{"id":1417,"date":"2010-01-15T10:06:36","date_gmt":"2010-01-15T08:06:36","guid":{"rendered":"http:\/\/www.ensembleinter.com\/accents-online\/?p=1417"},"modified":"2010-01-15T10:06:36","modified_gmt":"2010-01-15T08:06:36","slug":"rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/en\/2010\/01\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\/","title":{"rendered":"Rituel in memoriam Bruno Maderna"},"content":{"rendered":"

\"Rituel\"
\nL\u2019\u00e9poque baroque a vu fleurir un genre musical intimement li\u00e9 \u00e0 la question de la transmission\u00a0: le \u00ab\u2009tombeau\u2009\u00bb, pi\u00e8ce \u00e0 caract\u00e8re monumental, hommage rendu \u00e0 un ma\u00eetre. Oubli\u00e9 au XVIIIe<\/sup> si\u00e8cle, ce -genre fut discr\u00e8tement exhum\u00e9 au XXe<\/sup> si\u00e8cle, au moment o\u00f9 la notion de tradition fut mise en crise, \u00e9cartel\u00e9e entre la n\u00e9cessit\u00e9 de la tabula rasa<\/em> et la reconnaissance d\u2019affinit\u00e9s d\u00e9bordant les limites des \u00e9poques et des arts. Compos\u00e9 en 1974-1975, le Rituel<\/em> (in memoriam Bruno Maderna)<\/em> de Pierre Boulez inscrit le tombeau dans un tel rapport probl\u00e9matique \u00e0 la tradition. De forme conventionnellement codifi\u00e9e, celui-ci devient \u0153uvre-d\u00e9dicace, adresse, don. D\u00e9j\u00e0, avec Pli selon pli<\/em> (1957-1962), le compositeur dressait un \u00ab\u2009portrait\u2009\u00bb de Mallarm\u00e9, qu\u2019il achevait non par hasard par une mise en musique de son sonnet \u00ab\u2009Tombeau\u2009\u00bb. Dans Rituel<\/em>, il rend hommage \u00e0 l\u2019ami italien d\u00e9c\u00e9d\u00e9 un an plus t\u00f4t, Bruno Maderna, comme lui compositeur et chef d\u2019orchestre.
\nConform\u00e9ment \u00e0 la r\u00e8gle du genre, cette pi\u00e8ce orchestrale de pr\u00e8s de vingt-cinq minutes \u00e9voque (convoque) l\u2019\u0153uvre du disparu\u00a0: la pr\u00e9\u00e9minence des percussions, ainsi que l\u2019\u00e9clatement spatial de l\u2019orchestre font nettement \u00e9cho \u00e0 Quadrivium<\/em> (1969). Mais la force de l\u2019hommage d\u00e9passe l\u2019exercice de style \u00ab\u2009\u00e0 la mani\u00e8re\u2009\u00bb du d\u00e9funt. Elle d\u00e9chire le voile de l\u2019herm\u00e9tisme, \u00e0 tel point qu\u2019on a volontiers consid\u00e9r\u00e9 Rituel<\/em> comme l\u2019\u0153uvre la plus \u00ab\u2009accessible\u2009\u00bb d\u2019un compositeur dont d\u2019aucuns redoutent la complexit\u00e9 de l\u2019\u00e9criture et le go\u00fbt mallarm\u00e9en du cryptage. Loin de se faire \u00ab\u2009centre absent\u2009\u00bb, la structure ici \u00ab\u2009se donne\u2009\u00bb. Elle se manifeste par une distribution instrumentale insolite\u00a0: r\u00e9partition de l\u2019orchestre en huit groupes autonomes aux effectifs croissants, chacun affili\u00e9 \u00e0 un pupitre de percussion (deux pupitres pour le dernier groupe de quatorze vents). La mise en place progressive de cet ensemble se d\u00e9ploie en une alternance obstin\u00e9e de sections que le compositeur baptise \u00ab\u2009versets\u2009\u00bb (s\u00e9quences impaires, non puls\u00e9es) et \u00ab\u2009r\u00e9pons\u2009\u00bb (s\u00e9quences paires, puls\u00e9es de fa\u00e7on ind\u00e9pendante pour chaque groupe). Dans les premiers, toujours ouverts par une note de gong et clos par une r\u00e9sonance de tam-tam (du groupe\u00a0VIII), le chef r\u00e9partit les accords des diff\u00e9rents groupes et d\u00e9cide des dur\u00e9es de chaque tenue. Dans les -seconds, il d\u00e9termine les d\u00e9parts d\u00e9cal\u00e9s des groupes, d\u00e9l\u00e9gant aux neuf pupitres de percussions le soin de marquer la pulsation par une suite r\u00e9guli\u00e8re de noires (sur un tempo variant -entre 66 et 76) et de clore syst\u00e9matiquement la s\u00e9quence \u00e9crite pour chaque groupe par une impulsion accentu\u00e9e valant comme \u00ab\u2009point\u2009\u00bb (le point final de la derni\u00e8re percussion d\u00e9termine le passage \u00e0 la section suivante, impaire). Ces balises percussives apparaissent \u00e0 la fois comme marqueurs de discontinuit\u00e9s formelles et comme -signaux pour l\u2019ex\u00e9cution m\u00eame, \u00e0 destination des interpr\u00e8tes.
\nCette fonctionnalit\u00e9 instrumentale (les percussions comme \u00ab\u2009ma\u00eetres de c\u00e9r\u00e9monie\u2009\u00bb) surimpose \u00e0 l\u2019\u0153uvre l\u2019imaginaire imm\u00e9morial de quelque rite extra-occidental. Jusqu\u2019au hautbois solo du premier ensemble, qui n\u2019est pas sans rappeler le djaling tib\u00e9tain. Son chant inaugural (s\u00e9quence\u00a02) trace la ligne dont nous observerons le double mouvement graduel d\u2019\u00e9paississement et de brouillage\u00a0: anacrouse en valeur br\u00e8ve suivie d\u2019une valeur longue sur un large intervalle. Ce sch\u00e9ma de base sera largement augment\u00e9, la note tenue s\u2019ornant volontiers de d\u00e9sinences plus volubiles \u2013\u00a0mince fil d\u2019une identit\u00e9 dont les contours sans cesse changeants impriment dans la m\u00e9moire musicale une profusion d\u2019\u00ab\u2009images pr\u00e9sentes-absentes, dans le doute\u2009\u00bb, d\u00e9multipli\u00e9es en prisme par l\u2019h\u00e9t\u00e9rophonie des huit ensembles (r\u00e9pons), reprises en \u00e9cho d\u2019un groupe \u00e0 l\u2019autre (versets).
\n\u00c0 mesure que l\u2019\u0153uvre progresse vers sa fin, ces images s\u2019estompent. Aux deux tiers du parcours, le sch\u00e9ma d\u2019alternance qui en a jusqu\u2019alors balis\u00e9 le d\u00e9roulement se voit suspendu\u00a0: une tr\u00e8s longue et ultime section XV synth\u00e9tise les traits du verset et du r\u00e9pons, introduit le \u00ab\u2009temps stri\u00e9\u2009\u00bb du second dans le \u00ab\u2009temps lisse\u2009\u00bb du premier, orne les pulsations des percussions de \u00ab\u2009notes fant\u00f4mes\u2009\u00bb. Ce qui se joue est alors la disparition proprement dite\u00a0: l\u00e0 o\u00f9 l\u2019on attend un tutti orchestral, aboutissement d\u2019un mouvement de crescendo que les sections XI et XII, tr\u00e8s anim\u00e9es, laissaient attendre, on observe au contraire un retrait, un geste de l\u2019ordre du d\u00e9litement, de la soustraction\u00a0: des silences se substituent aux tenues, de simples ponctuations des cuivres remplacent les motifs m\u00e9lodiques. La \u00ab\u2009c\u00e9r\u00e9monie de l\u2019extinction\u2009\u00bb sugg\u00e9r\u00e9e par la d\u00e9dicace se fait lent effacement de l\u2019image. Le silence marque l\u2019int\u00e9riorisation du rituel, l\u2019incorporation de la perte.
\nPierre-Yves Mac\u00e9
\nExtrait d\u2019Accents n\u00b0 40<\/em> – janvier-mars 2010<\/em>
\nPhoto \u00a9 Elisabeth Schneider
\n<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

L\u2019\u00e9poque baroque a vu fleurir un genre musical intimement li\u00e9 \u00e0 la question de la transmission\u00a0: le \u00ab\u2009tombeau\u2009\u00bb, pi\u00e8ce \u00e0 caract\u00e8re monumental, hommage rendu \u00e0 un ma\u00eetre. Oubli\u00e9 au XVIIIe si\u00e8cle, ce -genre fut discr\u00e8tement exhum\u00e9 au XXe si\u00e8cle, au moment o\u00f9 la notion de tradition fut mise en crise, \u00e9cartel\u00e9e entre la n\u00e9cessit\u00e9 de […]<\/p>\n","protected":false},"author":3,"featured_media":3467,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[409,415,420,421],"class_list":["post-1417","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eclairage","tag-accents-n40","tag-boulez","tag-bruno-maderna","tag-rituel"],"acf":[],"yoast_head":"\nRituel in memoriam Bruno Maderna - Ensemble intercontemporain<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ensembleintercontemporain.com\/en\/2010\/01\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rituel in memoriam Bruno Maderna - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"L\u2019\u00e9poque baroque a vu fleurir un genre musical intimement li\u00e9 \u00e0 la question de la transmission\u00a0: le \u00ab\u2009tombeau\u2009\u00bb, pi\u00e8ce \u00e0 caract\u00e8re monumental, hommage rendu \u00e0 un ma\u00eetre. Oubli\u00e9 au XVIIIe si\u00e8cle, ce -genre fut discr\u00e8tement exhum\u00e9 au XXe si\u00e8cle, au moment o\u00f9 la notion de tradition fut mise en crise, \u00e9cartel\u00e9e entre la n\u00e9cessit\u00e9 de […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.ensembleintercontemporain.com\/en\/2010\/01\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\/\" \/>\n<meta property=\"og:site_name\" content=\"Ensemble intercontemporain\" \/>\n<meta property=\"article:published_time\" content=\"2010-01-15T08:06:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2010\/06\/maderna40.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"464\" \/>\n\t<meta property=\"og:image:height\" content=\"237\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Pierre-Yves Mac\u00e9\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Pierre-Yves Mac\u00e9\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/2010\\\/01\\\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/2010\\\/01\\\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\\\/\"},\"author\":{\"name\":\"Pierre-Yves Mac\u00e9\",\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/#\\\/schema\\\/person\\\/754ccc2c496b6cf14c499f357309c165\"},\"headline\":\"Rituel in memoriam Bruno Maderna\",\"datePublished\":\"2010-01-15T08:06:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/2010\\\/01\\\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\\\/\"},\"wordCount\":838,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/2010\\\/01\\\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/content\\\/uploads\\\/2010\\\/06\\\/maderna40.jpg\",\"keywords\":[\"Accents n\u00b040\",\"boulez\",\"bruno maderna\",\"rituel\"],\"articleSection\":[\"\u00c9clairage\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/2010\\\/01\\\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\\\/\",\"url\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/2010\\\/01\\\/rituel-in-memoriam-bruno-maderna-par-pierre-yves-mace-accents-n-40\\\/\",\"name\":\"Rituel in memoriam Bruno Maderna - 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