{"id":9945,"date":"2025-02-04T18:00:59","date_gmt":"2025-02-04T23:00:59","guid":{"rendered":"https:\/\/www.noemieraymond.com\/critique-dialogues-leaf-music-2024\/"},"modified":"2025-02-04T18:14:22","modified_gmt":"2025-02-04T23:14:22","slug":"critique-dialogues-leaf-music-2024","status":"publish","type":"post","link":"https:\/\/www.noemieraymond.com\/en\/critique-dialogues-leaf-music-2024\/","title":{"rendered":"CD Review | No\u00e9mie Raymond-Friset and Zhenni Li-Cohen, Dialogues"},"content":{"rendered":"

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Justin Bernard,<\/a> myscena.org<\/a><\/span><\/p>\n

This joint album by No\u00e9mie Raymond-Friset and Zhenni Li-Cohen, released in September 2024 by Leaf Music, provides the duo with an ideal touring program. Over the next few weeks, three concerts are scheduled: two in New York, on March 20 and 21, preceded by a performance in Farnham, Que., four days earlier.<\/p>\n

What is the basis for such success? First of all, the repertoire: the irresistible charm of Rachmaninoff\u2019s music, combined with the virtuosity of the piano part, make the\u00a0Sonata in G minor<\/em>, Op.19, a delightful opener. Some passages in the first movement recall the theme of the famous\u00a0Piano Concerto No. 2<\/em>, immortalized in popular culture. The cellist is not to be outdone. Her colour and generous vibrato reflect the Russian school of interpretation. Whether consciously or not, this choice perfectly embraces the melodic style of this music.<\/p>\n

The second movement,\u00a0Allegro scherzando<\/em>, takes virtuosity up another notch, especially in the piano. Li-Cohen maintains an impressive fluidity from start to finish, whether in the gentle or the dramatic outbursts. We can only regret that we sometimes hear too much of the grain of the strings and not enough of the contour of the cello line.<\/p>\n

The lyricism of the\u00a0Andante<\/em>, magnificently rendered thanks to a mastery of\u00a0rubato<\/i>, is followed by the last movement. Here, Li-Cohen\u2019s refined playing serves as an envelope to the cello\u2019s majestic line.<\/p>\n

The album closes with a sonata originally for viola by composer Rebecca Clarke, a contemporary work to Rachmaninoff\u2019s. It deserves to be better known, drawing as it does on a variety of musical styles (romanticism, impressionism, Orientalism, evocative passages of Gregorian monody). The second movement seems to suggest a musical dream, with all its mystery bordering on anguish. The final\u00a0Adagio<\/em>\u00a0alternates between several sound moods established in the first two movements. Moments of calm include modal music characteristic of early music, followed by virtuoso passages that resemble variations on the same theme.<\/p>\n

Translation: Madeline Boldt<\/strong><\/p>\n

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