#tchaïkovski

L’inquiétant #boycott des #musiciens #russes
▻https://www.lemonde.fr/culture/article/2022/03/10/l-inquietant-boycott-des-musiciens-russes_6116973_3246.html

Encore moins compréhensible, le Concours international de piano de Dublin (DIPC), qui se tiendra du 17 au 24 mai, débarquant les candidats russes. « En accord avec les organisations artistiques du monde entier, en cette période difficile, nous avons le regret de vous informer que le DIPC ne sera pas en mesure d’inclure des concurrents russes dans le concours 2022. » Le courriel, envoyé à une dizaine de musiciens, a été posté, le 3 mars, sur le compte Facebook du pianiste Roman Kosyakov – formé à #Moscou, mais aussi à Birmingham. Les frais de dossier seront remboursés.

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Le gel musical entre la Russie et les pays occidentaux serait, « pour l’humanité, une catastrophe », insiste Olivier Mantei. Au plus fort de la #guerre_froide, c’est un pianiste américain, Van Cliburn, qui avait remporté, en 1958, la première édition du Concours international #Tchaïkovski. « Il faut distinguer le pouvoir dictatorial de l’histoire du pays et de son patrimoine culturel, qui résiste depuis très longtemps, estime Olivier Mantei. L’apport des artistes russes à la musique est considérable. » Une vérité qu’il n’est pas inutile de rappeler en ces temps troublés.

Piotr Ilitch Tchaïkovski - Concerto pour piano nº 1
▻https://fr.wikipedia.org/wiki/Concerto_pour_piano_n%C2%BA_1_de_Tcha%C3%AFkovski

▻https://www.youtube.com/watch?v=NUaxBavIBDk

Van Cliburn on piano and Kiril Kondrashin conducting.
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We now know that this is not the version #Tchaikovsky wrote! The Tchaikovsky Research Foundation has edited a new 2015 urtext version based on the composer’s final thoughts, not the accretions foisted on the score by students and virtuosos. The pianist Kirill Gerstein has called the thunderous opening chords ’Soviet Bombs,’ especially because Tchaikovsky never wrote them. But of course they are effective and thrilling!

▻https://en.wikipedia.org/wiki/Piano_Concerto_No._1_(Tchaikovsky)#History

Russian music historian Francis Maes writes that because of its independence from the rest of the work,
[f]or a long time, the introduction posed an enigma to analysts and critics alike.…The key to the link between the introduction and what follows is…Tchaikovsky’s gift of hiding motivic connections behind what appears to be a flash of melodic inspiration. The opening melody comprises the most important motivic core elements for the entire work, something that is not immediately obvious, owing to its lyric quality. However, a closer analysis shows that the themes of the three movements are subtly linked. Tchaikovsky presents his structural material in a spontaneous, lyrical manner, yet with a high degree of planning and calculation.
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Tchaikovsky revised the concerto three times, the last being in 1888, which is the version usually now played. One of the most prominent differences between the original and final versions is that in the opening section, the octave chords played by the pianist, over which the orchestra plays the famous theme, were originally written as arpeggios. The work was also arranged for two pianos by Tchaikovsky, in December 1874; this edition was revised December 1888.

#musique #Russie #Tchaïkovski