{"id":107,"date":"2019-03-05T22:57:00","date_gmt":"2019-03-05T21:57:00","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=107"},"modified":"2021-03-09T18:19:59","modified_gmt":"2021-03-09T17:19:59","slug":"dixit-dominus","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2019\/03\/05\/dixit-dominus\/","title":{"rendered":"Dixit Dominus : Haendel, Galuppi et Vivaldi"},"content":{"rendered":"\n<p class=\"has-text-color\" style=\"color:#0174a6\"><\/p>\n\n\n\n<p class=\"has-text-color\" style=\"color:#0373a4\">La musique liturgique italienne issue de la Contre-R\u00e9forme s\u00e9duit et convainc l\u2019auditeur en touchant sa sensibilit\u00e9 autant qu\u2019elle magnifie et c\u00e9l\u00e8bre le Verbe avec faste. Les effets dramatiques intenses qui s\u2019y d\u00e9ploient reposent sur le beau chant employ\u00e9 \u00e0 l\u2019op\u00e9ra pour mouvoir les passions de l\u2019\u00e2me. Chaque verset du texte est mis en musique de mani\u00e8re \u00e0 en souligner les affects, \u00e0 la fois au plus pr\u00e8s du mot, mais aussi de par la disposition g\u00e9n\u00e9rale choisie, qui fait se succ\u00e9der ch\u0153urs et airs solistes donnant \u00e0 entendre tous les styles d\u2019\u00e9criture.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/dixit-dominus-1024x576.jpg\" alt=\"\" class=\"wp-image-108\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/dixit-dominus-1024x576.jpg 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/dixit-dominus-300x169.jpg 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/dixit-dominus-768x432.jpg 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/dixit-dominus-1160x653.jpg 1160w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/dixit-dominus-600x338.jpg 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/03\/dixit-dominus.jpg 1280w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>Les circonstances pr\u00e9cises de la cr\u00e9ation du\u00a0<em>Kyrie <\/em>comme du\u00a0<em>Credo <\/em>de Vivaldi, ainsi que des\u00a0<em>Dixit Dominus <\/em>de Haendel et Galuppi sont incertaines\u00a0: les deux mouvements de l\u2019ordinaire de la messe sont par nature sans place sp\u00e9cifique dans le temps de l\u2019ann\u00e9e liturgique, de m\u00eame que le\u00a0<em>Dixit Dominus<\/em>, psaume chant\u00e9 lors de toutes les v\u00eapres des dimanches. C\u2019est pour cette raison, ainsi que pour la richesse de son texte, dont la complexit\u00e9 ouvre \u00e0 un large \u00e9ventail d\u2019interpr\u00e9tations, qu\u2019il a \u00e9t\u00e9 \u00e9t\u00e9 mis en musique non seulement par Haendel et Galuppi, mais aussi par Scarlatti, Leo, Porpora, et Vivaldi.<\/p>\n\n\n\n<figure class=\"wp-block-gallery alignright columns-1 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"351\" height=\"460\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Guardi_Mendicanti.jpg\" alt=\"\" data-id=\"805\" data-full-url=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Guardi_Mendicanti.jpg\" data-link=\"http:\/\/constanceluzzati.com\/index.php\/2019\/03\/05\/dixit-dominus\/guardi_mendicanti\/\" class=\"wp-image-805\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Guardi_Mendicanti.jpg 351w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Guardi_Mendicanti-229x300.jpg 229w\" sizes=\"(max-width: 351px) 100vw, 351px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p> Celui-ci, tout comme Galuppi, a offici\u00e9 \u00e0 Venise, composant pour des institutions caritatives qui formaient \u00e0 la musique\u00a0 les jeunes filles qui leur \u00e9taient confi\u00e9es :\u00a0<em>Ospedale della Piet\u00e0 <\/em>pour Vivaldi,\u00a0<em>Ospedale dei Mendicanti <\/em>puis\u00a0<em>degli incurabili<\/em> pour Galuppi. Ce dernier passe par Londres au d\u00e9but des ann\u00e9es 1740, o\u00f9 il est appel\u00e9 pour superviser les productions d\u2019op\u00e9ra italien du\u00a0<em>Kings Theater<\/em>, qui fut pendant les ann\u00e9es pr\u00e9c\u00e9dentes le fief de Haendel. Le saxon s\u2019\u00e9loigne \u00e0 ce moment de l\u2019op\u00e9ra pour mettre son talent au service de l\u2019oratorio, renouvelant le style de la musique religieuse italienne de ses jeunes ann\u00e9es, dont le\u00a0<em>Dixit Dominus <\/em>est embl\u00e9matique.\u00a0<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Le\u00a0<em><a href=\"https:\/\/www.youtube.com\/watch?v=jM56_PM1zqc\">Dixit Dominus\u00a0<\/a><\/em>de Haendel est une \u0153uvre d\u2019une intensit\u00e9 expressive hors normes, qui joue sur les contrastes de texture, d\u2019effectif, de style, perceptibles d\u00e8s l\u2019introduction orchestrale et le ch\u0153ur inaugural. Lorsqu\u2019il d\u00e9couvre la cit\u00e9 papale en\u00a0janvier 1707, il est en pleine ma\u00eetrise du contrepoint luth\u00e9rien de ses pr\u00e9d\u00e9cesseurs, manifeste dans le mouvement du\u00a0<em>Dixit Dominus\u00a0\u00ab\u00a0Tu es sacerdos\u00a0\u00bb<\/em>, qui souligne l\u2019id\u00e9e d\u2019\u00e9ternit\u00e9 par l\u2019accumulation des entr\u00e9es du motif principal de la fugue, ou encore dans\u00a0<em>In saecula<\/em>, fugue chorale monumentale \u00e0 5 voix. Haendel rencontre \u00e0 son arriv\u00e9e toutes les grandes familles romaines\u00a0: Pamphili, Colonna, mais \u00e9galement les Ottoboni, au service desquels est Corelli, qui dirigera l\u2019ex\u00e9cution de certaines \u0153uvres de Haendel. L\u2019influence de son \u00e9criture pour les cordes est manifeste dans les lignes de violon du\u00a0<em>Judicabit<\/em>, ou encore dans la basse obstin\u00e9e du\u00a0<em>Dominus a dextris<\/em>, dont le mouvement imprime une direction aussi implacable que la col\u00e8re divine qu\u2019il figure.\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"H\u00e4ndel HWV 232-7-8 Judicabit - Conquassabit\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/MzuHkNCKCsE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p>Le compositeur souligne le texte en ciselant la prosodie avec pr\u00e9cision, comme dans la seconde partie du\u00a0<em>Judicabit<\/em>, o\u00f9 les notes r\u00e9p\u00e9t\u00e9es, voire martel\u00e9es, sont associ\u00e9es aux harmonies percutantes qui traduisent le double sens latin de la puissance divine qui peut\u00a0<em>briser<\/em> (<em>consequabit<\/em>) les nuques, et de l\u2019\u00eatre humain \u00e0 l\u2019\u00e9coute du psaume, qui peut en \u00eatre\u00a0<em>boulevers\u00e9<\/em>. Le\u00a0<em>De torrente<\/em> qui suit use d\u2019une toute autre rh\u00e9torique pour \u00e9branler l\u2019auditeur, le p\u00e9n\u00e9trant cette fois par une expression tendre et tendue, cr\u00e9\u00e9e par les dissonances d\u2019un tapis instrumental pulsatile sur lequel plane le duo des\u00a0voix de femmes qui se frottent et s\u2019\u00e9tirent. L\u2019op\u00e9ra est interdit \u00e0 Rome dans ces ann\u00e9es\u00a0: la sensualit\u00e9 s\u2019\u00e9panouit alors dans les \u0153uvres religieuses, fussent-elles jou\u00e9es dans les couvents, comme ce fut probablement le cas du\u00a0<em>Dixit Dominus<\/em> lors de la f\u00eate de Notre Dame au Carmel de Monte Santo en juillet 1707. La partition autographe laisse cependant supposer que l\u2019\u0153uvre, termin\u00e9e en avril, fut cr\u00e9\u00e9e auparavant dans des circonstances ind\u00e9termin\u00e9es.\u00a0<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-gallery alignleft columns-1 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"660\" height=\"472\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Venise-le-bucentaure-Canaletto-1733-1734-Royal-Collection-Buckingham-Palace-1.jpg\" alt=\"\" data-id=\"804\" data-full-url=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Venise-le-bucentaure-Canaletto-1733-1734-Royal-Collection-Buckingham-Palace-1.jpg\" data-link=\"http:\/\/constanceluzzati.com\/index.php\/2019\/03\/05\/dixit-dominus\/venise-le-bucentaure-canaletto-1733-1734-royal-collection-buckingham-palace-1\/\" class=\"wp-image-804\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Venise-le-bucentaure-Canaletto-1733-1734-Royal-Collection-Buckingham-Palace-1.jpg 660w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Venise-le-bucentaure-Canaletto-1733-1734-Royal-Collection-Buckingham-Palace-1-300x215.jpg 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/03\/Venise-le-bucentaure-Canaletto-1733-1734-Royal-Collection-Buckingham-Palace-1-600x429.jpg 600w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><\/figure><\/li><\/ul><\/figure>\n\n\n\n<p>La datation de ce\u00a0<em>Dixit dominus<\/em> \u2013 il en existe trois autres \u2013 de Galuppi est beaucoup plus incertaine\u00a0: le manuscrit n\u2019est pas autographe, et la copie parvenue jusqu\u2019\u00e0 nous a probablement \u00e9t\u00e9 r\u00e9alis\u00e9e au cours de la seconde moiti\u00e9 du XVIII<sup>\u00e8me<\/sup> si\u00e8cle dans une r\u00e9gion germanophone d\u2019Europe centrale. Elle a \u00e9t\u00e9 retrouv\u00e9e \u00e0 la biblioth\u00e8que Marciana de Venise en 2009, portant l\u2019indication \u00ab\u00a0<em>Dixit Del Sig. Balthassar Galuppi detto Buranello\u00a0<\/em>\u00bb<a><sup>[1]<\/sup><\/a>. Elle a pu \u00eatre compos\u00e9e pour l\u2019un des\u00a0<em>Ospedale<\/em>, ou encore pour San Marco o\u00f9 le v\u00e9nitien est ma\u00eetre de Chapelle. Galuppi est aussi c\u00e9l\u00e8bre comme auteur d\u2019opera buffa que comme compositeur de musique religieuse, ce qui n\u2019est probablement pas \u00e9tranger au fait que son psaume comporte peu de contrepoint, et semble par moments influenc\u00e9 par le style vocal galant\u00a0: le\u00a0<em>De torrente<\/em> n\u2019a rien \u00e0 envier \u00e0 un\u00a0<em>cantabile<\/em> d\u2019op\u00e9ra. L\u2019aria qui se d\u00e9ploie dans le\u00a0<em>Juravit<\/em> fait la part belle \u00e0 une conception de la musique dans laquelle la ligne m\u00e9lodique prime sur la mise en valeur du texte, contrastant \u00e0 ce titre vivement avec les choix faits par Haendel quelques d\u00e9cennies auparavant. En effet, l\u2019esth\u00e9tique du Buranello se situe \u00e0 la charni\u00e8re entre une pens\u00e9e par courts motifs caract\u00e9ristique de la musique \u00ab\u00a0baroque\u00a0\u00bb tardive, dont les notes r\u00e9p\u00e9t\u00e9es font \u00e9cho \u00e0 l\u2019\u00e9criture instrumentale de Vivaldi, et un sens du contraste et des oppositions d\u00e9j\u00e0 presque classique.\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Extrait \/ Handel, Vivaldi, Galuppi - Dixit Dominus\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/jM56_PM1zqc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Les notes r\u00e9p\u00e9t\u00e9es constituent l\u2019une des signatures de l\u2019\u00e9criture pour cordes de Vivaldi, et le d\u00e9but du\u00a0<em>Credo<\/em> tire sa puissance expressive de celles-ci. Elles agissent comme un moteur, qui insuffle \u00e0 la fois une vie tr\u00e9pidante dans le moment pr\u00e9sent, et inscrit la forme dans la dur\u00e9e en poussant toute la polyphonie vers l\u2019avant. Vivaldi a laiss\u00e9 peu de parties de l\u2019ordinaire de la messe\u00a0: ce\u00a0<em>Credo<\/em> et deux\u00a0<em>Gloria<\/em>, dat\u00e9s du milieu des ann\u00e9es 1710, et un\u00a0<em>Kyrie<\/em>, compos\u00e9 pendant la d\u00e9cade suivante. Le\u00a0<em>Kyrie<\/em> est particuli\u00e8rement expressif, son langage chromatique doloriste est proche de celui des\u00a0<em>Crucifixus<\/em> de Lotti et Caldara. Le\u00a0<em>Christe\u00a0<\/em>central contraste fortement\u00a0: d\u2019\u00e9criture harmonique plus simple, il d\u00e9bute par une ritournelle vive proche de l\u2019ouverture du\u00a0<em>Credo<\/em>. Le second\u00a0<em>Kyrie<\/em> fait entendre des blocs d\u2019accords dissonants qui rappellent le premier, puis un\u00a0<em>Allegro<\/em> issu du deuxi\u00e8me mouvement du concerto madrigalesque pour cordes RV 129, lui-m\u00eame probablement issu d\u2019une \u0153uvre vocale perdue.\u00a0<\/p>\n\n\n\n<p>Peu d\u2019\u0153uvres de Vivaldi \u00e9chappent au jeu de l\u2019autocitation, le\u00a0<em>Credo<\/em> n\u2019y fait pas davantage exception que le\u00a0<em>Kyrie\u00a0<\/em>: l\u2019encha\u00eenement d\u2019accords dont les dissonances sont cr\u00e9\u00e9es par des notes retard\u00e9es du\u00a0<em>Et incarnatus\u00a0est<\/em> fait r\u00e9f\u00e9rence \u00e0 plusieurs \u0153uvres instrumentales de Vivaldi pr\u00e9existantes. L\u2019expressivit\u00e9 atteint son paroxysme dans le\u00a0<em>Crucifixus<\/em>, par l\u2019entremise d\u2019un ostinato sur trois accords immuables qui fondent cette procession fun\u00e8bre, et de chromatismes ascendants qui saturent le discours avant la chute vers le grave qui accompagne la s\u00e9pulture.\u00a0\u00a0Le\u00a0<em>Et resurrexit<\/em> reprend le\u00a0<em>motto<\/em> tr\u00e9pidant qui ouvrait le\u00a0<em>Credo<\/em>, et annon\u00e7ait d\u2019embl\u00e9e \u00e0 l\u2019auditeur que la puissance de la vie \u00e9tait son horizon ultime.\u00a0<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\nhttps:\/\/www.youtube.com\/watch?v=cIDm-dt1uwI\n<\/div><\/figure>\n\n\n\n<p><br><\/p>\n\n\n\n<p class=\"has-small-font-size\"><a><sup>[1]<\/sup><\/a>La partition du <em>Dixit Dominus<\/em>&nbsp;en Sol mineur de Galuppi a \u00e9t\u00e9 d\u00e9couverte par le <em>Centro di Musica Antica della Fondazione Ghislieri<\/em> et suivie d&rsquo;une re-cr\u00e9ation par le choeur et l&rsquo;orchestre Ghisleri, dirig\u00e9s par Giulio Prandi.<\/p>\n\n\n\n<p class=\"has-vivid-cyan-blue-color has-text-color\"><a href=\"https:\/\/philharmoniedeparis.fr\/fr\/activite\/concert-vocal\/19723-dixit-dominus\">https:\/\/philharmoniedeparis.fr\/fr\/activite\/concert-vocal\/19723-dixit-dominus<\/a><br><\/p>\n\n\n\n<p class=\"has-vivid-cyan-blue-color has-text-color\"><a href=\"https:\/\/www.arts-florissants.com\/\">https:\/\/www.arts-florissants.com\/<\/a><\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background\">Pour citer ce texte : Constance Luzzati, <em>Dixit dominus<\/em>, programme de salle pour les Arts Florissants, Paris, Philharmonie, 13 f\u00e9vrier 2019.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La musique liturgique italienne issue de la Contre-R\u00e9forme s\u00e9duit et convainc l\u2019auditeur en touchant sa sensibilit\u00e9 autant qu\u2019elle magnifie et [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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