{"id":436,"date":"2019-11-16T16:48:52","date_gmt":"2019-11-16T15:48:52","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=436"},"modified":"2019-11-16T22:37:09","modified_gmt":"2019-11-16T21:37:09","slug":"le-clavecin-francais-sous-les-doigts-dalexandre-tharaud","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2019\/11\/16\/le-clavecin-francais-sous-les-doigts-dalexandre-tharaud\/","title":{"rendered":"Le clavecin fran\u00e7ais sous les doigts d&rsquo;Alexandre Tharaud"},"content":{"rendered":"\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/tharaud-versailles-1024x576.jpg\" alt=\"\" class=\"wp-image-440\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/tharaud-versailles-1024x576.jpg 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/tharaud-versailles-300x169.jpg 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/tharaud-versailles-768x432.jpg 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/tharaud-versailles-1160x653.jpg 1160w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/tharaud-versailles-600x338.jpg 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/tharaud-versailles.jpg 1280w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p style=\"color:#038b77\" class=\"has-text-color\"><strong>Des livres de clavecin du Grand Si\u00e8cle compos\u00e9s par Jean-Henri d\u2019Anglebert aux \u0153uvres qui flamboient pr\u00e8s d\u2019un si\u00e8cle plus tard sous les plumes de Duphly et Balbastre, le panorama est complet, donnant \u00e0 entendre toute l\u2019\u00e9tendue stylistique du clavecin fran\u00e7ais. La transcription des pi\u00e8ces, choisies pour leur adaptabilit\u00e9 au toucher pianistique, \u00e9tend encore les tr\u00e8s larges possibilit\u00e9s expressives offertes par leur grande diversit\u00e9.<\/strong><\/p>\n\n\n\n<p><strong><em>Arrangements et transcriptions<\/em><\/strong><\/p>\n\n\n\n<p>La pratique de l\u2019arrangement est courante aux XVII<sup>e<\/sup> et XVIII<sup>e<\/sup> si\u00e8cles, notamment de l\u2019orchestre vers le clavecin. En t\u00e9moignent les adaptations de l\u2019<em>Air des turcs<\/em> de&nbsp;<em>Za\u00efde<\/em> dans la&nbsp;<em>Marche des scythes<\/em> de Royer, comme celles des pi\u00e8ces de Lully par d\u2019Anglebert, qui les entrem\u00eale avec ses propres pi\u00e8ces : <\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>\u00ab&nbsp;J\u2019y ay joint quelques airs de monsieur de Lully. Il faut avo\u00fcer que les ouvrages de cet homme incomparable son d\u2019un go\u00fbt fort sup\u00e9rieur a tout autre. Comme ils r\u00e9\u00fcssissent avec avantage sur le clavecin, j\u2019ay cru qu\u2019on me s\u00e7auroy gr\u00e9 d\u2019en donner ici plusieurs de diff\u00e9rent caractere&nbsp;\u00bb. <\/em><\/p>\n\n\n\n<p>Le m\u00eame livre de&nbsp;<em>Pi\u00e8ces de clavecin<\/em> contient \u00e9galement des pi\u00e8ces pour orgue, dont fait partie la&nbsp;<em>Fugue grave<\/em>. La transcription d\u2019Alexandre Tharaud de la c\u00e9l\u00e8bre&nbsp;<em>Marche pour la c\u00e9r\u00e9monie des Turcs<\/em> se place donc dans la droite ligne des pratiques musicales contemporaines du&nbsp;<em>Bourgeois gentilhomme<\/em> dont elle est issue (pour le plaisir, ci-dessous, la version qu&rsquo;en donne <em>Le Roi danse<\/em>)&nbsp;<\/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=\"Le Bourgeois gentilhomme Marche pour la c\u00e9r\u00e9monie des Turcs\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/OO2HBhwk05g?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>Un autre type de transcription, le passage d\u2019un instrument \u00e0 un autre sans modification de la partition originale, est attest\u00e9 \u00e0 l\u2019\u00e9poque Baroque. La pr\u00e9face des&nbsp;<em>Suites pour viole de gambe<\/em> de Marais Marais mentionne qu\u2019elles \u00ab&nbsp;se peuvent jo\u00fcer sur plusieurs autres instruments&nbsp;\u00bb&nbsp;; Madame de Genlis se targue de pouvoir jouer tout le r\u00e9pertoire de clavecin \u00e0 la harpe. On peut imaginer que les possibilit\u00e9s offertes par le piano auraient int\u00e9ress\u00e9 Couperin, qui remarquait qu\u2019au clavecin \u00ab&nbsp;on ne peut enfler ny diminuer ses sons&nbsp;\u00bb, et que le renfort d\u2019un \u00ab&nbsp;art infini soutenu par la go\u00fbt&nbsp;\u00bb est n\u00e9cessaire pour \u00ab&nbsp;arriver \u00e0 rendre cet instrument susceptible d\u2019expression&nbsp;\u00bb.<\/p>\n\n\n\n<p><strong><em>Pi\u00e8ces po\u00e9tiques, portraits et caract\u00e8res<\/em><\/strong><\/p>\n\n\n\n<p>Les pi\u00e8ces de danse caract\u00e9ristiques de la Suite sont minoritaires, domin\u00e9es par les portraits et les caract\u00e8res. M\u00eame les Allemandes, comme&nbsp;<em>La Logivi\u00e8re<\/em> de Couperin, portent des titres : <\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>\u00ab&nbsp;J\u2019ay to\u00fbjours eu un objet en composant toutes ces pi\u00e9ces&nbsp;; des occasions diff\u00e9rentes me l\u2019ont fourni. Ainsi les Titres r\u00e9pondent aux id\u00e9es que j\u2019ay e\u00fces&nbsp;; on me dispensera d\u2019en rendre compte \u00bb. <\/em><\/p>\n\n\n\n<p>Certaines pi\u00e8ces r\u00e9servent des surprises\u00a0: ainsi\u00a0<em>La Suzanne<\/em> de Balbastre, que l\u2019on imaginerait volontiers aussi aimable que la pi\u00e8ce \u00e9ponyme de Pancrace Royer, sonne plus scythe que versaillaise.<\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\">L&rsquo;<em>Aimable<\/em> de Pancrace Royer, en deux \u00ab\u00a0transcriptions\u00a0\u00bb : une version au piano par Alexandre Tharaud, une version \u00e0 la harpe.<\/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=\"Alexandre Tharaud \u2013 Royer: &quot;L&#039;Aimable&quot; (Premier livre de pi\u00e8ces de clavecin)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/kXK2LiMhwPQ?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<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=\"Pancrace Royer, L&#039;Aimable\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/uB1mG-jxMrI?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> Nombre d\u2019\u0153uvres portent des titres po\u00e9tiques, parfois \u00e9nigmatiques&nbsp;: les&nbsp;<em>Baricades mist\u00e9rieuses,<\/em> dont le myst\u00e8re a fait couler beaucoup d\u2019encre, le tr\u00e8s cisel\u00e9&nbsp;<em>Rappel des oiseaux<\/em>, les tendres et sinueuses&nbsp;<em>Ombres errantes<\/em>. On y entend ais\u00e9ment le go\u00fbt de Couperin : <\/p>\n\n\n\n<p style=\"background-color:#dee1e2\" class=\"has-background\"><em>\u00ab&nbsp;J&rsquo;ayme beaucoup mieux ce qui me touche que ce qui me surprend.&nbsp;\u00bb<\/em><\/p>\n\n\n\n<p>Les grandes pi\u00e8ces \u00e0 variations sont c\u00e9l\u00e8bres pour la science compositionnelle qu\u2019elles d\u00e9ploient, ainsi que pour le fort effet sur l\u2019auditeur que produit la r\u00e9p\u00e9tition inlassable d\u2019une basse ou d\u2019une harmonie. Les&nbsp;<em>Folies d\u2019Espagne<\/em> comptent parmi les plus populaires des th\u00e8mes vari\u00e9s, que ce soit par Lully, Marin Marais, ou d\u2019Anglebert.&nbsp;<em>La Chaconn<\/em>e de ce dernier emprunte \u00e0 la m\u00eame logique compositionnelle. La magnifique&nbsp;<em>Passacaille<\/em> de Couperin&nbsp;se transforme quant \u00e0 elle en un rondeau dont le refrain est si lancinant qu\u2019il produit sur l\u2019auditeur le m\u00eame effet que celui que susciterait une v\u00e9ritable passacaille.<\/p>\n\n\n\n<p><strong><em>Diversit\u00e9 et \u00e9volution de l\u2019\u00e9criture pour clavecin<\/em><\/strong><\/p>\n\n\n\n<p>Point n\u2019est besoin d\u2019attendre le clavecin tardif pour que les harmonies fassent vibrer l\u2019ou\u00efe&nbsp;: la richesse des accords de la&nbsp;<em>Passacaille<\/em> de Couperin et les chromatismes des&nbsp;<em>Ombres errantes<\/em> n\u2019ont rien \u00e0 envier aux pi\u00e8ces compos\u00e9es quelques dizaines d\u2019ann\u00e9es plus tard. En revanche, la mani\u00e8re d\u2019organiser le discours musical se modifie&nbsp;: il \u00e9tait uni autour d\u2019un seul geste, motif ou texture, comme dans les&nbsp;<em>Baricades mist\u00e9rieuses&nbsp;<\/em>; il devient beaucoup plus fragment\u00e9, recherchant la surprise plus que l\u2019unit\u00e9, dans&nbsp;<em>La De Belombre<\/em> par exemple.&nbsp;<\/p>\n\n\n\n<p>Entre d\u2019Anglebert et Duphly, la dense et complexe ornementation des pi\u00e8ces de la fin du XVII<sup>e<\/sup>si\u00e8cle et du d\u00e9but du XVIII<sup>e<\/sup>si\u00e8cle laisse la place \u00e0 une virtuosit\u00e9 v\u00e9loce, qui explore des tessitures inhabituelles dans&nbsp;<em>La Suzanne<\/em>, sature l\u2019espace sonore dans les couplets de la&nbsp;<em>Potho\u00fcen<\/em>.&nbsp;<em>Tic toc choc<\/em> de Couperin est l\u2019un des premiers morceaux de clavecin qui joue avec une dimension spectaculaire&nbsp;: il requiert deux claviers car les deux mains jouent exactement dans le m\u00eame registre. Couperin recommande d\u2019octavier l\u2019une des mains si l\u2019on ne dispose que d\u2019un clavecin \u00e0 un clavier, mais les pianistes virtuoses actuels passent outre cette recommandation, rendant la pi\u00e8ce encore plus extraordinaire.&nbsp;<\/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=\"Alexandre Tharaud plays Fran\u00e7ois Couperin (Audio video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/pptuu4WzjoI?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>La majorit\u00e9 des gestes spectaculaires pr\u00e9sents dans&nbsp;<em>La Marche des Scythes<\/em>,&nbsp;<em>La Suzanne<\/em>, et nombre de pi\u00e8ces de clavecin tardives, ont \u00e9t\u00e9 invent\u00e9s par Rameau, qui d\u00e9crit trois types de \u00ab&nbsp;batteries&nbsp;\u00bb&nbsp;: la main droite, qui passe par dessus la main gauche en bondissant d\u2019un c\u00f4t\u00e9 \u00e0 l\u2019autre du clavier&nbsp;; les notes r\u00e9p\u00e9t\u00e9es aux deux mains, qui agissent alors telles de petits marteaux, comme dans le 4<sup>e<\/sup>double de la&nbsp;<em>Gavotte<\/em>&nbsp;; le passage du second doigt par dessus le pouce, qui permet d\u2019\u00e9crire des batteries de main gauche v\u00e9loces, qui font gronder le clavier tout en percutant les basses, comme dans l\u2019explosive&nbsp;<em>Marche des Scythes,<\/em>o\u00f9 les basses martel\u00e9es sont d\u2019une aussi stup\u00e9fiante modernit\u00e9 que dans le dernier double de la&nbsp;<em>Gavotte<\/em> de Rameau.<\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\">La folle <em>Marche des Scythes<\/em> de Pancrace Royer, dans la version originale pour clavecin par Jean Rondeau, et sous les doigts du pianiste d&rsquo;Alexandre Tharaud.<\/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=\"Royer: La marche des Scythes | Jean Rondeau\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/SMbBYR_lplE?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<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=\"Premier livre de pi\u00e8ces de clavecin: XIV. La Marche des Scythes\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/edvbjaNzNzc?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><a href=\"https:\/\/philharmoniedeparis.fr\/fr\/activite\/recital-piano\/20297-alexandre-tharaud\">https:\/\/philharmoniedeparis.fr\/fr\/activite\/recital-piano\/20297-alexandre-tharaud<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Des livres de clavecin du Grand Si\u00e8cle compos\u00e9s par Jean-Henri d\u2019Anglebert aux \u0153uvres qui flamboient pr\u00e8s d\u2019un si\u00e8cle plus tard [&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":[8,68],"tags":[142,147,148,33,145,146,149,140,143,144,31,141],"class_list":["post-436","post","type-post","status-publish","format-standard","hentry","category-musique-ancienne-et-religieuse","category-transcription","tag-alexandre-tharaud","tag-balbastre","tag-bourgeois-gentilhomme","tag-clavecin","tag-couperin","tag-duphly","tag-marche-des-scythes","tag-piano","tag-rameau","tag-royer","tag-transcription","tag-versailles"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - 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