{"id":18891,"date":"2026-08-06T09:58:49","date_gmt":"2026-08-06T07:58:49","guid":{"rendered":"https:\/\/latelierdediablotin.fr\/WordPress3\/?p=18891"},"modified":"2026-08-06T09:59:38","modified_gmt":"2026-08-06T07:59:38","slug":"playlist-somptueuse-trilogie-finale","status":"publish","type":"post","link":"https:\/\/latelierdediablotin.fr\/WordPress3\/playlist-somptueuse-trilogie-finale\/","title":{"rendered":"Playlist \u00ab\u00a0Somptueuse trilogie finale\u00a0\u00bb"},"content":{"rendered":"
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La trilogie finale des sonates pour piano de Beethoven constitue un exceptionnel corpus pianistique, et sans doute le sommet de la musique occidentale pour piano<\/span> : le compositeur, d\u00e9sormais totalement sourd, est ici \u00e0 l\u2019apog\u00e9e de son g\u00e9nie et confie ses plus profondes pens\u00e9es \u00e0 son piano.<\/strong><\/span>
\nComme pour la 32\u00e8me sonate<\/a><\/span>, il faudrait que je me livre \u00e0 l’exercice d\u2019\u00e9couter 30 versions diff\u00e9rentes de la trenti\u00e8me sonate puis 31 versions diff\u00e9rentes de la trente-et-uni\u00e8me sonate : ce sera pour un autre jour, ou plut\u00f4t l’une ou l’autre nuit… ! –Cliquer sur l’image pour la voir en plus grand<\/em>-.<\/span><\/strong><\/span><\/p>\n<\/blockquote>\n

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\u2022 Ludwig Van Beethoven<\/strong><\/span> – Sonate pour piano n\u00b030, opus 109
\nMaria Grinberg, piano – 1967 ***(*)<\/strong><\/span><\/p>\n

La pianiste sovi\u00e9tique Maria Grinberg enregistra, dans des conditions techniques que l\u2019on qualifiera de \u00ab\u00a0peu id\u00e9ales\u00a0\u00bb, une int\u00e9grale des sonates de Beethoven au cours des ann\u00e9es 60, qui ne fut disponible que tardivement en Occident. Le disquaire allemand qui me l\u2019avait procur\u00e9e –exceptionnel connaisseur en mati\u00e8re de piano enregistr\u00e9<\/em>– \u00e9tait m\u00eame \u00e9tonn\u00e9 de ma demande\u2026 Malgr\u00e9 des sonorit\u00e9s souvent ingrates et plus li\u00e9es \u00e0 la qualit\u00e9 des pianos que de la pianiste, c\u2019est une int\u00e9grale int\u00e9ressante, tr\u00e8s contrast\u00e9e, o\u00f9 cette excellente pianiste se montre tr\u00e8s dynamique, au risque d\u2019une certaine brutalit\u00e9 parfois : c\u2019est le cas dans le premier mouvement de cette version de la trenti\u00e8me sonate, dont la po\u00e9sie n\u2019est pas la vertu premi\u00e8re, notamment dans son premier mouvement.<\/p>\n

\u2022 Ludwig Van Beethoven<\/strong><\/span> – Sonate pour piano n\u00b031, opus 110
\nEmil Gilels, piano – 1985 *****<\/strong><\/span><\/p>\n

La derni\u00e8re rencontre du pianiste avec une sonate de Beethoven, puisqu\u2019il devait d\u00e9c\u00e9der quelques semaines apr\u00e8s cet enregistrement, laissant une int\u00e9grale en cours, d\u2019un niveau exceptionnellement \u00e9lev\u00e9, inachev\u00e9e. Tout est \u00e0 saluer dans cette version : la l\u00e9gendaire sonorit\u00e9 \u00ab d\u2019or \u00bb du pianiste qui s\u2019exprime pleinement dans le chant du premier mouvement ou dans l\u2019arioso du troisi\u00e8me mouvement, la ma\u00eetrise polyphonique exemplaire da la fugue finale –Adagio ma non trop – Fuga ; cf.extrait : la fugue d\u00e9bute \u00e0 3:58<\/em>-, l\u2019\u00e9nergie sarcastique du court mouvement central\u2026 Un immense disque !<\/strong><\/p>\nhttps:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2026\/08\/Extrait06082026.mp3<\/a><\/audio>\n

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\u2022 Ludwig Van Beethoven<\/strong><\/span> – Sonate pour piano n\u00b032, opus 111
\nRudolf Serkin, piano – 1987 ****<\/strong><\/span><\/p>\n

J\u2019avais achet\u00e9 ce disque d\u00e8s sa sortie, tant les critiques en France \u00e9taient dithyrambiques, et ma d\u00e9ception option fut proportionnelle \u00e0 leurs \u00e9loges ! Je ne doute pas que l\u2019\u00e9v\u00e9nement fut d\u2019ampleur : un pianiste de renomm\u00e9e mondiale de 85 ans donnant les trois derni\u00e8res sonates de Beethoven en concert, peut-\u00eatre pour la derni\u00e8re fois, cela constitue un \u00e9v\u00e9nement en soi. Mais ce qu\u2019il en reste au disque m\u00e9rite d\u2019\u00eatre ensuite relativis\u00e9 : l\u2019engagement du pianiste et sa ma\u00eetrise intellectuelle des partitions ne font pas d\u00e9faut, mais il arrive \u00e0 la 32\u00e8me sonate assez \u00e9reint\u00e9 –on peut le comprendre avec un tel programme<\/em>– et son premier mouvement est plut\u00f4t heurt\u00e9 rythmiquement, pas vraiment parfait techniquement, et j\u2019ai connu ailleurs \u00ab Arietta \u00bb plus engageante en termes de sonorit\u00e9s. Lue a posteriori, la presse internationale ne s\u2019y est pas tromp\u00e9e, r\u00e9servant le plus souvent un accueil moins favorable que la presse sp\u00e9cialis\u00e9e fran\u00e7aise.<\/p>\n","protected":false},"excerpt":{"rendered":"

La trilogie finale des sonates pour piano de Beethoven constitue un exceptionnel corpus pianistique, et sans doute le sommet de la musique occidentale pour piano : le compositeur, d\u00e9sormais totalement sourd, est ici \u00e0 l\u2019apog\u00e9e de son g\u00e9nie et confie ses plus profondes pens\u00e9es \u00e0 son piano. Comme pour la 32\u00e8me sonate, il faudrait que […]<\/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":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[4],"tags":[30,103,77,179],"class_list":["post-18891","post","type-post","status-publish","format-standard","hentry","category-musique","tag-beethoven","tag-gilels","tag-piano","tag-sonates"],"_links":{"self":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/18891","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/users\/667"}],"replies":[{"embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/comments?post=18891"}],"version-history":[{"count":4,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/18891\/revisions"}],"predecessor-version":[{"id":18897,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/18891\/revisions\/18897"}],"wp:attachment":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/media?parent=18891"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/categories?post=18891"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/tags?post=18891"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}