{"id":6471,"date":"2017-07-18T18:17:55","date_gmt":"2017-07-18T16:17:55","guid":{"rendered":"http:\/\/latelierdediablotin.fr\/WordPress3\/?p=6471"},"modified":"2017-07-18T18:27:14","modified_gmt":"2017-07-18T16:27:14","slug":"playlist-vieux-rogatons","status":"publish","type":"post","link":"https:\/\/latelierdediablotin.fr\/WordPress3\/playlist-vieux-rogatons\/","title":{"rendered":"Playlist \u00ab\u00a0Vieux rogatons\u00a0\u00bb"},"content":{"rendered":"

Aujourd’hui, ce ne sont que de tr\u00e8s anciens enregistrements qui ont r\u00e9sonn\u00e9 \u00e0 travers la maison, mais qui restent encore assez largement audibles de nos jours pour des oreilles un peu exerc\u00e9es \u00e0 la chose, et m\u00eame appr\u00e9ciables pour leurs qualit\u00e9s, au-del\u00e0 de l’aspect purement documentaire\u2026<\/p>\n

\"\"<\/a>Le plus ancien, consacr\u00e9 au concerto pour violon de Sibelius<\/strong>, date de 1929, c’est d’ailleurs le tout premier enregistrement consacr\u00e9 \u00e0 cette oeuvre.
\nElgar<\/strong> dirigeant ses propres oeuvres –cf. extrait en fin de notule<\/em>– officia \u00e0 la t\u00eate de multiples orchestres anglais durant presqu’une d\u00e9c\u00e9nnie –1926-1935<\/em>– pour r\u00e9enregistrer<\/span><\/em> une partie de ses oeuvres –les premiers enregistrements, acoustiques, et non \u00e9lectriques comme ceux \u00e9cout\u00e9s ce jour, sont nettement plus difficiles \u00e0 supporter, et les enregistrement se passaient selon des conditions vraisemblablement assez acrobatiques, comme le montre l’imagette de droite…<\/em>-.
\nLe Tcha\u00efkovsky<\/strong> de deux des musiciens les plus c\u00e9l\u00e8bres –Toscanini et Horowitz<\/em>– est un peu plus r\u00e9cent –1941<\/em>– et, pour finir, le tr\u00e8s beau concerto pour violon de Mendelssohn<\/strong> a \u00e9t\u00e9 enregistr\u00e9 par Decca en \u00ab\u00a0full frequency range recording<\/strong><\/span><\/a>\u00a0\u00bb en 1949 et b\u00e9n\u00e9ficie d’une prise de son nettement plus \u00ab\u00a0moderne\u00a0\u00bb : de la bonne mono. –Cliquer sur l’image pour la voir en plus grand<\/em>-.<\/p>\n

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

Tous trois \u00e9migr\u00e9s aux Etats-Unis, Heifetz, Horowitz et Toscanini firent des carri\u00e8res stratosph\u00e9riques et ont \u00e9t\u00e9 les musiciens les mieux pay\u00e9s avant-guerre, avec des cachets que l’on jugerait ind\u00e9cents de nos jours. Seul Karajan, apr\u00e8s-guerre, b\u00e9n\u00e9ficia de la m\u00eame carri\u00e8re de premier plan.<\/p>\n

Si chacun des solistes s’inscrirait encore, de nos jours, parmi le gratin des solistes de la sc\u00e8ne classique, il est curieux d’entendre, outre l’\u00e9volution stylistique –portamentos nombreux, intonations parfois un peu douteuses sur les trait les plus difficiles, coh\u00e9sion d’ensemble parfois imparfaite\u2026<\/em>– les \u00e9normes progr\u00e8s r\u00e9alis\u00e9s par les orchestres depuis cette \u00e9poque pas si lointaine. N’importe quel orchestre \u00ab\u00a0provincial\u00a0\u00bb serait au moins au niveau des orchestres bien plus prestigieux d’avant-guerre – du fait, principalement, d’une \u00e9l\u00e9vation du niveau de formation des musiciens d’orchestre, d’une part, et d’une connaissance sans cesse approfondie des r\u00e9pertoires abord\u00e9s d’autre part-.<\/p>\nhttps:\/\/latelierdediablotin.fr\/WordPress3\/wp-content\/uploads\/2017\/07\/Extrait18072107.mp3<\/a><\/audio>\n","protected":false},"excerpt":{"rendered":"

Aujourd’hui, ce ne sont que de tr\u00e8s anciens enregistrements qui ont r\u00e9sonn\u00e9 \u00e0 travers la maison, mais qui restent encore assez largement audibles de nos jours pour des oreilles un peu exerc\u00e9es \u00e0 la chose, et m\u00eame appr\u00e9ciables pour leurs qualit\u00e9s, au-del\u00e0 de l’aspect purement documentaire\u2026 Le plus ancien, consacr\u00e9 au concerto pour violon de […]<\/p>\n","protected":false},"author":667,"featured_media":0,"comment_status":"open","ping_status":"closed","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 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":[50,57,62,58,115],"class_list":["post-6471","post","type-post","status-publish","format-standard","hentry","category-musique","tag-concerto","tag-elgar","tag-mendelssohn","tag-sibelius","tag-tchaikovsky"],"_links":{"self":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/6471","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=6471"}],"version-history":[{"count":0,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/posts\/6471\/revisions"}],"wp:attachment":[{"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/media?parent=6471"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/categories?post=6471"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latelierdediablotin.fr\/WordPress3\/wp-json\/wp\/v2\/tags?post=6471"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}