{"id":989609,"date":"2021-07-27T11:39:15","date_gmt":"2021-07-27T15:39:15","guid":{"rendered":"https:\/\/myscena.org\/arthur-kaptainis\/critique-de-disque-garrick-ohlsson-brahms-piano-sonatas-op-1-and-op-2-rhapsodies-op-79\/"},"modified":"2021-07-27T11:39:15","modified_gmt":"2021-07-27T15:39:15","slug":"critique-de-disque-garrick-ohlsson-brahms-piano-sonatas-op-1-and-op-2-rhapsodies-op-79","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/arthur-kaptainis\/critique-de-disque-garrick-ohlsson-brahms-piano-sonatas-op-1-and-op-2-rhapsodies-op-79\/","title":{"rendered":"Critique de disque : Garrick Ohlsson <i>Brahms: Piano Sonatas Op. 1 and Op. 2; Rhapsodies Op. 79<\/i>"},"content":{"rendered":"<h4><span style=\"color: #000000;\"><span style=\"font-family: Times New Roman, serif;\"><span style=\"font-size: medium;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-989497\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Brahms-Piano-Sonatas-Op.-1-and-Op.-2-Rhapsodies-Op.-79-Garrick-Ohlsson-piano..jpeg\" alt=\"\" width=\"307\" height=\"307\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Brahms-Piano-Sonatas-Op.-1-and-Op.-2-Rhapsodies-Op.-79-Garrick-Ohlsson-piano..jpeg 800w, https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Brahms-Piano-Sonatas-Op.-1-and-Op.-2-Rhapsodies-Op.-79-Garrick-Ohlsson-piano.-300x300.jpeg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Brahms-Piano-Sonatas-Op.-1-and-Op.-2-Rhapsodies-Op.-79-Garrick-Ohlsson-piano.-100x100.jpeg 100w, https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Brahms-Piano-Sonatas-Op.-1-and-Op.-2-Rhapsodies-Op.-79-Garrick-Ohlsson-piano.-600x600.jpeg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Brahms-Piano-Sonatas-Op.-1-and-Op.-2-Rhapsodies-Op.-79-Garrick-Ohlsson-piano.-150x150.jpeg 150w, https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Brahms-Piano-Sonatas-Op.-1-and-Op.-2-Rhapsodies-Op.-79-Garrick-Ohlsson-piano.-768x768.jpeg 768w\" sizes=\"(max-width: 307px) 100vw, 307px\" \/>Brahms: Piano Sonatas Op. 1 and Op. 2; Rhapsodies Op. 79<\/span><\/span><\/span><\/h4>\n<p>Garrick Ohlsson, piano.<\/p>\n<p>Hyperion CDA68344<\/p>\n<p><b>\u2605\u2605\u2605\u2605<\/b>\u2729<\/p>\n<p>La plupart des productions de Brahms nous sont famili\u00e8res gr\u00e2ce \u00e0 des interpr\u00e9tations r\u00e9p\u00e9t\u00e9es. Curieusement, ses deux premi\u00e8res sonates pour piano \u2013 op.\u00a01 en do majeur et op.\u00a02 en fa di\u00e8se mineur \u2013 sont g\u00e9n\u00e9ralement ignor\u00e9es, bien que leur seul crime, comme en t\u00e9moigne ce pr\u00e9cieux enregistrement, soit de ne pas s\u2019\u00e9lever tout \u00e0 fait au niveau de l\u2019admirable <i>Sonate en fa mineur<\/i> op.\u00a05. Le v\u00e9t\u00e9ran virtuose am\u00e9ricain Garrick Ohlsson interpr\u00e8te \u00e0 la fois le premier mouvement h\u00e9ro\u00efque de l\u2019op.\u00a01 (o\u00f9 l\u2019influence de la \u00ab\u00a0Hammerklavier\u00a0\u00bb de Beethoven est indubitable) et l\u2019andante essentiellement \u00e9clair\u00e9 par la lune (\u00ab\u00a0d\u2019apr\u00e8s une vieille chanson d\u2019amour allemande\u00a0\u00bb, selon la partition) avec sa clart\u00e9 et sa pr\u00e9cision habituelles. Le scherzo enjou\u00e9 contraste avec justesse avec le lyrisme suave du trio, et le finale avance au galop. Partout, les dialogues d\u2019aigus et de basses caract\u00e9ristiques de Brahms sont bien \u00e9quilibr\u00e9s. M\u00eame architecturalement moins solide, l\u2019op.\u00a02 (en fait compos\u00e9 plus t\u00f4t) surpasse l\u2019op.\u00a01 en bravoure, avec ses doubles octaves lisztiennes et ses rafales de la main droite. (Il convient de noter que le jeune Brahms a rendu visite au ma\u00eetre a\u00een\u00e9 \u00e0 Weimar.) Les nombreux interludes agit\u00e9s font bonne figure, tout comme les doux effets de cor du trio. Les modulations de type ballade du finale, de loin le mouvement le plus long, sonnent d\u00e9j\u00e0 typiquement brahmsiennes. Le programme se termine par les <i>Deux rhapsodies<\/i> op.\u00a079, finement ouvrag\u00e9es m\u00eame si elles sont m\u00e9connues. Tout au long de l\u2019enregistrement, nous rencontrons non seulement des normes techniques ohlssoniennes, mais le son d\u2019un Steinway moderne, fid\u00e8lement enregistr\u00e9. En effet, la brillance de l\u2019instrument dans les aigus peut constituer un d\u00e9m\u00e9rite pour certains auditeurs. Notes de livret perspicaces et d\u00e9taill\u00e9es de Misha Donat.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Brahms: Piano Sonatas Op. 1 and Op. 2; Rhapsodies Op. 79 Garrick Ohlsson, piano. Hyperion CDA68344 \u2605\u2605\u2605\u2605\u2729 La plupart des productions de Brahms nous sont famili\u00e8res gr\u00e2ce \u00e0 des interpr\u00e9tations r\u00e9p\u00e9t\u00e9es. Curieusement, ses deux premi\u00e8res sonates pour piano \u2013 op.\u00a01 en do majeur et op.\u00a02 en fa di\u00e8se mineur \u2013 sont g\u00e9n\u00e9ralement ignor\u00e9es, bien que<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/arthur-kaptainis\/critique-de-disque-garrick-ohlsson-brahms-piano-sonatas-op-1-and-op-2-rhapsodies-op-79\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2761,"featured_media":989511,"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],"tags":[],"class_list":{"0":"post-989609","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"issue-vol-26-issue-8-fr","9":"section-articles-de-fond"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Ohlsson_1600x900-1-1120x630-1-1024x576.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Ohlsson_1600x900-1-1120x630-1-300x169.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/07\/Ohlsson_1600x900-1-1120x630-1-1024x576.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/989609"}],"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=989609"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/989609\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/989511"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=989609"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=989609"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=989609"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}