{"id":457,"date":"2019-11-17T17:34:01","date_gmt":"2019-11-17T16:34:01","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=457"},"modified":"2019-11-17T17:34:03","modified_gmt":"2019-11-17T16:34:03","slug":"versailles-reve","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2019\/11\/17\/versailles-reve\/","title":{"rendered":"Versailles r\u00eav\u00e9"},"content":{"rendered":"\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"282\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/galerie-des-glaces.jpg\" alt=\"\" class=\"wp-image-461\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/galerie-des-glaces.jpg 720w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/galerie-des-glaces-300x118.jpg 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/galerie-des-glaces-600x235.jpg 600w\" sizes=\"(max-width: 720px) 100vw, 720px\" \/><\/figure>\n\n\n\n<p class=\"has-medium-font-size\"><strong><em>Le go\u00fbt de Couperin<\/em><\/strong><\/p>\n\n\n\n<div class=\"wp-block-columns has-2-columns is-layout-flex wp-container-core-columns-is-layout-1 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p><\/p>\n<\/div>\n<\/div>\n\n\n\n<p style=\"text-align:center\">Les clavecinistes fran\u00e7ais n\u2019ont jamais \u00e9t\u00e9 tout \u00e0 fait oubli\u00e9s, comme en t\u00e9moigne le jeu perl\u00e9 qui en est tributaire et a domin\u00e9 l\u2019esth\u00e9tique du piano fran\u00e7ais jusqu\u2019\u00e0 Marguerite Long et Yvonne Lef\u00e9bure. <\/p>\n\n\n\n<p style=\"background-color:#fee87a;text-align:center\" class=\"has-background\"><em>Pour les curieux, le Conservatoire de Paris a produit un documentaire passionnant sur les origines du jeu perl\u00e9, <\/em><a href=\"https:\/\/www.youtube.com\/watch?v=U_5lVqKg-0E \"><em>ICI<\/em><\/a><\/p>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"826\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.39.35-1024x826.png\" alt=\"\" class=\"wp-image-464\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.39.35-1024x826.png 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.39.35-300x242.png 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.39.35-768x619.png 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.39.35-600x484.png 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.39.35.png 1540w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Les pianistes fran\u00e7ais qui l\u2019ont d\u00e9velopp\u00e9, \u00e0 la fin du XIX<sup>e<\/sup>si\u00e8cle et au d\u00e9but du XX<sup>e<\/sup>, sont \u00e9galement ceux qui ont promu le r\u00e9pertoire de clavecin&nbsp;: Camille Saint-Sa\u00ebns et Louis Di\u00e9mer, dont les transcriptions pour piano incluent les d\u00e9licats&nbsp;<em>Roseaux<\/em> de Couperin. C\u2019est \u00e0 travers ces \u00e9ditions que Debussy et Ravel ont pu go\u00fbter Couperin et Rameau. <\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text alignwide\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"681\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.46.03-1024x681.png\" alt=\"\" class=\"wp-image-466\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.46.03-1024x681.png 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.46.03-300x200.png 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.46.03-768x511.png 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.46.03-600x399.png 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/11\/Capture-d\u2019\u00e9cran-2019-11-17-\u00e0-07.46.03.png 1606w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Elles sont graphiquement assez diff\u00e9rentes de celles dont Fran\u00e7ois Couperin a supervis\u00e9 la gravure deux si\u00e8cles plus t\u00f4t : elles \u00e9crivent les ornements en toutes notes, ajoutent des nuances et des liaisons.<\/p>\n<\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>La&nbsp;<em>Sonatine<\/em> de Ravel, achev\u00e9e en 1905, rend un lointain hommage \u00e0 la musique ancienne, par sa concision, par la structure clairement dessin\u00e9e de ses mouvements, par l\u2019\u00e9l\u00e9gance et la l\u00e9g\u00e8ret\u00e9 de l\u2019\u00e9criture, et par le jeu perl\u00e9 qu\u2019elle requiert. Le mouvement central,&nbsp;<em>Menuet<\/em>, \u00e9voque plus nettement la musique ancienne, et fait \u00e9cho aux autres menuets de Ravel, dont celui du&nbsp;<em>Tombeau de Couperin<\/em>, orn\u00e9, rythm\u00e9 et structur\u00e9 comme une pi\u00e8ce de clavecin.<\/p>\n\n\n\n<figure class=\"wp-block-embed-soundcloud wp-block-embed is-type-rich is-provider-soundcloud 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=\"Sonatine, M. 40: II. Mouvement de menuet (Live) by Martha Argerich\" width=\"500\" height=\"400\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F254243598&#038;show_artwork=true&#038;maxheight=750&#038;maxwidth=500\"><\/iframe><\/div>\n<\/div><\/figure>\n\n\n\n<p>Quant \u00e0 Claude Debussy, il voue une admiration \u00e9gale \u00e0 Rameau, quintessence d\u2019une tradition fran\u00e7aise \u00ab faite de tendresse d\u00e9licate et charmante, d\u2019accents justes, de d\u00e9clamation rigoureuse dans le r\u00e9cit, sans cette affectation \u00e0 la profondeur allemande \u00bb&nbsp;&nbsp;et Couperin, citant plusieurs de ses pi\u00e8ces comme un symbole de l\u2019esprit : <\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>\u00ab&nbsp;Nous avons besoin de m\u00e9diter l\u2019exemple que nous proposent certaines petites pi\u00e8ces de Couperin ; elles sont d\u2019adorables mod\u00e8les d\u2019une gr\u00e2ce et d\u2019un naturel que nous ne connaissons plus. Rien ne peut faire oublier le parfum sournoisement voluptueux, la fine perversit\u00e9 inavou\u00e9e qui r\u00f4dent innocemment autour des&nbsp;Baricades mist\u00e9rieuses&#8230; \u00bb<\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed-dailymotion wp-block-embed is-type-video is-provider-dailymotion wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"COUPERIN : Les Barricades myst\u00e9rieuses par Justin Taylor - R\u00e9v\u00e9lations 2017\" frameborder=\"0\" width=\"500\" height=\"281\" src=\"https:\/\/geo.dailymotion.com\/player.html?video=x57zson&#038;\" allowfullscreen allow=\"autoplay; fullscreen; picture-in-picture; web-share\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size\"><strong><em>R\u00e9miniscences anciennes<\/em><\/strong><\/p>\n\n\n\n<p>Si le go\u00fbt du clavecin est r\u00e9el, son influence sur la musique reste limit\u00e9e. Les compositeurs y puisent un imaginaire po\u00e9tique inspirant, et la possibilit\u00e9 de fonder une identit\u00e9 musicale nationale. Ce mirage ancien et le discours qu\u2019il a suscit\u00e9 chez Debussy comme chez Ravel sont \u00e0 l\u2019origine de la repr\u00e9sentation usuelle que l\u2019on se fait du clavecin fran\u00e7ais&nbsp;: d\u00e9pouill\u00e9 du caract\u00e8re th\u00e9\u00e2tral et puissant qu\u2019il rev\u00eat parfois, au profit de la d\u00e9licatesse cisel\u00e9e des&nbsp;<em>Calotins<\/em> et des&nbsp;<em>Ombres errantes<\/em>.&nbsp;<\/p>\n\n\n\n<p>Nulle trace de la musique de Rameau n\u2019est perceptible dans l\u2019<em>Hommage \u00e0 Rameau<\/em> de Debussy, mais la sensation de plonger dans un r\u00eave antique est tangible. Elle est provoqu\u00e9e par les longues lignes monodiques qui font perdre le compte du temps, par les profondes basses qui r\u00e9sonnent comme des cloches, et par les accords parall\u00e8les diatoniques successifs qui \u00e9vitent toute direction \u00e0 la phrase.&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=\"Michelangeli plays Debussy Images 1\/2 - Hommage \u00e0 Rameau\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/tpOuSc9WApk?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>La Suite \u00ab&nbsp;Du temps de Holberg&nbsp;\u00bb<\/em>compos\u00e9e par Grieg, tout en \u00e9tant esth\u00e9tiquement bien diff\u00e9rente de l\u2019hommage debussyste, en est proche \u00e0 la fois par son sujet \u2013 l\u2019hommage \u2013 et la distance avec laquelle celui-ci est trait\u00e9. La pi\u00e8ce a \u00e9t\u00e9 compos\u00e9e pour le bicentenaire de la naissance de Holberg qui fut l\u2019un des premiers dramaturges de langue danoise, entr\u00e9 en litt\u00e9rature par l\u2019interm\u00e9diaire de traductions de pi\u00e8ces de Moli\u00e8re. Cette francophilie th\u00e9\u00e2trale est probablement \u00e0 l\u2019origine de la r\u00e9miniscence fran\u00e7aise que l\u2019on per\u00e7oit \u00e0 travers la structure de cette suite. Le souvenir de la musique Baroque, pr\u00e9sent \u00e0 travers le motif point\u00e9 du&nbsp;<em>Pr\u00e9lude<\/em> et l\u2019ornementation de l\u2019<em>Andante<\/em>, fusionne avec le lyrisme de l\u2019harmonie et de l\u2019\u00e9criture m\u00e9lodique de Grieg, qui tend \u00e0 l\u2019emporter sur l\u2019\u00e9cho antique.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-medium-font-size\"><strong><em>Versailles r\u00eav\u00e9, Versailles r\u00e9invent\u00e9<\/em><\/strong><\/p>\n\n\n\n<p>Si Reynaldo Hahn a bien dirig\u00e9 des concerts d\u00e9volus \u00e0 Lully, compos\u00e9 de la musique sur les vers de Racine et consacr\u00e9 un op\u00e9ra \u00e0 Louise de La Valli\u00e8re, son attrait pour les XVII<sup>e<\/sup> et XVIII<sup>e<\/sup> si\u00e8cles semble bien davantage li\u00e9 \u00e0 Versailles qu\u2019\u00e0 la musique qui y fut jou\u00e9e.&nbsp;<em>Versailles<\/em> est la quatri\u00e8me s\u00e9rie de son recueil de po\u00e8mes pour piano&nbsp;<em>Le Rossignol \u00e9perdu<\/em>. L\u2019ensemble se r\u00e9f\u00e8re davantage au XVIII<sup>e<\/sup> si\u00e8cle qu\u2019au pr\u00e9c\u00e9dent, \u00e9voquant Marie-Antoinette, les jardins, ses statues et f\u00eates, dans une atmosph\u00e8re de promenade intime qui laisse la place \u00e0 la contemplation de ce parc tant aim\u00e9 par le compositeur. <\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>\u00ab Personne dans le parc&#8230; L\u2019arc- en-ciel, soudain, est pareil \u00e0 un jet d\u2019eau&#8230; Les arbres remuent et chuchotent. Ils sont verts, noirs, lilas. Les flaques d\u2019eau sont incandescentes ; elles refl\u00e8tent les fen\u00eatres de la Galerie de Glaces. Splendeur claire, inimaginable magnificence. On \u00e9prouve comme une dilatation de l\u2019\u00eatre entier, tant tout est vaste, pur, myst\u00e9rieux, dor\u00e9 ! Et vraiment le Roi \u00e9tait presque excusable, devant ces prodiges et dans son d\u00e9sir de les favoriser, d\u2019oublier parfois les souffrances du peuple.&nbsp;\u00bb<\/em> <\/p>\n\n\n\n<p>\u00ab On nous dit que nos rois d\u00e9pensaient sans compter [\u2026]. Mais quand ils construisaient de semblables merveilles, ne nous mettaient-ils pas notre argent de c\u00f4t\u00e9 ? \u00bb Les premiers mots de Sacha Guitry dans&nbsp;<em>Si Versailles m\u2019\u00e9tait cont\u00e9<\/em> rejoignent ceux de Hahn. La musique de Jean Fran\u00e7aix est elle aussi inspir\u00e9e par le lieu et les situations davantage que par Couperin. L\u2019humour est omnipr\u00e9sent, depuis la premi\u00e8re rencontre entre Fran\u00e7aix et Guitry, qui lui fait improviser un \u00ab&nbsp;enterrement de premi\u00e8re classe&nbsp;\u00bb, puis \u00ab&nbsp;un enterrement de seconde classe&nbsp;\u00bb, et l\u2019embauche sur une ironique r\u00e9v\u00e9rence, jusqu\u2019\u00e0 la derni\u00e8re sc\u00e8ne du film. La musique est truff\u00e9e de citations savoureuses dans tous les mouvements, particuli\u00e8rement dans les&nbsp;<em>Cent marches<\/em> o\u00f9 elles se multiplient et se superposent dans un contrepoint sur&nbsp;<em>Nous n\u2019irons plus au bois<\/em> qui accompagne le d\u00e9fil\u00e9 de tous les personnages du film, depuis Louis XIV jusqu\u2019aux poilus. <\/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=\"1789 revolucion francesa  Si Versailles M&#039;\u00e9tait Cont\u00e9\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/WjusY_ef6js?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>Une citation de la marseillaise cl\u00f4t le mouvement, s\u2019encha\u00eenant avec l\u2019\u00e9clatant arrangement pour piano que Franz Liszt a compos\u00e9 sur le m\u00eame hymne, qui l\u2019a accompagn\u00e9 depuis le projet d\u2019une&nbsp;<em>Symphonie r\u00e9volutionnaire<\/em> pour ses 18 ans jusqu\u2019\u00e0 cette r\u00e9alisation de pleine maturit\u00e9.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\">Pour citer ce texte : Constance Luzzati, <em>Versailles<\/em>, programme de salle version longue, r\u00e9cital d&rsquo;Alexandre Tharaud, Paris, Philharmonie, 17 novembre 2019, URL.<\/p>\n\n\n\n<p>version courte : <a href=\"https:\/\/philharmoniedeparis.fr\/fr\/activite\/recital-piano\/20296-alexandre-tharaud\">https:\/\/philharmoniedeparis.fr\/fr\/activite\/recital-piano\/20296-alexandre-tharaud<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Le go\u00fbt de Couperin Les clavecinistes fran\u00e7ais n\u2019ont jamais \u00e9t\u00e9 tout \u00e0 fait oubli\u00e9s, comme en t\u00e9moigne le jeu perl\u00e9 [&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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