{"id":19541,"date":"2026-10-27T08:47:10","date_gmt":"2026-10-27T07:47:10","guid":{"rendered":"https:\/\/latelierdediablotin.fr\/WordPress3\/?p=19541"},"modified":"2026-10-27T08:47:10","modified_gmt":"2026-10-27T07:47:10","slug":"playlist-bach-non-orthodoxe","status":"publish","type":"post","link":"https:\/\/latelierdediablotin.fr\/WordPress3\/playlist-bach-non-orthodoxe\/","title":{"rendered":"Playlist \u00ab\u00a0Bach non orthodoxe\u00a0\u00bb"},"content":{"rendered":"

La playlist de cette belle matin\u00e9e d\u2019automne qui s\u2019annonce au lever du jour est hautement contrapuntique, avec plusieurs pi\u00e8ces pour du \u00ab\u00a0p\u00e8re Bach\u00a0\u00bb –les lecteurs de ce blog devraient d\u00e9sormais savoir comment on prononce son nom, au risque de sombrer dans le ridicule\u2026<\/em>-, celui qui \u00ab\u00a0contrepointe \u00e0 tire-larigot\u00a0\u00bb<\/strong><\/span> selon l\u2019avis de son contemporain et ami Georg Philipp Telemann, beaucoup plus \u00ab\u00a0succesfull\u00a0\u00bb en son temps ! Toutes ces oeuvres sont interpr\u00e9t\u00e9es au piano, quand bien m\u00eame elles n\u2019ont pas \u00e9t\u00e9 \u00e9crites sp\u00e9cifiquement pour cet instrument, dont la construction en \u00e9tait encore \u00e0 ses premiers balbutiements du temps de Bach. –Cliquer sur l\u2019image pour la voir en plus grand<\/em>-.<\/p>\n

\"\"<\/a><\/p>\n

\u2022 J.S Bach<\/strong><\/span> – Suites anglaises n\u00b02 & 3, BWV 807 & 808
\nIvo Pogorelich, piano – 1986 *****<\/strong><\/span><\/p>\n

\"\"<\/a>Un tr\u00e8s beau disque d\u2019un artiste singulier, qui fit une entr\u00e9e dans le m\u00e9tier fracassante au d\u00e9but des ann\u00e9es 80, avant de se faire un peu oublier suite au d\u00e9c\u00e8s de sa professeures, qu\u2019il \u00e9pousa tout jeune, et de r\u00e9appara\u00eetre depuis une quinzaine d\u2019ann\u00e9e. Au d\u00e9but de sa carri\u00e8re les interpr\u00e9tations d\u2019Ivo Pogorelich \u00e9taient d\u2019une approche parfois iconoclaste mais fraiche et nouvelle, toujours d\u2019une grande perfection technique et d\u2019une sonorit\u00e9 riche et belle. C\u2019est \u00e9galement le cas avec cet excellent album, de surcro\u00eet tr\u00e8s bien enregistr\u00e9.
\nDepuis son retour \u00e0 la sc\u00e8ne et au disque, Ivo Pogorelich est encore plus extr\u00eame dans ses choix, tordant d\u00e9lib\u00e9r\u00e9ment les tempi au gr\u00e9 d\u2019un comportement parfois erratique et d\u2019un caract\u00e8re que l\u2019on qualifiera euph\u00e9mistiquement de lunatique.<\/p>\n

\u2022 J.S. Bach<\/strong><\/span> – Variations Goldberg, BWV 988
\nRosalyn Tureck, piano – 1988 *****<\/strong><\/span><\/p>\n

Rosalyn Tureck, pianiste am\u00e9ricaine, \u00e9tait consid\u00e9r\u00e9e, de son vivant, comme \u00ab la grande pr\u00eatresse de Bach \u00bb<\/strong><\/span>, qu\u2019elle aborda au clavecin, au th\u00e9r\u00e9mine, au synth\u00e9tiseur –bien avant Wendy Carlos<\/em>– et, surtout, au piano. Cet enregistrement constitue en quelque sort son chant du cygne et, pour peu que l\u2019on accepte de s\u2019installer 90 minutes –la pianiste effectue avec une belle inventivit\u00e9 de tr\u00e8s nombreuses reprises<\/em>– pour l\u2019\u00e9couter tr\u00e8s attentivement, il est tout-\u00e0-fait remarquable. La pianiste conjugue comme personne l\u2019inventivit\u00e9 horizontale –m\u00e9lodie, nuances dynamique<\/em>– et la lisibilit\u00e9 verticale –la main gauche est magnifique, cf. extrait<\/em>-, sur des des tempi g\u00e9n\u00e9ralement lents. Cette tr\u00e8s grande lisibilit\u00e9 est encore accrue par une prise de son un peu s\u00e8che mais parfaitement adapt\u00e9e \u00e0 la vision de la pianiste. Glenn Gould lui-m\u00eame, c\u00e9l\u00e8bre pour son interpr\u00e9tation de ces variations, avait reconnu qu\u2019il n\u2019avait subi qu\u2019une seule influence : celle de Rosalyn Tureck.<\/p>\nhttps:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2026\/10\/Extrait27102026.mp3<\/a><\/audio>\n

\u2022 J.S. Bach<\/strong><\/span> – L\u2019art de la fugue, BWV 1080
\nPierre-Laurent Aimard, 2008 ****<\/strong><\/span><\/p>\n

\"\"<\/a>On ne sait pas vraiment pour quel instruments \u00ab L\u2019art de la fugue \u00bb fut \u00e9crit, Bach n\u2019ayant pr\u00e9cis\u00e9 aucune instrumentation, qui est rest\u00e9e inachev\u00e9e. J\u2019ai dans ma discoth\u00e8que des versions pour orgue –c\u2019est assez aust\u00e8re sur la dur\u00e9e<\/em>-, pour clavecin –c\u2019est assez clinquant sur la dur\u00e9e<\/em>-, pour piano ou pour orchestre de chambre, ces deux derni\u00e8res propositions \u00e9tant celles qui conviennent le mieux \u00e0 mes oreilles.
\nLa version du jour, par un pianiste qui s\u2019est essentiellement distingu\u00e9 dans les oeuvres pour piano du vingti\u00e8me si\u00e8cle, est d\u2019une tr\u00e8s belle lisibilit\u00e9 formelle et d\u2019une grande acuit\u00e9 rythmique, mais d\u2019un rapproche intellectuelle un peu aust\u00e8re, distanci\u00e9e et froide. L\u2019oeuvre se pr\u00eate plut\u00f4t bien \u00e0 ce traitement cependant, et le disque reste agr\u00e9able \u00e0 \u00e9couter.<\/p>\n","protected":false},"excerpt":{"rendered":"

La playlist de cette belle matin\u00e9e d\u2019automne qui s\u2019annonce au lever du jour est hautement contrapuntique, avec plusieurs pi\u00e8ces pour du \u00ab\u00a0p\u00e8re Bach\u00a0\u00bb –les lecteurs de ce blog devraient d\u00e9sormais savoir comment on prononce son nom, au risque de sombrer dans le ridicule\u2026-, celui qui \u00ab\u00a0contrepointe \u00e0 tire-larigot\u00a0\u00bb selon l\u2019avis de son contemporain et ami […]<\/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":[71,122,77],"class_list":["post-19541","post","type-post","status-publish","format-standard","hentry","category-musique","tag-bach","tag-musique-baroque","tag-piano"],"_links":{"self":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/19541","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=19541"}],"version-history":[{"count":0,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/19541\/revisions"}],"wp:attachment":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/media?parent=19541"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/categories?post=19541"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/tags?post=19541"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}