{"id":355868,"date":"2018-02-07T13:15:27","date_gmt":"2018-02-07T17:15:27","guid":{"rendered":"http:\/\/myscena.org\/arnaud-g-veydarier\/cd-review-subduction\/"},"modified":"2018-02-07T13:19:04","modified_gmt":"2018-02-07T17:19:04","slug":"cd-review-subduction","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/arnaud-g-veydarier\/cd-review-subduction\/","title":{"rendered":"Critique de Disque &#8211; Subduction"},"content":{"rendered":"<h6><em>Subduction<br \/>\n<\/em>Julie Th\u00e9riault,\u00a0Audiogramme 19075801072<\/h6>\n<p><a href=\"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-sub.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-355864\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-sub.jpg\" alt=\"\" width=\"700\" height=\"700\" srcset=\"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-sub.jpg 700w, https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-sub-300x300.jpg 300w, https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-sub-100x100.jpg 100w, https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-sub-600x600.jpg 600w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><\/a>Inspir\u00e9e par les mouvements g\u00e9ologiques, la pianiste, compositrice et arrangeuse Julie Th\u00e9riault lan\u00e7ait en novembre dernier son deuxi\u00e8me album intitul\u00e9 <em>Subduction<\/em>. Ce terme d\u00e9signe le mouvement lent et inexorable de deux plaques tectoniques qui se chevauchent. En apparence b\u00e9nins, ces mouvements souterrains peuvent avoir des r\u00e9percussions dramatiques \u00e0 la surface. Cette m\u00e9taphore semble tout \u00e0 fait appropri\u00e9e pour d\u00e9crire la musique de Th\u00e9riault dans <em>Subduction<\/em>\u00a0: les onze morceaux se d\u00e9ploient et s\u2019encha\u00eenent avec lenteur et constance, tout en augmentant graduellement en intensit\u00e9 dramatique pour finalement atteindre le paroxysme cataclysmique de la derni\u00e8re plage, <em>Magma<\/em>.<\/p>\n<p>Sans \u00eatre timide, le doigt\u00e9 d\u00e9licat et sobre de Th\u00e9riault m\u00e8ne les m\u00e9lodies principales alors que des instruments d\u2019accompagnement font leur apparition ici et l\u00e0, densifiant la masse sonore au besoin. On peut notamment entendre la violoniste Nun\u00e9 Melik ou l\u2019orchestre \u00e0 cordes et la chorale d\u2019hommes de l\u2019Orchestre symphonique de Bratislava. Dans l\u2019ensemble, les pi\u00e8ces pr\u00e9sentent une certaine homog\u00e9n\u00e9it\u00e9 de l\u2019\u00e9criture\u00a0: le mat\u00e9riel m\u00e9lodique et harmonique demeure similaire tout au long de l\u2019album, sans \u00eatre redondant pour autant. Au contraire, la coh\u00e9rence g\u00e9n\u00e9rale de l\u2019\u00e9criture de Th\u00e9riault permet \u00e0 l\u2019auditeur de p\u00e9n\u00e9trer facilement son univers musical, d\u2019y trouver des rep\u00e8res sans se perdre.<\/p>\n<p>\u00c0 la fois inqui\u00e9tant et envo\u00fbtant, <em>Subduction<\/em> rappelle parfois le <em>pathos <\/em>de compositeurs postromantiques comme Gustav Mahler et Samuel Barber, tout en \u00e9voquant \u00e9galement les brumes impressionnistes de Debussy ou Ravel. AGV<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Subduction Julie Th\u00e9riault,\u00a0Audiogramme 19075801072 Inspir\u00e9e par les mouvements g\u00e9ologiques, la pianiste, compositrice et arrangeuse Julie Th\u00e9riault lan\u00e7ait en novembre dernier son deuxi\u00e8me album intitul\u00e9 Subduction. Ce terme d\u00e9signe le mouvement lent et inexorable de deux plaques tectoniques qui se chevauchent. En apparence b\u00e9nins, ces mouvements souterrains peuvent avoir des r\u00e9percussions dramatiques \u00e0 la surface. Cette<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/arnaud-g-veydarier\/cd-review-subduction\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":3357,"featured_media":355867,"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":[17265,17038,17277,394,17279],"tags":[35126,35106],"class_list":{"0":"post-355868","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-contemporaine","8":"category-critiques-de-disques-et-livres","9":"category-musique-canadienne","10":"category-musique-classique","11":"category-quebec-fr","12":"tag-julie-theriault-fr","13":"tag-nune-melik-fr","14":"type-critique-de-disque","15":"volume-volume-23","16":"issue-vol-23-issue-5-fr","17":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-Header.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-Header.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2018\/02\/Julie-Theriault-Header.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"volume","label":"Volume","value":[]},{"key":"number","label":"Number","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\/355868"}],"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\/3357"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=355868"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/355868\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/355867"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=355868"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=355868"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=355868"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}