{"id":1011572,"date":"2022-06-04T16:13:24","date_gmt":"2022-06-04T20:13:24","guid":{"rendered":"https:\/\/myscena.org\/justin-bernard\/cd-review-john-williams-violin-concerto-no-2-selected-film-themes\/"},"modified":"2022-06-14T16:42:36","modified_gmt":"2022-06-14T20:42:36","slug":"cd-review-john-williams-violin-concerto-no-2-selected-film-themes","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/justin-bernard\/cd-review-john-williams-violin-concerto-no-2-selected-film-themes\/","title":{"rendered":"Critique CD | John Williams: Violin Concerto No. 2 &#038; Selected Film Themes"},"content":{"rendered":"<blockquote><p><strong><em>John Williams: Violin Concerto No. 2 &amp; Selected Film Themes<\/em><\/strong><br \/>\nJohn Williams, compositeur et chef; Anne-Sophie Mutter, violon; Boston Symphony Orchestra<br \/>\nDeutsche Grammophon, 2022<\/p><\/blockquote>\n<p><a href=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/06\/Anne-Sophie-Mutter-John-Williams-eCover-scaled-cmyk-e1654373478332.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1011517 size-medium alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/06\/Anne-Sophie-Mutter-John-Williams-eCover-scaled-cmyk-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/><\/a>John Williams et Anne-Sophie Mutter se connaissent bien. Ils ont d\u00e9j\u00e0 collabor\u00e9 \u00e0 deux reprises sur deux r\u00e9cents albums parus chez Deutsche Grammophon en 2019 et 2020. Ils renouvellent ici l\u2019exp\u00e9rience, sur la m\u00eame \u00e9tiquette, avec le Concerto no 2 pour violon du compositeur.<\/p>\n<p>Ce concerto d\u00e9bute par un solo de harpe aux sonorit\u00e9s lugubres. Des profondeurs des cordes \u00e9merge timidement le violon d\u2019Anne-Sophie Mutter. La virtuosit\u00e9 de l\u2019interpr\u00e8te ne tarde pas \u00e0 prendre toute sa place, sans toutefois faire de grandes effusions. Malgr\u00e9 quelques passages plus lyriques, m\u00e9lancoliques, c\u2019est le sentiment d\u2019angoisse qui pr\u00e9domine. Fid\u00e8le \u00e0 son habitude, John Williams utilise abondamment la section des cuivres et multiplie les effets dramatiques. On retrouve ici l\u2019univers de ses c\u00e9l\u00e8bres partitions galactiques port\u00e9es \u00e0 l\u2019\u00e9cran avec, cette fois, un penchant plus moderne. Le compositeur ne puise pas autant dans le registre \u00e9pique, comme pour le cin\u00e9ma, mais il d\u00e9construit son langage et devient adepte du changement permanent. Quant \u00e0 la partie de violon, elle n\u2019est pas sans rappeler le style des tout premiers explorateurs de la modernit\u00e9, \u00e0 commencer par Arnold Schoenberg dans son propre Concerto pour violon (1936). D\u00e8s lors, peut-on encore qualifier la musique propos\u00e9e par John Williams de \u00ab moderne \u00bb ? En tout cas, elle n\u2019est plus tout \u00e0 fait nouvelle.<br \/>\nLes trois derni\u00e8res pi\u00e8ces de l\u2019album sont des r\u00e9orchestrations de th\u00e8mes bien connus, notamment de Star Wars et des Aventuriers de l\u2019arche perdue qui ont fait l\u2019immense succ\u00e8s de John Williams. Les nostalgiques de Han Solo ou d\u2019Indiana Jones ne seront pas trop d\u00e9pays\u00e9s !<\/p>\n","protected":false},"excerpt":{"rendered":"<p>John Williams: Violin Concerto No. 2 &amp; Selected Film Themes John Williams, compositeur et chef; Anne-Sophie Mutter, violon; Boston Symphony Orchestra Deutsche Grammophon, 2022 John Williams et Anne-Sophie Mutter se connaissent bien. Ils ont d\u00e9j\u00e0 collabor\u00e9 \u00e0 deux reprises sur deux r\u00e9cents albums parus chez Deutsche Grammophon en 2019 et 2020. Ils renouvellent ici l\u2019exp\u00e9rience,<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/justin-bernard\/cd-review-john-williams-violin-concerto-no-2-selected-film-themes\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2811,"featured_media":1011518,"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":[17038,17275,17271],"tags":[39309,44559,49046,48921],"class_list":{"0":"post-1011572","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"category-musique-orchestrale","9":"category-violon","10":"tag-anne-sophie-mutter-fr","11":"tag-deutsche-grammophon-fr","12":"tag-dg-fr","13":"tag-john-williams-fr","14":"type-critique-de-disque","15":"volume-volume-27","16":"issue-vol-27-issue-7-fr","17":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/06\/Anne-Sophie-Mutter-John-Williams-eCover-scaled-cmyk-1024x1024.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/06\/Anne-Sophie-Mutter-John-Williams-eCover-scaled-cmyk-300x300.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/06\/Anne-Sophie-Mutter-John-Williams-eCover-scaled-cmyk-1024x1024.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","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":"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":""}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1011572"}],"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=1011572"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1011572\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1011518"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1011572"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1011572"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1011572"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}