{"id":8577,"date":"2025-06-06T05:58:55","date_gmt":"2025-06-06T03:58:55","guid":{"rendered":"https:\/\/constanceluzzati.com\/?p=8577"},"modified":"2025-06-06T05:58:58","modified_gmt":"2025-06-06T03:58:58","slug":"les-saisons-le-monde-dans-un-violon","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2025\/06\/06\/les-saisons-le-monde-dans-un-violon\/","title":{"rendered":"Les Saisons : le monde dans un violon"},"content":{"rendered":"\n<div class=\"wp-block-uagb-advanced-heading uagb-block-a4da7dc9\"><h4 class=\"uagb-heading-text\">Comme un tremblement de terre<\/h4><\/div>\n\n\n\n<p class=\"has-text-color has-background has-link-color wp-elements-3d36bb3335b5aaa29857e0720391a530\" style=\"color:#723d18;background-color:#f4eee0\">La l\u00e9gende qui offre \u00e0 Vivaldi une venue au monde \u00e0 l\u2019image de son \u00e9criture tr\u00e9pidante le fait na\u00eetre pendant un tremblement de terre. La br\u00e8ve <em>Sinfonia RV 168<\/em> se fait l\u2019\u00e9cho de cette vibration, et fait entendre en quelques secondes de notes r\u00e9p\u00e9t\u00e9es la signature de l\u2019\u00e9criture caract\u00e9ristique de Vivaldi. L\u2019existence du V\u00e9nitien est tout enti\u00e8re \u00e0 l\u2019image de ce conte forg\u00e9 pour souligner le caract\u00e8re extr\u00eame, emport\u00e9, impr\u00e9visible, que les musicographes ont pris soin d\u2019accoler \u00e0 une musique stup\u00e9fiante tant par sa vivacit\u00e9 et sa qualit\u00e9 que par sa quantit\u00e9 et sa diversit\u00e9. Si le genre du concerto pour violon demeure au c\u0153ur de sa production sa vie durant, l\u2019op\u00e9ra occupe une place de choix dans le catalogue vivaldien, ce dont certaines lignes chantantes instrumentales se font l\u2019\u00e9cho. Avec les <em>Quatre<\/em> <em>Saisons<\/em>, au succ\u00e8s retentissant d\u00e8s leur parution, le violon se fait le miroir non plus seulement de la voix mais du rythme de la nature, que la musique a la capacit\u00e9 d\u2019imiter et de sublimer.<\/p>\n\n\n\n<div class=\"wp-block-uagb-image uagb-block-c01cf2c0 wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/inside-violin.jpeg ,https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/inside-violin.jpeg 780w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/inside-violin.jpeg 360w\" sizes=\"(max-width: 480px) 150px\" src=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/inside-violin.jpeg\" alt=\"\" class=\"uag-image-8582\" width=\"736\" height=\"490\" title=\"Inside a violin. Adrian Borda\" loading=\"lazy\" role=\"img\"\/><figcaption class=\"uagb-image-caption\">Inside a violin. Adrian Borda<\/figcaption><\/figure><\/div>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-uagb-advanced-heading uagb-block-fdd8f565\"><h4 class=\"uagb-heading-text\">Concerter<\/h4><\/div>\n\n\n\n<p class=\"has-text-color has-link-color wp-elements-5d1346e8a3c4880e2ecd78c94dcb33cd\" style=\"color:#723d18\">Antonio Vivaldi s\u2019int\u00e9resse \u00e0 l\u2019\u00e9criture concertante pour violon tout au long de sa carri\u00e8re. Il a compos\u00e9 une large partie de ses concertos pour l\u2019<em>Ospedale della Piet\u00e0<\/em>, fameux \u00e9tablissement de Venise qui accueille des jeunes filles et les forme \u00e0 la musique. Il y b\u00e9n\u00e9ficie d\u2019un effectif instrumental complet, pour lequel il peut \u00e9crire la musique de son choix, certaines des jeunes filles \u00e9tant des virtuoses confirm\u00e9es. Le <em>Concerto pour violon RV 813<\/em> est structur\u00e9 presque de la m\u00eame mani\u00e8re que les sonates pour violon et basse continue du XVII<sup>e<\/sup> si\u00e8cle, en mouvements brefs et encha\u00een\u00e9s. L\u2019\u00e9criture du violon y est totalement distincte de celle de l\u2019ensemble qui l\u2019accompagne. <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"Violin Concerto in D Minor, RV 813: VI. Allegro Vivace\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/mdqVJt2fuM4?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 class=\"has-text-color has-link-color wp-elements-3e62bf16245722d416f8ccc665ba3991\" style=\"color:#723d18\">Dans les mouvements rapides, la virtuosit\u00e9 explosive du soliste, en arp\u00e8ges, notes r\u00e9p\u00e9t\u00e9es et gammes en fus\u00e9es, n\u2019a rien en commun avec le <em>tutti<\/em>, sauf dans le dernier mouvement, o\u00f9 l\u2019ensemble porte une th\u00e9matique qui circule entre soliste et accompagnement. L\u2019expressivit\u00e9 des mouvements lents provient de la ligne chantante du violon autant que des successions d\u2019accords r\u00e9p\u00e9t\u00e9s, qui encha\u00eenent mises en tension et r\u00e9solutions surprenantes. Les formes du concerto pour violon varient consid\u00e9rablement au fil des 500 opus que compte son catalogue.<\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-uagb-advanced-heading uagb-block-cbaa3926\"><h4 class=\"uagb-heading-text\">Un op\u00e9ra dans un violon<\/h4><\/div>\n\n\n\n<p class=\"has-text-color has-link-color wp-elements-017df3057b64051ad479466e12165283\" style=\"color:#723d18\">Vivaldi a grandi et v\u00e9cu dans l\u2019une des plus grandes villes d\u2019op\u00e9ra d\u2019Europe, o\u00f9 les th\u00e9\u00e2tres et talents vocaux sont pl\u00e9thore. L\u2019aria <em>Occhi miei si dormire<\/em> de Legrenzi est adapt\u00e9 d\u2019un op\u00e9ra compos\u00e9 au moment de la naissance de Vivaldi, dont Legrenzi a pu \u00eatre le professeur. Contemplatif, harmoniquement riche, cet air ouvre sur un monde int\u00e9rieur qui contraste avec la fr\u00e9quente ext\u00e9riorit\u00e9 g\u00e9n\u00e9reuse des \u0153uvres de Vivaldi. Le violon-voix y est entrelac\u00e9 avec le <em>tutti<\/em>, il y puise son \u00e9nergie m\u00e9lodique, sa raison de chanter, ses racines. L\u2019\u00e9criture des mouvements lents de Vivaldi aura plut\u00f4t tendance \u00e0 le d\u00e9tacher de l\u2019ensemble de cordes au-dessus duquel le violon chantant planera.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"La divisione del Mondo: Aria &quot;Occhi miei si dormire&quot;\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/aY79DmSgdX8?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 class=\"has-text-color has-link-color wp-elements-a8c12fa69b41b986198010e99b6bfeb4\" style=\"color:#723d18\">La porosit\u00e9 entre l\u2019\u00e9criture vocale et l\u2019\u00e9criture instrumentale chez Vivaldi est manifeste et \u00e0 l\u2019occasion source de critique de la part de ses contemporains&nbsp;: Tartini trouve ainsi son \u00e9criture vocale trop instrumentale \u2013 \u00ab&nbsp;un gosier n\u2019est pas un manche de violon&nbsp;\u00bb \u2013 tandis que le fl\u00fbtiste Quantz trouve son \u00e9criture instrumentale&nbsp;trop influenc\u00e9e par le th\u00e9\u00e2tre. La Chaconne du <em>Concerto pour violon RV 370<\/em> pourrait \u00eatre un <em>lamento<\/em> d\u2019op\u00e9ra, avec sa basse chromatique descendante. Le violon survole de cet accompagnement translucide et s\u2019anime petit \u00e0 petit, d\u2019une \u00e9criture de plus en plus volubile.&nbsp; <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"VIVALDI | Violin Concerto RV 370 in B\u266d major | Original manuscript\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ScwddB_vWv0?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 class=\"has-text-color has-link-color wp-elements-190b93f4976f58762c5a0c31a05ad84e\" style=\"color:#723d18\">La Chaconne du <em>Concerto RV 583<\/em>, bien que tr\u00e8s diff\u00e9rente dans sa structure harmonique, d\u00e9ploie une texture proche, avec un tapis de cordes en notes r\u00e9p\u00e9t\u00e9es et un violon qui flotte et joue des variations qui semblent ne pas prendre part au tissu harmonique au-dessus duquel elles se d\u00e9ploient. Vivaldi fait ici se rencontrer une mani\u00e8re des variations idiomatiques du violon et une fa\u00e7on de chanter directement issue de l\u2019univers vocal.<\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-uagb-advanced-heading uagb-block-3556e22a\"><h4 class=\"uagb-heading-text\">Le monde dans un violon<\/h4><\/div>\n\n\n\n<p class=\"has-text-color has-link-color wp-elements-1d0f572485cf28c70f7c9a00d5dfd107\" style=\"color:#723d18\">\u00ab\u00a0Le musicien n\u2019est pas plus libre que le peintre\u00a0: il est partout, et constamment, soumis \u00e0 la comparaison qu\u2019on fait de lui avec la nature. S\u2019il peint un orage, un ruisseau, un z\u00e9phyr, ses tons sont dans la nature, il ne peut les prendre que l\u00e0.\u00a0\u00bb (Batteux, 1746) Vivaldi s\u2019inscrit dans l\u2019air du temps en composant une temp\u00eate marine dans son op\u00e9ra <em>La Fida Ninfa<\/em> comme dans ses <em>Quatre Saisons<\/em>, les beaux-arts s\u2019inscrivant au XVIII<sup>e<\/sup> si\u00e8cle dans une esth\u00e9tique de l\u2019imitation qui les con\u00e7oit par essence \u00e0 l\u2019image de la nature. Ces <em>Saisons<\/em> d\u00e9passent cependant ce \u00e0 quoi l\u2019auditeur peut s\u2019attendre dans les ann\u00e9es 1720, tant dans leur conception que dans leur r\u00e9alisation. Il les compose quelques ann\u00e9es avant leur publication, \u00e0 l\u2019occasion de laquelle il ajoute des po\u00e8mes, un par saison, et des indications nombreuses et pr\u00e9cises diss\u00e9min\u00e9es dans la partition. Les sonnets sont li\u00e9s aux diff\u00e9rentes phrases musicales par un syst\u00e8me tout \u00e0 fait original de lettres majuscules qui associent chacun des vers \u00e0 un moment musical, doubl\u00e9es de la copie desdits vers entre les port\u00e9es. <\/p>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-d6d78169 alignfull uagb-is-root-container\"><div class=\"uagb-container-inner-blocks-wrap\">\n<div class=\"wp-block-uagb-container uagb-block-0e9f9c50\">\n<p class=\"has-text-color has-link-color wp-elements-a41c2b9b81aaf424df007476a3b7b514\" style=\"color:#723d18\">Vivaldi introduit ainsi un recueil de 12&nbsp; concertos pour violons, soigneusement pens\u00e9, <em>Il cimento dell\u2019armonia e dell\u2019inventione<\/em>, dans la pr\u00e9face duquel il signale \u00e0 son protecteur et d\u00e9dicataire, le Comte Morzin, la pr\u00e9sence de ce paratexte&nbsp;: \u00ab&nbsp; [&#8230;] j\u2019ai estim\u00e9 bien de les imprimer car [&#8230;] elles ont \u00e9t\u00e9 augment\u00e9es, en plus des sonnets, d\u2019une exposition pr\u00e9cise de tout ce qui s\u2019y passe dedans, et je suis s\u00fbr qu\u2019elles vous para\u00eetront comme nouvelles.&nbsp;\u00bb<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-6fda113b\">\n<div class=\"wp-block-uagb-image uagb-block-4e9e8a25 wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none\"><figure class=\"wp-block-uagb-image__figure\"><img decoding=\"async\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/500px-Cimento_dell_Armonia_e_dell_Inventione-v2-title_page.jpeg ,https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/500px-Cimento_dell_Armonia_e_dell_Inventione-v2-title_page.jpeg 780w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/500px-Cimento_dell_Armonia_e_dell_Inventione-v2-title_page.jpeg 360w\" sizes=\"(max-width: 480px) 150px\" src=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2025\/06\/500px-Cimento_dell_Armonia_e_dell_Inventione-v2-title_page.jpeg\" alt=\"\" class=\"uag-image-8586\" width=\"500\" height=\"660\" title=\"500px-Cimento_dell'_Armonia_e_dell'_Inventione-v2-title_page\" loading=\"lazy\" role=\"img\"\/><\/figure><\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<p class=\"has-text-color has-link-color wp-elements-33b7ae023589a0ba8d47a2df6bf9926c\" style=\"color:#723d18\"><\/p>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-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=\"Vivaldi | Le quattro stagioni | Th\u00e9otime Langlois de Swarte, orchestre le Consort | L&#039;estate\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/2MsKytLiv8Y?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 class=\"has-text-color has-link-color wp-elements-e66c50f0f5ff449d37b6bfc76b7713af\" style=\"color:#723d18\">Le succ\u00e8s de l\u2019\u0153uvre a en effet d\u00e9but\u00e9 avant m\u00eame leur publication, qui les a fait rayonner dans l\u2019Europe enti\u00e8re. Les arch\u00e9types que Vivaldi mobilise ne sont pas neufs&nbsp;: il n\u2019est pas le premier \u00e0 faire r\u00e9f\u00e9rence aux oiseaux par des trilles dans le registre aigu ou \u00e0 \u00e9voquer la temp\u00eate par un d\u00e9ferlement de notes&nbsp;r\u00e9p\u00e9t\u00e9es, \u00e9cho au <em>stile concitato<\/em> de Monteverdi&nbsp;; la chasse est un lieu commun musical depuis le XIV<sup>e<\/sup> si\u00e8cle en Italie. Le froid reprend des topiques bien install\u00e9s dans l\u2019op\u00e9ra, pr\u00e9c\u00e9demment d\u00e9velopp\u00e9s par Lully dans le ch\u0153ur des trembleurs d\u2019<em>Isis<\/em> ou par le g\u00e9nie du froid de Purcell dans <em>King Arthur<\/em>, o\u00f9 la pulsation r\u00e9guli\u00e8re de notes r\u00e9p\u00e9t\u00e9es et les ornements serr\u00e9s \u00e9voquent \u00e0 la fois ce qui est fig\u00e9 par la glace et ceux qui grelottent de froid. Ces arch\u00e9types prennent attache dans les caract\u00e9ristiques propres \u00e0 l\u2019\u00e9criture instrumentale de Vivaldi \u2013 notes r\u00e9p\u00e9t\u00e9es, contrastes de nuance et \u00e9chos, virtuosit\u00e9 torrentielle ou lignes chantantes \u2013 qui les renforcent. Le compositeur s\u2019appuie ainsi sur des traditions et codes connus des auditeurs, qui ont plaisir \u00e0 les reconna\u00eetre, et les magnifie dans une large fresque imitative instrumentale tr\u00e8s originale, qu\u2019aucun compositeur avant lui n\u2019avait imagin\u00e9e.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Comme un tremblement de terre La l\u00e9gende qui offre \u00e0 Vivaldi une venue au monde \u00e0 l\u2019image de son \u00e9criture [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":8582,"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":"disabled","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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