{"id":502,"date":"2020-02-27T17:20:58","date_gmt":"2020-02-27T16:20:58","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=502"},"modified":"2020-02-27T17:21:00","modified_gmt":"2020-02-27T16:21:00","slug":"laccordeon-de-bach-a-piazzolla","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/","title":{"rendered":"L&rsquo;accord\u00e9on, de Bach \u00e0 Piazzolla"},"content":{"rendered":"\n<figure class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"496\" height=\"284\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg\" alt=\"\" data-id=\"507\" data-full-url=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=507\" class=\"wp-image-507\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg 496w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1-300x172.jpeg 300w\" sizes=\"(max-width: 496px) 100vw, 496px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p style=\"color:#5d5d5d\" class=\"has-text-color has-medium-font-size\"><strong>Une identit\u00e9 sonore plurielle<\/strong><\/p>\n\n\n\n<p>Le son de l\u2019accord\u00e9on est porteur d\u2019un patrimoine esth\u00e9tique d\u2019une diversit\u00e9 rare\u00a0: il \u00e9voque tout \u00e0 la fois les musiques populaires, le jazz, le tango, les musiques classiques et contemporaines. Invent\u00e9 relativement r\u00e9cemment, au d\u00e9but du XIX<sup>\u00e8me<\/sup> si\u00e8cle, il sort du salon o\u00f9 il accompagnait les romances pour faire danser et chanter les amateurs de musette, avant de rejoindre les instruments de concert apr\u00e8s 1945. Il trouve alors son r\u00e9pertoire dans la transcription d\u2019\u0153uvres classiques et dans les \u0153uvres qui lui sont tout nouvellement destin\u00e9es. L\u2019\u00e9clectisme que repr\u00e9sente l\u2019association d\u2019\u0153uvres de Piazzolla, Berio et Scarlatti constitue donc un reflet fid\u00e8le de l\u2019\u00e9tendue expressive de l\u2019instrument, de m\u00eame que l\u2019hymne de Keith Jarrett est un condens\u00e9 des possibilit\u00e9s de syncr\u00e9tisme offertes par l\u2019accord\u00e9on.\u00a0<em>Hymn of remembrance<\/em> (1976) a surpris, un an apr\u00e8s le succ\u00e8s de l\u2019album\u00a0<em>The K\u00f6ln Concert<\/em>, tant il s\u2019en distingue\u00a0: peu d\u2019amateurs de jazz s\u2019attendaient \u00e0 entendre Keith Jarrett faire sonner des m\u00e9lodies aux couleurs de cantiques, et des improvisations d\u2019une grande modernit\u00e9, sur un orgue baroque.\u00a0<em>Hymn of remembrance<\/em>, qui ouvre ici le concert, est, sous les doigts de Jarrett, le pr\u00e9lude \u00e0 une suite d\u2019improvisations intitul\u00e9es\u00a0<em>Spheres<\/em>, enregistr\u00e9es \u00e0 l\u2019abbaye b\u00e9n\u00e9dictine d\u2019Ottobeuren. Si cet ensemble \u00e9tonnant est tr\u00e8s bien accueilli en Europe, les critiques am\u00e9ricains sont d\u00e9stabilis\u00e9s par ces univers musicaux inattendus. Keith Jarrett rel\u00e8ve cette difficult\u00e9 qui sourd \u00e0 accepter une musique ne rentrant pas dans les cadres.<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<figure class=\"wp-block-gallery alignleft columns-1 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"355\" height=\"352\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/61xSKkA7oTL._SX355_.jpg\" alt=\"\" data-id=\"508\" data-full-url=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/61xSKkA7oTL._SX355_.jpg\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=508\" class=\"wp-image-508\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/61xSKkA7oTL._SX355_.jpg 355w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/61xSKkA7oTL._SX355_-300x297.jpg 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/61xSKkA7oTL._SX355_-150x150.jpg 150w\" sizes=\"(max-width: 355px) 100vw, 355px\" \/><\/figure><\/li><\/ul><\/figure>\n<\/div><\/div>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>\u00ab&nbsp;Cet album a obtenu, de tous les albums que j\u2019ai r\u00e9alis\u00e9s, peut-\u00eatre les meilleures critiques depuis les concerts en solo, mais en Europe. Celles en Am\u00e9rique furent peut-\u00eatre les plus stupides, c\u2019\u00e9taient de mauvaises critiques pour la plupart, du genre&nbsp;: \u00e7a ne swingue pas&nbsp;!&nbsp;\u00bb.&nbsp;<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p style=\"color:#3c3c3c\" class=\"has-text-color has-medium-font-size\"><strong>Un r\u00e9pertoire original tr\u00e8s contemporain<\/strong><\/p>\n\n\n\n<p><em><strong>Sequenza XIII pour accord\u00e9on<\/strong><\/em><\/p>\n\n\n\n<p>La&nbsp;<em>Sequenza<\/em> que Luciano Berio a d\u00e9di\u00e9e \u00e0 l\u2019accord\u00e9on se distingue des 13 autres&nbsp;<em>Sequenze<\/em> pour instrument seul du m\u00eame compositeur, en tant qu\u2019elle int\u00e8gre pleinement les deux histoires, populaire et savante, de l\u2019accord\u00e9on. Compos\u00e9e en 1995, elle est l\u2019avant-derni\u00e8re \u0153uvre de cette s\u00e9rie de pi\u00e8ces \u00e9crites entre 1958 et 2002&nbsp;: Berio est riche de quarante ann\u00e9es de composition hautement innovantes pour solistes, d\u2019une cinquantaine d\u2019ann\u00e9es de compositions de ses contemporains pour l\u2019accord\u00e9on, et des couleurs autres qui lui sont associ\u00e9es. \u00ab&nbsp;Je pense, dit-il, aux m\u00e9lodies des promenades \u00e0 la campagne et aux chants de la classe ouvri\u00e8re, aux night-clubs, aux tangos argentins et au jazz&nbsp;\u00bb. Les grands interpr\u00e8tes de jazz et de tango, comme Richard Galliano, ont en 1995 imprim\u00e9 leur marque sur l\u2019identit\u00e9 sonore de l\u2019accord\u00e9on, dont Berio se saisit dans son int\u00e9gralit\u00e9.<\/p>\n\n\n\n<p>Sous titr\u00e9e \u00ab&nbsp;chanson&nbsp;\u00bb, la majorit\u00e9 de l\u2019\u0153uvre fait entendre des sonorit\u00e9s feutr\u00e9es, qui laissent ais\u00e9ment percevoir de v\u00e9ritables phrases m\u00e9lodiques. L\u2019enjeu n\u2019est pas le m\u00eame que dans les premi\u00e8res&nbsp;<em>Sequenze<\/em> compos\u00e9es par Berio dans les ann\u00e9es 60, o\u00f9 la recherche de renouvellement de l\u2019image des instruments et des interpr\u00e8tes, des sons, des modes de jeu et des notations \u00e9tait \u00e9vidente. <\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>\u00ab&nbsp;Outre que j\u2019ai approfondi quelques aspects techniques sp\u00e9cifiques, j\u2019ai parfois cherch\u00e9 \u00e0 d\u00e9velopper musicalement un dialogue entre le virtuose et son instrument, dissociant les comportements pour ensuite les reconstituer, transform\u00e9s, en unit\u00e9s musicales.&nbsp;\u00bb&nbsp;<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Luciano Berio, Sequenza XIII (1995) - Fanny Vicens Accord\u00e9on.wmv\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/mITPUpT3wf0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><figcaption>Fanny Vicens, accord\u00e9on<\/figcaption><\/figure>\n\n\n\n<p>Le compositeur ne n\u00e9glige pas ici la texture traditionnelle constitu\u00e9e d\u2019une voix principale accompagn\u00e9e par d\u2019autres, qui ici donnent souvent l\u2019impression d\u2019\u00eatre des r\u00e9sonnances mises en vibration. L\u2019animation et la virtuosit\u00e9 de la partie centrale n\u2019effacent ni le caract\u00e8re m\u00e9lodique de la pi\u00e8ce, ni la relative douceur de ses couleurs. La virtuosit\u00e9, d\u00e9monstrative ou discr\u00e8te, est l\u2019un des principaux \u00e9l\u00e9ments unificateurs des&nbsp;<em>Sequenze<\/em>. Ce n\u2019est pas la virtuosit\u00e9-v\u00e9locit\u00e9 des \u00ab&nbsp;doigts agiles&nbsp;\u00e0 la t\u00eate vide&nbsp;\u00bb qui int\u00e9resse Berio, mais la virtuosit\u00e9 plus intellectuelle qui na\u00eet \u00ab&nbsp;d\u2019un conflit, d\u2019une tension entre l\u2019id\u00e9e musicale et l\u2019instrument.&nbsp;\u00bb <\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>L\u2019int\u00e9r\u00eat de cette exigence vis-\u00e0-vis de l\u2019interpr\u00e8te \u00ab&nbsp;appara\u00eet lorsque la nouveaut\u00e9 et la complexit\u00e9 de la pens\u00e9e musicale [\u2026] imposent des changements dans le rapport \u00e0 l\u2019instrument, ouvrent la voie \u00e0 de nouvelles solutions techniques (comme dans les&nbsp;Partitas&nbsp;pour violon de Bach, les derni\u00e8res \u0153uvres pour piano de Beethoven, de Debussy, Stravinski, Boulez, Stockhausen, etc.) et exigent de l\u2019interpr\u00e8te qu\u2019il fonctionne au plus haut niveau de virtuosit\u00e9 technique et intellectuelle.&nbsp;\u00bb&nbsp;<\/em><\/p>\n\n\n\n<p><em><strong>E[n]igma<\/strong><\/em><\/p>\n\n\n\n<p>Yann Robin s\u2019\u00e9tait d\u00e9j\u00e0 consacr\u00e9 \u00e0 la composition pour accord\u00e9on, avec&nbsp;<em>Draft I<\/em>, en 2013, dans une perspective qui n\u2019\u00e9tait pas \u00e9trang\u00e8re \u00e0 celle de Luciano Berio&nbsp;: il s\u2019agissait de la premi\u00e8re pi\u00e8ce d\u2019une s\u00e9rie pour instrument seul, qui \u00ab&nbsp;se placent dans la perspective [\u2026]&nbsp;d\u2019une forme potentiellement \u00e9volutive, de&nbsp;<em>work in progress&nbsp;<\/em>\u00bb. Il explore dans ces \u0153uvres toutes les potentialit\u00e9s des instruments auxquels elles sont d\u00e9di\u00e9es, repoussant les limites techniques et sonores de chacun. \u00c0 cet effet, il a largement collabor\u00e9 avec les interpr\u00e8tes d\u00e9dicataires des pi\u00e8ces, tel l\u2019accord\u00e9oniste Pascal Contet. L\u2019exploration des possibilit\u00e9s offertes par l\u2019accord\u00e9on n\u2019est donc plus un enjeu dans&nbsp;<em>E[n]igma&nbsp;<\/em>: le cr\u00e9ateur a, pour cette nouvelle \u0153uvre, toute latitude pour approfondir d\u2019autres enjeux compositionnels. Dans sa note d\u2019intention, il souligne combien son titre particulier est propice au questionnement, tant en raison du mot employ\u00e9, qui pousse l\u2019auditeur \u00e0 se demander o\u00f9 r\u00e9side l\u2019\u00e9nigme, qu\u2019en raison de sa typographie particuli\u00e8re. Il renoue ainsi avec une tradition fort ancienne, particuli\u00e8rement vivace entre la fin du XIV<sup>\u00e8me<\/sup>si\u00e8cle et le milieu du XVIII<sup>\u00e8me<\/sup>si\u00e8cle, lorsque nombre de compositeurs se sont adonn\u00e9s \u00e0 des choix de titres et de notation \u00e9sot\u00e9riques, transformant certaines \u0153uvres en v\u00e9ritables jeux de piste pour l\u2019interpr\u00e8te. Bach, dans un autre contexte, aurait \u00e9crit&nbsp;:&nbsp;<em>quaerendo invenietis<\/em> (cherchez et vous trouverez).<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p style=\"color:#4a4a4b\" class=\"has-text-color has-medium-font-size\"><strong>Transcriptions du r\u00e9pertoire baroque<\/strong><\/p>\n\n\n\n<p><em><strong>Passacaille BWV 582<\/strong><\/em><\/p>\n\n\n\n<p>La structure de la magistrale&nbsp;<em>Passacaille<\/em> pour orgue de Bach est tout aussi \u00e9nigmatique. Elle est construite sur un th\u00e8me, qui est ici principalement une basse obstin\u00e9e, \u00e0 laquelle sont superpos\u00e9es d\u2019autres voix qui sont, lors de chaque r\u00e9p\u00e9tition, vari\u00e9es. Il s\u2019agit d\u2019un mode d\u2019\u00e9criture qui n\u2019est pas rare \u00e0 l\u2019\u00e9poque de Bach. Cependant, chez les contemporains ou les pr\u00e9d\u00e9cesseurs imm\u00e9diats du compositeur, tel Buxtehude et sa&nbsp;<em>Passacaille&nbsp;<\/em>en r\u00e9 mineur pour orgue, la logique qui r\u00e9git la succession des variations est clairement intelligible. Ce n\u2019est pas le cas dans celle de Bach, bien que l\u2019auditeur per\u00e7oive qu\u2019elle est construite comme un \u00e9difice, qu\u2019elle a une direction, ce qui a pouss\u00e9 nombre d\u2019analystes et de musicologues \u00e0 rechercher quelle organisation pouvait \u00eatre la sienne, et quelle r\u00e9sonance th\u00e9ologique pouvait y \u00eatre associ\u00e9e, sans jamais parvenir \u00e0 ce qu\u2019une hypoth\u00e8se consensuellese d\u00e9gage.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"559\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/Capture-d\u2019\u00e9cran-2020-02-27-\u00e0-11.46.11-1024x559.png\" alt=\"\" data-id=\"512\" data-full-url=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/Capture-d\u2019\u00e9cran-2020-02-27-\u00e0-11.46.11.png\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=512\" class=\"wp-image-512\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/Capture-d\u2019\u00e9cran-2020-02-27-\u00e0-11.46.11-1024x559.png 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/Capture-d\u2019\u00e9cran-2020-02-27-\u00e0-11.46.11-300x164.png 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/Capture-d\u2019\u00e9cran-2020-02-27-\u00e0-11.46.11-768x419.png 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/Capture-d\u2019\u00e9cran-2020-02-27-\u00e0-11.46.11-600x328.png 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/Capture-d\u2019\u00e9cran-2020-02-27-\u00e0-11.46.11.png 1366w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>Le th\u00e8me est probablement issu du&nbsp;<em>Premier livre pour orgue<\/em> du compositeur Andr\u00e9 Raison, lui m\u00eame fond\u00e9 sur un motif de plain-chant qui prend place dans la c\u00e9l\u00e9bration du dixi\u00e8me dimanche qui suit la Pentec\u00f4te, lors de la Communion. Il fait entendre 14 sons sur un rythme obstin\u00e9, et on ne pourra s\u2019emp\u00eacher de remarquer qu\u2019il est vari\u00e9 21 fois&nbsp;: il s\u2019agit de multiples de 7, chiffre qui symbolise, dans la tradition religieuse du compositeur, l\u2019ach\u00e8vement et l\u2019accomplissement. Le premier tiers des variations est construit sur la basse, qui joue le th\u00e8me intact au p\u00e9dalier, \u00e0 laquelle se superposent des voix qui s\u2019imitent les unes les autres, sur un bref motif caract\u00e9ristique qui change presque \u00e0 chaque variation. Le th\u00e8me de basse est ensuite modifi\u00e9 pour la premi\u00e8re fois, avant de passer \u00e0 la voix sup\u00e9rieure, puis d\u2019\u00eatre progressivement noy\u00e9 dans une polyphonie o\u00f9 toutes les voix semblent \u00e9gales. Pour les 5 derni\u00e8res variations, il retrouve sa fonction initiale, jou\u00e9 en majest\u00e9 au p\u00e9dalier, \u00e0 la puissance renforc\u00e9e par une polyphonie des voix sup\u00e9rieures toujours plus dense.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"J. S. Bach - Passacaglia and Fugue in C minor, BWV 582 - T. Koopman\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HtFMxFQrKc4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><figcaption>Tom Koopman, orgue<\/figcaption><\/figure>\n\n\n\n<p>Le manuscrit autographe de la&nbsp;<em>Passacaille et fugue BWV 582&nbsp;<\/em>a disparu, mais la copie la plus ancienne de la passacaille a \u00e9t\u00e9 r\u00e9alis\u00e9e avant 1713, c\u2019est-\u00e0-dire lorsque Jean-S\u00e9bastien Bach occupait un poste d\u2019organiste \u00e0 Weimar. Ses qualit\u00e9s d\u2019interpr\u00e8te ont \u00e9t\u00e9 amplement soulign\u00e9es par ses contemporains&nbsp;: sa dext\u00e9rit\u00e9 digitale incroyable, insoup\u00e7onnable \u00e0 la vue de l\u2019extr\u00eame stabilit\u00e9 de sa posture, et sa grande habilet\u00e9 \u00e0 manier le p\u00e9dalier. La virtuosit\u00e9 n\u00e9cessaire pour adapter cette \u0153uvre \u00e0 l\u2019accord\u00e9on est encore accrue&nbsp;: bien que les deux instruments b\u00e9n\u00e9ficient de fortes parent\u00e9s, tous deux \u00e0 vent et \u00e0 claviers, l\u2019absence d\u2019un \u00e9quivalent du p\u00e9dalier induit d\u2019importantes contraintes quant aux tours de force n\u00e9cessaires pour assurer la conduite de chaque voix.<\/p>\n\n\n\n<p><em><strong>Sonate K 87<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-4 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"337\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/600x337_portrait_scarlatti.jpg\" alt=\"\" data-id=\"513\" data-full-url=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/600x337_portrait_scarlatti.jpg\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=513\" class=\"wp-image-513\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/600x337_portrait_scarlatti.jpg 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/600x337_portrait_scarlatti-300x169.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/figure><\/li><\/ul><figcaption class=\"blocks-gallery-caption\">Domenico Scarlatti (1685-1757)<\/figcaption><\/figure>\n\n\n\n<p>Avec les \u0153uvres de Jean-S\u00e9bastien Bach, les \u0153uvres baroques les plus souvent transcrites par les accord\u00e9onistes sont les sonates de Domenico Scarlatti. Une v\u00e9ritable tradition d\u2019interpr\u00e9tation de ses sonates \u00e0 l\u2019accord\u00e9on existe depuis maintenant plusieurs d\u00e9cennies, et la majorit\u00e9 d\u2019entre elles peuvent \u00eatre jou\u00e9es sans qu\u2019une note n\u2019en soit modifi\u00e9e. La&nbsp;<em>Sonate K 87<\/em> a tr\u00e8s probablement \u00e9t\u00e9 compos\u00e9e, comme la quasi totalit\u00e9 de ce corpus, \u00e0 Madrid, pour Maria Barabara de Portugal, \u00e9pouse de l\u2019h\u00e9ritier du tr\u00f4ne d\u2019Espagne, \u00e0 laquelle Scarlatti a \u00e9t\u00e9 attach\u00e9 pendant 3 d\u00e9cennies. S\u2019il \u00e9tait d\u00e9j\u00e0 reconnu comme un claveciniste hors du commun en Italie, \u00e0 Naples et \u00e0 Rome, c\u2019est en terre ib\u00e9rique qu\u2019il a compos\u00e9 son immense corpus de 555 sonates pour clavecin, stup\u00e9fiantes par leur vari\u00e9t\u00e9, qui t\u00e9moigne de la capacit\u00e9 du compositeur \u00e0 renouveler son imagination cr\u00e9atrice pour chacune d\u2019entre elles. La&nbsp;<em>Sonate K 87<\/em> a sans doute \u00e9t\u00e9 compos\u00e9e vers 1742, c\u2019est-\u00e0-dire en pleine p\u00e9riode \u00ab&nbsp;flamboyante&nbsp;\u00bb&nbsp;: la plupart des sonates imagin\u00e9es dans ces ann\u00e9es sont de v\u00e9ritables feux d\u2019artifices de v\u00e9locit\u00e9. Elle s\u2019en distingue tout \u00e0 fait, la virtuosit\u00e9 n\u2019\u00e9tant pas l\u2019un des enjeux de cette pi\u00e8ce. Elle est compos\u00e9e, selon les moments, de 3 ou 4 voix, qui ne sonnent pas comme du contrepoint mais comme un ensemble particuli\u00e8rement m\u00e9lodieux, o\u00f9 chaque voix est chant\u00e9e, souvent de fa\u00e7on parall\u00e8le \u00e0 la voix principale. L\u2019on n\u2019entend aucun des grands sauts ou des traits rapides typiques de l\u2019\u00e9criture de Scarlatti, mais on retrouve l\u2019harmonie tr\u00e8s riche et les oscillations si caract\u00e9ristiques de l\u2019auteur.<\/p>\n\n\n\n<p style=\"background-color:#fedc7e\" class=\"has-background\">La Sonate K87 sous toutes ses facettes : au <a href=\"https:\/\/www.francemusique.fr\/concert\/interpretation\/sonate-pour-clavecin-en-si-mineur-k-87-l-33\">clavecin<\/a> par Lars Ulrik Mortensen,  au <a href=\"https:\/\/www.dailymotion.com\/video\/x6diova\">piano<\/a> par S\u00e9lim Mazari, \u00e0 <a href=\"https:\/\/www.youtube.com\/watch?v=u2YMcMrjWHA\">l&rsquo;accord\u00e9on<\/a> par Bjarke Mogensen, r\u00e9invent\u00e9e dans une <a href=\"https:\/\/www.francemusique.fr\/concert\/interpretation\/improvisation-sur-la-sonate-en-si-mineur-k-87-de-scarlatti-david-et-thomas-enhco\">improvisation<\/a> \u00e0 la trompette et au piano par les fr\u00e8res Enhco&#8230;<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p style=\"color:#4f5050\" class=\"has-text-color has-medium-font-size\"><strong>La marque du tango<\/strong><\/p>\n\n\n\n<p>Le son du tango est inextricablement li\u00e9 \u00e0 celui du bandon\u00e9on, instrument \u00e0 claviers et \u00e0 soufflet tr\u00e8s proche de l\u2019accord\u00e9on, bien qu\u2019il en diverge par plusieurs \u00e9l\u00e9ments de sa facture ainsi que par son timbre. Il fut l\u2019instrument de pr\u00e9dilection d\u2019Astor Piazzolla, qui, adolescent, a occup\u00e9 une fonction de bandon\u00e9iste dans des ensembles de tango de Buenos Aires, c\u00f4toyant \u00e0 l\u2019occasion les plus grands ma\u00eetres de l\u2019\u00e9poque, tels Gardel, Troilo ou Fiorentino. Il s\u2019est par la suite dot\u00e9 d\u2019une formation plus classique, aupr\u00e8s de Ginastera puis de Nadia Boulanger, qui ne serait paradoxalement pas \u00e9trang\u00e8re \u00e0 son retour vers le tango. Sa musique est nourrie de cette double influence populaire et savante, associant les tournures rythmiques, m\u00e9lodiques, et les instruments du tango traditionnel, \u00e0 un langage harmonique riche et une \u00e9criture souvent contrapuntique, assimil\u00e9s au contact de la musique savante.<\/p>\n\n\n\n<figure class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-5 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"486\" height=\"344\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/astor-piazzolla.jpg\" alt=\"\" data-id=\"515\" data-full-url=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/astor-piazzolla.jpg\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=515\" class=\"wp-image-515\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/astor-piazzolla.jpg 486w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/astor-piazzolla-300x212.jpg 300w\" sizes=\"(max-width: 486px) 100vw, 486px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>Le titre,&nbsp;<em>Las cuatro estationes porte\u00f1as<\/em>, fait directement r\u00e9f\u00e9rence \u00e0 la ville de Buneos Aires&nbsp;:&nbsp;<em>porte\u00f1o<\/em> d\u00e9signe en Am\u00e9rique du Sud l\u2019habitant d\u2019une ville portuaire, et en Argentine les habitants de Buenos Aires, dont la majorit\u00e9 sont, comme Piazzolla, descendants d\u2019une immigration europ\u00e9enne arriv\u00e9e par bateau. L\u2019\u0153uvre fut compos\u00e9e entre 1964 et 1970 sous forme de morceaux isol\u00e9s, r\u00e9unis comme un tout apr\u00e8s leur composition. Originalement pour un quintette compos\u00e9 de bandon\u00e9on, violon, piano, guitare \u00e9lectrique et contrebasse, l\u2019\u0153uvre a \u00e9t\u00e9 arrang\u00e9e pour diverses formations, la plus c\u00e9l\u00e8bre de ces transcriptions \u00e9tant celle r\u00e9alis\u00e9e par Leonid Dessiatnikov en 1999 pour un effectif similaire aux&nbsp;<em>Quatre saisons<\/em> de Vivaldi.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Les Dissonances - Piazzolla - Les 4 saisons de Buenos Aires - L&#039;automne - extrait\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/TdocphECrCc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p>Le\u00a0<em>Printemps<\/em> est le mouvement le plus enlev\u00e9, qui fait entendre un motif dont le rythme, constitu\u00e9 de syncopes puis d\u2019une d\u00e9sinence rapide sur le temps, est caract\u00e9ristique du tango. Il est jou\u00e9 tant\u00f4t de fa\u00e7on contrapuntique, tant\u00f4t comme une m\u00e9lodie accompagn\u00e9e sur une\u00a0<em>walking bass<\/em>\u00a0: tango, h\u00e9ritage classique et h\u00e9ritage du jazz se trouvent m\u00eal\u00e9s d\u00e8s la premi\u00e8re pi\u00e8ce. <em>L\u2019\u00c9t\u00e9<\/em> est le mouvement le plus \u00e9tendu, qui se d\u00e9veloppe dans une douce torpeur rythmique, faisant entendre de longues m\u00e9lodies qui oscillent entre l\u2019univers du tango et celui de la musique moderne. <em>L\u2019Automne<\/em> est construit sur un rythme r\u00e9gulier, mais porteur d\u2019accents d\u00e9cal\u00e9s, souvent en contretemps, qui font \u00e9merger une m\u00e9lodie qui se d\u00e9gage de cette r\u00e9gularit\u00e9.\u00a0<em>L\u2019Hiver<\/em> enfin fait \u00e0 nouveau alterner des conduites de\u00a0<em>tempo<\/em> caract\u00e9ristiques du tango, dont des acc\u00e9l\u00e9rations tr\u00e8s progressives \u00e0 partir de m\u00e9lodies langoureuses, avec des envol\u00e9es atonales. L\u2019\u0153uvre dans son ensemble est caract\u00e9ristique du style de Piazzolla en ce qu\u2019il a de plus syncr\u00e9tique et m\u00e9tiss\u00e9, \u00e0 la crois\u00e9e des genres, comme l\u2019est le r\u00e9pertoire soliste pour accord\u00e9on.<\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\">Pour citer ce texte : Constance Luzzati, Une identit\u00e9 sonore plurielle, programme de salle pour le r\u00e9cital d&rsquo;accord\u00e9on de Joao Barradas, Rising Stars, Luxembourg, Philharmonie, 12 f\u00e9vrier 2020<\/p>\n\n\n\n<p><a href=\"https:\/\/www.philharmonie.lu\/fr\/programm\/rising-star-joao-barradas\/2437\">https:\/\/www.philharmonie.lu\/fr\/programm\/rising-star-joao-barradas\/2437<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Une identit\u00e9 sonore plurielle Le son de l\u2019accord\u00e9on est porteur d\u2019un patrimoine esth\u00e9tique d\u2019une diversit\u00e9 rare\u00a0: il \u00e9voque tout \u00e0 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8,95,68],"tags":[99,87,168,173,166,172,169,72,167,171,174,31,170],"class_list":["post-502","post","type-post","status-publish","format-standard","hentry","category-musique-ancienne-et-religieuse","category-musique-contemporaine","category-transcription","tag-accordeon","tag-bach","tag-berio","tag-bwv-582","tag-joao-barradas","tag-k87","tag-keith-jarrett","tag-passacaille","tag-piazzolla","tag-scarlatti","tag-tango","tag-transcription","tag-yann-robin"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>L&#039;accord\u00e9on, de Bach \u00e0 Piazzolla - Constance Luzzati<\/title>\n<meta name=\"description\" content=\"Une identit\u00e9 sonore plurielle : de la transcripiton du r\u00e9pertoire ancien \u00e0 son r\u00e9pertoire original tr\u00e8s contemporain, en passant par la marque du tango\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L&#039;accord\u00e9on, de Bach \u00e0 Piazzolla - Constance Luzzati\" \/>\n<meta property=\"og:description\" content=\"Une identit\u00e9 sonore plurielle : de la transcripiton du r\u00e9pertoire ancien \u00e0 son r\u00e9pertoire original tr\u00e8s contemporain, en passant par la marque du tango\" \/>\n<meta property=\"og:url\" content=\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/\" \/>\n<meta property=\"og:site_name\" content=\"Constance Luzzati\" \/>\n<meta property=\"article:published_time\" content=\"2020-02-27T16:20:58+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-02-27T16:21:00+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg\" \/>\n<meta name=\"author\" content=\"cladmin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"cladmin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/\",\"url\":\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/\",\"name\":\"L'accord\u00e9on, de Bach \u00e0 Piazzolla - Constance Luzzati\",\"isPartOf\":{\"@id\":\"https:\/\/constanceluzzati.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg\",\"datePublished\":\"2020-02-27T16:20:58+00:00\",\"dateModified\":\"2020-02-27T16:21:00+00:00\",\"author\":{\"@id\":\"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d\"},\"description\":\"Une identit\u00e9 sonore plurielle : de la transcripiton du r\u00e9pertoire ancien \u00e0 son r\u00e9pertoire original tr\u00e8s contemporain, en passant par la marque du tango\",\"breadcrumb\":{\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#primaryimage\",\"url\":\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg\",\"contentUrl\":\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/constanceluzzati.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"L&rsquo;accord\u00e9on, de Bach \u00e0 Piazzolla\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/constanceluzzati.com\/#website\",\"url\":\"https:\/\/constanceluzzati.com\/\",\"name\":\"Constance Luzzati\",\"description\":\"harpiste, musicologue\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/constanceluzzati.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-FR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d\",\"name\":\"cladmin\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\/\/constanceluzzati.com\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g\",\"caption\":\"cladmin\"},\"url\":\"https:\/\/constanceluzzati.com\/index.php\/author\/cladmin\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"L'accord\u00e9on, de Bach \u00e0 Piazzolla - Constance Luzzati","description":"Une identit\u00e9 sonore plurielle : de la transcripiton du r\u00e9pertoire ancien \u00e0 son r\u00e9pertoire original tr\u00e8s contemporain, en passant par la marque du tango","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/","og_locale":"fr_FR","og_type":"article","og_title":"L'accord\u00e9on, de Bach \u00e0 Piazzolla - Constance Luzzati","og_description":"Une identit\u00e9 sonore plurielle : de la transcripiton du r\u00e9pertoire ancien \u00e0 son r\u00e9pertoire original tr\u00e8s contemporain, en passant par la marque du tango","og_url":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/","og_site_name":"Constance Luzzati","article_published_time":"2020-02-27T16:20:58+00:00","article_modified_time":"2020-02-27T16:21:00+00:00","og_image":[{"url":"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg","type":"","width":"","height":""}],"author":"cladmin","twitter_card":"summary_large_image","twitter_misc":{"\u00c9crit par":"cladmin","Dur\u00e9e de lecture estim\u00e9e":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/","url":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/","name":"L'accord\u00e9on, de Bach \u00e0 Piazzolla - Constance Luzzati","isPartOf":{"@id":"https:\/\/constanceluzzati.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#primaryimage"},"image":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#primaryimage"},"thumbnailUrl":"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg","datePublished":"2020-02-27T16:20:58+00:00","dateModified":"2020-02-27T16:21:00+00:00","author":{"@id":"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d"},"description":"Une identit\u00e9 sonore plurielle : de la transcripiton du r\u00e9pertoire ancien \u00e0 son r\u00e9pertoire original tr\u00e8s contemporain, en passant par la marque du tango","breadcrumb":{"@id":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#primaryimage","url":"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg","contentUrl":"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2020\/02\/10-768x511-1.jpeg"},{"@type":"BreadcrumbList","@id":"https:\/\/constanceluzzati.com\/index.php\/2020\/02\/27\/laccordeon-de-bach-a-piazzolla\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/constanceluzzati.com\/"},{"@type":"ListItem","position":2,"name":"L&rsquo;accord\u00e9on, de Bach \u00e0 Piazzolla"}]},{"@type":"WebSite","@id":"https:\/\/constanceluzzati.com\/#website","url":"https:\/\/constanceluzzati.com\/","name":"Constance Luzzati","description":"harpiste, musicologue","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/constanceluzzati.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"fr-FR"},{"@type":"Person","@id":"https:\/\/constanceluzzati.com\/#\/schema\/person\/73689fd2f5e312d160436017f117ab8d","name":"cladmin","image":{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/constanceluzzati.com\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8fd812dcfb43a051255c4494719a227e?s=96&d=mm&r=g","caption":"cladmin"},"url":"https:\/\/constanceluzzati.com\/index.php\/author\/cladmin\/"}]}},"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"cladmin","author_link":"https:\/\/constanceluzzati.com\/index.php\/author\/cladmin\/"},"uagb_comment_info":17,"uagb_excerpt":"Une identit\u00e9 sonore plurielle Le son de l\u2019accord\u00e9on est porteur d\u2019un patrimoine esth\u00e9tique d\u2019une diversit\u00e9 rare\u00a0: il \u00e9voque tout \u00e0 [&hellip;]","_links":{"self":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/502"}],"collection":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/comments?post=502"}],"version-history":[{"count":8,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/502\/revisions"}],"predecessor-version":[{"id":519,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/posts\/502\/revisions\/519"}],"wp:attachment":[{"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/media?parent=502"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/categories?post=502"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/constanceluzzati.com\/index.php\/wp-json\/wp\/v2\/tags?post=502"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}