{"id":479,"date":"2019-12-28T08:10:21","date_gmt":"2019-12-28T07:10:21","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=479"},"modified":"2019-12-28T08:10:23","modified_gmt":"2019-12-28T07:10:23","slug":"le-salon-des-miroirs","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2019\/12\/28\/le-salon-des-miroirs\/","title":{"rendered":"Le salon des miroirs"},"content":{"rendered":"\n<ul class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"783\" height=\"1024\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/CMIM000034906-1-783x1024.jpg\" alt=\"\" data-id=\"485\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=485\" class=\"wp-image-485\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/CMIM000034906-1-783x1024.jpg 783w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/CMIM000034906-1-229x300.jpg 229w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/CMIM000034906-1-768x1004.jpg 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/CMIM000034906-1-600x785.jpg 600w\" sizes=\"(max-width: 783px) 100vw, 783px\" \/><\/figure><\/li><\/ul>\n\n\n\n<p style=\"text-align:center\" class=\"has-small-font-size\">Clavecin Couchet, d\u00e9tail, collection du mus\u00e9e de la musique, Paris<\/p>\n\n\n\n<p class=\"has-text-color has-luminous-vivid-amber-color\">Au tournant des XIX<sup>e<\/sup>et XX<sup>e<\/sup>si\u00e8cles, les musiciens fran\u00e7ais red\u00e9couvrent avec enthousiasme le r\u00e9pertoire ancien des XVII<sup>e<\/sup>et XVIII<sup>e<\/sup>si\u00e8cles. Les pianistes \u00e9ditent des recueils de clavecinistes fran\u00e7ais, dont les illustres&nbsp;<em>Baricades mist\u00e9rieuses<\/em> de Fran\u00e7ois Couperin et&nbsp;<em>Rappel des oiseaux<\/em> de Jean-Philippe Rameau. Les violonistes font de m\u00eame, tel Delphin Alard qui publie, parmi son anthologie des<em> Ma\u00eetres classiques du violon<\/em>, la&nbsp;<em>Sonate pour violon op. 9 n\u00b03&nbsp;<\/em>de Jean-Marie Leclair. La maison Pleyel r\u00e9alise un clavecin aux multiples sonorit\u00e9s, rendu c\u00e9l\u00e8bre sous les doigts de Wanda Landowska, qui y fait r\u00e9sonner les pi\u00e8ces de Couperin et Rameau avec un timbre bien diff\u00e9rent de celui d\u2019un clavecin Couchet.&nbsp;<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<ul class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"248\" height=\"203\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/clavecin-pleyel.jpg\" alt=\"\" data-id=\"482\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=482\" class=\"wp-image-482\"\/><\/figure><\/li><\/ul>\n\n\n\n<p style=\"text-align:center\" class=\"has-small-font-size\">Clavecin Pleyel, collection du Mus\u00e9e de la musique, Paris<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><strong>De la cour de Louis XIV aux salons sous Louis XV<\/strong><\/p>\n\n\n\n<p>Lorsque, en 1717, il publie son livre de pi\u00e8ces de clavecin, Couperin est un musicien reconnu, employ\u00e9 depuis 1693 par Louis XIV en tant qu\u2019organiste de la Chapelle, professeur, et tout nouvellement claveciniste de la Chambre. Bien que le 2<sup>e<\/sup> livre de&nbsp;<em>Concerts Royaux<\/em> soit publi\u00e9 en 1724, l\u2019ann\u00e9e du couronnement de Louis XV, les pi\u00e8ces qu\u2019il contient sont en majorit\u00e9 ant\u00e9rieures \u00e0 celles que le jeune Francoeur publie en 1720, car compos\u00e9es pour Louis XIV, ainsi que sugg\u00e8re la pr\u00e9face du livre pr\u00e9c\u00e9dent&nbsp;:&nbsp;<em>\u00ab&nbsp;Si elles sont autant du go\u00fbt du Public, qu\u2019elles ont \u00e9t\u00e9 aprouv\u00e9es du feu-Roy ; J\u2019en ay suffisament pour en donner dans la suite quelques volumes complets.&nbsp;\u00bb&nbsp;<\/em>\u00c0 la diff\u00e9rence de Couperin, Jean-Philippe Rameau, qui fait para\u00eetre ses pi\u00e8ces de clavecin cette m\u00eame ann\u00e9e 1724 est connu comme auteur d\u2019un volumineux&nbsp;<em>Trait\u00e9 de l\u2019harmonie<\/em>, mais en tant que claveciniste et compositeur il demeure un illustre inconnu.&nbsp;&nbsp;<\/p>\n\n\n\n<p>Une trentaine d\u2019ann\u00e9es seulement se sont \u00e9coul\u00e9es, mais un monde s\u00e9pare les pi\u00e8ces de Couperin, compos\u00e9es pour la cour de Louis XIV, des sonates de Leclair, destin\u00e9es \u00e0 toute oreille de bon go\u00fbt&nbsp;: les Concerts de la reine Marie Leszczynska et le Concert spirituel sont tous deux fond\u00e9s en 1725&nbsp;; diverses institutions de concerts priv\u00e9s et publics suivront, permettant \u00e0 un plus grand nombre d\u2019auditeurs d\u2019entendre les \u0153uvres des compositeurs en vogue.&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-gallery columns-1 is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" decoding=\"async\" width=\"582\" height=\"390\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/leczinska-marie-portrait-nattier-gout-musical-concerts-de-la-reine-versailles-livres-critique-CLASSIQUENEWS.jpg\" alt=\"\" data-id=\"487\" data-link=\"http:\/\/constanceluzzati.com\/?attachment_id=487\" class=\"wp-image-487\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/leczinska-marie-portrait-nattier-gout-musical-concerts-de-la-reine-versailles-livres-critique-CLASSIQUENEWS.jpg 582w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2019\/12\/leczinska-marie-portrait-nattier-gout-musical-concerts-de-la-reine-versailles-livres-critique-CLASSIQUENEWS-300x201.jpg 300w\" sizes=\"(max-width: 582px) 100vw, 582px\" \/><\/figure><\/li><\/ul>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><strong>Le clavecin fran\u00e7ais<\/strong><\/p>\n\n\n\n<p>Les portraits et les pi\u00e8ces de caract\u00e8re constituent l\u2019un des traits sp\u00e9cifiques de la musique fran\u00e7aise. Ils ne sont pas assujettis \u00e0 une rythmique caract\u00e9ristique, comme les mouvements de danse de la suite, et permettent une invention plus libre et po\u00e9tique. L\u2019ornementation \u00e0 la fran\u00e7aise, tr\u00e8s riche et diversifi\u00e9e, est habituellement plus dense dans les pi\u00e8ces de Couperin que dans celles de Rameau. Mais, dans le cas pr\u00e9sent, ce sont les&nbsp;<em>Tendres plaintes&nbsp;<\/em>de Rameau qui en tirent la plus grande puissance expressive, tandis qu\u2019ils sont \u00e0 l\u2019origine de l\u2019articulation cisel\u00e9e du&nbsp;<em>Rappel des Oiseaux<\/em>.&nbsp;<em>Les baricades mist\u00e9rieuses<\/em> explorent une toute autre fa\u00e7on de faire sonner le clavecin, o\u00f9 les doigts de l\u2019interpr\u00e8te restent enfonc\u00e9s dans les touches pour faire r\u00e9sonner les cordes plus longtemps, faisant entendre une&nbsp;polyphonie dont les harmonies sont bris\u00e9es et \u00e9tal\u00e9es en rythmes r\u00e9guliers.&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=\"Justin Taylor - Les Barricades myst\u00e9rieuses - Clavecin Couchet\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/cQzrWFwJ9M0?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>Toutes r\u00e9centes sont en revanche les innovations techniques qui favorisent une v\u00e9locit\u00e9 aux contours inhabituels dans les \u00ab&nbsp;doubles&nbsp;\u00bb de la&nbsp;<em>Gavotte<\/em> de Rameau. Les trois derniers sont inou\u00efs, tant pour les jeux rythmiques et le puissant moteur induit par les notes r\u00e9p\u00e9t\u00e9es et les sauts de tessiture, que pour une r\u00e9alisation qui implique que \u00ab&nbsp;les mains font entre elles le mouvement cons\u00e9cutif des deux baguettes d\u2019un tambour&nbsp;\u00bb. Le clavecin m\u00e9lodique des&nbsp;<em>Tendres plaintes<\/em>, harmonique des&nbsp;<em>Baricades<\/em>, se fait alors presque instrument \u00e0 percussion.&nbsp;<\/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=\"RAMEAU : Gavotte et six doubles par Justin Taylor - R\u00e9v\u00e9lations 2017\" frameborder=\"0\" width=\"500\" height=\"281\" src=\"https:\/\/geo.dailymotion.com\/player.html?video=x57zskh&#038;\" allowfullscreen allow=\"autoplay; fullscreen; picture-in-picture; web-share\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><strong>Les go\u00fbts r\u00e9unis<\/strong><\/p>\n\n\n\n<p>Si le clavecin est embl\u00e9matique de l\u2019esth\u00e9tique fran\u00e7aise, le violon est l\u2019instrument italien par excellence. Le deuxi\u00e8me volume des&nbsp;<em>Concerts royaux<\/em> de Couperin, dont est extrait le&nbsp;<em>Septi\u00e8me concert<\/em>, s\u2019intitule&nbsp;<em>Les Go\u00fbts r\u00e9unis<\/em>:&nbsp;<\/p>\n\n\n\n<p class=\"has-background has-very-light-gray-background-color\"><em>\u00ab Le go\u00fbt Italien et le go\u00fbt Fran\u00e7ois ont partag\u00e9 depuis longtemps, (en France) la R\u00e9publique de la Musique [&#8230;] et les premi\u00e8res Sonades Itali\u00e8nes [\u2026] qui m\u2019encouragerent \u00e0 en composer ensuite, ne firent aucun tort dans mon esprit, ny aux ouvrages de Monsieur de Lulli, ni \u00e0 ceux de mes anc\u00eatres \u00bb.&nbsp;<\/em><\/p>\n\n\n\n<p>Il faut cependant attendre les sonates de Leclair pour que ce v\u0153u se r\u00e9alise pleinement, car sous la plume de&nbsp;Couperin na\u00eet une \u00ab&nbsp;sonate&nbsp;\u00bb encore toute fran\u00e7aise, tant dans son \u00e9criture, \u00e0 l\u2019exception de la&nbsp;<em>Fugu\u00e9te<\/em>, que dans sa structure.<\/p>\n\n\n\n<p>La sonate de Francoeur adopte en revanche une coupe \u00e0l\u2019italienne, avec une alternance de&nbsp;<em>tempi<\/em> lents et rapides, des mouvements dont seul le titre est italianisant (<em>adagio<\/em>), et des danses fran\u00e7aises avec quelques gestes de violon \u00e0 l\u2019italienne. Le rondeau entrem\u00eale plus intimement les styles&nbsp;: titre \u00e0 l\u2019orthographe fran\u00e7aise, th\u00e8me qui semble puiser les racines de son expressivit\u00e9 dans la musique pour viole de gambe de Forqueray, et technique de violon domin\u00e9e par les bariolages caract\u00e9ristiques de Corelli.<\/p>\n\n\n\n<p>&nbsp;Les sonates de Leclair poussent plus loin le mariage des styles, italianisant les danses fran\u00e7aises (<em>gavotta<\/em>), ou m\u00ealant les deux (<em>presto tambourin<\/em>), en utilisant tant\u00f4t l\u2019ornementation \u00e0 la fran\u00e7aise, tant\u00f4t le trille vivaldien, avec une virtuosit\u00e9 o\u00f9 les notes r\u00e9p\u00e9t\u00e9es et les d\u00e9crochages de tessitures sont inspir\u00e9s du ma\u00eetre v\u00e9nitien.<\/p>\n\n\n\n<p style=\"text-align:center\" class=\"has-small-font-size\">Pour terminer en beaut\u00e9, <a href=\"https:\/\/www.facebook.com\/watch\/?v=277596542848182\">quelques notes de Leclair sous les doigts de Th\u00e9otime Langlois de Swarte<\/a>, dans un concerto pour violon au Festival de Sabl\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>Le Salon des miroirs<\/em>, programme de salle pour Justin Taylor et Th\u00e9otime Langlois de Swarte, Paris, Philharmonie, 15 novembre 2019.<\/p>\n\n\n\n<p><a href=\"https:\/\/philharmoniedeparis.fr\/fr\/activite\/concert-sur-instruments-du-musee\/20516-salon-des-miroirs\">https:\/\/philharmoniedeparis.fr\/fr\/activite\/concert-sur-instruments-du-musee\/20516-salon-des-miroirs<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Clavecin Couchet, d\u00e9tail, collection du mus\u00e9e de la musique, Paris Au tournant des XIXeet XXesi\u00e8cles, les musiciens fran\u00e7ais red\u00e9couvrent avec [&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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