{"id":8344,"date":"2013-06-05T00:00:00","date_gmt":"2013-06-04T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/8344\/"},"modified":"2024-10-07T11:13:47","modified_gmt":"2024-10-07T09:13:47","slug":"8344","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/tontraeger-rezensionen\/2013\/06\/8344","title":{"rendered":"Dediche"},"content":{"rendered":"<p>&nbsp;<\/p>\n<div class=\"text-section\">\n<figure id=\"attachment_59187\" aria-describedby=\"caption-attachment-59187\" style=\"width: 2547px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-59187 size-full\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2.jpg\" alt=\"\" width=\"2547\" height=\"1540\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2.jpg 1400w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-300x181.jpg 300w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-1024x619.jpg 1024w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-768x464.jpg 768w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-1536x929.jpg 1536w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-2048x1238.jpg 2048w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-18x12.jpg 18w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-289x175.jpg 289w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-579x350.jpg 579w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-1323x800.jpg 1323w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/06\/zofo-2-920x556.jpg 920w\" sizes=\"auto, (max-width: 2547px) 100vw, 2547px\" \/><figcaption id=\"caption-attachment-59187\" class=\"wp-caption-text\">Eva-Maria Zimmermann e Keisuke Nakagoshi. Foto: zVg<\/figcaption><\/figure>\n<p>Progettato per la crescita, il <em>Fusione mentale <\/em>Il CD del duo pianistico svizzero-giapponese ZOFO (Eva-Maria Zimmermann \/ Keisuke Nakagoshi) culmina nell'incantevole interpretazione dell'epocale balletto di Stravinsky <em>Le Sacre du Printemps<\/em> come finale scintillante. Il duo esegue anche i numerosi ostinati con la stessa coerenza con cui sostiene i tempi molto diversi. Nelle settime del <em>Rondes printani\u00e8res <\/em>A differenza di altri interpreti, si astiene persistentemente dall'espressivit\u00e0 seguendo esattamente il testo musicale. D'altra parte, in questa nuova registrazione i blocchi di accordi che si susseguono non suonano stridenti, ma insolitamente ovattati, nonostante le suggestive accentuazioni.<\/p>\n<p>Anche le rappresentazioni delle altre opere correlate sono accuratamente pensate e rifinite secondo un concetto preciso. L'uniformit\u00e0 del disegno non \u00e8 meno impressionante nel <em>Sei epigrafi antiche <\/em>di Claude Debussy che nelle due composizioni americane precedenti.<\/p>\n<p>Fornisce il <em>Ouverture di Candide<\/em> Mentre \"En blanc et noir\" di Leonard Bernstein, nell'arrangiamento di Charlie Harmon, \u00e8 uno spiritoso omaggio a Voltaire e la brillante sonata di Harold Shapero \u00e8 dedicata all'amico Bernstein, anche le dediche reciproche di Debussy e Stravinsky giocano un interessante ruolo biografico. Mentre il compositore francese intitola il terzo movimento della sua suite \"En blanc et noir\" (1915) per due pianoforti \"\u00e0 mon ami Igor Stravinsky\" - Debussy dedica il primo movimento all'editore della suite \"En blanc et noir\" (1915).<em> Sacre du Printemps<\/em>il direttore d'orchestra Serge Koussevitzky -, il russo ha composto la sua <em>Sinfonie di strumenti a fiato<\/em> (1920) \"\u00e0 la m\u00e9moire de Claude-Achille Debussy\".<br \/>\nSorprendentemente, l'epocale balletto di Stravinskij non \u00e8 dedicato a un musicista, ma al pittore e scenografo Nicolas Roerich, che, dopo la sua partecipazione alla prima dell'opera, ha partecipato a un'altra serata. <em>Sacro<\/em> non si notava quasi pi\u00f9.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Zofoklein.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Fusione mentale. Opere per un pianoforte a quattro mani. Bernstein, Shapero, Debussy, Stravinsky. Duetto ZOFO (Eva-Maria Zimmermann, Keisuke Nakagoshi). Sono Luminus DSL-92151 <\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Una rete personale di relazioni si estende tra Debussy e Stravinsky, Bernstein e Shapero.<\/strong><\/p>","protected":false},"author":1,"featured_media":59187,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[29,1420],"tags":[],"class_list":["post-8344","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - 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