{"id":981332,"date":"2021-01-29T21:55:52","date_gmt":"2021-01-30T02:55:52","guid":{"rendered":"https:\/\/myscena.org\/arthur-kaptainis\/cd-review-mon-ami-mon-amour-matt-haimovitz-mari-kodama\/"},"modified":"2021-02-03T00:29:56","modified_gmt":"2021-02-03T05:29:56","slug":"cd-review-mon-ami-mon-amour-matt-haimovitz-mari-kodama","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/arthur-kaptainis\/cd-review-mon-ami-mon-amour-matt-haimovitz-mari-kodama\/","title":{"rendered":"Critique de disque: Mon ami, mon amour (Matt Haimovitz, Mari Kodama)"},"content":{"rendered":"<p><strong>Mon ami, mon amour<\/strong><\/p>\n<p><strong>Oeuvres de Poulenc, Faur\u00e9, Milhaud, Lili Boulanger, <\/strong><br \/>\n<strong>Nadia Boulanger, Ravel, Debussy. <\/strong><br \/>\n<strong>Matt Haimovitz, violoncelle. Mari Kodama, piano<\/strong><\/p>\n<p><strong>Pentatone Oxingale Series PTC 5186 816<\/strong><\/p>\n<p><strong>Dur\u00e9e totale: 61 minutes.<\/strong><\/p>\n<p>Cette anthologie d\u2019\u0153uvres fran\u00e7aises pour violoncelle et piano fait doucement vibrer l\u2019oreille, mais conna\u00eet le chemin de votre c\u0153ur. La Sonate de 1948 de Francis Poulenc passe sans effort du n\u00e9oclassique au n\u00e9obaroque et au tendrement romantique, cette derni\u00e8re qualit\u00e9 \u00e9tant pr\u00e9dominante dans le mouvement lent Cavatine. Matt Haimovitz r\u00e9duit son violoncelle au murmure, tandis que Mari Kodama apporte l\u2019ambiance pianissimo requise par le compositeur. La touchante \u00c9l\u00e9gie de Darius Milhaud d\u00e9ment la r\u00e9putation grivoise de ce compositeur. Deux miniatures color\u00e9es de Lili Boulanger et trois pi\u00e8ces un peu plus sombres de sa s\u0153ur Nadia r\u00e9compensent l\u2019\u00e9coute r\u00e9p\u00e9t\u00e9e. Une paire de reprises de Faur\u00e9 (dont le familier mais exquis Apr\u00e8s un r\u00eave) sont \u00e9galement r\u00e9ussies. La Sonate de Debussy est le passage qui se rapproche le plus du r\u00e9pertoire habituel. Les innombrables ralentissements et acc\u00e9l\u00e9rations semblent tout \u00e0 fait spontan\u00e9s et Haimovitz g\u00e8re adroitement les difficult\u00e9s techniques. La finesse gauloise, empreinte de m\u00e9lancolie, pr\u00e9vaut m\u00eame dans le Kaddish de Ravel, arrang\u00e9 par Haimovitz. En effet, la tonalit\u00e9 de cet enregistrement est sobre, comme si le violoncelliste soignait son bien-aim\u00e9 instrument Matteo Goffriller (endommag\u00e9 en 2017, comme il le raconte dans le livret). Certains enregistrements vous tendent la main et vous saisissent. Celui-ci vous invite \u00e0 vous rapprocher.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mon ami, mon amour Oeuvres de Poulenc, Faur\u00e9, Milhaud, Lili Boulanger, Nadia Boulanger, Ravel, Debussy. Matt Haimovitz, violoncelle. Mari Kodama, piano Pentatone Oxingale Series PTC 5186 816 Dur\u00e9e totale: 61 minutes. Cette anthologie d\u2019\u0153uvres fran\u00e7aises pour violoncelle et piano fait doucement vibrer l\u2019oreille, mais conna\u00eet le chemin de votre c\u0153ur. La Sonate de 1948 de<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/arthur-kaptainis\/cd-review-mon-ami-mon-amour-matt-haimovitz-mari-kodama\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2761,"featured_media":980954,"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],"tags":[41404,45365,45366],"class_list":{"0":"post-981332","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":"tag-mari-kodama-fr","10":"tag-matt-haimovitz-fr-2","11":"tag-pentatone-2-fr","12":"type-critique-de-disque","13":"volume-volume-26","14":"issue-vol-26-issue-5-fr","15":"section-critiques"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/01\/71SfIxw2RvL._SL1450_-1-e1603205594399-1024x478.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/01\/71SfIxw2RvL._SL1450_-1-e1603205594399-300x140.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2021\/01\/71SfIxw2RvL._SL1450_-1-e1603205594399-1024x478.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/981332"}],"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\/2761"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=981332"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/981332\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/980954"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=981332"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=981332"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=981332"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}