{"id":837,"date":"2021-11-27T07:23:02","date_gmt":"2021-11-27T06:23:02","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=837"},"modified":"2021-11-27T08:02:47","modified_gmt":"2021-11-27T07:02:47","slug":"o-temps-suspends-ton-vol","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2021\/11\/27\/o-temps-suspends-ton-vol\/","title":{"rendered":"\u00d4 temps ! Suspends ton vol&#8230;"},"content":{"rendered":"\n<p class=\"has-text-color has-background\" style=\"background-color:#e9fafc;color:#412400\">\u00ab&nbsp;\u00d4 temps&nbsp;! Suspends ton vol&nbsp;\u00bb\u2026 le vers de Lamartine pourrait sortir de la bouche de&nbsp;<em>Bellezza<\/em>, la jeune all\u00e9gorie du&nbsp;<em>Trionfo del tempo e del disinganno<\/em>&nbsp;de Haendel, qui cherche \u00e0 \u00e9chapper aux m\u00e2choires de l\u2019implacable&nbsp;<em>Chronos<\/em>, tout d\u2019abord en s\u2019\u00e9tourdissant dans l\u2019intensit\u00e9 du Plaisir de l\u2019instant, puis en partant \u00e0 la recherche d\u2019un temps d\u2019une autre nature. Le m\u00eame cheminement spirituel traverse la cantate de Bach&nbsp;<em>Mein Herz schwimmt im Blut<\/em>, tandis que la cantate&nbsp;<em>Ich habe genug<\/em>&nbsp;l\u2019a d\u00e9j\u00e0 d\u00e9pass\u00e9&nbsp;: le monde est derri\u00e8re et le sommeil, \u00e9ternel et serein, d\u00e9j\u00e0 l\u00e0. <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/11\/dali-temps.jpg\" alt=\"\" class=\"wp-image-838\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/11\/dali-temps.jpg 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/11\/dali-temps-300x225.jpg 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/11\/dali-temps-768x576.jpg 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2021\/11\/dali-temps-600x450.jpg 600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"has-text-color has-background\" style=\"background-color:#e9fafc;color:#412400\">Si le langage th\u00e9ologique du d\u00e9but du XVIII<sup>e<\/sup>\u00a0si\u00e8cle est un peu lointain, la question qui pr\u00e9occupe Bach et Haendel est bien actuelle\u00a0: que l\u2019\u00eatre humain soit \u00e0 l\u2019aube de sa vie comme\u00a0<em>Bellezza<\/em>, ou rassasi\u00e9 de jours comme le Sim\u00e9on du cantique que paraphrase\u00a0<em>Ich habe genug<\/em>, il passe sa vie \u00e0 tenter de saisir des instants d\u2019\u00e9ternit\u00e9, dont l\u2019intensit\u00e9 pourrait dilater cette marche in\u00e9luctable qui m\u00e8ne au n\u00e9ant. Et c\u2019est pr\u00e9cis\u00e9ment l\u00e0 que r\u00e9side le paradoxe auquel Bach et Haendel se sont bien souvent confront\u00e9s\u00a0: la musique est un art du temps, du temps rythm\u00e9 (le\u00a0<em>chronos<\/em>), qui pourtant permet de mettre en sons une id\u00e9e de l\u2019\u00e9ternit\u00e9.\u00a0<\/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=\"J.S. Bach - Cantata BWV 199 Mein Herze schwimmt im Blut - extrait - Sabine Devieilhe\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/XWP_vdDde_0?start=344&#038;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<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">La version pour soprano solo de la cantate\u00a0<em>Ich habe genug\u00a0<\/em>met en valeur la fl\u00fbte dont le timbre feutr\u00e9 et doux rappelle l\u2019ouverture instrumentale de la cantate BWV 106 (<em><a href=\"http:\/\/constanceluzzati.com\/index.php\/2019\/04\/03\/gottes-zeit-ist-der-allerbeste-zeit-actus-tragicus\/\">Actus tragicus<\/a><\/em>), o\u00f9 les fl\u00fbtes \u00e0 bec dominent avant que les premiers mots,\u00a0<em>Gottes Zeit\u00a0<\/em>(temps de Dieu) ne soient chant\u00e9s.\u00a0<em>Ich habe genug<\/em>\u00a0s\u2019ouvre directement sur un air dans lequel la fl\u00fbte fait entendre une longue ligne m\u00e9lodique qui sera reprise par la voix, avec laquelle elle s\u2019entrelace jusqu\u2019\u00e0 la fin de l\u2019air.<\/p>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">Sous la plume de Bach et Haendel, les \u0153uvres vocales que sont cantates, oratorio (<em>Il trionfo del tempo<\/em>) et op\u00e9ra (<em>Giulio Cesare<\/em>) font la part belle \u00e0 l\u2019\u00e9criture instrumentale concertante. Les airs avec \u00ab&nbsp;instrument oblig\u00e9&nbsp;\u00bb des cantates de Bach sont davantage des duos concertants entre \u00e9gaux que des airs pour voix seule et accompagnement. &nbsp;Ainsi, le hautbois solo de l\u2019air&nbsp;<em>Stumme Seufzer<\/em>&nbsp;(cantate BWV 199, n\u00b02) m\u00e8ne l\u2019introduction avant d\u2019\u00eatre rejoint par la voix de soprano, dont il se fait le relais de mani\u00e8re imperceptible, comme sur la mont\u00e9e chromatique bouleversante qui porte les&nbsp;\u00ab fontaines humides de larmes&nbsp;\u00bb. L\u2019instrument \u00e0 cordes qui accompagne la voix dans&nbsp;<em>Ich, dein betr\u00fcbtes<\/em>&nbsp;<em>Kind<\/em>&nbsp;(n\u00b06) n\u2019est plus son \u00e9gal, mais son parfait compl\u00e9ment&nbsp;: ses notes br\u00e8ves, plus ou moins orn\u00e9es selon les versions, font par contraste ressortir la simplicit\u00e9 du choral en valeurs longues que chante la soprano.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">L\u2019\u00e9criture concertante, purement instrumentale dans les concertos, ou dans les&nbsp;<em>Sinfonia<\/em>&nbsp;d\u2019ouverture des cantates, permet dans les \u0153uvres vocales d\u2019explorer la relation entre la voix et l\u2019instrument, qui devient voix int\u00e9rieure, double, ou contrepoint contradictoire. Et lorsque les parties instrumentales ne sont pas solistes, ce peut \u00eatre tout le pupitre qui se transforme en virtuose collectif rivalisant avec la voix, tels les violons dans&nbsp;<em>Un pensiero nemico di pace<\/em>&nbsp;du&nbsp;<em>Trionfo<\/em>&nbsp;de Haendel, qui pousse la voix dans sa course folle contre le Temps.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">Bach comme Haendel r\u00e9visent, citent, transcrivent \u00e0 de multiples reprises leurs \u0153uvres. Ils ne proc\u00e8dent cependant pas de la m\u00eame mani\u00e8re&nbsp;: Bach a plut\u00f4t tendance \u00e0 d\u00e9velopper ce qu\u2019il reprend, tandis qu\u2019Haendel tend \u00e0 rendre plus concis le mat\u00e9riau initial. Si les deux compositeurs remettent volontiers leurs \u0153uvres sur la table de travail, comme c\u2019est ici le cas, c\u2019est qu\u2019ils portent une attention toute particuli\u00e8re aux forces dont ils b\u00e9n\u00e9ficient pour les interpr\u00e9ter. Lorsqu\u2019il compose&nbsp;<em>Giulio Cesare<\/em>, Haendel taille le r\u00f4le de Cleopatra sur mesure pour Francesca Cuzzoni, qui vient d\u2019obtenir un succ\u00e8s fulgurant \u00e0 Londres dans son&nbsp;<em>Ottone<\/em>&nbsp;: une couleur de voix magnifique jusque dans l\u2019extr\u00eame aigu, des qualit\u00e9s expressives hors pair dans les airs sensibles, et une facilit\u00e9 rare pour l\u2019ex\u00e9cution des trilles et ornements.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">Les r\u00e9visions des \u0153uvres de Bach montrent une attention port\u00e9e davantage sur les parties instrumentales que sur l\u2019ad\u00e9quation de la ligne vocale aux capacit\u00e9s des chanteurs, qui ne sont pas les rossignols de renomm\u00e9e europ\u00e9enne qui chantent pour Haendel. Il modifie les tessitures, les tonalit\u00e9s, et les instruments solistes&nbsp;:&nbsp;<em>Ich habe genug<\/em>&nbsp;existe dans 4 versions, et celle pour soprano de 1731 voit la partie de hautbois transform\u00e9e en partie pour fl\u00fbte. C\u2019est aussi la partie d\u2019instrument soliste qui change de destinataire dans la cantate BWV 199&nbsp;: alto solo dans la premi\u00e8re version, violoncelle dans la 2<sup>\u00e8me<\/sup>, viole de gambe dans la 3<sup>\u00e8me<\/sup>, et violoncelle piccolo dans la derni\u00e8re&nbsp;!<\/p>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">Bach n\u2019a en effet pas toujours les m\u00eames instrumentistes \u00e0 disposition&nbsp;: \u00e0 Coethen, les cordes de l\u2019orchestre sont remarquables, ce qui n\u2019est pas le cas \u00e0 Leipzig, o\u00f9 le compositeur peut en revanche s\u2019appuyer sur ses fils a\u00een\u00e9s au clavier. Le concerto pour clavecin en&nbsp;<em>r\u00e9<\/em>&nbsp;mineur BWV 1052 est probablement la transcription d\u2019un concerto pour violon ant\u00e9rieur dont on a tent\u00e9 de reconstituer la partition. On suppose qu\u2019il a \u00e9t\u00e9 compos\u00e9 avant 1726, date de la cantate BWV 146, qui reprend son premier mouvement palpitant, lequel jamais ne laisse l\u2019organiste ou l\u2019auditeur en r\u00e9pit, particuli\u00e8rement dans les cadences qui, sur des notes r\u00e9p\u00e9t\u00e9es, tendent et \u00e9tirent l\u2019harmonie d\u2019une fa\u00e7on spectaculaire, faisant \u00e9clater leur d\u00e9nouement sur le retour du th\u00e8me.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">Les versions successives du&nbsp;<em>Trionfo,&nbsp;<\/em>premier (1707) et dernier (1757) oratorio de Haendel, t\u00e9moignent davantage de l\u2019\u00e9volution du rapport de l\u2019auteur \u00e0 des questions existentielles.&nbsp;<em>Un pensiero nemico di pace<\/em>&nbsp;fait entendre une Bellezza tr\u00e9pidante, sur des doubles-croches ininterrompues qui cr\u00e9pitent de vie et d\u2019angoisse. La forme&nbsp;<em>da capo<\/em>&nbsp;est parfaitement adapt\u00e9e au sujet&nbsp;: la partie centrale contrastante \u00e9voque la possibilit\u00e9 d\u2019une autre temporalit\u00e9, o\u00f9&nbsp;\u00ab&nbsp;le Temps n\u2019est plus le Temps&nbsp;\u00bb. La r\u00e9ponse du cardinal romain auteur du livret est la m\u00eame que celle apport\u00e9e par les cantates de Bach&nbsp;: au temps du monde se substitue le temps de Dieu.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">Si l\u2019itin\u00e9raire spirituel des cantates est parall\u00e8le \u00e0 celui de l\u2019oratorio de Haendel, il n\u2019est toutefois pas identique. La cantate BWV 199 part d\u2019une profonde affliction expos\u00e9e dans le r\u00e9citatif expressif qui ouvre la cantate, pour aller jusqu\u2019\u00e0 la joie du salut apport\u00e9 par le choral (n\u00b06) et exprim\u00e9e dans les derniers num\u00e9ros. La cantate BWV 82 se situe encore au-del\u00e0\u00a0: la confiance est enti\u00e8rement pr\u00e9sente d\u00e8s son d\u00e9but, et la perspective de l\u2019endormissement d\u00e9finitif per\u00e7u comme une b\u00e9atitude. Nulle trace de la r\u00e9volte de Bellezza dans la berceuse\u00a0<em>Ich habe Schlummert<\/em>, qui prend appui avec souplesse pour mieux suspendre la voix \u00e0 ses syncopes. La longue ligne aux notes tenues tient sur un fil d\u00e9j\u00e0 d\u00e9livr\u00e9 de l\u2019apesanteur.<\/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\">\nhttps:\/\/www.youtube.com\/watch?v=hhfRKo6OaK8\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-color\" style=\"color:#412400\">Dans le dernier air de l\u2019oratorio de Haendel, la voix de Bellezza, perch\u00e9e au-dessus d\u2019un accompagnement tr\u00e8s l\u00e9ger, semble ouvrir les portes du ciel. Bellezza n\u2019a pas l\u2019\u00e2ge du Sim\u00e9on de la cantate de Bach, dont la s\u00e9r\u00e9nit\u00e9 serait proprement surnaturelle si elle n\u2019\u00e9tait teint\u00e9e d\u2019une pointe de lassitude. Lorsqu\u2019elle chante \u00ab\u00a0tu ne verras plus dans mon c\u0153ur de souhaits volages ou de vaines ardeurs\u00a0\u00bb, elle s\u2019exprime au futur, sur de grands intervalles vocaux qui font entendre un regret d\u00e9chirant du monde avec une sensualit\u00e9 caract\u00e9ristique des airs de soprano de Haendel, autant qu\u2019ils ouvrent \u00e0 ces sons suspendus, dont l\u2019aigu appartient \u00e0 un autre monde, et la longueur \u00e0 un autre temps.<\/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\" style=\"background-color:#e2e9eb\">Pour citer ce texte : Constance Luzzati, <em>Concert Bach et Haendel de l&rsquo;ensemble Pygmalion<\/em>, note de programme pour la Philharmonie de Paris, 19 octobre 2021.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00ab&nbsp;\u00d4 temps&nbsp;! Suspends ton vol&nbsp;\u00bb\u2026 le vers de Lamartine pourrait sortir de la bouche de&nbsp;Bellezza, la jeune all\u00e9gorie du&nbsp;Trionfo del [&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":[8,40,178,51,60],"tags":[87,30,53,185,5,190,191,54],"class_list":["post-837","post","type-post","status-publish","format-standard","hentry","category-musique-ancienne-et-religieuse","category-musique-religieuse","category-musique-vocale","category-theologie","category-theologie-pratique","tag-bach","tag-cantate","tag-chronos","tag-eternite","tag-haendel","tag-oratorio","tag-soprano","tag-temps"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u00d4 temps ! 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