{"id":1546,"date":"2023-03-16T07:19:09","date_gmt":"2023-03-16T06:19:09","guid":{"rendered":"https:\/\/constanceluzzati.com\/?p=1546"},"modified":"2023-03-16T07:24:35","modified_gmt":"2023-03-16T06:24:35","slug":"une-croix-au-pays-des-elfes-musiques-chorales-de-mendelssohn","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2023\/03\/16\/une-croix-au-pays-des-elfes-musiques-chorales-de-mendelssohn\/","title":{"rendered":"Une croix au pays des elfes. Musiques chorales de Mendelssohn"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\"><strong>Sur l\u2019aile de Bach<\/strong><\/h2>\n\n\n\n<p>L\u2019int\u00e9r\u00eat que F\u00e9lix Mendelssohn nourrit pour la musique de Jean-S\u00e9bastien Bach irrigue sa musique religieuse, tant dans ses formes (oratorio, cantate, motet) que dans son contenu, qui se r\u00e9f\u00e8re au style de son pr\u00e9d\u00e9cesseur sans jamais aller jusqu\u2019au pastiche. Ainsi, il \u00e9crit en 1831 \u00e0 son ami Eduard Devrient, quelques mois apr\u00e8s avoir achev\u00e9 la cantate&nbsp;<em>Vom Himmel Hoch<\/em>&nbsp;: <\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><\/p>\n<cite>si j\u2019ai \u00e9crit plusieurs morceaux de musique religieuse, c\u2019est que j\u2019en ressentais le besoin. [&#8230;] Si les paroles m\u2019ont impressionn\u00e9 de la m\u00eame mani\u00e8re que le vieux Bach, je n\u2019en dois \u00eatre que plus content&nbsp;: car tu ne penses pas, j\u2019imagine, que je copie ses formes sans rien mettre dedans.<\/cite><\/blockquote>\n\n\n\n<p>La r\u00e9f\u00e9rence \u00e0 la musique ancienne impr\u00e8gne in\u00e9galement les mouvements&nbsp;: elle est aussi absente de l\u2019air de la soprano, qui plane au-dessus d\u2019une orchestration d\u2019une grande fluidit\u00e9, mi-a\u00e9rienne mi-aquatique, qu\u2019elle est omnipr\u00e9sente dans le grand ch\u0153ur d\u2019ouverture. Il y cite le choral qui donne son titre \u00e0 l\u2019\u0153uvre, attribu\u00e9 \u00e0 Martin Luther et repris \u00e0 de nombreuses reprises par Jean-S\u00e9bastien Bach.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"Mendelssohn: Christus, Op.97 - Radio Philharmonic Orchestra &amp; Netherlands Radio Choir - Live HD\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/6kD12-ieBBE?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><figcaption class=\"wp-element-caption\">Mendelssohn, Christus, Radio Philharmonic Orchestra &amp; Netherlands Radio Choir, direction Jan Willem de Vriend<\/figcaption><\/figure>\n\n\n\n<p>Seules les deux premi\u00e8res sections de l\u2019oratorio&nbsp;<em>Christus<\/em>, envisag\u00e9 par Mendelssohn d\u00e8s 1844 mais inachev\u00e9 \u00e0 sa mort en 1847, ont \u00e9t\u00e9 partiellement mises en musique. Elles \u00e9voquent les passions de Bach&nbsp;: on y entend un chanteur soliste (soprano pour la nativit\u00e9, t\u00e9nor pour la passion) qui a la fonction d\u2019un \u00e9vang\u00e9liste-narrateur, des ch\u0153urs de foule (<em>turba<\/em>chez Bach), et des ch\u0153urs qui repr\u00e9sentent l\u2019assembl\u00e9e, chantant des chorals.&nbsp;<em>Wie sch\u00f6n leuchtet der Morgenstern<\/em>, qui cl\u00f4t la premi\u00e8re partie apr\u00e8s le trio des mages, est l\u2019un des plus c\u00e9l\u00e8bres chorals de No\u00ebl. Les ch\u0153urs de la deuxi\u00e8me partie, plus d\u00e9velopp\u00e9e, se distinguent&nbsp;: le \u00ab&nbsp;<em>kreuzige ihn<\/em>&nbsp;\u00bb, \u00ab&nbsp;crucifie-le&nbsp;\u00bb, fait une entr\u00e9e chromatique toute en tension, pouss\u00e9e par l\u2019orchestre qui fait \u00e9clater une col\u00e8re pleine de consonnes. Celui qui pr\u00e9c\u00e8de le choral final est, \u00e0 l\u2019oppos\u00e9, tout de tendresse et d\u2019affliction, qui s\u2019expriment dans de longues phrases&nbsp;<em>legato<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"Felix Mendelssohn - Trois motets op.69 n\u00b01 - Mathieu Romano\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/XWBJD3XmyCw?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><figcaption class=\"wp-element-caption\">Mendelssohn, motets op. 69, ensemble Aedes, direction Matthieu Romano<\/figcaption><\/figure>\n\n\n\n<p>Mendelssohn, comme Wolfgang Rihm, s\u2019inscrit dans la lign\u00e9e des formes anciennes en s\u2019int\u00e9ressant au motet&nbsp;<em>a capella<\/em>. L\u2019opus 69 de Mendelssohn, compos\u00e9 l\u2019ann\u00e9e de la disparition de sa s\u0153ur Fanny, comporte des cantiques qui sont \u00e0 la fois li\u00e9s au temps de No\u00ebl et porteurs de l\u2019id\u00e9e d\u2019un repos \u00e9ternel. L\u2019absence d\u2019accompagnement et l\u2019\u00e9criture contrapuntique du motet&nbsp;<em>Herr, nun l\u00e4ssest<\/em>&nbsp;\/&nbsp;<em>Nunc dimittis<\/em>&nbsp;font \u00e9cho, dans une couleur harmonique romantique, \u00e0 la polyphonie ancienne dans laquelle chaque vers est repris en imitation sur un m\u00eame motif musical, \u00e0 toutes les voix. Les&nbsp;<em>Fragmenta passionis<\/em>&nbsp;de Rihm font r\u00e9f\u00e9rence au m\u00eame pass\u00e9, de fa\u00e7on plus distanci\u00e9e. L\u2019\u00e9criture graphique organise un \u00ab&nbsp;parler musicalis\u00e9&nbsp;\u00bb polyphonique, qui va du chuchotement jusqu\u2019au cri, faisant claquer les consonnes d\u2019une foule avide de crucifixion avec une puissance \u00e9gale \u00e0 celle du&nbsp;<em>Christus<\/em>&nbsp;de Mendelssohn, bien qu\u2019avec des moyens musicaux diff\u00e9rents. L\u2019anthem&nbsp;<em>Am Charfreitag<\/em>, pour le vendredi saint, est un bref ch\u0153ur&nbsp;<em>a capella<\/em>&nbsp;d\u00e9pouill\u00e9 de r\u00e9f\u00e9rence \u00e0 Bach, d\u00e9nu\u00e9 d\u2019artifice, qui tire sa puissance d\u2019expression de son \u00e9criture \u00e9pur\u00e9e.<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Surnaturel Sabbat<\/strong><\/h2>\n\n\n\n<p>La&nbsp;<em>Walpurgisnacht<\/em>&nbsp;est fond\u00e9e sur un texte de Goethe sous-titr\u00e9 \u00ab&nbsp;cantate&nbsp;\u00bb, distinct de la nuit de Walpurgis du&nbsp;<em>Faust<\/em>. Il s\u2019agit d\u2019une cantate qui a peu de points communs avec&nbsp;<em>Vom Himmel Hoch<\/em>, hormis son vaste effectif compos\u00e9 de solistes, ch\u0153ur et orchestre&nbsp;: elle semble exalter une forme de paganisme, et son \u00e9criture est plus proche des op\u00e9ras fantastiques que de la musique religieuse. Initialement nomm\u00e9 \u00ab ballade dramatique&nbsp;\u00bb, le texte de Goethe reprend tous les codes du genre&nbsp;: une temporalit\u00e9 m\u00e9di\u00e9vale, une action nocturne en for\u00eat, une forte pr\u00e9sence du sacr\u00e9, un (faux) sabbat fantastique. La th\u00e9matique du texte, comme la mani\u00e8re dont Mendelssohn le met en musique, sans interruption entre les sc\u00e8nes, ainsi que le type de vocalit\u00e9, \u00e9voquent les ballades dramatiques pour solistes, ch\u0153urs et orchestre de Schumann.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"Schuman &quot;Des S\u00e4ngers Fluch&quot;\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/sToYFEL2Ll0?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><figcaption class=\"wp-element-caption\">Schumann, Der S\u00e4ngers Fluch, Laurence Equilbey, Orchestre de l&rsquo;op\u00e9ra de Rouen, Accentus.<\/figcaption><\/figure>\n\n\n\n<p>La dimension symphonique de l\u2019\u0153uvre s\u2019exprime d\u00e8s l\u2019ouverture, vaste moment orchestral qui repr\u00e9sente plus d\u2019un quart de la&nbsp;<em>Walpurgisnacht<\/em>. Elle d\u00e9bute \u00e0 l\u2019emporte-pi\u00e8ce, inqui\u00e9tante et dramatique. Comme dans les op\u00e9ras allemands continus de Weber ou Schubert, les effectifs varient sans jamais donner l\u2019impression de num\u00e9ros clos&nbsp;: tout s\u2019encha\u00eene, en ad\u00e9quation avec l\u2019action. Celle-ci se d\u00e9roule pendant la nuit d\u2019un rite pa\u00efen qui c\u00e9l\u00e8bre la lumi\u00e8re, interdit par un christianisme plus obscur que le paganisme. Les veilleurs chr\u00e9tiens sont mis en d\u00e9route par une mise en sc\u00e8ne de leurs propres peurs, les pa\u00efens se parant d\u2019attributs sataniques dans le seul but d\u2019effrayer leurs oppresseurs.&nbsp;<\/p>\n\n\n\n<p>Le ch\u0153ur des veilleurs, l\u00e9ger,&nbsp;<em>staccato<\/em>, f\u00e9\u00e9rique, rapide, est orchestr\u00e9 avec l\u2019aigu du pupitre des cordes et des instruments \u00e0 vent&nbsp;; il rappelle l\u2019\u00e9criture de la f\u00e9\u00e9rie dans le&nbsp;<em>Songe d\u2019une nuit d\u2019\u00e9t\u00e9<\/em>, qui constitue l\u2019un des marqueurs stylistiques les plus forts du compositeur. <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"Teaser - accentus, 30 ans !\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/WGnoMDMS5-c?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><figcaption class=\"wp-element-caption\">Accentus,  Insula orchestra, direction Laurence Equilbey<\/figcaption><\/figure>\n\n\n\n<p>L\u2019exhortation au faux sabbat part dans une direction compl\u00e8tement diff\u00e9rente, reprenant les&nbsp;<em>topo\u00ef<\/em>&nbsp;de l\u2019\u00e9criture fantastique des op\u00e9ras de Weber ou Marschner&nbsp;: trilles diaboliques des instruments \u00e0 vent, chromatismes, \u00e9criture vocale qui fait entendre les consonnes finales de fa\u00e7on presque bruitiste (\u00ab&nbsp;<em>kommt&nbsp;\u00bb<\/em>), effets orchestraux qui figurent les hululements, harmonies caract\u00e9ristiques, cuivres martel\u00e9s, d\u00e9doublement du ch\u0153ur en deux ch\u0153urs non mixtes&#8230; Ne manquent que les onomatop\u00e9es pour \u00eatre transport\u00e9 sur une sc\u00e8ne d\u2019op\u00e9ra&nbsp;! Ce moment a suscit\u00e9 l\u2019admiration de Berlioz, qui remarque que \u00ab les effets de voix et d\u2019instruments s\u2019y croisent dans tous les sens, se contrarient, se heurtent avec un d\u00e9sordre apparent qui est le comble de l\u2019art. \u00bb<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Entre Luther et Lumi\u00e8re<\/strong><\/h2>\n\n\n\n<p>La musique est comme transfigur\u00e9e \u00e0 l\u2019apparition du lumineux&nbsp;<em>do<\/em>&nbsp;majeur dont est nimb\u00e9e la lumi\u00e8re, dans la&nbsp;<em>Walpurgisnacht<\/em>&nbsp;qui en cet endroit rappelle la&nbsp;<em>Cr\u00e9ation<\/em>&nbsp;de Haydn. L\u2019\u00e9criture musicale devient religieuse, presque en style de choral, alors associ\u00e9 \u00e0 la foi des pa\u00efens. Si la musique religieuse de Mendelssohn emprunte au souvenir de Bach, son christianisme n\u2019est pas celui d\u2019un luth\u00e9rien du XVIII<sup>\u00e8me<\/sup>&nbsp;si\u00e8cle. Petit fils du philosophe ju\u00eff Moses Mendelssohn, le texte de son&nbsp;<em>Christus<\/em>&nbsp;ne garde pas trace de l\u2019antijuda\u00efsme de l\u2019\u00c9vangile de Matthieu. Ami du th\u00e9ologien aux id\u00e9es larges Friedrich Schleiermacher, son oratorio brille de la m\u00eame lumi\u00e8re que celle des pa\u00efens de la nuit de Walpurgis, qui souligne sans ambages la victoire de la lumi\u00e8re sur l\u2019obscurantisme et la fait \u00e9clater avec la puissance du tutti final.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sur l\u2019aile de Bach L\u2019int\u00e9r\u00eat que F\u00e9lix Mendelssohn nourrit pour la musique de Jean-S\u00e9bastien Bach irrigue sa musique religieuse, tant [&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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[122,40,178],"tags":[286,283,284,282,288,190,287,285],"class_list":["post-1546","post","type-post","status-publish","format-standard","hentry","category-19eme-siecle","category-musique-religieuse","category-musique-vocale","tag-accentus","tag-christus","tag-elfes","tag-mendelssohn","tag-motet","tag-oratorio","tag-rihm","tag-walpurgis"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Une croix au pays des elfes. 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