{"id":998590,"date":"2021-11-12T11:29:29","date_gmt":"2021-11-12T15:29:29","guid":{"rendered":"https:\/\/myscena.org\/wah-keung-chan\/cd-reviews-bach-goldberg-variations\/"},"modified":"2021-11-16T10:58:25","modified_gmt":"2021-11-16T14:58:25","slug":"cd-reviews-bach-goldberg-variations","status":"publish","type":"post","link":"https:\/\/aapadmin2.myscena.org\/fr\/wah-keung-chan\/cd-reviews-bach-goldberg-variations\/","title":{"rendered":"CD Reviews: <i>Bach: Goldberg Variations<\/i>"},"content":{"rendered":"<h4><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-998452\" src=\"https:\/\/aapadmin2.myscena.org\/wp-content\/uploads\/2021\/11\/Sarah-Hagen-Goldberg-variation-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/aapadmin2.myscena.org\/wp-content\/uploads\/2021\/11\/Sarah-Hagen-Goldberg-variation-300x300.jpg 300w, https:\/\/aapadmin2.myscena.org\/wp-content\/uploads\/2021\/11\/Sarah-Hagen-Goldberg-variation-150x150.jpg 150w, https:\/\/aapadmin2.myscena.org\/wp-content\/uploads\/2021\/11\/Sarah-Hagen-Goldberg-variation-768x768.jpg 768w, https:\/\/aapadmin2.myscena.org\/wp-content\/uploads\/2021\/11\/Sarah-Hagen-Goldberg-variation-600x600.jpg 600w, https:\/\/aapadmin2.myscena.org\/wp-content\/uploads\/2021\/11\/Sarah-Hagen-Goldberg-variation-100x100.jpg 100w, https:\/\/aapadmin2.myscena.org\/wp-content\/uploads\/2021\/11\/Sarah-Hagen-Goldberg-variation.jpg 1000w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>Bach: Goldberg Variations<\/h4>\n<p>Sarah Hagen, piano<\/p>\n<p>\u2605\u2605\u2605\u2605\u2606<\/p>\n<p>La premi\u00e8re chose qu\u2019on remarque sur l\u2019enregistrement autoproduit par Sarah Hagen des<i> Variations Goldberg<\/i> de Bach est sa dur\u00e9e de 1 heure 42 minutes, qui s\u2019\u00e9tend sur deux disques. C\u2019est plus long que l\u2019enregistrement de 78 minutes d\u2019Angela Hewitt (Hyperion) en 2018, et beaucoup plus long que l\u2019enregistrement phare de Glenn Gould en 1955 ou son dernier de 1981. Celui de Hewitt avait \u00e9t\u00e9 jou\u00e9 avec reprises, tandis que le Gould de 1955 avait notoirement \u00e9t\u00e9 jou\u00e9 sans reprises et \u00e9tait consid\u00e9r\u00e9 comme trop rapide par Gould lui-m\u00eame, dont le dernier enregistrement \u00e9tait plus introspectif. En tant qu\u2019amateur de la version de 1981 de Gould, avec son bourdonnement sous-jacent, je me suis souvenu de l\u2019ampleur de son aria d\u2019ouverture en \u00e9coutant le premier morceau de Hagen. Elle arrive \u00e0 maintenir ce sentiment d\u2019ampleur tout au long de sa version. Le jeu est coh\u00e9rent, senti, et v\u00e9hicule un sens du devoir, y compris dans la touchante pi\u00e8ce 26. Il y a quelques probl\u00e8mes mineurs dans les variations ult\u00e9rieures \u2013 un peu trop de staccatos dans la pi\u00e8ce 20, certains tr\u00e9buchants dans les nos 24 et 30. Son utilisation d\u2019ornements ici et l\u00e0 est un ajout de bon ton. Enregistr\u00e9 en 2020 pendant le confinement, c\u2019est une prestation sinc\u00e8re qui m\u00e9rite d\u2019\u00eatre ajout\u00e9e \u00e0 la collection.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bach: Goldberg Variations Sarah Hagen, piano \u2605\u2605\u2605\u2605\u2606 La premi\u00e8re chose qu\u2019on remarque sur l\u2019enregistrement autoproduit par Sarah Hagen des Variations Goldberg de Bach est sa dur\u00e9e de 1 heure 42 minutes, qui s\u2019\u00e9tend sur deux disques. C\u2019est plus long que l\u2019enregistrement de 78 minutes d\u2019Angela Hewitt (Hyperion) en 2018, et beaucoup plus long que l\u2019enregistrement<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/aapadmin2.myscena.org\/fr\/wah-keung-chan\/cd-reviews-bach-goldberg-variations\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2766,"featured_media":998588,"comment_status":"open","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],"tags":[46857],"class_list":{"0":"post-998590","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"tag-sarah-hagen-fr","9":"type-critique-de-disque","10":"volume-volume-27","11":"issue-vol-27-issue-34-fr","12":"section-critiques"},"acf":[],"aioseo_notices":[],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/998590"}],"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\/2766"}],"replies":[{"embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=998590"}],"version-history":[{"count":0,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/998590\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/media\/998588"}],"wp:attachment":[{"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=998590"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=998590"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aapadmin2.myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=998590"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}