{"id":3809,"date":"2022-01-25T13:25:17","date_gmt":"2022-01-25T12:25:17","guid":{"rendered":"https:\/\/lacourroie.org\/?page_id=3809"},"modified":"2022-03-01T10:31:16","modified_gmt":"2022-03-01T09:31:16","slug":"en-savoir-2022-02-28","status":"publish","type":"page","link":"https:\/\/lacourroie.org\/index.php\/en-savoir-2022-02-28\/","title":{"rendered":"en savoir + 2022.02.28"},"content":{"rendered":"\t\t
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Lundi 28 f\u00e9vrier 2022 \u00e0 20h22<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Aline Piboule \u2022 piano<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"L'\u0153uvre au noir\"<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ce programme se veut une \u00e9vocation musicale du d\u00e9sespoir, de la solitude, du travail de deuil, mais \u00e9galement de la pl\u00e9nitude, de l’apaisement et de la compl\u00e9tude . Que ce soit par la sonate D784 de\u00a0Schubert<\/b>, par l’\u00e9vocation de la mort d’Orph\u00e9e de\u00a0Gl\u00fcck<\/b>, ou au travers de la pi\u00e8ce de musique contemporaine de\u00a0Thomas Ad\u00e8s<\/b>\u00a0inspir\u00e9e par un th\u00e8me baroque de\u00a0John Dowland,<\/b>\u00a0cette proposition se veut le reflet d’un voyage int\u00e9rieur marqu\u00e9 par les \u00e9preuves r\u00e9centes v\u00e9cues lors de cette pand\u00e9mie, marqu\u00e9 \u00e9galement par le bilan sur nos vies qu’une \u00ab pause forc\u00e9e \u00bb a permis et enfin travers\u00e9 par la lueur d’espoir et l’esp\u00e9rance d’un renouveau (Franck<\/b>).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Programme<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Franz Schubert <\/strong>1797-1828
Sonate en La mineur D784 n\u00b014
– Allegro giusto
– Andante
– Allegro vivace<\/p>\n

Christoph Willibald Gluck<\/b> 1714-1787
<\/em>Arrangement pour piano seul de Giovanni Sgambati 1841-1914
La mort d’Orph\u00e9e<\/em><\/p>\n

Thomas Ades<\/strong> 1971
<\/strong>Darknesse visible<\/em><\/p>\n

Franz Schubert \/ Franz Liszt
<\/strong>Auf dem wasser zu singen<\/em>
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C\u00e9sar Franck<\/strong> 1822-1890
Pr\u00e9lude Choral et fugue<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tinfos pratiques<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Aline Piboule \u2022 pianiste<\/strong><\/p>

\u00ab Une s\u00e9rie de fulgurances qui mettent en lumi\u00e8re la capacit\u00e9 peu courante de la pianiste \u00e0 manier les \u00e9clats spectaculaires sans perdre en int\u00e9riorit\u00e9 dans le parcours \u00e0 long terme. \u00bb<\/em> Pierre Gervasoni, Le Monde, 03 Avril 2021
Depuis toujours Aline Piboule tient \u00e0 proposer une expe\u0301rience au public qui va plus loin que l’ide\u0301e du concert traditionnel. Me\u0302lant les styles, e\u0301poques, invitant le public a\u0300 e\u0301couter diffe\u0301remment gra\u0302ce a\u0300 des jeux de miroirs, elle affectionne particuli\u00e8rement les univers qui se croisent et s’enrichissent, et conc\u0327oit des programmes autour de the\u0301matiques autres que purement musicologiques ou stylistiques qu’elle pr\u00e9sente au public. Cette de\u0301marche permet de cre\u0301er un lien particulier et de \u00ab de\u0301sacraliser \u00bb le re\u0301cital classique.
Elle est invite\u0301e dans les principaux festivals et salles de concert en France dont La Roque d’Anthe\u0301ron, La Folle journe\u0301e de Nantes, Festival Berlioz, Festival de Radio France Occitanie, Les Lisztomanias, le Piano(s) Lille Festival, l\u2019Arsenal de Metz, le The\u0301a\u0302tre du Cha\u0302telet… mais e\u0301galement a\u0300 l’international (Le Printemps des Arts de Monte-Carlo, Centre Beethoven \u00e0 Buenos Aires, Queen Elizabeth Hall \u00e0 Londres…).
Elle cr\u00e9e \u00e9galement des ponts avec les autres arts afin de stimuler diffe\u0301remment l’imaginaire et permettre de toucher un plus large public. Elle a notamment cre\u0301\u00e9 en 2020 avec l\u2019e\u0301crivain Pascal Quignard, Prix Goncourt, auteur de \u201cTous les matins du monde\u201d un Re\u0301cit-Re\u0301cital autour de son livre \u00ab Boute\u0300s \u00bb (e\u0301dition Galile\u0301e) qu’ils jouent depuis en France et a\u0300 l\u2019e\u0301tranger.
Aline Piboule a conc\u0327u son premier disque en soliste mettant en regard l’oeuvre de Faure\u0301 et de Dutilleux (Label Artalinna 2017). Celui-ci a e\u0301te\u0301 de nombreuses fois re\u0301compense\u0301, avec notamment 4F Te\u0301le\u0301rama, 5 Diapasons, 4* Classica, a e\u0301te\u0301 se\u0301lectionne\u0301 par le journal Le Monde et chronique\u0301 dans Cadence. En juillet 2018 ce disque a e\u0301te\u0301 re\u0301fe\u0301rence\u0301 dans le dossier \u00ab La discographie ide\u0301ale du piano \u00bb du magazine Classica.
Son second disque paru en mars 2021 sur le Label Printemps des Arts de Monte-Carlo est consacre\u0301 a\u0300 Aubert, Ferroud, Samazeuilh et Decaux, compositeurs fran\u00e7ais du d\u00e9but du 20\u00e8me si\u00e8cle, importants mais rarement jou\u00e9s. Ce disque a eu un tre\u0300s large succe\u0300s, et figure parmi les 15 meilleurs disques CHOC de l’anne\u0301e 2021 par les magazines Classica et Crescendo en Belgique. Il a re\u00e7u \u00e9galement \u00ab 5 \u00bb Diapason, le Supersonic Pizzicato, et a \u00e9t\u00e9 nomin\u00e9 aux International Classical Music Awards (ICMA 2022) dans la cat\u00e9gorie soliste.
La sortie de ce disque a e\u0301te\u0301 e\u0301galement l’occasion pour Pierre Gervasoni d’e\u0301crire le portrait d’Aline Piboule dans le journal \u00ab Le Monde \u00bb.
Egalement chambriste recherch\u00e9e, elle enregistre deux disques avec le fl\u00fbtiste Jocelyn Aubrun qui ont re\u00e7u un tr\u00e8s bel accueil de la presse sp\u00e9cialis\u00e9e.
Pianiste engag\u00e9e, attach\u00e9e \u00e0 la transmission et au partage avec les futures g\u00e9n\u00e9rations, Aline Piboule a con\u00e7u des r\u00e9citals avec les Jeunesses Musicales de France permettant au jeune public une premi\u00e8re approche du r\u00e9pertoire pianistique allant de Chopin \u00e0 nos jours.
Titulaire du CA de piano, elle enseigne la musique de chambre au CRR de Paris.
Aline Piboule a effectu\u00e9 ses \u00e9tudes aux CNSMD de Lyon et de Paris, et a suivi l\u2019enseignement de Jean Saulnier \u00e0 l\u2019Universit\u00e9 de Montr\u00e9al. En 2014, elle remporte cinq prix au Concours International de piano d\u2019Orl\u00e9ans.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Lundi 28 f\u00e9vrier 2022 \u00e0 20h22 Aline Piboule \u2022 piano \u00ab\u00a0L’\u0153uvre au noir\u00a0\u00bb Ce programme se veut une \u00e9vocation musicale du d\u00e9sespoir, de la solitude, du travail de deuil, mais \u00e9galement de la pl\u00e9nitude, de l’apaisement et de la compl\u00e9tude . Que ce soit par la sonate D784 de\u00a0Schubert, par l’\u00e9vocation de la mort d’Orph\u00e9e […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"right-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","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":"disabled","ast-disable-related-posts":"","theme-transparent-header-meta":"default","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":"","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":""}},"footnotes":""},"class_list":["post-3809","page","type-page","status-publish","hentry"],"yoast_head":"\nen savoir + 2022.02.28 - 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