{"id":1013330,"date":"2022-07-26T13:00:35","date_gmt":"2022-07-26T17:00:35","guid":{"rendered":"https:\/\/myscena.org\/?p=1013330"},"modified":"2022-07-26T12:49:16","modified_gmt":"2022-07-26T16:49:16","slug":"critique-cd-glass-quatuors-a-cordes-complets-quatuors-a-cordes-nos-1-4-vol-1-atma-classique-2022","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/zenith-wolfe\/critique-cd-glass-quatuors-a-cordes-complets-quatuors-a-cordes-nos-1-4-vol-1-atma-classique-2022\/","title":{"rendered":"Critique CD | Glass : Quatuors \u00e0 cordes complets \u2013 Quatuors \u00e0 cordes nos 1-4 (vol. 1) (ATMA Classique, 2022)"},"content":{"rendered":"<blockquote><p><strong>Glass : Quatuors \u00e0 cordes complets \u2013 Quatuors \u00e0 cordes nos 1-4 (vol. 1)<br \/>\n<\/strong>Olga Ranzenhofer et Antoine Bareil, violon; Fr\u00e9d\u00e9ric Lambert, alto; Pierre-Alain Bouvrette, violoncelle<br \/>\nATMA Classique, 2022<\/p><\/blockquote>\n<p><a href=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1013323 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3-1024x1024.jpg\" alt=\"\" width=\"268\" height=\"268\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3-1024x1024.jpg 1024w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3-300x300.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3-100x100.jpg 100w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3-600x600.jpg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3-150x150.jpg 150w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3-768x768.jpg 768w, https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/pdvusx-glasscompl-preview-m3.jpg 1414w\" sizes=\"(max-width: 268px) 100vw, 268px\" \/><\/a><\/p>\n<p>Cet album de quatre \u0153uvres est un excellent d\u00e9but pour la s\u00e9rie du Quatuor Molinari sur les compositions d\u2019ensemble \u00e0 cordes de Philip Glass.<\/p>\n<p><em>Mishima<\/em>, initialement compos\u00e9e pour constituer la bande sonore d\u2019un film du m\u00eame nom, est la plus connue des \u0153uvres de l\u2019album et la seule qui raconte une histoire. Les violonistes du Quatuor Molinari passent facilement d\u2019une m\u00e9lodie \u00e0 une autre dans <em>Award Montage<\/em>, ce qui fait en sorte qu\u2019on a l\u2019impression qu\u2019un conteur entrelace plusieurs r\u00e9cits. Apr\u00e8s <em>November<\/em> <em>25: Ichigaya<\/em>, un morceau dont la fin triste laisse entendre qu\u2019un \u00e9v\u00e9nement tragique est survenu, le violon vif et inlassable de <em>Grandmother<\/em> <em>and Kimitake <\/em>cr\u00e9e de la tension. Apr\u00e8s deux morceaux de plus, <em>Closing<\/em>, qui porte bien son nom, explore les motifs de l\u2019\u0153uvre \u00e0 travers un point de vue plus optimiste, qui fournit une fin satisfaisante. Les violons dans <em>Mishima<\/em> sont dramatiques et dynamiques et le riche violoncelle cr\u00e9e un fil narratif entre les morceaux \u2013 dire que l\u2019interpr\u00e9tation de cette \u0153uvre par le Quatuor Molinari est belle serait peu dire.<\/p>\n<p>L\u2019optimisme de <em>Mishima <\/em>pr\u00e9pare au <em>Quatuor \u00e0 cordes n\u00b0 1<\/em>, dont la nature exp\u00e9rimentale provoque une atmosph\u00e8re \u00e9trange. L\u2019\u0153uvre suivante, <em>Buczak<\/em>, exalte, mais avec la constante insinuation que l\u2019auditeur pourrait tomber \u00e0 tout moment. La transition vers <em>Buczak <\/em>rappelle \u00e0 l\u2019auditeur la dualit\u00e9 du violon, qui peut exprimer une beaut\u00e9 absolue ainsi qu\u2019une trag\u00e9die d\u00e9sesp\u00e9r\u00e9e, ce qui est \u00e9galement vrai du Quatuor Molinari.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Glass : Quatuors \u00e0 cordes complets \u2013 Quatuors \u00e0 cordes nos 1-4 (vol. 1) Olga Ranzenhofer et Antoine Bareil, violon; Fr\u00e9d\u00e9ric Lambert, alto; Pierre-Alain Bouvrette, violoncelle ATMA Classique, 2022 Cet album de quatre \u0153uvres est un excellent d\u00e9but pour la s\u00e9rie du Quatuor Molinari sur les compositions d\u2019ensemble \u00e0 cordes de Philip Glass. Mishima, initialement<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/zenith-wolfe\/critique-cd-glass-quatuors-a-cordes-complets-quatuors-a-cordes-nos-1-4-vol-1-atma-classique-2022\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":25515,"featured_media":1013328,"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":[17269,17038,394,17275],"tags":[40498,31636,31638,40817,31635,49622,33056],"class_list":{"0":"post-1013330","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-cordes","8":"category-critiques-de-disques-et-livres","9":"category-musique-classique","10":"category-musique-orchestrale","11":"tag-antoine-bareil-fr","12":"tag-frederic-lambert","13":"tag-olga-ranzenhofer","14":"tag-philip-glass-fr","15":"tag-pierre-alain-bouvrette","16":"tag-pierre-alain-bouvrette-fr","17":"tag-quatuor-molinari-fr","18":"volume-volume-27","19":"issue-vol-27-issue-8-fr","20":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/Philip-Glass.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/Philip-Glass-300x138.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2022\/07\/Philip-Glass.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\/1013330"}],"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\/25515"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1013330"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1013330\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1013328"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1013330"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1013330"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1013330"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}