{"id":1086729,"date":"2025-06-04T05:01:13","date_gmt":"2025-06-04T09:01:13","guid":{"rendered":"https:\/\/myscena.org\/?p=1086729"},"modified":"2025-06-04T05:01:13","modified_gmt":"2025-06-04T09:01:13","slug":"critique-de-disque-xix-the-golden-duets-fedorova-takser-piano-duo","status":"publish","type":"post","link":"https:\/\/aapadmin2.myscena.org\/fr\/justin-bernard\/critique-de-disque-xix-the-golden-duets-fedorova-takser-piano-duo\/","title":{"rendered":"Critique de disque |  XIX \u2013 The Golden Duets Fedorova &#038; Takser Piano Duo"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Les deux complices <a href=\"https:\/\/aapadmin2.myscena.org\/viktor-lazarov\/fedorova-takser-piano-duo-in-the-heart-of-music\/\">Daria Fedorova et Ilya Takser<\/a>, tous deux dipl\u00f4m\u00e9s du Conservatoire de musique de Montr\u00e9al, forment un duo de pianistes dynamique qui parcourent le Canada. Partenaires \u00e0 la vie comme \u00e0 la sc\u00e8ne, ils pr\u00e9sentent un r\u00e9pertoire original d\u2019\u0153uvres pour piano quatre mains, allant de la <\/span><i><span style=\"font-weight: 400;\">Sicilienne <\/span><\/i><span style=\"font-weight: 400;\">de Bach\u2014leur propre transcription \u00e0 quatre mains\u2014au compositeur canadien David McIntyre, n\u00e9 en 1950, en passant par Schumann, Brahms, Debussy et plusieurs grands noms de la musique pour piano.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">L\u2019album nous enveloppe d\u2019embl\u00e9e dans le romantisme charmant et g\u00e9n\u00e9reux d\u2019<a href=\"https:\/\/www.britannica.com\/biography\/Edward-Alexander-MacDowell\" target=\"_blank\" rel=\"noopener\">Edward MacDowell<\/a>, donnant ainsi le ton \u00e0 l\u2019ensemble des pi\u00e8ces originales et transcriptions du duo. Vous n\u2019avez probablement jamais entendu une interpr\u00e9tation aussi romantique de Bach&#8230; Qu\u2019importe ce que disent les puristes, les musiciens nous offrent ici un moment d\u2019\u00e9motion poignante. Les compositions de McIntyre apportent, elles, une touche de modernit\u00e9 bienvenue au tableau. <\/span><i><span style=\"font-weight: 400;\">La Petite Suite <\/span><\/i><span style=\"font-weight: 400;\">de Debussy, dans toute sa fra\u00eecheur, fait appr\u00e9cier non seulement l\u2019excellente alchimie du duo, mais aussi la d\u00e9licatesse et la vivacit\u00e9 du phras\u00e9. Un pur bonheur\u00a0!<\/span><\/p>\n<p><span style=\"font-weight: 400;\">C\u2019est encore le charme et la fougue qui animent les <\/span><i><span style=\"font-weight: 400;\">Quatres Polonaises<\/span><\/i><span style=\"font-weight: 400;\"> de Schubert, marqu\u00e9es par des rythmes bondissants. De toute \u00e9vidence, Fedorova et Takser ont le souci de proposer une diversit\u00e9 de caract\u00e8res d\u2019un compositeur \u00e0 l\u2019autre, \u00e9tant aussi \u00e0 l\u2019aise dans les \u00e9lans virtuoses que dans des morceaux plus intimes comme c\u2019est le cas du <\/span><i><span style=\"font-weight: 400;\">Poco Andante <\/span><\/i><span style=\"font-weight: 400;\">de Brahms. On pourrait s\u2019\u00e9tonner que les deux extraits des <\/span><i><span style=\"font-weight: 400;\">Danses hongroises <\/span><\/i><span style=\"font-weight: 400;\">de ce compositeur, incluant le c\u00e9l\u00e8bre <\/span><i><span style=\"font-weight: 400;\">Allegro <\/span><\/i><span style=\"font-weight: 400;\">de la cinqui\u00e8me,<\/span> <span style=\"font-weight: 400;\">ne soient pas encha\u00een\u00e9s l\u2019un apr\u00e8s l\u2019autre. Il faut voir dans ce choix l\u2019intention d\u2019offrir une exp\u00e9rience d\u2019\u00e9coute comme on en trouve rarement, un r\u00e9cit avec ses moments de temp\u00eate et d\u2019accalmie, de peine et de joie. \u00c0 noter aussi quelques morceaux interpr\u00e9t\u00e9s avec beaucoup d\u2019humour et de malice, notamment l\u2019<\/span><i><span style=\"font-weight: 400;\">\u00c9cossaise n<\/span><\/i><i><span style=\"font-weight: 400;\">o<\/span><\/i><i><span style=\"font-weight: 400;\"> 3 <\/span><\/i><span style=\"font-weight: 400;\">de Chopin, ce qui contribue grandement \u00e0 cr\u00e9er un lien avec l\u2019auditoire. Une vraie r\u00e9ussite, tant sur le plan conceptuel que musical\u00a0!\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\"  id=\"_ytid_95886\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/p7D-_R5getI?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Les deux complices Daria Fedorova et Ilya Takser, tous deux dipl\u00f4m\u00e9s du Conservatoire de musique de Montr\u00e9al, forment un duo de pianistes dynamique qui parcourent le Canada. Partenaires \u00e0 la vie comme \u00e0 la sc\u00e8ne, ils pr\u00e9sentent un r\u00e9pertoire original d\u2019\u0153uvres pour piano quatre mains, allant de la Sicilienne de Bach\u2014leur propre transcription \u00e0 quatre<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/aapadmin2.myscena.org\/fr\/justin-bernard\/critique-de-disque-xix-the-golden-duets-fedorova-takser-piano-duo\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2811,"featured_media":1086725,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17038,394],"tags":[24188,37417,37495,62675,62677,62676,62674,34374],"class_list":{"0":"post-1086729","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"category-musique-classique","9":"tag-bach-fr-18","10":"tag-brahms-4-fr","11":"tag-chopin-fr","12":"tag-daria-fedorova-fr","13":"tag-david-mcintyre-fr","14":"tag-edward-macdowell-fr","15":"tag-ilya-takser-fr","16":"tag-schubert-4-fr","17":"type-critique","18":"type-critique-de-disque","19":"volume-volume-30","20":"issue-vol-30-issue-7-fr","21":"section-critiques"},"acf":[],"aioseo_notices":[],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1086729"}],"collection":[{"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/users\/2811"}],"replies":[{"embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1086729"}],"version-history":[{"count":0,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1086729\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/media\/1086725"}],"wp:attachment":[{"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1086729"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1086729"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1086729"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}