{"id":7693,"date":"2025-11-27T13:02:48","date_gmt":"2025-11-27T12:02:48","guid":{"rendered":"https:\/\/pigyki.fr\/?p=7693"},"modified":"2025-11-30T13:06:49","modified_gmt":"2025-11-30T12:06:49","slug":"ecoute-musicale-n-76-mel-bonis","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/2025\/11\/27\/ecoute-musicale-n-76-mel-bonis\/","title":{"rendered":"\u00c9coute  musicale  n\u00b0 76    Mel Bonis"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Mel Bonis (1858-1937)<\/h1>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-image-fill-element\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"899\" height=\"1024\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/image-72-e1763324285985-899x1024.png\" alt=\"\" class=\"wp-image-7694 size-full\" style=\"object-position:50% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/image-72-e1763324285985-899x1024.png 899w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/image-72-e1763324285985-263x300.png 263w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/image-72-e1763324285985-768x875.png 768w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/image-72-e1763324285985.png 1024w\" sizes=\"auto, (max-width: 899px) 100vw, 899px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Mel_Bonis\" target=\"_blank\" rel=\"noreferrer noopener\">Mel Bonis<\/a><\/em> (1858\u20131937)<\/strong> est une compositrice fran\u00e7aise post-romantique, form\u00e9e au Conservatoire de Paris aupr\u00e8s de C\u00e9sar Franck. Malgr\u00e9 les obstacles impos\u00e9s aux femmes de son \u00e9poque, elle compose plus de 300 \u0153uvres \u2013 pi\u00e8ces pour piano, musique de chambre, \u0153uvres chorales et religieuses. <\/p>\n\n\n\n<p>Son style, \u00e0 la fois lyrique, raffin\u00e9 et profond\u00e9ment expressif, reste longtemps oubli\u00e9 avant d\u2019\u00eatre red\u00e9couvert \u00e0 la fin du XX\u1d49 si\u00e8cle. Aujourd\u2019hui, Mel Bonis est reconnue comme l\u2019une des grandes compositrices fran\u00e7aises de son temps.<\/p>\n<\/div><\/div>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">\u00c9coutes br\u00e8ves<\/h4>\n\n\n\n<h6 class=\"wp-block-heading\"><em><strong><a href=\"#diverses\">Diverses \u0153uvres pour Piano *<\/a><\/strong><\/em> par Laurent Martin (2007)<\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Laurent-Martin-2007-Various-pianoworks.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">S\u00e9lection vocale : <em>Villanelle \/ Le chat sur le toit \/ Adoro Te<\/em><\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Selection-vocale.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Musique de chambre : <em>Sc\u00e8nes de la for\u00eat <\/em><\/h6>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Scenes-de-la-foret-1928.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">\u0152uvres pour Piano<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Cinq pi\u00e8ces pour piano<\/em> &#8211; Opus 11 (1889)<\/h5>\n\n\n\n<p><a href=\"https:\/\/youtu.be\/BavF1UXfvxA?si=mhXS9N0nghSVlUqo\" target=\"_blank\" rel=\"noreferrer noopener\">00:00<\/a> 1. Gai Printemps &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=BavF1UXfvxA&amp;list=RDBavF1UXfvxA&amp;index=1&amp;t=132s\" target=\"_blank\" rel=\"noreferrer noopener\">02:12<\/a> 2. Romance sans paroles &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=BavF1UXfvxA&amp;list=RDBavF1UXfvxA&amp;index=1&amp;t=308s\" target=\"_blank\" rel=\"noreferrer noopener\">05:08<\/a> 3. Menuet &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=BavF1UXfvxA&amp;list=RDBavF1UXfvxA&amp;index=1&amp;t=486s\">08:06<\/a> 4. Eglogue &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=BavF1UXfvxA&amp;list=RDBavF1UXfvxA&amp;index=1&amp;t=639s\" target=\"_blank\" rel=\"noreferrer noopener\">10:39<\/a> 5. Papillons<br>Harald Meyer, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-5-Pieces-pour-piano-opus-11.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Pens\u00e9es d&rsquo;automne<\/em> (1894)<\/h5>\n\n\n\n<p>Claudine Simon, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Pensees-dautomne-1894.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>M\u00e9ditation<\/em> &#8211; Op. 33, No. 1 (1905)<\/h5>\n\n\n\n<p>Tatiana Pichkaeva, Piano solo<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Meditation-op.-33-No.-1-piano-solo.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>La cath\u00e9drale bless\u00e9e<\/em> &#8211; Op. 107 (1915)<\/h5>\n\n\n\n<p>Laurent Martin, Piano (2007)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/La-cathedrale-blessee-Op.-107.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>6 Valses-Caprices<\/em> &#8211; Op. 87 (1911)<\/h5>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=2WfzRXvX-8Q&amp;list=RD2WfzRXvX-8Q&amp;index=1\" target=\"_blank\" rel=\"noreferrer noopener\">0:00<\/a> I. Moderato <a href=\"https:\/\/www.youtube.com\/watch?v=2WfzRXvX-8Q&amp;list=RD2WfzRXvX-8Q&amp;index=1&amp;t=68s\" target=\"_blank\" rel=\"noreferrer noopener\">1:08<\/a> II. Vivo <a href=\"https:\/\/www.youtube.com\/watch?v=2WfzRXvX-8Q&amp;list=RD2WfzRXvX-8Q&amp;index=1&amp;t=110s\" target=\"_blank\" rel=\"noreferrer noopener\">1:50<\/a> III. Poco lento <a href=\"https:\/\/www.youtube.com\/watch?v=2WfzRXvX-8Q&amp;list=RD2WfzRXvX-8Q&amp;index=1&amp;t=206s\" target=\"_blank\" rel=\"noreferrer noopener\">3:26<\/a> IV. <a href=\"https:\/\/www.youtube.com\/watch?v=2WfzRXvX-8Q&amp;list=RD2WfzRXvX-8Q&amp;index=1&amp;t=275s\" target=\"_blank\" rel=\"noreferrer noopener\">4:35<\/a> V. Poco lento <a href=\"https:\/\/www.youtube.com\/watch?v=2WfzRXvX-8Q&amp;list=RD2WfzRXvX-8Q&amp;index=1&amp;t=362s\" target=\"_blank\" rel=\"noreferrer noopener\">6:02<\/a> VI. Vivo <br>Claudine Simon &amp; Laurent Martin, Piano \u00e0 4 mains<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-6-Valses-Caprices-Op.-87.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>S\u00e9villiana<\/em> &#8211; Op.125 (1928)<\/h5>\n\n\n\n<p>Maria Stembolskaia, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Sevilliana-1928.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>6 Pi\u00e8ces \u00e0 4 mains pour piano dont deux mains tr\u00e8s faciles<\/em> &#8211; Op.130 (1930)<\/h5>\n\n\n\n<p>1. Caravane 2. Andante religioso 3. Carillon de f\u00eate 4. \u00c0 Matines 5. Habanera 6. Minuit sonne \u00e0 la Grosse Horloge<br>Roberto Prosseda &amp; Alessandra Ammara, Piano \u00e0 4 mains<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-6-Pieces-a-4-mains-pour-piano-dont-deux-mains-tres-faciles-Op.130.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em><a href=\"#femmes\">Femmes de l\u00e9gende *<\/a><\/em><\/strong> 7 pi\u00e8ces pour Piano<\/h5>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=-VOL0HDHoao\" target=\"_blank\" rel=\"noreferrer noopener\">00:00<\/a> 1. Melisande <a href=\"https:\/\/www.youtube.com\/watch?v=-VOL0HDHoao&amp;t=160s\" target=\"_blank\" rel=\"noreferrer noopener\">02:40<\/a> 2. Desdemona <a href=\"https:\/\/www.youtube.com\/watch?v=-VOL0HDHoao&amp;t=330s\" target=\"_blank\" rel=\"noreferrer noopener\">05:30<\/a> 3. Ophelia <a href=\"https:\/\/www.youtube.com\/watch?v=-VOL0HDHoao&amp;t=586s\" target=\"_blank\" rel=\"noreferrer noopener\">09:46<\/a> 4. Viviane <a href=\"https:\/\/www.youtube.com\/watch?v=-VOL0HDHoao&amp;t=763s\" target=\"_blank\" rel=\"noreferrer noopener\">12:43<\/a> 5. Phoebe <a href=\"https:\/\/www.youtube.com\/watch?v=-VOL0HDHoao&amp;t=919s\" target=\"_blank\" rel=\"noreferrer noopener\">15:19<\/a> 6. Salome <a href=\"https:\/\/www.youtube.com\/watch?v=-VOL0HDHoao&amp;t=1172s\" target=\"_blank\" rel=\"noreferrer noopener\">19:32<\/a> 7. Omphale<br>Elena Fischer-Dieskau, Piano (2024)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Femmes-de-legende-Complete-Piano-1.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Musique de chambre<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">Sc\u00e8nes de la for\u00eat (1928)<\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=cYCwwkstQFE&amp;list=RDcYCwwkstQFE&amp;index=1\">00:00<\/a> Nocturne &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=cYCwwkstQFE&amp;list=RDcYCwwkstQFE&amp;index=1&amp;t=220s\">03:40<\/a> \u00c0 l&rsquo;aube <a href=\"https:\/\/www.youtube.com\/watch?v=cYCwwkstQFE&amp;list=RDcYCwwkstQFE&amp;index=1&amp;t=450s\">07:30<\/a> Invocation <a href=\"https:\/\/www.youtube.com\/watch?v=cYCwwkstQFE&amp;list=RDcYCwwkstQFE&amp;index=1&amp;t=609s\">10:09<\/a> Pour Art\u00e9mis \/ Version originale : Tatjana Ruhland, Fl\u00fbte &#8211; Wolfgang Wipfler, Cor &#8211; Florian Wiek, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Scenes-de-la-foret-1928.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=aQMvVdjS1MA&amp;list=RDaQMvVdjS1MA&amp;index=1\">00:00<\/a> I. Nocturne &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=aQMvVdjS1MA&amp;list=RDaQMvVdjS1MA&amp;index=1&amp;t=201s\"><\/a><a href=\"https:\/\/www.youtube.com\/watch?v=aQMvVdjS1MA&amp;list=RDaQMvVdjS1MA&amp;index=1&amp;t=201s\">03:21<\/a> II. A l&rsquo;aube &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=aQMvVdjS1MA&amp;list=RDaQMvVdjS1MA&amp;index=1&amp;t=435s\"><\/a><a href=\"https:\/\/www.youtube.com\/watch?v=aQMvVdjS1MA&amp;list=RDaQMvVdjS1MA&amp;index=1&amp;t=435s\">07:15<\/a> III. Invocation &#8211; <a href=\"https:\/\/www.youtube.com\/watch?v=aQMvVdjS1MA&amp;list=RDaQMvVdjS1MA&amp;index=1&amp;t=611s\"><\/a><a href=\"https:\/\/www.youtube.com\/watch?v=aQMvVdjS1MA&amp;list=RDaQMvVdjS1MA&amp;index=1&amp;t=611s\">10:11<\/a> IV. Pour Art\u00e9mis<br>Adaptation pour Fl\u00fbte, Alto et Harpe : Trio Zerline<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Scenes-de-la-Foret-Trio-Zerline-flute-alto-et-harpe.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>M\u00e9ditation<\/em> &#8211; Op. 33 n\u00b01<\/h5>\n\n\n\n<p>Raphaela Gromes, Violoncelle &#8211; Julian Riem, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Meditation-Op.-33-Raphaela-Gromes-Julian-Riem.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Soir ! Matin !<\/em> Op.76 (1907)<\/h5>\n\n\n\n<p>Trio S\u014dra : Pauline Chenais, piano &#8211; Fanny Fheodoroff, violon &#8211; Ang\u00e8le Legasa, violoncelle<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Soir-et-Matin-op.-76-Copenhagen-Summer-Festival.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Femmes de l\u00e9gende<\/em> : <strong><em><a href=\"#songe\">Le Songe de Cl\u00e9op\u00e2tre *<\/a><\/em><\/strong> Op. 180 (1909)<\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p> Orchestre national de Metz &#8211; David Reiland, Direction (2023)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Femmes-de-legende-I.-Le-Songe-de-Cleopatre.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Version pour Piano \u00e0 quatre mains &#8211; Duo Ondine<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Le-Songe-de-Cleopatre-Duo-Ondine-Piano-a-quatre-mains.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Sonate pour Fl\u00fbte et Piano<\/em> &#8211; Op. 64 (1904)<\/h5>\n\n\n\n<p>1. Andantino con moto &#8211; 2. Scherzo vivace &#8211; 3. Adagio &#8211; 4. Finale moderato<br>Felix Renggli, Fl\u00fbte &amp; Jan Schultsz, Piano (1997)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Sonate-pour-flute-et-piano-Felix-Renggli-flute-Jan-Schultsz-piano.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Sonate pour Violoncelle et Piano<\/em> &#8211; Op. 67 (1905)<\/h5>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=Dh8j1d_6MOg&amp;list=RDDh8j1d_6MOg&amp;index=1&amp;t=12s\">00:12<\/a> I. Moderato, quasi andante <a href=\"https:\/\/www.youtube.com\/watch?v=Dh8j1d_6MOg&amp;list=RDDh8j1d_6MOg&amp;index=1&amp;t=459s\">07:39<\/a> II. Tr\u00e8s lent <a href=\"https:\/\/www.youtube.com\/watch?v=Dh8j1d_6MOg&amp;list=RDDh8j1d_6MOg&amp;index=1&amp;t=738s\">12:18<\/a> III. Final: Moderato molto <br>Thomas Blees, Violoncelle &#8211; Maria Bergmann, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Cello-Sonata-in-F-Major-Op.67.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Quatuor avec Piano <\/em>Op. 69 n\u00b01<\/h5>\n\n\n\n<p>1. Moderato Intermezzo. 2. Allegretto tranquillo 3. Andante 4. Final. Allegro ma non troppo<br>Dvorak Piano Quartet : Sl\u00e1vka Vernerov\u00e1, Piano &#8211; \u0160t\u011bp\u00e1n Pra\u017e\u00e1k, Violon &#8211; Petr Verner, Alto &#8211; Jan \u017d\u010f\u00e1nsk\u00fd,  Violoncelle<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Piano-Quartet-in-B-flat-major-Op.-69-Dvorak-Piano-Quartet.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em><a href=\"#septuor\">Septuor Fantaisie ou Concerto *<\/a><\/em> &#8211; Op. 72 (1906)<\/h5>\n\n\n\n<p>Elisa Tomellini, Piano &#8211; Elisabet Franch &amp; Valeria Marsheva, Fl\u00fbtes &#8211; Sarah Cross &amp; Katia Calabrese, Violons &#8211; Claudia Brancaccio, Alto &#8211; Francesca Fiore, Violoncelle<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Septuor-Fantaisie-ou-Concerto.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">\u0152uvres pour Orgue, par Georges Lartigau<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Andante religioso<\/em> &#8211; Op. 173<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Andante-religioso-Op.-173.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Offertoire<\/em> &#8211; Op. 182<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Offertoire-Grand-choeur-Op.-182.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">\u0152uvres pour voix et ch\u0153ur<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Villanelle &#8211; <\/em>op. 4<\/h5>\n\n\n\n<p>M\u00e9lodie sur une po\u00e9sie de Am\u00e9d\u00e9e Land\u00e9ly Hettich<br>Marta Bonet, Soprano &amp; Imma Trepat, Piano (2023)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Villanelle.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Le chat sur le toit<\/em> &#8211; Op. 93 (1912)<\/h5>\n\n\n\n<p>M\u00e9lodie sur une po\u00e9sie de Robert du Costal<br>Duo Nuvoletta : Clara Barbier Serrano, Soprano &amp; Joanna Kacperek, Piano (2025)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Duo-Nuvoletta-performs-Le-chat-sur-le-toit-by-Mel-Bonis-at-CIMCL-2025.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Adoro Te<\/em> &#8211; Op.150 (1933)<\/h5>\n\n\n\n<p>La Sportelle :<br>Laetitia Corcelle, soprano &#8211; Anne Bertin-Hugault, mezzo-soprano &#8211; Steve Zheng, t\u00e9nor &#8211; C\u00e9dric Baillergeau, baryton<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Adoro-te-La-Sportelle-quatuor-vocal.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Ave Verum<\/em> &#8211; Op.166<\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Avec Ensemble \u00e0 cordes : Kantorei Dreiklang &amp; Sinfonietta Wuppertal &#8211; Eva Caspari, Direction (2024)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Ave-Verum-fur-Chor-und-Streichorchester.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Version a cappella donn\u00e9e lors d&rsquo;une messe en latin aux USA<br>Ch\u0153ur de la paroisse<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/M.-BONIS-Ave-Verum.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Kyrie<\/em><\/h5>\n\n\n\n<p>Choeur Universitaire de Grenoble<br>Anne Laffilhe, Direction &#8211; Nicolas Fehrenbach, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Kyrie.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Cantique de Jean Racine<\/em> &#8211; Op.144 (1934)<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/11\/Mel-Bonis-Cantique-de-Jean-Racine.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">* Pour en savoir plus&#8230;<\/h4>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"diverses\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">Diverses \u0153uvres pour piano<\/h5>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1\" target=\"_blank\" rel=\"noreferrer noopener\">0:00<\/a> : Desd\u00e9mona, op.101 <a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1&amp;t=166s\" target=\"_blank\" rel=\"noreferrer noopener\">2:46<\/a> : Berceuse, Op.23 <a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1&amp;t=347s\" target=\"_blank\" rel=\"noreferrer noopener\">5:47<\/a> : M\u00e9ditation, Op.33 <a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1&amp;t=531s\" target=\"_blank\" rel=\"noreferrer noopener\">8:51<\/a> : Interlude et valse lente, Op.38, No.1 <a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1&amp;t=751s\" target=\"_blank\" rel=\"noreferrer noopener\">12:31<\/a> : L\u2019Ange gardien, Op.posthume 99 <a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1&amp;t=930s\" target=\"_blank\" rel=\"noreferrer noopener\">15:30<\/a> : La cath\u00e9drale bless\u00e9e, Op.107 <a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1&amp;t=1342s\" target=\"_blank\" rel=\"noreferrer noopener\">22:22<\/a> : Une fl\u00fbte soupire Op.117 <a href=\"https:\/\/www.youtube.com\/watch?v=hyJNm20OEcc&amp;list=RDhyJNm20OEcc&amp;index=1&amp;t=1454s\" target=\"_blank\" rel=\"noreferrer noopener\">24:14<\/a> : Berceuse triste Op.118<br>Laurent Martin, dont j&rsquo;appr\u00e9cie particuli\u00e8rement la d\u00e9licatesse du toucher&#8230; Piano (2007)<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"songe\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em><strong><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Le_Songe_de_Cl%C3%A9op%C3%A2tre\" target=\"_blank\" rel=\"noreferrer noopener\">Le Songe de Cl\u00e9op\u00e2tre<\/a><\/strong><\/em><\/h5>\n\n\n\n<p>Parmi les \u0153uvres les plus \u00e9nigmatiques de Mel Bonis figure <strong><em>Le Songe de Cl\u00e9op\u00e2tre<\/em><\/strong>, compos\u00e9e vers 1909, qui se distingue par son atmosph\u00e8re onirique et ses harmonies exotiques sans jamais tomber dans un quelconque pastiche orientaliste. Cette \u0153uvre fait partie d&rsquo;un corpus que la compositrice a \u00e9crit en hommage aux grandes h\u00e9ro\u00efnes de la mythologie : M\u00e9lisande, Oph\u00e9lie, Viviane, Desd\u00e9mone, Ph\u0153b\u00e9, Salom\u00e9&#8230; Elles sont autant d\u2019interpr\u00e9tations de la place des femmes et de ce qu\u2019elles repr\u00e9sentent dans l\u2019histoire de l\u2019humanit\u00e9. Dans Le Songe de Cl\u00e9op\u00e2tre, Bonis propose une vision int\u00e9rioris\u00e9e de la figure de la reine \u00e9gyptienne, loin des clich\u00e9s, r\u00eaveuse plut\u00f4t que s\u00e9ductrice, b\u00e2tie sur des cellules rythmiques obs\u00e9dantes et des modes emprunt\u00e9s \u00e0 la tradition liturgique chr\u00e9tienne. Elle en compose une version pour orchestre ainsi qu\u2019une transcription pour piano \u00e0 quatre mains, certainement pour faciliter sa diffusion ou permettre une ex\u00e9cution en salon. La version orchestrale est rest\u00e9e in\u00e9dite de son vivant et n\u2019a \u00e9t\u00e9 publi\u00e9e qu\u2019en 2018 par Furore Verlag. Cette partition combine avec beaucoup de subtilit\u00e9 volubilit\u00e9 m\u00e9lodique chez les bois et tapis harmonique mouvant chez les cordes.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"femmes\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Femmes de l\u00e9gende<\/em> (1909-1925)<\/h5>\n\n\n\n<p><em>Ph\u0153b\u00e9<\/em>, op. 30 \u2013&nbsp;<em>Viviane<\/em>, op. 80 \u2013&nbsp;<em>Omphale<\/em>, op. 86 \u2013&nbsp;<em>Salom\u00e9<\/em>, op. 100\/1 \u2013&nbsp;<em>Desd\u00e9mona<\/em>, op. 101 \u2013&nbsp;<em>M\u00e9lisande<\/em>, op. 109 \u2013&nbsp;<em>Oph\u00e9lie<\/em>, op. 165\/1<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>En 2003, Christine G\u00e9liot regroupa sous le titre de&nbsp;<em><strong>Femmes de l\u00e9gende<\/strong><\/em>&nbsp;sept pi\u00e8ces pour piano compos\u00e9es sur une quinzaine d\u2019ann\u00e9es.&nbsp;<em>Ph\u0153b\u00e9<\/em>,&nbsp;<em>Viviane<\/em>&nbsp;et&nbsp;<em>Salom\u00e9&nbsp;<\/em>\u00e9taient parus en 1909 chez Leduc, \u00e9diteur qui publia \u00e9galement&nbsp;<em>Desd\u00e9mona<\/em>&nbsp;en 1913, puis&nbsp;<em>M\u00e9lisande<\/em>&nbsp;en 1925 (qui daterait en fait de 1898).&nbsp;<em>Omphale<\/em>, en revanche, entra au catalogue de Simrock en 1910, apr\u00e8s avoir \u00e9t\u00e9 s\u00e9lectionn\u00e9e pour le concours organis\u00e9 par le p\u00e9riodique berlinois&nbsp;<em>Signale f\u00fcr die musikalische Welt<\/em>.&nbsp;<em>Oph\u00e9lie<\/em>, compos\u00e9e en 1909, mais rest\u00e9e in\u00e9dite du vivant de la compositrice, fut publi\u00e9e par Armiane en 1998. Signalons qu\u2019il existe aussi une version orchestrale de&nbsp;<em>Salom\u00e9<\/em>&nbsp;et d\u2019<em>Oph\u00e9lie<\/em>. Bien que Mel Bonis n\u2019ait pas envisag\u00e9 ces pi\u00e8ces comme un cycle, elle n\u2019en a pas moins choisi des sujets invitant \u00e0 les regrouper. Sans doute s\u2019est-elle projet\u00e9e sur ces figures f\u00e9minines issues de la mythologie antique, de l\u00e9gendes ou d\u2019\u0153uvres th\u00e9\u00e2trales. Elle les caract\u00e9rise avec une po\u00e9sie tr\u00e8s personnelle, dans ces pi\u00e8ces qui sont \u00e0 placer au sommet de sa production pianistique :&nbsp;<em>Ph\u0153b\u00e9<\/em>&nbsp;et&nbsp;<em>M\u00e9lisande<\/em>&nbsp;r\u00eavent dans un climat nocturne,&nbsp;<em>Desd\u00e9mona<\/em>&nbsp;\u00e9panche sa m\u00e9lancolie du bout des l\u00e8vres et Oph\u00e9lie semble flotter sur l\u2019onde qui l\u2019engloutira. \u00c0 l\u2019oppos\u00e9 de ces femmes \u00e9vanescentes, souvent victimes des \u00e9garements masculins, voici les cr\u00e9atures charmeuses&nbsp;:&nbsp;<em>Viviane<\/em>&nbsp;danse avec une vivacit\u00e9 primesauti\u00e8re, tandis que la sensuelle et myst\u00e9rieuse&nbsp;<em>Salom\u00e9<\/em>&nbsp;se comporte de mani\u00e8re plus impulsive (on songe \u00e0 l\u2019h\u00e9ro\u00efne de Strauss dont l\u2019op\u00e9ra avait \u00e9t\u00e9 repr\u00e9sent\u00e9 \u00e0 Paris en 1907) et qu\u2019<em>Omphale<\/em>&nbsp;d\u00e9ploie tous les artifices de la s\u00e9duction, entre cajoleries capricieuses et embrasements passionn\u00e9s.<\/p>\n\n\n\n<p class=\"has-text-align-right\">Source : <a href=\"https:\/\/bru-zane.com\/fr\/\" target=\"_blank\" rel=\"noreferrer noopener\">Palazzetto Bru Zane<\/a><\/p>\n<\/blockquote>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"septuor\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em><em>Septuor Fantaisie ou Concerto<\/em> &#8211; Op. 72 (1906)<\/em><\/h5>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"Composition\">Composition<\/h6>\n\n\n\n<p>Mel Bonis compose sa&nbsp;<em>Fantaisie<\/em>&nbsp;en 1906. Il existe deux formes&nbsp;: l&rsquo;une pour septuor pour piano, deux fl\u00fbtes, deux violons, alto et violoncelle, l&rsquo;autre pour piano et orchestre. La version pour septuor a \u00e9t\u00e9 publi\u00e9e \u00e0 titre posthume par&nbsp;Kossack&nbsp;en 2003&nbsp;sous le titre \u00ab\u00a0Septett\u00a0\u00bb. La version pour piano et orchestre a \u00e9t\u00e9 reconstitu\u00e9e par&nbsp;Yves Henry&nbsp;en 2014. L&rsquo;\u0153uvre semblait initialement d\u00e9di\u00e9e au pianiste&nbsp;Camille Decreus, ce dernier d\u00e9fendant la compositrice au concert d\u00e8s 1905. Une lettre de 1906 atteste que ce dernier a eu la&nbsp;<em>Fantaisie<\/em>&nbsp;entre les mains.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"Structure\">Structure<\/h6>\n\n\n\n<p>La&nbsp;<em>Fantaisie<\/em>&nbsp;est une \u0153uvre qui peut \u00eatre soit en un soit en quatre mouvements qui s&rsquo;encha\u00eenent, voire, pour&nbsp;Fran\u00e7ois de M\u00e9dicis, les deux en m\u00eame temps.&nbsp;Steven Vande Moortele&nbsp;consid\u00e8re que l&rsquo;\u0153uvre est de forme sonate bidimensionnelle. L&rsquo;\u0153uvre pr\u00e9sente les sections caract\u00e9ristiques d&rsquo;un mouvement de forme sonate, mais est aussi divis\u00e9e en plusieurs sections, sugg\u00e9rant par les changements de tempo, de caract\u00e8re, de tonalit\u00e9, l&rsquo;encha\u00eenement des diff\u00e9rents mouvements d&rsquo;une \u0153uvre instrumentale classique.<\/p>\n\n\n\n<p>Il en ressort que la&nbsp;<em>Fantaisie<\/em>, dans son \u00e9tat actuel pourrait \u00eatre constitu\u00e9e de quatre sections&nbsp;:<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>un premier mouvement en&nbsp;r\u00e9 b\u00e9mol majeur, de tempo mod\u00e9r\u00e9<\/li>\n\n\n\n<li>un&nbsp;<em>scherzo<\/em>&nbsp;en&nbsp;r\u00e9 majeur<\/li>\n\n\n\n<li>un mouvement lent en&nbsp;la majeur<\/li>\n\n\n\n<li>un final tr\u00e8s rapide, en r\u00e9 b\u00e9mol majeur.<\/li>\n<\/ol>\n\n\n\n<p>Cependant, \u00e0 l&rsquo;origine, elle \u00e9tait con\u00e7ue en trois mouvements. La refonte de la&nbsp;<em>Fantaisie<\/em>&nbsp;entre 1906 et 1910 laisse supposer que cela aurait pu se faire au moment des cours suivis aupr\u00e8s de&nbsp;Charles Koechlin. Cependant, vu la critique qu&rsquo;il en fait dans&nbsp;<em>La Chronique des arts et de la curiosit\u00e9<\/em>, il est peu probable qu&rsquo;il y ait \u00e9t\u00e9 associ\u00e9.<\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"Analyse\">Analyse<\/h6>\n\n\n\n<p>L&rsquo;\u0153uvre, dans sa version pour orchestre, est en trois mouvements qui s&rsquo;encha\u00eenent et s&rsquo;interp\u00e9n\u00e8trent. Les mouvements s&rsquo;\u00e9changent et combinent les th\u00e8mes avec une ind\u00e9pendance qui n&rsquo;est point exclusive d&rsquo;un grand souci d&rsquo;ensemble et d&rsquo;unit\u00e9. Le piano s&rsquo;y garde d&rsquo;afficher une virtuosit\u00e9 agressive et l&rsquo;orchestre, d&rsquo;une couleur volontairement estomp\u00e9e y tient une place volontiers pr\u00e9pond\u00e9rante.&nbsp;Charles Koechlin&nbsp;rapproche, dans&nbsp;<em>La Chronique des arts et de la curiosit\u00e9<\/em>, des&nbsp;<em>Variations symphoniques pour piano et orchestre<\/em>&nbsp;de&nbsp;C\u00e9sar Franck&nbsp;ou encore de la&nbsp;<em>Ballade pour piano et orchestre<\/em>&nbsp;de&nbsp;Gabriel Faur\u00e9. L&rsquo;\u0153uvre fait partie du genre de la tradition classique. Elle fait usage de la transformation th\u00e9matique.<\/p>\n\n\n\n<p>La&nbsp;<em>Fantaisie<\/em>&nbsp;adopte un patron similaire \u00e0 la&nbsp;<em>Wanderer-Fantasie<\/em>, ou m\u00eame encore de la&nbsp;<em>Fantaisie en fa mineur<\/em>&nbsp;pour piano \u00e0 quatre mains de&nbsp;Franz Schubert. Pour&nbsp;Fran\u00e7ois de M\u00e9dicis, l&rsquo;usage du terme&nbsp;\u00ab&nbsp;Fantaisie&nbsp;\u00bb&nbsp;pourrait indiquer un hommage voire une filiation entre Schubert et Bonis. De plus, les trois fantaisies introduisent un mouvement interne \u00e9crit dans une tonalit\u00e9 \u00e9loign\u00e9e et plut\u00f4t rare, un demi-ton au-dessus du ton principal.<\/p>\n\n\n\n<p>Dans sa&nbsp;<em>Fantaisie<\/em>&nbsp;en septuor, la compositrice exploite \u00e9galement les traits de tierces et de sixtes altern\u00e9es, tout comme dans le&nbsp;<em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Quatuor_avec_piano_no_1_de_Bonis\">Quatuor avec piano&nbsp;<abbr title=\"num\u00e9ro\">n<sup>o<\/sup><\/abbr>&nbsp;1<\/a>.<\/em><\/p>\n\n\n\n<h6 class=\"wp-block-heading\" id=\"R\u00e9ception\">R\u00e9ception<\/h6>\n\n\n\n<p>L&rsquo;\u0153uvre est jou\u00e9e pour la premi\u00e8re fois dans sa version orchestrale le 30 janvier 1910, sous la direction de&nbsp;Gabriel Piern\u00e9, avec&nbsp;M<sup>me<\/sup>&nbsp;Henri Deblauwe&nbsp;au piano.&nbsp;Louis Perret, critique \u00e0&nbsp;<em>L&rsquo;Aurore<\/em>, \u00e9crit que&nbsp;\u00ab&nbsp;M<sup>me<\/sup>&nbsp;Mel-Bonis est incontestablement une excellente musicienne. Elle sait, et sait bien, ce qui est appr\u00e9ciable \u00e0 une \u00e9poque o\u00f9 tant de gens qui ignorent la musique se m\u00ealent d&rsquo;en \u00e9crire.&nbsp;\u00bb. L&rsquo;auteur dit aussi que&nbsp;\u00ab&nbsp;La&nbsp;<em>Fantaisie en r\u00e9 b\u00e9mol<\/em>&nbsp;est honn\u00eate, correcte&nbsp;; elle a des moments de jolie sensibilit\u00e9&nbsp;; elle se garde, nous dit le programme, \u00ab&nbsp;de violences inutiles et d&rsquo;\u00e9clats intempestifs&nbsp;\u00bb&nbsp;; elle se garde avec un soin \u00e9gal d&rsquo;une trop grande originalit\u00e9. C&rsquo;est de la musique \u00ab&nbsp;comme il faut&nbsp;\u00bb, qui tient \u00e0 ne pas se faire remarquer.&nbsp;\u00bb Enfin, il souligne que&nbsp;\u00ab&nbsp;Le talent d\u00e9licat et pr\u00e9cis de l&rsquo;interpr\u00e8te,&nbsp;M<sup>me<\/sup>&nbsp;Henri Deblauwe, a bien servi l&rsquo;\u0153uvre de&nbsp;M<sup>me<\/sup>&nbsp;Mel-Bonis, que la majorit\u00e9 du public a accueillie avec courtoisie.&nbsp;\u00bb. Plusieurs autres journaux parlent de ce concert, comme&nbsp;<em>Les Annales du th\u00e9\u00e2tre et de la musique<\/em>, qui pr\u00e9sente la compositrice comme&nbsp;\u00ab&nbsp;l&rsquo;une des meilleures \u00e9l\u00e8ves de Massenet&nbsp;\u00bb, alors qu&rsquo;elle n&rsquo;a jamais \u00e9t\u00e9 \u00e9l\u00e8ve de&nbsp;Jules Massenet.<\/p>\n\n\n\n<p>La&nbsp;<em>Revue musicale de Lyon<\/em>&nbsp;fait aussi la critique de ce concert, de fa\u00e7on peu \u00e9logieuse&nbsp;:&nbsp;\u00ab&nbsp;Le pire \u00e9tait repr\u00e9sent\u00e9, lui aussi, par un concerto de piano de Madame (car il para\u00eet que c&rsquo;est une dame) Mel-Bonis. Que n&rsquo;aurions-nous donn\u00e9, \u00e0 ce moment, pour entendre les grondements torrentiels de la Seine se r\u00e9percutant sous les vo\u00fbtes du M\u00e9tropolitain\u2026 Seuls quelques murmures sifflants vol\u00e8rent sur nos t\u00eates \u00e0 la fin de cette p\u00e9nible audition et l&rsquo;on passa \u00e0 un autre divertissement.&nbsp;\u00bb. Le lien entre l&rsquo;interpr\u00e9tation de la&nbsp;<em>Fantaisie<\/em>&nbsp;et les sifflets qu&rsquo;elle a re\u00e7u s&rsquo;inscrit dans le contexte de la&nbsp;\u00ab&nbsp;Guerre du concerto&nbsp;\u00bb, et est explicit\u00e9 par l&rsquo;article du&nbsp;<em>Figaro<\/em>&nbsp;:&nbsp;\u00ab&nbsp;Rien ne ressemblait moins \u00e0 un concerto, dans l&rsquo;acception f\u00e2cheuse du terme. <br>Et les&nbsp;<em>concertophobes<\/em>&nbsp;qui fr\u00e9quentent le Ch\u00e2telet pouvaient, sans d\u00e9choir, demeurer hier dans le silence. Ils ne le firent point.&nbsp;\u00bb.<\/p>\n\n\n\n<p>Charles Koechlin explique m\u00eame que l&rsquo;\u0153uvre de Mel Bonis, si elle n&rsquo;\u00e9gale les ma\u00eetres&nbsp;\u00ab&nbsp;tels que Franck,&nbsp;M.&nbsp;Faur\u00e9,&nbsp;M.&nbsp;d&rsquo;Indy,&nbsp;M.&nbsp;Saint-Sa\u00ebns&nbsp;\u00bb, est tr\u00e8s distingu\u00e9e, tr\u00e8s musicale, pleine de jolis d\u00e9tails, et par moments avec une r\u00e9elle sensibilit\u00e9. Le reste de la critique se partage entre commentaires polis mais peu enthousiastes et piques acerbes. \u00c0 la suite de cette pauvre r\u00e9ussite, la compositrice semble avoir une p\u00e9riode d&rsquo;incertitude. Cependant, elle n&rsquo;arr\u00eate pas de composer, puisque plusieurs autres \u0153uvres suivront, mais on ne sait pas si elle a jamais retouch\u00e9 au genre symphonique.<\/p>\n\n\n\n<p>La&nbsp;<em>Fantaisie<\/em>&nbsp;a \u00e9t\u00e9 jou\u00e9e, sous sa forme pour septuor, au&nbsp;ch\u00e2teau de Morsbroich, \u00e0&nbsp;Leverkusen, en 1998, en coop\u00e9ration avec la&nbsp;Soci\u00e9t\u00e9 franco-allemande. Elle est jou\u00e9e \u00e0 nouveau sous la m\u00eame forme le 8 mars 2022 au Th\u00e9\u00e2tre des Champs Elys\u00e9es \u00e0 Paris.<\/p>\n\n\n\n<p class=\"has-text-align-right\">Source : <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Fantaisie_de_Bonis\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Wikip\u00e9dia<\/em><\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Mel Bonis, compositrice fran\u00e7aise post-romantique. Malgr\u00e9 les obstacles impos\u00e9s aux femmes de son \u00e9poque, elle compose plus de 300 \u0153uvres.<\/p>\n","protected":false},"author":1,"featured_media":7694,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"yes","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[99,17],"tags":[],"class_list":["post-7693","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr","category-ecoutes-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u00c9coute musicale n\u00b0 76  Mel Bonis - Pigyki<\/title>\n<meta name=\"description\" content=\"Mel Bonis, compositrice fran\u00e7aise post-romantique. 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