{"id":1047909,"date":"2023-11-10T09:00:46","date_gmt":"2023-11-10T13:00:46","guid":{"rendered":"https:\/\/myscena.org\/?p=1047909"},"modified":"2023-11-09T15:39:55","modified_gmt":"2023-11-09T19:39:55","slug":"critique-cd-en-route-leaf-music-2023","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/zenith-wolfe\/critique-cd-en-route-leaf-music-2023\/","title":{"rendered":"Critique CD | En Route (Leaf Music, 2023)"},"content":{"rendered":"<blockquote><p><b><i>En Route<br \/>\n<\/i><\/b>Gillian Smith, violon<br \/>\nLeaf Music, novembre 2023<\/p><\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-1047906 alignleft\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-Gillian-Smith-.jpg\" alt=\"\" width=\"211\" height=\"211\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-Gillian-Smith-.jpg 1000w, https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-Gillian-Smith--300x300.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-Gillian-Smith--100x100.jpg 100w, https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-Gillian-Smith--600x600.jpg 600w, https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-Gillian-Smith--150x150.jpg 150w, https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-Gillian-Smith--768x768.jpg 768w\" sizes=\"(max-width: 211px) 100vw, 211px\" \/>Pour le meilleur ou pour le pire, <i>En Route<\/i> est un exemple parfait de l\u2019impact de la longueur des pistes, des titres et des voix humaines (ou de leur absence) sur l\u2019exp\u00e9rience de l\u2019auditeur d\u2019un album.<\/p>\n<p>La premi\u00e8re s\u00e9rie de morceaux, <i>Nebula Variations<\/i>, est sign\u00e9e Derek Charke, dont les compositions proposent des analyses exp\u00e9rimentales de la nature de la musique et de l\u2019instrumentation. Ces variations ne font pas exception \u00e0 la r\u00e8gle : la premi\u00e8re explore la tessiture, en utilisant des notes graves et aigu\u00ebs pour mesurer leurs diff\u00e9rences de texture; la troisi\u00e8me explore le son des cordes jou\u00e9es simultan\u00e9ment. Toutes deux transmettent des id\u00e9es par le biais de courtes dur\u00e9es et de m\u00e9lodies libres. L\u2019interpr\u00e9tation soign\u00e9e du violon de Gillian Smith ne parvient cependant pas \u00e0 exprimer l\u2019innovation dans les variations 2 et 5, qui exp\u00e9rimentent avec des crescendos discordants et des pincements de cordes, pendant leurs dur\u00e9es respectives de sept et neuf minutes.<\/p>\n<p>La pi\u00e8ce de Hsiu-Ping Wu, plus longue que les deux variations, est une exp\u00e9rience beaucoup plus agr\u00e9able. La pi\u00e8ce utilise des sauts d\u2019octave, des grattements, des changements de tempo et des silences pour g\u00e9n\u00e9rer une tension angoissante. L\u2019auditeur en vient \u00e0 associer des \u00e9motions \u00e0 des techniques instrumentales sp\u00e9cifiques. <i>Dualisms<\/i> d\u2019Amy Brandon utilise ensuite des titres descriptifs tels que <i>Darkly Melting<\/i> et <i>Joyfully<\/i> pour g\u00e9n\u00e9rer la m\u00eame clart\u00e9 \u00e9motionnelle que l\u2019\u0153uvre de Wu, tout en utilisant la concision des variations de Charke.<\/p>\n<p><i>Tree Talk<\/i>, qui suit, est une bizarrerie. Contrairement \u00e0 Smith, qui entretient une conversation avec son instrument, la \u00ab voix \u00bb du violon ne sonne pas du tout comme une voix, mais plut\u00f4t comme une collection de motifs pleurnichards et d\u00e9sagr\u00e9ables avec peu de flux lyrique. Smith dit \u00e0 l\u2019auditeur ce qu\u2019il doit ressentir au lieu de lui permettre de ressentir par lui-m\u00eame, ce qui cr\u00e9e une tension avec le principe pr\u00e9c\u00e9demment affirm\u00e9 dans l\u2019album selon lequel les m\u00e9lodies du violon ont le pouvoir de v\u00e9hiculer leurs propres significations.<\/p>\n<p><iframe loading=\"lazy\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1KHDV3WZxdFxOdfms04JO4?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pour le meilleur ou pour le pire, En Route est un exemple parfait de l\u2019impact de la longueur des pistes, des titres et des voix humaines (ou de leur absence) sur l\u2019exp\u00e9rience de l\u2019auditeur d\u2019un album.<\/p>\n","protected":false},"author":25515,"featured_media":1047904,"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":[17038,17273,17271],"tags":[48970,56621,49039,56634,56636,20338,56624,56627,6051,1806,446,830],"class_list":{"0":"post-1047909","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-de-chambre","9":"category-violon","10":"tag-amy-brandon-fr","11":"tag-chamber-music-fr-2","12":"tag-derek-charke","13":"tag-gillian-smith-fr","14":"tag-hsiu-ping-wu-fr","15":"tag-musique-de-chambre","16":"tag-new-release-fr","17":"tag-nouveaute-fr","18":"tag-nouveaute","19":"tag-review","20":"tag-violin","21":"tag-violon","22":"volume-volume-29","23":"issue-vol-29-issue-34-fr","24":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route-300x144.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2023\/11\/En-Route.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\/1047909"}],"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=1047909"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1047909\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1047904"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1047909"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1047909"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1047909"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}