{"id":350,"date":"2019-04-09T17:24:47","date_gmt":"2019-04-09T15:24:47","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=350"},"modified":"2019-04-09T21:17:34","modified_gmt":"2019-04-09T19:17:34","slug":"musiques-americaines-barber-bernstein-copland-reich","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2019\/04\/09\/musiques-americaines-barber-bernstein-copland-reich\/","title":{"rendered":"Musiques am\u00e9ricaines : Barber, Bernstein, Copland, Reich&#8230;"},"content":{"rendered":"\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"534\" height=\"753\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/04\/Capture-d\u2019\u00e9cran-2019-04-09-\u00e0-16.57.33.png\" alt=\"\" class=\"wp-image-353\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/04\/Capture-d\u2019\u00e9cran-2019-04-09-\u00e0-16.57.33.png 534w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/04\/Capture-d\u2019\u00e9cran-2019-04-09-\u00e0-16.57.33-213x300.png 213w\" sizes=\"(max-width: 534px) 100vw, 534px\" \/><\/figure>\n\n\n\n<p><strong><em>Charles Ives, p\u00e8re de la musique am\u00e9ricaine&nbsp;?<\/em><\/strong><\/p>\n\n\n\n<p style=\"color:#640752\" class=\"has-text-color\">Le compositeur Charles Ives est, de fa\u00e7on paradoxale, consid\u00e9r\u00e9 comme le p\u00e8re de la musique moderne am\u00e9ricaine&nbsp;: isol\u00e9, il a peu \u00e9t\u00e9 jou\u00e9 de son vivant et n\u2019a \u00e9t\u00e9 reconnu comme un cr\u00e9ateur majeur qu\u2019au milieu du XX<sup>\u00e8me<\/sup>si\u00e8cle&nbsp;; il n\u2019a donc pas eu de disciples en ligne directe. Cette filiation \u00e0 distance a probablement \u00e9t\u00e9 recherch\u00e9e par les compositeurs des g\u00e9n\u00e9rations suivantes en raison de l\u2019extr\u00eame diversit\u00e9 stylistique de son \u0153uvre, et de la recherche d\u2019am\u00e9ricanit\u00e9 musicale dont elle t\u00e9moigne. Il exp\u00e9rimente, dans les ann\u00e9es 1900, tous les langages et esth\u00e9tiques&nbsp;: tonalit\u00e9, atonalit\u00e9, polytonalit\u00e9, musique al\u00e9atoire, jeux atour du son, parodie et jazz. Si&nbsp;<em>The Circus band<\/em> (1898), dont il existe plusieurs versions, puise sont inspiration dans la musique populaire, la m\u00e9lodie&nbsp;<em>The Waiting soul<\/em> est contemporaine des grandes \u0153uvres \u00e0 dimension m\u00e9taphysiques de Ives&nbsp;:&nbsp;<em>The unanswered question<\/em> (1908) et&nbsp;<em>Concord Sonata<\/em>, monument inspir\u00e9 des philosophes transcendantalistes am\u00e9ricains dont il d\u00e9bute la composition l\u2019ann\u00e9e suivante.&nbsp;<\/p>\n\n\n\n<p><strong><em>Racines romantiques<\/em><\/strong><\/p>\n\n\n\n<p>Le romantisme europ\u00e9en impr\u00e8gne longtemps la musique am\u00e9ricaine. Le langage expressif et harmonique de la pianiste Amy Beach, premi\u00e8re femme \u00e0 composer de la musique aux Etats-Unis (\u00e0 partir des ann\u00e9es 1885), semble puiser ses racines dans celui des grands pianistes du d\u00e9but du XIX<sup>\u00e8me<\/sup>si\u00e8cle, tel Chopin. Samuel Barber, une cinquantaine d\u2019ann\u00e9es plus tard, \u00e9volue \u00e9galement dans un univers musical qui fait la part belle \u00e0 la m\u00e9lodie et au lyrisme. C\u2019est d\u2019ailleurs cet aspect de son \u0153uvre qui lui vaut d\u2019acc\u00e9der \u00e0 la c\u00e9l\u00e9brit\u00e9, lorsque Toscanini dirige pour la premi\u00e8re fois son&nbsp;<em>Adagio pour cordes<\/em>, en 1938<em>. Sure on this shining night&nbsp;<\/em>est issu de 4 chants compos\u00e9s entre 1937 et 1940, initialement pour voix seule et piano, avant d\u2019\u00eatre arrang\u00e9s pour ch\u0153ur. Il y affine son art de la romance, d\u00e9ployant une longue m\u00e9lodie au-dessus d\u2019accords-pulsation.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Leontyne Price: The Crucifixion\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/83ja9XAs7Pw?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>Les 10 textes monastiques m\u00e9di\u00e9vaux des&nbsp;<em>Hermits songs<\/em>, pour anciens qu\u2019ils soient, ont pouss\u00e9 le compositeur dans une direction plus moderne : \u00ab&nbsp;J\u2019y suis venu par le biais de quelques po\u00e8mes du X<sup>\u00e8me<\/sup>si\u00e8cle, traduits en anglais moderne par diff\u00e9rentes personnes, et j\u2019ai fait d\u2019eux un cycle de chansons\u2026 je les trouve directs, intacts et souvent curieusement de sentiments contemporains&nbsp;\u00bb.&nbsp;<em>The Crucifixion<\/em> est mis en musique avec une \u00e9conomie de moyens particuli\u00e8rement efficace, qui articule la ligne vocale sobrement incantatoire de la voix avec un accompagnement pianistique \u00e9pur\u00e9, \u00e9clair\u00e9 par les tintements de la main droite dans le registre aigu.&nbsp;<\/p>\n\n\n\n<p><strong><em>Nouvelles textures et surfaces sonores<\/em><\/strong><\/p>\n\n\n\n<p>John Cage comme son ami Morton Feldman partent, d\u00e8s le d\u00e9but de leur carri\u00e8re respective, en qu\u00eate de nouveaux espaces sonores. Cette qu\u00eate puise son origine dans des sources diff\u00e9rentes&nbsp;: si Cage puise son inspiration hors de la musique, dans la litt\u00e9rature et la spiritualit\u00e9, Feldman r\u00e9invente le rapport au son d\u2019une fa\u00e7on qui est \u00e0 la fois purement sonore, tout en faisant r\u00e9f\u00e9rence \u00e0 la surface picturale.&nbsp;<em>The wonderful widow of eighteen springs<\/em> est la premi\u00e8re \u0153uvre de Cage (1942) inspir\u00e9e par&nbsp;<em>Finnegans Wake<\/em> de James Joyce, qui suscitera nombre d\u2019autres pi\u00e8ces. Le texte, comme la musique, fait \u00e9cho \u00e0 des sensations, le sens demeurant souvent obscur. Trois notes r\u00e9p\u00e9t\u00e9es \u00e0 la voix non vibr\u00e9e \u00e9voquent une forme d\u2019hypnose, accompagn\u00e9e par une partie de piano-percussions, o\u00f9 le pianiste n\u2019utilise jamais les touches mais frappe le bois de l\u2019instrument. La tonalit\u00e9, laiss\u00e9e \u00e0 la libre appr\u00e9ciation du chanteur, introduit un \u00e9l\u00e9ment al\u00e9atoire \u2013 al\u00e9atoire qui prendra davantage d\u2019ampleur dans les \u0153uvres ult\u00e9rieures du compositeur, jusqu\u2019\u00e0 devenir une des caract\u00e9ristiques principales de son \u00e9criture.<\/p>\n\n\n\n<p>Le&nbsp;<em>Nocturne<\/em> pour violon est quant \u00e0 lui compos\u00e9 pendant une p\u00e9riode o\u00f9 Cage est fortement attir\u00e9 par les philosophies orientale et chr\u00e9tienne m\u00e9di\u00e9vale, o\u00f9 il \u00e9tudie le bouddhisme zen avec assiduit\u00e9. Il se distancie alors des syst\u00e8mes qui organisent les sons, pour s\u2019int\u00e9resser au son lui m\u00eame, ainsi qu\u2019au silence, qui prend dans le&nbsp;<em>Nocturne<\/em> autant d\u2019importance que les sonorit\u00e9s minimalistes du violon et les accords diaphanes et r\u00e9sonants du piano.<\/p>\n\n\n\n<figure class=\"wp-block-embed-spotify wp-block-embed is-type-rich is-provider-spotify wp-embed-aspect-9-16 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe title=\"Spotify Embed: Nocturne\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/38a0ifSSlm5xnPSxR5kbuf?si=eJhatI4kRv2_zSD8XMvgyQ&#038;utm_source=oembed\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p><em>The Viola in my Life<\/em> (1970) de Morton Feldman fait entendre des sons tout aussi t\u00e9nus \u00e0 l\u2019alto, qui semblent presque ind\u00e9pendants des ponctuations du piano. Il est impossible de sentir un tempo, une m\u00e9trique&nbsp;; le temps semble comme aboli, ou tout du moins non mesur\u00e9. C\u2019est l\u00e0 le principal point d\u2019int\u00e9r\u00eat compositionnel pour Feldman, qui s\u2019attache \u00e0 transformer le&nbsp;<em>chronos<\/em>en surface sonore&nbsp;: \u00ab&nbsp;ce qui m\u2019int\u00e9resse c\u2019est d\u2019obtenir du temps dans son existence non structur\u00e9e. C\u2019est-\u00e0-dire, ce qui m\u2019int\u00e9resse, c\u2019est la mani\u00e8re dont cette b\u00eate sauvage vit dans la jungle \u2013 non au zoo. Je m\u2019int\u00e9resse \u00e0 la mani\u00e8re dont le temps existe avant que nous posions nos pattes sur lui \u2013 nos intelligences, nos imaginations, en lui.&nbsp;\u00bb<\/p>\n\n\n\n<p><strong><em>Quand le bruit devient musique\u2026 et le dessin partition<\/em><\/strong><\/p>\n\n\n\n<p>Nombre de pi\u00e8ces utilisent les sons d\u2019une fa\u00e7on non traditionnelle, qui se passe de port\u00e9es et de notes&nbsp;: il existe un lien entre l\u2019int\u00e9gration de sons qui n\u2019ont pas de hauteur ou de dur\u00e9e mesurable en pulsation, et la cr\u00e9ation de partitions non conventionnelles. Ainsi, les partitions graphiques de Morton Feldman pr\u00e9ludent aux surfaces sonores qu\u2019elles suscitent. Steve Reich, dans&nbsp;<em>Clapping music<\/em>, se passe non pas de rythmes mais de hauteurs, tandis que Cathy Berberian fait appel \u00e0 un dessinateur pour exprimer ses onomatop\u00e9es, inou\u00efes et jamais vues dans une partition imprim\u00e9e.&nbsp;<em>Clapping music<\/em> se situe \u00e0 une p\u00e9riode charni\u00e8re des proc\u00e9d\u00e9s compositionnels de Reich, qui abandonne \u00e0 ce moment le processus progressif de changement de phase dans sa musique. C\u2019est \u00e9galement une pi\u00e8ce pour musiciens, sans voix ni instruments&nbsp;: \u00ab&nbsp;En 72 j\u2019ai compos\u00e9&nbsp;<em>Clapping music<\/em> parce que j\u2019avais envie de cr\u00e9er une pi\u00e8ce qui ne n\u00e9cessiterait pas d\u2019autre instrument que le corps humain&nbsp;\u00bb.<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"ast-oembed-container \" style=\"height: 100%;\"><iframe loading=\"lazy\" title=\"Cathy Berberian | Stripsody\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/0dNLAhL46xM?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><em>Stripsody<\/em> utilise la voix de la chanteuse \u00e0 la fois en tant que voix, et en tant qu\u2019instrument humain. Cathy Berberian innove radicalement avec cette pi\u00e8ce qu\u2019elle pensait l\u00e9g\u00e8re et sans cons\u00e9quence, mais qui a retenu l\u2019attention de tous, bien qu\u2019elle ait \u00e9t\u00e9 cr\u00e9\u00e9e la m\u00eame ann\u00e9e que des \u0153uvres majeures comme la&nbsp;<em>Sequenza<\/em> pour voix de Berio.&nbsp;<em>Stripsody<\/em> est une rhapsodie de&nbsp;<em>strip cartoons<\/em>, un collage d\u2019onomatop\u00e9es de bandes dessin\u00e9es, de citations de super-heros de&nbsp;<em>comics<\/em> et de tubes radiophoniques. La bande dessin\u00e9e avait \u00e9t\u00e9 r\u00e9cemment hiss\u00e9e au rang de miroir de la soci\u00e9t\u00e9 par des penseurs comme Roland Barthes ou Umberto Eco, lequel mesure la puissance visuelle de la voix de Berberian&nbsp;: \u00ab&nbsp;ma\u00eetre des sons, (elle) a r\u00e9ussi \u00e0 cr\u00e9er avec sa voix des repr\u00e9sentations spatiales et m\u00eame des sc\u00e9narios comiques, des s\u00e9quences d\u2019\u00e9v\u00e9nements visibles \u00bb. Eugenio Carmi dessine les \u00ab&nbsp;boums&nbsp;\u00bb, \u00ab&nbsp;bangs&nbsp;\u00bb et autres \u00ab&nbsp;splash&nbsp;\u00bb, qui ne sont pas sans faire penser aux \u00ab&nbsp;splash&nbsp;\u00bb, \u00ab&nbsp;plop&nbsp;\u00bb et \u00ab&nbsp;crip crap&nbsp;\u00bb de Gainsbourg et Bardot.<\/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=\"Serge Gainsbourg - Comic Strip 1967\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/lN5b5zHbKzM?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><strong><em>Jazz et cultures populaires comme identit\u00e9 am\u00e9ricaine<\/em><\/strong><\/p>\n\n\n\n<p>\u00c0 l\u2019inverse de Gershwin, jazz-man qui voulait faire de la musique savante, Aaron Copland fut un musicien savant qui voulait se nourrir du jazz. Il l\u2019utilise comme un \u00e9l\u00e9ment cl\u00e9, un ferment national pour la musique am\u00e9ricaine, de fa\u00e7on tout \u00e0 fait manifeste dans&nbsp;<em>Ukulele s\u00e9r\u00e9nade<\/em>. Gershwin, pianiste l\u00e9ger et compositeur en vogue de com\u00e9dies musicales pour Broadway, aspirait \u00e0 la composition de 24 pr\u00e9ludes, \u00e0 l\u2019image d\u2019ensembles ant\u00e9rieurs d\u2019auteurs classiques. Il en \u00e9crira finalement trois, mod\u00e8les de l\u2019alliance entre le jazz et la culture classique am\u00e9ricaine du d\u00e9but du XX<sup>\u00e8me<\/sup>si\u00e8cle. Ils voient le jour presque en m\u00eame temps que la c\u00e9l\u00e8bre&nbsp;<em>Rhapsodie in blue<\/em>, cr\u00e9\u00e9e en 1924. Le rapport entre musique savante occidentale et jazz s\u2019inverse \u00e0 nouveau sous la plume de Leonard Bernstein, qui sort de Harvard lorsqu\u2019il arrive \u00e0 la t\u00eate de l\u2019Orchestre Philharmonique de New York, et se plait \u00e0 \u00e9crire des com\u00e9dies musicales, dont le succ\u00e8s fut fulgurant pour&nbsp;<em>West Side Story<\/em>, et diff\u00e9r\u00e9 pour&nbsp;<em>Candide<\/em>, dont&nbsp;<em>Glitter and be gay<\/em> est extrait. Sous la plume de Bernstein, Copland et Gershwin, mais d\u00e9j\u00e0 sous celle de Charles Ives, la musique savante am\u00e9ricaine du XX<sup>\u00e8me<\/sup>si\u00e8cle semble avoir pour identit\u00e9 sa capacit\u00e9 sans \u00e9quivalent \u00e0 faire dialoguer exp\u00e9rimentations aventureuses, lyrisme romantique et musiques populaires.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Charles Ives, p\u00e8re de la musique am\u00e9ricaine&nbsp;? Le compositeur Charles Ives est, de fa\u00e7on paradoxale, consid\u00e9r\u00e9 comme le p\u00e8re de [&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":[95],"tags":[110,117,111,119,113,108,107,114,115,109,120,116,118],"class_list":["post-350","post","type-post","status-publish","format-standard","hentry","category-musique-contemporaine","tag-barber","tag-berberian","tag-bernestein","tag-comics","tag-copland","tag-crr-boulogne-billancourt","tag-gainsbourg","tag-gershwin","tag-ives","tag-julien-le-pape","tag-musique-americaine","tag-reich","tag-umberto-eco"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - 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