano Sonata Op. 54 is wedged between two nicknamed masterpieces \u2013 the \u201cWaldstein&#8221;: and the \u201cAppassionata\u201d \u2013 and disregarded accordingly. In fact it packs full Beethovenian helpings of elegance and energy into less than 11 minutes. I got hooked long ago by a 1960 RCA studio recording by <\/span><b>Sviatoslav Richter<\/b><span style=\"font-weight: 400;\"> that served as a filler on a recording of the Piano Concerto No. 1 with the Boston Symphony under Charles Munch (which is also worth your attention). Listen to the way the Russian master unleashes the force of the trio in octaves and sixths after the deceptively gracious minuet of the first movement, punching out the sforzandos with virtuoso authority. I have a feeling we are not in the classical era anymore! The perpetuum mobile finale starts at a murmuring Allegretto before gearshifting up to a hair-raising Pi\u00f9 Allegro. Richter turns this overlooked score into a <\/span><i><span style=\"font-weight: 400;\">tour de force<\/span><\/i><span style=\"font-weight: 400;\">.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_20810\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/M2e2g_4HpbU?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>Nous c\u00e9l\u00e9brons aujourd&#8217;hui le 250e anniversaire de naissance de Ludwig van Beethoven. Baptis\u00e9 le 17 d\u00e9cembre 1770 \u00e0 Bonn, le compositeur affirmait lui-m\u00eame \u00eatre n\u00e9 le 16. Voici les oeuvres pr\u00e9f\u00e9r\u00e9es de notre \u00e9quipe! Sonate pour piano no 32 en ut mineur, op. 111 Andr\u00e9anne Venne On l&#8217;a appel\u00e9e l\u2019adieu au piano de Beethoven et<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/la-scena-musicale-team\/250-bougies-pour-beethoven-nos-oeuvres-preferees\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2814,"featured_media":977959,"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":[394],"tags":[21938],"class_list":{"0":"post-977969","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-musique-classique","8":"tag-beethoven-fr-7"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2020\/12\/Beethoven-Birthday-01-1024x576.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2020\/12\/Beethoven-Birthday-01-300x169.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2020\/12\/Beethoven-Birthday-01-1024x576.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\/977969"}],"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\/2814"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=977969"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/977969\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/977959"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=977969"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=977969"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=977969"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}