{"id":9020,"date":"2026-06-13T18:41:04","date_gmt":"2026-06-13T18:41:04","guid":{"rendered":"https:\/\/stephanetetreault.com\/?p=9020"},"modified":"2026-06-13T18:50:04","modified_gmt":"2026-06-13T18:50:04","slug":"le-grand-tango","status":"publish","type":"post","link":"https:\/\/stephanetetreault.com\/fr\/le-grand-tango\/","title":{"rendered":"CRITIQUE | Le Grand Tango au Festival Classica : Le bandon\u00e9on \u00e0 l&rsquo;honneur"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n<p style=\"text-align: right;\"><strong>Immanuel Giulea<\/strong>,<br \/>\nLudwig Van Montr\u00e9al<\/p>\n<p>En pr\u00e9parant ma pr\u00e9sence au concert <em>Le Grand Tango<\/em> du <strong>Festival Classica<\/strong>, j\u2019avais deux rep\u00e8res de d\u00e9part : <strong>St\u00e9phane T\u00e9treault<\/strong> au violoncelle et <strong>I Musici de Montr\u00e9al<\/strong>, deux valeurs s\u00fbres dont je connaissais d\u00e9j\u00e0 la qualit\u00e9. L\u2019enjeu d\u2019\u00e9coute se situait plut\u00f4t du c\u00f4t\u00e9 du bandon\u00e9on de <strong>Denis Plante<\/strong> : un instrument apparent\u00e9 \u00e0 l\u2019accord\u00e9on, mais encore nouveau pour moi dans le contexte d\u2019un concert mettant les cordes en valeur.<\/p>\n<p>Le concert reposait sur une collaboration d\u00e9j\u00e0 bien install\u00e9e entre\u00a0<strong>Denis Plante<\/strong>\u00a0et\u00a0<strong>St\u00e9phane T\u00e9treault<\/strong>, amorc\u00e9e en 2018, comme cela a \u00e9t\u00e9 rappel\u00e9 sur sc\u00e8ne. Cela s\u2019entendait dans l\u2019\u00e9quilibre g\u00e9n\u00e9ral de la soir\u00e9e. Le bandon\u00e9on n\u2019\u00e9tait pas trait\u00e9 comme une simple couleur ajout\u00e9e aux cordes. Il devenait un partenaire r\u00e9el, parfois soliste, parfois moteur rythmique, parfois pr\u00e9sence plus int\u00e9rieure.<\/p>\n<p>Le programme permettait aussi de nuancer l\u2019attente cr\u00e9\u00e9e par le titre.\u00a0<em>Le Grand Tango<\/em>\u00a0d\u2019Astor Piazzolla, \u00e9crit \u00e0 l\u2019origine pour violoncelle et piano et d\u00e9di\u00e9 \u00e0 Mstislav Rostropovitch, pla\u00e7ait le violoncelle au centre. Dans cette \u0153uvre,\u00a0<strong>St\u00e9phane T\u00e9treault<\/strong>\u00a0portait la tension avec une pr\u00e9sence tr\u00e8s directe. Le tango y devenait moins une danse qu\u2019un langage de tension, d\u2019\u00e9lan et de lyrisme.<\/p>\n<p>Avec\u00a0<em>Escualo<\/em>, l\u2019image du requin donnait une \u00e9nergie plus nerveuse au concert. La pi\u00e8ce avan\u00e7ait par attaques, contrastes et mouvements de poursuite.\u00a0<strong>I Musici<\/strong>\u00a0y montrait sa pr\u00e9cision habituelle, surtout dans la mani\u00e8re de garder la texture claire sans affaiblir l\u2019impact rythmique.<\/p>\n<p>Les \u0153uvres de<strong>\u00a0Denis Plante<\/strong>\u00a0ajoutaient une dimension plus personnelle \u00e0 la soir\u00e9e.\u00a0<em>La Milonga Classica<\/em>, pr\u00e9sent\u00e9e en primeur pour souligner le\u00a0<strong>Festival Classica<\/strong>, cr\u00e9ait un moment distinct dans le programme.\u00a0<em>A Fuego Lento<\/em>, de Horacio Salg\u00e1n, dans un arrangement de\u00a0<strong>Denis Plante<\/strong>, travaillait plut\u00f4t la chaleur, la retenue et la progression lente. Ces pages montraient que le concert ne se limitait pas \u00e0 Piazzolla, mais ouvrait vers une lecture plus large du tango de concert.[\/vc_column_text][vc_raw_html css=\u00a0\u00bb\u00a0\u00bb]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[\/vc_raw_html][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]Le sommet se trouvait dans\u00a0<em>Noctango<\/em>, suite orchestrale pour violoncelle, bandon\u00e9on et orchestre \u00e0 cordes. C\u2019est l\u00e0 que l\u2019id\u00e9e du programme prenait tout son sens. Le violoncelle et le bandon\u00e9on ne se superposaient pas. Ils dialoguaient. Le bandon\u00e9on apportait le souffle, le grain et la m\u00e9moire du tango; le violoncelle r\u00e9pondait par la ligne, la profondeur et l\u2019\u00e9lan. Les textures devenaient nombreuses, presque comme un voyage dans le temps entre tradition, souvenir et cr\u00e9ation.<\/p>\n<p>Au final, le concert a confirm\u00e9 mes deux rep\u00e8res de d\u00e9part tout en d\u00e9pla\u00e7ant mon attention. Je venais surtout pour\u00a0<strong>T\u00e9treault<\/strong>\u00a0et\u00a0<strong>I Musici<\/strong>. Je suis reparti avec une meilleure compr\u00e9hension du bandon\u00e9on comme instrument de concert : non pas un effet de style, mais une voix capable de tenir sa place aux c\u00f4t\u00e9s du violoncelle et des cordes.<\/p>\n<p>\u00c0 lire dans <strong><a href=\"https:\/\/www.ludwig-van.com\/montreal\/2026\/06\/09\/critique-le-grand-tango-au-festival-classica-le-bandoneon-lhonneur\/&quot;\" target=\"_blank\" rel=\"noopener noreferrer\">Ludwig Van Montr\u00e9al<\/a><\/strong>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Le sommet se trouvait dans Noctango, suite orchestrale pour violoncelle, bandon\u00e9on et orchestre \u00e0 cordes. <\/p>\n<p><strong>Immanuel Giulea<\/strong>, <em>Ludwig Van Montr\u00e9al<\/em><\/p>\n","protected":false},"author":3,"featured_media":9021,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"mc4wp_mailchimp_campaign":[],"footnotes":""},"categories":[141,42],"tags":[],"class_list":["post-9020","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-quoi-de-neuf"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - 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