{"id":571,"date":"2015-09-02T09:22:57","date_gmt":"2015-09-02T07:22:57","guid":{"rendered":"http:\/\/eugeneistomin.com\/?page_id=571"},"modified":"2020-04-27T01:22:58","modified_gmt":"2020-04-26T23:22:58","slug":"concertos","status":"publish","type":"page","link":"http:\/\/www.eugeneistomin.com\/fr\/discographie-et-repertoire\/repertoire\/concertos\/","title":{"rendered":"Concertos"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-overflow:visible;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><style type='text\/css'>.reading-box-container-1 .element-bottomshadow:before,.reading-box-container-1 .element-bottomshadow:after{opacity:0.7;}<\/style><div class=\"fusion-reading-box-container reading-box-container-1\" style=\"--awb-title-color:#333333;--awb-margin-top:0px;--awb-margin-bottom:30px;\"><div class=\"reading-box reading-box-center\" style=\"background-color:#f6f6f6;border-width:1px;border-color:#f6f6f6;border-top-width:3px;border-top-color:var(--primary_color);border-style:solid;\"><h2>Le r\u00e9pertoire concertant de Eugene Istomin comprend 26 concertos.<br \/>\n<\/h2><div class=\"reading-box-additional fusion-reading-box-additional\">\n<h3>Il s\u2019est enrichi tr\u00e8s rapidement entre 1945 et 1950, date \u00e0 laquelle il jouait d\u00e9j\u00e0 la plupart des \u0153uvres auxquelles il resta fid\u00e8le tout au long de sa carri\u00e8re (Beethoven 4 &amp; 5, Brahms 2, Chopin 2, Mozart 9).<\/h3>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-text fusion-text-1\"><div id=\"attachment_4371\" style=\"width: 252px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals.jpg\"><img aria-describedby=\"caption-attachment-4371\" decoding=\"async\" class=\"size-medium wp-image-4371\" src=\"https:\/\/eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-242x300.jpg\" alt=\"Istomin dirig\u00e9 par Casals \u00e0 Prades en 1953\" width=\"242\" height=\"300\" srcset=\"http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-200x248.jpg 200w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-242x300.jpg 242w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-400x495.jpg 400w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-600x743.jpg 600w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-768x951.jpg 768w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-800x991.jpg 800w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-827x1024.jpg 827w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals-1200x1486.jpg 1200w, http:\/\/www.eugeneistomin.com\/wp-content\/uploads\/2015\/09\/1953-Eugene-dirig\u00e9-par-Casals.jpg 1292w\" sizes=\"(max-width: 242px) 100vw, 242px\" \/><\/a><p id=\"caption-attachment-4371\" class=\"wp-caption-text\">Istomin dirig\u00e9 par Casals \u00e0 Prades en 1953<\/p><\/div>\n<p class=\"beautify\">La plupart des pianistes de sa g\u00e9n\u00e9ration avaient choisi de b\u00e2tir leur r\u00e9putation sur des concertos brillants (Rachmaninov <em>2<\/em> et <em>3<\/em>, Prokofiev <em>3<\/em>, Tcha\u00efkovsky <em>1<\/em>, Khatchaturian\u2026). Istomin s\u2019y \u00e9tait refus\u00e9, alors que sa virtuosit\u00e9 et ses origines russes (qui ont toujours \u00e9t\u00e9 aux Etats-Unis un argument de publicit\u00e9 tr\u00e8s efficace!) lui promettaient le succ\u00e8s. Par temp\u00e9rament et par id\u00e9al, il jugeait qu\u2019il devait d\u2019embl\u00e9e se tourner vers les plus hauts sommets du r\u00e9pertoire. Il avait ressenti une affinit\u00e9 particuli\u00e8re avec le <i>Quatri\u00e8me<\/i><i>\u00a0Concerto <\/i>de Beethoven et le <i>Deuxi\u00e8me\u00a0<\/i><i>Concerto<\/i> de Brahms. Il d\u00e9cida de les jouer d\u00e8s ses premiers concerts \u00e0 New York, malgr\u00e9 les pr\u00e9jug\u00e9s des critiques et des musiciens qui estimaient qu\u2019il ne fallait pas les aborder avant un \u00e2ge avanc\u00e9 et qu\u2019il \u00e9tait prudent de les r\u00f4der dans des villes moins expos\u00e9es.<\/p>\n<\/div><div class=\"accordian fusion-accordian\" style=\"--awb-border-size:1px;--awb-icon-size:16px;--awb-content-font-size:16px;--awb-icon-alignment:left;--awb-hover-color:#f9f9fb;--awb-border-color:#e2e2e2;--awb-background-color:#ffffff;--awb-divider-color:#e0dede;--awb-divider-hover-color:#e0dede;--awb-icon-color:#ffffff;--awb-title-color:#333333;--awb-content-color:#4f4f4f;--awb-icon-box-color:#333333;--awb-toggle-hover-accent-color:#9e9e9e;--awb-title-font-family:&quot;Roboto&quot;;--awb-title-font-weight:400;--awb-title-font-style:normal;--awb-title-font-size:15px;--awb-content-font-family:&quot;Open Sans&quot;;--awb-content-font-style:normal;--awb-content-font-weight:400;\"><div class=\"panel-group fusion-toggle-icon-boxed\" id=\"accordion-571-1\"><div class=\"fusion-panel panel-default panel-663f66cd1802ec323 fusion-toggle-has-divider\"><div class=\"panel-heading\"><h4 class=\"panel-title toggle\" id=\"toggle_663f66cd1802ec323\"><a aria-expanded=\"false\" aria-controls=\"663f66cd1802ec323\" role=\"button\" data-toggle=\"collapse\" data-parent=\"#accordion-571-1\" data-target=\"#663f66cd1802ec323\" href=\"#663f66cd1802ec323\"><span class=\"fusion-toggle-icon-wrapper\" aria-hidden=\"true\"><i class=\"fa-fusion-box active-icon awb-icon-minus\" aria-hidden=\"true\"><\/i><i class=\"fa-fusion-box inactive-icon awb-icon-plus\" aria-hidden=\"true\"><\/i><\/span><span class=\"fusion-toggle-heading\">Lire plus<\/span><\/a><\/h4><\/div><div id=\"663f66cd1802ec323\" class=\"panel-collapse collapse \" araia-labelledby=\"toggle_663f66cd1802ec323\"><div class=\"panel-body toggle-content fusion-clearfix\">Ce choix nuisit n\u00e9anmoins au d\u00e9veloppement de la carri\u00e8re d\u2019Istomin et \u00e0 son image. Les critiques ne pouvaient s\u2019emp\u00eacher d\u2019\u00e9crire que les interpr\u00e9tations du jeune pianiste manquaient de maturit\u00e9! Arriv\u00e9 \u00e0 la trentaine et devenu c\u00e9l\u00e8bre, Istomin prit un malin plaisir \u00e0 jouer et enregistrer, avec le plus grand succ\u00e8s, le <em>2\u00e8me Concerto<\/em> de Rachmaninov et le Premier de Tcha\u00efkovsky. Mais il les abandonna assez vite pour se consacrer aux grands compositeurs germaniques et \u00e0 Chopin. Il ne s\u2019en d\u00e9tourna que pour servir trois \u0153uvres mal aim\u00e9es : la <em>Symphonie Concertante<\/em> de Szymanowski, le <em>Quatri\u00e8me Concerto<\/em> de Rachmaninov et le <em>1er Concerto<\/em> de Leon Kirchner, son contemporain. Il aimait beaucoup ces trois \u0153uvres. Malheureusement la programmation tr\u00e8s conventionnelle des grands orchestres am\u00e9ricains ne lui permit pas de les jouer souvent.<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-right:0px;--awb-padding-bottom:20px;--awb-padding-left:0px;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-2\"><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":544,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":[],"acf":[],"_links":{"self":[{"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/pages\/571"}],"collection":[{"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/comments?post=571"}],"version-history":[{"count":44,"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/pages\/571\/revisions"}],"predecessor-version":[{"id":12277,"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/pages\/571\/revisions\/12277"}],"up":[{"embeddable":true,"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/pages\/544"}],"wp:attachment":[{"href":"http:\/\/www.eugeneistomin.com\/fr\/wp-json\/wp\/v2\/media?parent=571"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}