{"id":12600,"date":"2024-01-02T16:57:49","date_gmt":"2024-01-02T15:57:49","guid":{"rendered":"https:\/\/latelierdediablotin.fr\/WordPress3\/?p=12600"},"modified":"2024-01-02T16:57:49","modified_gmt":"2024-01-02T15:57:49","slug":"playlist-magnifique-duo-dexiles","status":"publish","type":"post","link":"https:\/\/latelierdediablotin.fr\/WordPress3\/playlist-magnifique-duo-dexiles\/","title":{"rendered":"Playlist \u00ab\u00a0Magnifique duo d&rsquo;exil\u00e9s\u00a0\u00bb"},"content":{"rendered":"<p style=\"text-align: justify;\">A la fin des ann\u00e9es 1950 et au tout d\u00e9but des ann\u00e9es 60, un formidable duos d\u2019exil\u00e9s enregistra une formidable s\u00e9rie des plus c\u00e9l\u00e8bres concertos pour violon, qui demeure encore parmi les versions les plus recommandables plusieurs d\u00e9cennies plus tard. &#8211;<em>Cliquer sur l\u2019image pour la vrai en plus grand : vous noterez que dans le lot, le concerto pour violon de Brahms est manquant. Les deux artistes l\u2019ont \u00e9galement enregistr\u00e9, mais je n\u2019aime pas cette oeuvre.<\/em>-.<\/p>\n<p><a href=\"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2024\/01\/Playlist02012023.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12601\" src=\"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2024\/01\/Playlist02012023.jpg\" alt=\"\" width=\"1500\" height=\"389\" srcset=\"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2024\/01\/Playlist02012023.jpg 1500w, https:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2024\/01\/Playlist02012023-300x78.jpg 300w, https:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2024\/01\/Playlist02012023-1024x266.jpg 1024w, https:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2024\/01\/Playlist02012023-768x199.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" \/><\/a><\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Nathan_Milstein\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\"><strong>Nathan Milstein<\/strong><\/span><\/a>, le violoniste, quitta la Russie rapidement apr\u00e8s la r\u00e9volution d\u2019octobre 1917 : d\u00e9sign\u00e9 comme \u00ab\u00a0ambassadeur culturel de l\u2019Union sovi\u00e9tique\u00a0\u00bb, il profita d\u2019une tourn\u00e9e \u00e0 l\u2019\u00e9tranger pour fuir son pays natal et n\u2019y retourna jamais, obtenant sa naturalisation am\u00e9ricaine pendant le seconde guerre mondiale.<br \/>\nQuant \u00e0 <a href=\"https:\/\/fr.wikipedia.org\/wiki\/William_Steinberg\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\"><strong>William Steinberg<\/strong><\/span><\/a>, je vous en ai d\u00e9j\u00e0 parl\u00e9 assez longuement <a href=\"https:\/\/latelierdediablotin.fr\/WordPress3\/playlist-pour-se-souvenir-de-noel\/\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\"><strong>ici<\/strong><\/span><\/a> ou <a href=\"https:\/\/latelierdediablotin.fr\/WordPress3\/buffalo-bill-se-rend-a-vienne\/\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\"><strong>l\u00e0<\/strong><\/span><\/a>, et je vous avais \u00e9galement pr\u00e9sent\u00e9 sa remarquable int\u00e9grale des symphonies de Beethoven, et sa singuli\u00e8re histoire, <a href=\"https:\/\/latelierdediablotin.fr\/WordPress3\/bthvn2020-le-passe-fait-le-present\/\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline;\"><strong>ici<\/strong><\/span><\/a>. Inutile donc d\u2019y revenir plus amplement ! Il s\u2019exila d\u2019Allemagne d\u00e8s 1936 pour fuir le r\u00e9gime nazi et arriva finalement aux Etats-Unis, pour devenir l\u2019assistant de Toscanini avant de prendre la direction de l\u2019orchestre de Pittsburgh.<\/p>\n<p style=\"text-align: justify;\">Les enregistrements de cette playsist ont \u00e9t\u00e9 r\u00e9alis\u00e9s comme suit : Beethoven &#8211; 1955 ; Bruch &#8211; 1954 ; Glazounov &#8211; 1956 ; Mendelssohn &#8211; 1954 ; Tchaikovsky &#8211; 1960. Milstein r\u00e9engistra, parfois plusieurs fois, la majorit\u00e9 de ces concertos, avec des chefs plus ou moins prestigieux, mais jamais avec la m\u00eame r\u00e9ussite, au moins \u00e0 mes oreilles.<\/p>\n<p><center><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/m_eYPI2IV28?si=O7L2Cd3KdKXWR_GB\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/center><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A la fin des ann\u00e9es 1950 et au tout d\u00e9but des ann\u00e9es 60, un formidable duos d\u2019exil\u00e9s enregistra une formidable s\u00e9rie des plus c\u00e9l\u00e8bres concertos pour violon, qui demeure encore parmi les versions les plus recommandables plusieurs d\u00e9cennies plus tard. &#8211;Cliquer sur l\u2019image pour la vrai en plus grand : vous noterez que dans le [&hellip;]<\/p>\n","protected":false},"author":667,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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