{"id":1008078,"date":"2022-04-23T18:32:43","date_gmt":"2022-04-23T22:32:43","guid":{"rendered":"https:\/\/myscena.org\/?p=1008078"},"modified":"2022-06-14T17:10:19","modified_gmt":"2022-06-14T21:10:19","slug":"critique-cd-concertos-italiens-baroques-analekta-2022","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/justin-bernard\/critique-cd-concertos-italiens-baroques-analekta-2022\/","title":{"rendered":"Critique CD | Concertos italiens baroques (Analekta, 2022)"},"content":{"rendered":"<blockquote><p><b>Elinor Frey: Concertos italiens baroques<br \/>\n<\/b>Elinor Frey, violoncelle, Rosa Barocca; Claude Lapalme, chef<br \/>\nAN 2 9163<br \/>\nAnalekta, 2022<\/p><\/blockquote>\n<p><a href=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-420x420-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-1008095 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-420x420-1.jpg\" alt=\"\" width=\"420\" height=\"420\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-420x420-1.jpg 420w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-420x420-1-300x300.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-420x420-1-100x100.jpg 100w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-420x420-1-150x150.jpg 150w\" sizes=\"(max-width: 420px) 100vw, 420px\" \/><\/a>En collaboration avec l\u2019ensemble Rosa Barocca, sous la direction de Claude Lapalme, la violoncelliste Elinor Frey fait para\u00eetre chez Analekta un album regroupant quatre concertos de compositeurs italiens baroques, dont Antonio Vivaldi (1678-1741), Leonardo Leo (1694-1744) et Giovanni Battista Sammartini (1700-1775). Un concerto pour violoncelle, cordes et continuo ainsi que deux mouvements de sonates pour violon de Giuseppe Tartini (1692-1770), ex\u00e9cut\u00e9s ici au plus petit <i>violoncello<\/i>, compl\u00e8tent le programme.<\/p>\n<p>Dans les notes discographiques qui accompagne notre \u00e9coute de l\u2019album, Elinor Frey nous explique en d\u00e9tails les subtilit\u00e9s entre le violon de basse, le <i>violoncello piccolo<\/i> et le violoncelle t\u00e9nor qui serait en fait, selon elle, la bonne mani\u00e8re de d\u00e9nommer le violoncelle baroque typique\u2026 honn\u00eatement, on s\u2019y perd.<\/p>\n<p>Pour ce qui est de la musique, c\u2019est un franc succ\u00e8s ! La ma\u00eetrise d\u2019un instrument d\u2019\u00e9poque est loin d\u2019\u00eatre \u00e9vidente et malgr\u00e9 les limitations de celui-ci compar\u00e9es \u00e0 un instrument moderne, Elinor Frey parvient au sommet de son art. Rapidit\u00e9, agilit\u00e9, r\u00e9sonance maximale du petit violoncelle\u2026 la virtuose canadienne impressionne \u00e0 tous les niveaux. D\u00e8s les premi\u00e8res mesures du <i>Concerto en do majeur <\/i>de Sammartini, une \u00e9nergie et une vivacit\u00e9 propres \u00e0 la musique baroque se d\u00e9gagent de l\u2019ensemble. Les qualit\u00e9s de l\u2019orchestre, notamment dans le phras\u00e9, se confirment dans le mouvement lent et de plus belle dans le mouvement rapide qui conclut l&#8217;\u0153uvre en furie. Ce qui frappe ici du c\u00f4t\u00e9 de la soliste, c\u2019est son aptitude \u00e0 cr\u00e9er sans effort un souffle interrompu de musique.<\/p>\n<p>Dans les mouvements plus lents, nous sommes touch\u00e9s par la beaut\u00e9 et l\u2019ampleur des sonorit\u00e9s qu\u2019elle arrive \u00e0 tirer de son instrument. Des sonorit\u00e9s tr\u00e8s velout\u00e9es et quelque peu atypiques pour nos oreilles contemporaines, mais toujours au service d\u2019une ligne m\u00e9lodique constamment nourrie.<\/p>\n<p>L\u2019interpr\u00e9tation ne perd jamais en qualit\u00e9. En revanche, d\u2019un point de vue esth\u00e9tique, toutes les \u0153uvres pr\u00e9sent\u00e9es sur ce disque ne se valent pas. Le <i>Concerto en la majeur <\/i>de Tartini ne semble pas aussi inspir\u00e9 que ceux de Sammartini et de Vivaldi. On lui pr\u00e9f\u00e8re nettement ses deux mouvements de sonates. Les doubles cordes au violoncelle cr\u00e9ent ici une impression de duo et les dissonances marqu\u00e9es, coupl\u00e9es \u00e0 des effets de <i>glissando<\/i>, nous rappellent \u00e9trangement la musique orientale.<\/p>\n<p><iframe loading=\"lazy\" title=\"Spotify Embed: Early Italian Cello Concertos\" style=\"border-radius: 12px\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" src=\"https:\/\/open.spotify.com\/embed\/album\/2etvgubEqIIg6fdDtnL05R?go=1&#038;sp_cid=0074439ff3e35730a4db51cae85f2eea&#038;utm_source=oembed&#038;utm_medium=desktop&#038;nd=1\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Elinor Frey: Concertos italiens baroques Elinor Frey, violoncelle, Rosa Barocca; Claude Lapalme, chef AN 2 9163 Analekta, 2022 En collaboration avec l\u2019ensemble Rosa Barocca, sous la direction de Claude Lapalme, la violoncelliste Elinor Frey fait para\u00eetre chez Analekta un album regroupant quatre concertos de compositeurs italiens baroques, dont Antonio Vivaldi (1678-1741), Leonardo Leo (1694-1744) et<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/justin-bernard\/critique-cd-concertos-italiens-baroques-analekta-2022\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2811,"featured_media":1008100,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17259],"tags":[2656,48388,44785,48387],"class_list":{"0":"post-1008078","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-ancienne-et-baroque","8":"tag-analekta","9":"tag-claude-lapalme","10":"tag-elinor-frey-fr","11":"tag-rosa-barocca","12":"type-critique-de-disque","13":"volume-volume-27","14":"issue-vol-27-issue-7-fr","15":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-e1650755005192-1024x542.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-e1650755005192-300x159.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/04\/untitled-design-24-e1650755005192-1024x542.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"volume","label":"Volume","value":[]},{"key":"number","label":"Number","value":[]},{"key":"group_select","label":"Group","value":""},{"key":"performer_1","label":"Performer 1","value":""},{"key":"performer_2","label":"Performer 2","value":""},{"key":"other_info","label":"Other info","value":""},{"key":"ink_amazon","label":"Ink Amazon","value":""},{"key":"archambault","label":"archambault link","value":""},{"key":"price","label":"Price","value":""},{"key":"source_url","label":"Source URL","value":""},{"key":"author_name","label":"Author","value":""},{"key":"editchoice","label":"Edit Choice","value":[]},{"key":"is_cover_story","label":"Is Cover Story","value":[]},{"key":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","value":[]}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1008078"}],"collection":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/users\/2811"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1008078"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1008078\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1008100"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1008078"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1008078"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1008078"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}