{"id":30458,"date":"2020-03-24T14:39:44","date_gmt":"2020-03-24T13:39:44","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=30458"},"modified":"2024-06-27T14:45:44","modified_gmt":"2024-06-27T12:45:44","slug":"osr_orgue","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/disques\/2020\/03\/osr_orgue","title":{"rendered":"Tre successi mozzafiato!"},"content":{"rendered":"
\"\"
Orchestre de la Suisse Romande 2018. Foto: Niels Ackermann<\/figcaption><\/figure>\n

Questo SACD di Pentatone<\/em> \u00e8 seducente fin dall'inizio per la sua fedelt\u00e0 all'acustica della Victoria Hall, ricordandoci l'integrale delle sinfonie di Bruckner con la stessa Orchestre de la Suisse Romande. Le battute iniziali di questa bellissima terza sinfonia di Saint-Sa\u00ebns sono teneramente accarezzate dalla direzione duttile e organica di Kazuki Yamada, che fa avanzare l'opera con convinzione come una linea architettonica. Verso la fine del primo movimento, il direttore giapponese risolleva ancora una volta l'atmosfera e anticipa meravigliosamente il secondo, dove - momento magico! - l'ingresso dei pedali dell'organo sostiene mirabilmente l'unisono degli archi, senza nulla togliere alla ricchezza del loro timbro. Nel terzo movimento, Presto<\/em>Qualche piccolo spostamento non disturba, perch\u00e9 \u00e8 lo slancio a prevalere, proprio come al concerto. All'inizio del Maestoso<\/em> finale, tanto atteso da tutti gli amanti della musica d'organo, il nostro \"re degli strumenti\" impiega magistralmente il gioco completo in fortissimo, <\/em>con grande effetto. E, stando al libretto (!), la sinfonia si conclude in trionfo: \"registrata a La vittoria<\/strong> Hall, Ginevra!<\/p>\n

Capolavoro di Francis Poulenc prima della guerra, il suo concerto per organo esprime i paradossi della sua anima: un'allegria parigina che contrasta con l'intimit\u00e0 religiosa che ricorda i suoi cori. a cappella<\/em>. Per citare il compositore \"\u00a0<\/em>Piuttosto Poulenc sulla via del chiostro! Christopher Jacobson non esita a suonare alcuni passaggi piuttosto aggressivi, persino stridenti, ai quali Kazuki Yamada risponde con delicatezza e pienezza spirituale. Fortunatamente, i due interpreti si uniscono nei momenti di calma, al centro di bellissime registrazioni, che si fondono armoniosamente con l'orchestra; d'altra parte, altri nascondono voci interiori, in particolare quelle degli assoli di viola e di violoncello nel brano coda<\/em>. Inoltre, qua e l\u00e0, l'organista poteva respirare pi\u00f9 liberamente, ascoltando maggiormente l'orchestra. Certo, la distanza tra la consolle e l'orchestra non aiuta: ricordiamo questa difficolt\u00e0 con il vecchio strumento, purtroppo bruciato nel 1984. D'altra parte, quest'ultimo era pi\u00f9 vicino alla tavolozza di colori degli organi di Aristide Cavaill\u00e9-Coll, fonte di ispirazione di Poulenc.<\/p>\n

In omaggio a questo SACD, il nostro virtuoso offre la famosa Toccata<\/em> di Widor, spesso registrato e suonato in innumerevoli matrimoni! Certo, avremmo preferito trovare un pezzo pi\u00f9 originale, ad esempio di Maurice Durufl\u00e9, che ha eseguito la prima del concerto di Poulenc nel 1939 e ne ha fatto una registrazione di riferimento per la EMI nel 1961. Tuttavia, Christopher Jacobson esegue la \"hit\" di Widor in maniera atletica e mozzafiato - ma non quella dell'organo! \"\"<\/p>\n

Saint-Sa\u00ebns: Sinfonia n. 3 (Sinfonia per organo); Poulenc: Concerto per organo, archi e timpani; Widor: Sinfonia per organo n. 5, Toccata. Orchestre de la Suisse Romande; Christopher Jacobson, organo; Kazuki Yamada, direttore. Pentatone PTC 5186 638<\/em><\/p>","protected":false},"excerpt":{"rendered":"

L'Orchestre de la Suisse Romande e l'organista Christopher Jacobson, diretti da Kazuki Yamada, hanno registrato la Terza Sinfonia di Saint-Sa\u00ebns e il Concerto per organo, orchestra d'archi e timpani di Poulenc, seguiti dalla famosa Toccata di Widor. 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