{"id":987249,"date":"2021-06-13T16:36:07","date_gmt":"2021-06-13T20:36:07","guid":{"rendered":"https:\/\/myscena.org\/arthur-kaptainis\/bergen-un-recital-du-salon-de-grieg-au-votre\/"},"modified":"2021-06-13T16:40:35","modified_gmt":"2021-06-13T20:40:35","slug":"bergen-un-recital-du-salon-de-grieg-au-votre","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/arthur-kaptainis\/bergen-un-recital-du-salon-de-grieg-au-votre\/","title":{"rendered":"Bergen\u00a0: un r\u00e9cital du salon de Grieg au v\u00f4tre"},"content":{"rendered":" \n

Le Festival international de Bergen prend au s\u00e9rieux son c\u00f4t\u00e9 \u00ab\u00a0international\u00a0\u00bb. Il y a des offres dans divers genres et beaucoup d\u2019entre elles pourraient \u00eatre consid\u00e9r\u00e9es comme exp\u00e9rimentales.<\/em> The American Moth<\/em>, pour prendre en exemple l’une des pr\u00e9sentations embl\u00e9matiques de 2021, est d\u00e9crite comme \u00ab\u00a0un spectacle multim\u00e9dia combinant danse, th\u00e9\u00e2tre en plusieurs langues et \u0153uvre cin\u00e9matographique en direct\u00a0\u00bb dans le but d’explorer \u00ab\u00a0les sympathies et les ressentiments en jeu dans les relations interg\u00e9n\u00e9rationnelles\u00a0\u00bb. \n \n\u00a0<\/p> \n

Well, having enjoyed my Grieg last week from the Bergen Philharmonic, I chose to keep it simple and hear a recital in the living room of Troldhaugen,\u00a0the composer\u2019s villa on the outskirts of town. Of course I was not there in person, but neither was anyone else apart from the pianist Ole Christian Haagenrud and the audio-visual team charged with livestreaming his 55-minute program (subtitled commentary included). \u00a0<\/span><\/p>\n

This Norwegian in his early thirties studied with\u00a0H\u00e5vard Gimse, the soloist last week in the aforementioned <\/span>performance<\/span><\/a> of the Grieg Piano Concerto. Perhaps we can detect the influence of the elder pianist in Haagenrud\u2019s natural way with a phrase and preference for clear textures, notably in a transcription of the Prelude from Grieg\u2019s\u00a0<\/span>Holberg<\/span><\/i>\u00a0<\/span>Suite<\/span><\/i>, which got the program off to an invigorating start.\u00a0There were\u00a0pleasures also in three of the composer\u2019s character pieces, especially\u00a0<\/span>Butterfly<\/span><\/i>, its scalar flutterings done to perfection. In the\u00a0<\/span>March of the Dwarfs<\/span><\/i>\u00a0the little fellows seemed to be on the run, in defiance of the <\/span>Allegro moderato<\/span><\/i> marking. In neither this nor\u00a0<\/span>From the Carnival<\/span><\/i>\u00a0did I hear any reason to regard Grieg as a composer of soft-focus miniatures.\u00a0The approach was full and decisive.<\/span><\/p>\n

We heard short pieces by other composers, including Schubert, Chopin, Brahms and Rachmaninoff. From festival composer-in-residence Missy Mazzoli came\u00a0<\/span>A Map of Laughter<\/span><\/i>, a minimalist number that ended suddenly (and without seeming particularly funny). Trygve Madsen\u2019s appealingly quirky Prelude Op. 20 No. 2 offered more to listen to, as did the Variations Op. 41 of Nikolai Kapustin\u00a0(1937\u20132020), an overtly jazzy take on the opening bassoon theme of\u00a0<\/span>The Rite of Spring<\/span><\/i>.<\/span><\/p>\n

A little of this, a little of that. This was a salon-style recital, done in a salon. But giving it a certain gravitas was Grieg\u2019s own 1892 Steinway, whose vintage was betrayed by its Victorian carved legs and a\u00a0distinctive tone that had some irregularities but also an abundance of charm. I wrote the word \u201cbeefy\u201d in my notes as a description of the bass sonority. It is hard to be more precise.<\/span><\/p>\n

The busy camera operators offered everything from pans to closeups of\u00a0Haagenrud\u2019s hands and even reflections of his face in the well-polished bottom of the lid of the piano. While this pianist is described in some documentation as an\u00a0\u201cakkompagnat\u00f8r,\u201d he evinced the personality of a soloist and played everything from memory except for the Mazzoli. For this he used a tablet.<\/span><\/p>\n

Imagine: a tablet on a 129-year-old piano. Anything these days is possible, including hearing the recital after the fact. It is available online until\u00a0<\/span>June 23<\/span><\/a>.<\/span><\/p>\n

\n

www.fib.no\/en\/<\/a><\/em><\/strong><\/p>\n<\/blockquote>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Le Festival international de Bergen prend au s\u00e9rieux son c\u00f4t\u00e9 \u00ab\u00a0international\u00a0\u00bb. Il y a des offres dans divers genres et beaucoup d\u2019entre elles pourraient \u00eatre consid\u00e9r\u00e9es comme exp\u00e9rimentales. The American Moth, pour prendre en exemple l’une des pr\u00e9sentations embl\u00e9matiques de 2021, est d\u00e9crite comme \u00ab\u00a0un spectacle multim\u00e9dia combinant danse, th\u00e9\u00e2tre en plusieurs langues et<\/p>\n

Continuer<\/a><\/div>\n","protected":false},"author":2761,"featured_media":987167,"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":[17273,17267],"tags":[45795,34169,45819],"class_list":{"0":"post-987249","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-musique-de-chambre","8":"category-piano-fr","9":"tag-bergen-international-festival-fr","10":"tag-festivals","11":"tag-ole-christian-haagenrud-fr"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/06\/TBR_Ole-Christian-Haagenrud_3-1024x683.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/06\/TBR_Ole-Christian-Haagenrud_3-300x200.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/06\/TBR_Ole-Christian-Haagenrud_3-1024x683.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\/987249"}],"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\/2761"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=987249"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/987249\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/987167"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=987249"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=987249"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=987249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}