{"id":902,"date":"2022-12-17T17:05:54","date_gmt":"2022-12-17T16:05:54","guid":{"rendered":"http:\/\/constanceluzzati.com\/?p=902"},"modified":"2022-12-17T17:44:44","modified_gmt":"2022-12-17T16:44:44","slug":"charpentier-dans-letable-musiques-pour-la-nativite","status":"publish","type":"post","link":"https:\/\/constanceluzzati.com\/index.php\/2022\/12\/17\/charpentier-dans-letable-musiques-pour-la-nativite\/","title":{"rendered":"Un ange dans l&rsquo;\u00e9table : la Nativit\u00e9 selon Charpentier"},"content":{"rendered":"\n<p>No\u00ebl suscite, dans la France du&nbsp;xviie&nbsp;si\u00e8cle, une intense ferveur populaire, qui se manifeste dans la musique compos\u00e9e pour les offices liturgiques, telles les Antiennes&nbsp;\u00d4 de l\u2019Avent, tout autant que dans les chansons de No\u00ebl en vogue, dont Charpentier propose une adaptation instrumentale.&nbsp;Entre les deux se tiennent l\u2019oratorio latin&nbsp;In Nativitatem Domini Canticum&nbsp;et&nbsp;la&nbsp;Pastorale H 482&nbsp;en langue fran\u00e7aise, qui prennent appui sur le tr\u00e8s familier r\u00e9cit de la cr\u00e8che. Pendant ses ann\u00e9es au service des Guise, le compositeur s\u2019est souvent int\u00e9ress\u00e9 au sujet de la Nativit\u00e9, qu\u2019il remet sur le pupitre \u00e0 plusieurs reprises pendant les deux derni\u00e8res d\u00e9cennies du si\u00e8cle.<\/p>\n\n\n\n<p><\/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=\"No\u00ebls Baroques \u00e0 Versailles - Joseph est bien mari\u00e9  | CD - Label Ch\u00e2teau de Versailles Spectacles\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/aNzgE_fyNy4?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><figcaption>Pages du CMBV, direction Ga\u00e9tan Jarry<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-media-text alignwide has-media-on-the-right is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"346\" height=\"524\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.04.03.png\" alt=\"\" class=\"wp-image-905 size-full\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.04.03.png 346w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.04.03-198x300.png 198w\" sizes=\"(max-width: 346px) 100vw, 346px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>On pourrait \u00eatre surpris de l\u2019association entre les antiennes liturgiques et les No\u00ebls instrumentaux sur des m\u00e9lodies de chansons populaires \u2013&nbsp;<em>Joseph est bien mari\u00e9<\/em>&nbsp;ou&nbsp;<em>Les Bourgeois de Chastre<\/em>&nbsp;: pourquoi faire entendre un timbre qui met en t\u00eate les paroles \u00ab&nbsp;Pr\u00e8s le b\u0153uf et l\u2019\u00e2non, Don don&nbsp;\u00bb juste avant&nbsp;<em>\u00d4 Clavis David<\/em>&nbsp;? Peut-\u00eatre parce que les&nbsp;<em>\u00d4 de l\u2019Avent<\/em> s\u2019adressent \u00e0 tous et pas uniquement aux gentilshommes ou aux clercs, comme le souligne le texte qui accompagne une \u00e9dition des offices de No\u00ebl en 1690&nbsp;: \u00ab&nbsp;Il n\u2019y a gu\u00e8re de chr\u00e9tien qui ne se sente touch\u00e9 d\u2019une pi\u00e9t\u00e9 plus particuli\u00e8re dans ces saints jours, et lorsqu\u2019il voit cette union de toute l\u2019\u00c9glise, les ministres de Dieu dans le ch\u0153ur, les \u00e2mes religieuses dans leur solitude&nbsp;; les la\u00efcs de toute condition et de tout sexe dans les \u00e9glises&nbsp;; enfin tous les fid\u00e8les occup\u00e9s d\u2019un m\u00eame d\u00e9sir, faire retentir les m\u00eames voix [\u2026].&nbsp;\u00bb<\/p>\n<\/div><\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Antiennes<em>&nbsp;\u00d4 de l\u2019Avent<\/em><\/strong><\/p>\n\n\n\n<p>No\u00ebls et antiennes ont probablement \u00e9t\u00e9 compos\u00e9s pour l\u2019Avent 1693, \u00e0 un moment o\u00f9 Charpentier \u00e9tait en lien avec les J\u00e9suites et en charge de la musique de Saint-Louis, leur principale \u00e9glise parisienne, dans laquelle la musique \u00e9tait si pr\u00e9sente que Lecerf de la Vi\u00e9ville la surnomma \u00ab&nbsp;l\u2019\u00e9glise de l\u2019op\u00e9ra&nbsp;\u00bb. Les antiennes&nbsp;<em>\u00d4 de l\u2019Avent<\/em>&nbsp;rel\u00e8vent d\u2019une tradition ancienne, qui date en France de l\u2019\u00e9poque carolingienne, o\u00f9 l\u2019on chantait d\u00e9j\u00e0 les sept \u00ab&nbsp;\u00d4&nbsp;\u00bb pendant les v\u00eapres de la semaine qui pr\u00e9c\u00e8de No\u00ebl, du 17 au 23 d\u00e9cembre. Elles commencent, apr\u00e8s le \u00d4 d\u2019invocation, chacune par l\u2019un des noms du Christ attendu&nbsp;: Sagesse, Seigneur, Rameau de Jess\u00e9, Cl\u00e9 de David, Orient, Roi des peuples, Emmanuel. Les premi\u00e8res lettres latines de ces noms, lues de la derni\u00e8re \u00e0 la premi\u00e8re, font \u00e9merger les mots \u00ab&nbsp;Ero cras&nbsp;\u00bb, [je serai demain], qui d\u00e9signent la venue du Christ, chant\u00e9e \u00e0 la fin de chacune des antiennes sur les mots \u00ab&nbsp;veni, veni&nbsp;\u00bb, souvent sur un tempo plus all\u00e8gre que ce qui pr\u00e9c\u00e8de, par l\u2019ensemble des voix en ch\u0153ur.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"422\" data-id=\"908\" src=\"http:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.11.27-1024x422.png\" alt=\"\" class=\"wp-image-908\" srcset=\"https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.11.27-1024x422.png 1024w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.11.27-300x124.png 300w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.11.27-768x317.png 768w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.11.27-1536x633.png 1536w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.11.27-600x247.png 600w, https:\/\/constanceluzzati.com\/wp-content\/uploads\/2022\/12\/Capture-decran-2022-12-17-a-16.11.27.png 1674w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption>Charpentier, Meslanges, manuscrit autographe<\/figcaption><\/figure>\n<\/figure>\n\n\n\n<p>La mise en musique des antiennes permet \u00e0 l\u2019auditeur d\u2019en comprendre toutes les paroles&nbsp;: bien que Charpentier soit ailleurs volontiers italianisant, il adopte ici un style vocal simple, qui met le texte en avant, m\u00eame lorsque la polyphonie est dense. Les quelques envol\u00e9es vocales sont soigneusement choisies pour mettre en valeur certains mots bien pr\u00e9cis&nbsp;: la flamme du buisson ardent dans&nbsp;<em>\u00d4 Adona\u00ef<\/em>&nbsp;et le d\u00e9sir d\u2019\u00eatre sauv\u00e9 dans&nbsp;<em>\u00d4 Rex gentium<\/em>. Le compositeur profite de l\u2019\u00e9vocation des ombres et t\u00e9n\u00e8bres pour faire entendre de magnifiques dissonances dans&nbsp;<em>\u00d4 Oriens<\/em>, d\u2019autant plus remarquables qu\u2019elles alternent avec le joyeux \u00ab&nbsp;veni, veni&nbsp;\u00bb. L\u2019effectif change d\u2019une antienne sur l\u2019autre&nbsp;: \u00e0 quatre voix d\u2019homme ou avec un soprano, en ensemble ou en soliste (<em>\u00d4 Rex gentium<\/em>), avec la seule basse continue comme avec des instruments qui tant\u00f4t doublent strictement les voix, tant\u00f4t sont solistes. Charpentier joue avec des variations de textures et d\u2019effectifs \u00e0 l\u2019int\u00e9rieur m\u00eame des br\u00e8ves antiennes, redessinant le texte par ce moyen.<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><em>No\u00ebls sur les instruments<\/em><\/strong><\/p>\n\n\n\n<p><em>Les No\u00ebls sur les instruments<\/em>, dont les voix sont \u00e9crites de fa\u00e7on simultan\u00e9e avec un contrepoint simple, jouent \u00e9galement sur les textures en faisant alterner instruments solistes et jeu d\u2019ensemble. La plupart d\u2019entre eux sont d\u2019un caract\u00e8re populaire et tr\u00e8s l\u00e9ger, l\u00e9g\u00e8ret\u00e9 parfois temp\u00e9r\u00e9e par la richesse des harmonies, comme dans&nbsp;<em>Or nous dites Marie<\/em>. Les instruments viennent ici remplacer l\u2019orgue, qui se tait dans les c\u00e9l\u00e9brations liturgiques depuis le premier dimanche de l\u2019Avent jusqu\u2019au jour de No\u00ebl, o\u00f9 il reprend du service de fa\u00e7on volubile et jubilatoire. Les contemporains de Charpentier (Daquin, Dandrieu, Balbastre\u2026) ont, comme lui, volontiers compos\u00e9 sur les chansons populaires de No\u00ebl, mais \u00e0 la diff\u00e9rence de ce dernier, comme pr\u00e9texte \u00e0 l\u2019\u00e9laboration de pi\u00e8ces pour orgue d\u2019une grande virtuosit\u00e9.<\/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=\"No\u00ebls sur les instruments - Marc-Antoine Charpentier\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/CBSHNpCojEs?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><figcaption>ensemble Marguerite Louise, direction Ga\u00e9tan Jarry<\/figcaption><\/figure>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Nativit\u00e9s&nbsp;:&nbsp;<em>Pastorale<\/em>&nbsp;et&nbsp;<em>Canticum<\/em><\/strong><\/p>\n\n\n\n<p>Quinze ans s\u00e9parent la&nbsp;<em>Pastorale sur la Naissance de Notre Seigneur J\u00e9sus Christ H&nbsp;482<\/em>&nbsp;du dernier des trois motets (ou oratorios miniatures) con\u00e7us sur&nbsp;<em>Frigidae noctis umbra<\/em>,&nbsp;<em>In Nativitatem Domini nostri Jesu Christi Canticum H&nbsp;421<\/em>, compos\u00e9 dans les deux derni\u00e8res ann\u00e9es du si\u00e8cle.<\/p>\n\n\n\n<p>Dans l\u2019intervalle, le compositeur poursuit son exploration de la Nativit\u00e9 \u00e0 partir de textes voisins, notamment dans le&nbsp;<em>Canticum H&nbsp;416<\/em>&nbsp;sur&nbsp;<em>Usquequo avertis faciem tuam<\/em>. Le r\u00e9cit de la&nbsp;<em>Pastorale<\/em>&nbsp;et celui du&nbsp;<em>Canticum<\/em>&nbsp;sont tir\u00e9s de moments successifs du deuxi\u00e8me chapitre de l\u2019\u00c9vangile de Luc, le plus populaire et accessible des r\u00e9cits bibliques&nbsp;: il met en sc\u00e8ne des bergers, un ange, un b\u00e9b\u00e9, une cr\u00e8che.&nbsp;L\u2019atmosph\u00e8re pastorale irrigue l\u2019ensemble de la pi\u00e8ce \u00e9ponyme, o\u00f9 les bergers sont tout autant ceux de la Nativit\u00e9 que ceux de l\u2019Arcadie des pastorales profanes.&nbsp;<\/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=\"Sur la Naissance de Notre Seigneur J\u00e9sus-Christ, H.482: &quot;Du pasteur que nous attendons&quot;\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/q1zBnc9OmYg?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><figcaption>Arts Florissants, direction William Christie<\/figcaption><\/figure>\n\n\n\n<p>Le&nbsp;<em>Canticum H&nbsp;416<\/em>, plus ample en dur\u00e9e comme en effectif \u2013&nbsp;il comprend des cordes, des fl\u00fbtes, un ch\u0153ur, en plus des voix graves des solistes&nbsp;\u2013, int\u00e8gre par ailleurs une citation du Psaume&nbsp;12 en introduction, pr\u00e9c\u00e9d\u00e9e d\u2019un Pr\u00e9lude dont les harmonies suspensives mat\u00e9rialisent l\u2019attente inh\u00e9rente \u00e0 No\u00ebl. Plusieurs moments instrumentaux constituent des pi\u00e8ces ma\u00eetresses de cette Nativit\u00e9, notamment la magnifique&nbsp;<em>Nuit<\/em>&nbsp;dans laquelle Charpentier d\u00e9ploie le go\u00fbt pour les harmonies riches et chromatiques qu\u2019il a d\u00e9velopp\u00e9 au contact de la musique italienne. <\/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=\"In nativitatem domini canticum, H. 416: Nuit\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/_s8xUDV0tSg?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><figcaption>Concert des Nations, direction Jordi Savall<\/figcaption><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>La musique des deux \u0153uvres est \u00e0 l\u2019image de cette th\u00e9matique, l\u00e9g\u00e8re et a\u00e9rienne, presque dansante par moments, avec un texte toujours parfaitement intelligible, dans les airs solistes comme dans les ch\u0153urs de bergers. La musique de Charpentier s\u2019adresse \u00e0 tous, fid\u00e8le \u00e9cho du sens de la f\u00eate pour laquelle elle est \u00e9crite, de plus en plus populaire en cette fin de si\u00e8cle.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>No\u00ebl suscite, dans la France du&nbsp;xviie&nbsp;si\u00e8cle, une intense ferveur populaire, qui se manifeste dans la musique compos\u00e9e pour les offices [&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":[8,40,1],"tags":[218,215,223,221,222,225,224,216,219,226,217,220],"class_list":["post-902","post","type-post","status-publish","format-standard","hentry","category-musique-ancienne-et-religieuse","category-musique-religieuse","category-non-classe","tag-canticum","tag-charpentier","tag-creche","tag-guise","tag-joseph-est-bien-marie","tag-luc","tag-naissance","tag-nativite","tag-noels","tag-o-de-lavent","tag-pastorale","tag-sainte-chapelle"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Un ange dans l&#039;\u00e9table : la Nativit\u00e9 selon Charpentier - Constance Luzzati<\/title>\n<meta name=\"description\" content=\"Pourquoi faire entendre le No\u00ebl populaire \u00ab\u00a0Pr\u00e8s le b\u0153uf et l\u2019\u00e2non, Don don\u00a0\u00bb juste avant\u00a0\u00d4 Clavis David ? 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