{"id":1044550,"date":"2023-10-06T09:00:10","date_gmt":"2023-10-06T13:00:10","guid":{"rendered":"https:\/\/myscena.org\/?p=1044550"},"modified":"2023-10-05T12:06:08","modified_gmt":"2023-10-05T16:06:08","slug":"critique-cd-martha-argerich-live-volumes-13-17-doremi-records-2023","status":"publish","type":"post","link":"https:\/\/aap5.myscena.org\/fr\/paul-e-robinson\/critique-cd-martha-argerich-live-volumes-13-17-doremi-records-2023\/","title":{"rendered":"Critique CD | Martha Argerich Live\/ Volumes 13-17 (Doremi Records, 2023)"},"content":{"rendered":"<blockquote><p><b><i>Martha Argerich Live\/ Volumes 13-17<br \/>\n<\/i><\/b>Martha Argerich, piano<br \/>\nDOREMI DHR-8201-12<\/p><\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-1044546 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2023\/10\/Argerich-live-vol-13.jpg\" alt=\"\" width=\"292\" height=\"292\" srcset=\"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Argerich-live-vol-13.jpg 1000w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Argerich-live-vol-13-300x300.jpg 300w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Argerich-live-vol-13-100x100.jpg 100w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Argerich-live-vol-13-600x600.jpg 600w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Argerich-live-vol-13-150x150.jpg 150w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Argerich-live-vol-13-768x768.jpg 768w\" sizes=\"(max-width: 292px) 100vw, 292px\" \/><\/p>\n<p>Depuis de nombreuses ann\u00e9es, Jacob Harnoy produit une remarquable s\u00e9rie d\u2019enregistrements en direct de Martha Argerich sur son \u00e9tiquette DOREMI et cette derni\u00e8re s\u00e9rie pr\u00e9sente une prestation inoubliable apr\u00e8s l\u2019autre. Bien qu\u2019Argerich ait r\u00e9alis\u00e9 des dizaines d\u2019enregistrements, la plupart en studio pour Deutsche Grammophon, c\u2019est en direct que l\u2019on appr\u00e9cie le mieux la pianiste argentine.<\/p>\n<p>Ses interpr\u00e9tations \u00e9lectriques des concertos de Chopin et de Schumann, sous la direction de Klaus Tennstedt (volume 15), ou la version pour deux pianos de <i>La Valse de Ravel<\/i> interpr\u00e9t\u00e9e avec le regrett\u00e9 Nelson Freire, enregistr\u00e9e \u00e0 Amsterdam en 1980, en t\u00e9moignent. Le volume 13 pr\u00e9sente son seul enregistrement connu du <i>Nocturne<\/i>, op. 27\/2 de Chopin.<\/p>\n<p>Argerich s\u2019associe \u00e0 deux anciens conjoints, Stephen Kovacevich dans le vol. 16 pour la <i>Sonate pour deux pianos et percussion<\/i> de Bart\u00f3k et, dans le vol. 14, avec le chef d\u2019orchestre Charles Dutoit pour le <i>Concerto pour piano n\u00b0 1<\/i> de Tcha\u00efkovski (enregistr\u00e9 en concert en 1973) ainsi que pour le concerto de Ravel (1959) dans le vol. 16.<\/p>\n<p>Une grande partie du r\u00e9pertoire r\u00e9cup\u00e8re les productions commerciales d\u2019Argerich, mais cette derni\u00e8re n\u2019est jamais ennuyeuse ou m\u00e9canique, et elle parvient \u00e0 faire ressortir de nouvelles couleurs m\u00eame dans les morceaux les plus familiers.<\/p>\n<p>Argerich est c\u00e9l\u00e8bre pour ses interpr\u00e9tations d\u2019\u0153uvres d\u2019une grande difficult\u00e9 technique \u2212 on pense notamment \u00e0 Rachmaninov, Tcha\u00efkovski et Prokofiev \u2212, mais son Mozart est \u00e9galement tr\u00e8s sp\u00e9cial. Dans le <i>Concerto pour piano n\u00b0 18 <\/i>K. 456,\u00a0 elle s\u2019associe \u00e0 Eugen Jochum et \u00e0 l\u2019Orchestre symphonique de la Radio bavaroise pour une interpr\u00e9tation inspir\u00e9e. Celle-ci est parue pour la premi\u00e8re fois en 2000 sur BR Klassik et c\u2019est une bonne chose qu\u2019elle soit de nouveau disponible.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Martha Argerich Live\/ Volumes 13-17 Martha Argerich, piano DOREMI DHR-8201-12 Depuis de nombreuses ann\u00e9es, Jacob Harnoy produit une remarquable s\u00e9rie d\u2019enregistrements en direct de Martha Argerich sur son \u00e9tiquette DOREMI et cette derni\u00e8re s\u00e9rie pr\u00e9sente une prestation inoubliable apr\u00e8s l\u2019autre. Bien qu\u2019Argerich ait r\u00e9alis\u00e9 des dizaines d\u2019enregistrements, la plupart en studio pour Deutsche Grammophon, c\u2019est<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/aap5.myscena.org\/fr\/paul-e-robinson\/critique-cd-martha-argerich-live-volumes-13-17-doremi-records-2023\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2769,"featured_media":1044548,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17038,17267],"tags":[55774,55828,44228,21438,1189,37495,55830,55829,35386,37410,55168,1410,559,53909,53831,870,55827,21108],"class_list":{"0":"post-1044550","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"category-piano-fr","9":"tag-bartok-fr","10":"tag-bavarian-radio-symphony-fr","11":"tag-schumann-fr","12":"tag-charles-dutoit-fr-3","13":"tag-chopin","14":"tag-chopin-fr","15":"tag-eugen-jochum-fr","16":"tag-klaus-tennstedt-fr","17":"tag-martha-argerich-fr","18":"tag-marthe-argerich","19":"tag-nelson-freire-fr","20":"tag-prokofiev","21":"tag-rachmaninoff","22":"tag-rachmaninoff-fr","23":"tag-ravel-fr","24":"tag-ravel","25":"tag-stephen-kovacevich-fr","26":"tag-tchaikovsky-fr-6","27":"volume-volume-29","28":"issue-vol-29-issue-2-fr","29":"section-critiques"},"featured_image_src":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Martha-Argerich.jpg","blog_images":{"medium":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Martha-Argerich-300x144.jpg","large":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2023\/10\/Martha-Argerich.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:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1044550"}],"collection":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/users\/2769"}],"replies":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1044550"}],"version-history":[{"count":0,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1044550\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media\/1044548"}],"wp:attachment":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1044550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1044550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1044550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}