{"id":16178,"date":"2019-03-13T14:41:45","date_gmt":"2019-03-13T13:41:45","guid":{"rendered":"https:\/\/www.ensembleintercontemporain.com\/?p=16178"},"modified":"2019-03-25T18:02:47","modified_gmt":"2019-03-25T17:02:47","slug":"aello-ballet-mecanomorphe-dolga-neuwirth","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/en\/2019\/03\/aello-ballet-mecanomorphe-dolga-neuwirth\/","title":{"rendered":"\u00ab Aello – ballet m\u00e9canomorphe \u00bb d\u2019Olga Neuwirth"},"content":{"rendered":"

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Une fl\u00fbte solo, deux trompettes avec sourdines, un ensemble de cordes, un clavier et une\u2026 machine \u00e0 \u00e9crire. C\u2019est l\u2019effectif requis par Aello – ballet m\u00e9canomorphe <\/em>de la compositrice autrichienne Olga Neuwirth, qui sera pr\u00e9sent\u00e9e pour la premi\u00e8re fois en France samedi 16 mars \u00e0 la Philharmonie de Paris<\/a>. \u00c9clairage sur une \u0153uvre en forme d\u2019hommage iconoclaste \u00e0 Jean-S\u00e9bastien Bach.<\/span><\/strong><\/span><\/p>\n

Un peu de l\u2019esprit Dada\u00a0vit aujourd\u2019hui en Olga Neuwirth \u2014 et tr\u00e8s certainement dans cet Aello <\/em>– ballet m\u00e9canomorphe<\/em>. De fait, l\u2019une des seules (sinon la seule) apparitions notables du terme \u00ab\u00a0m\u00e9canomorphe\u00a0\u00bb dans un contexte artistique remonte \u00e0 Francis Picabia\u2026 Et celui-ci n\u2019aurait sans doute pas reni\u00e9 la d\u00e9marche adopt\u00e9e ici par la compositrice viennoise.<\/span><\/p>\n

\u00c0 l\u2019origine de cette \u0153uvre, une s\u00e9rie de commandes initi\u00e9e par les PROMs londoniens pour c\u00e9l\u00e9brer les 300 ans des Concertos Brandebourgeois<\/em> de Johann Sebastian Bach\u00a0: six pi\u00e8ces command\u00e9es \u00e0 six compositeurs diff\u00e9rents, pour \u00ab\u00a0r\u00e9pondre\u00a0\u00bb chacune \u00e0 l\u2019un des six num\u00e9ros du recueil. Bon gr\u00e9 mal gr\u00e9, Olga Neuwirth s\u2019est vue attribuer le quatri\u00e8me Concerto<\/em> pour violon principal, deux \u00ab\u00a0flauti d\u2019echo\u00a0\u00bb et cordes. Trompettiste de formation, elle aurait pr\u00e9f\u00e9r\u00e9 le deuxi\u00e8me (qui compte une trompette parmi ses quatre solistes) ou le cinqui\u00e8me (avec sa prodigieuse partie de clavecin principale) \u2014 ce qui fait qu\u2019Aello \u2013 ballet m\u00e9canomorphe<\/em> est finalement li\u00e9 \u00e0 ces trois concertos, voire aux six.<\/span><\/p>\n

\"\"Comme souvent avec Olga Neuwirth, la contrainte devient une opportunit\u00e9, une ouverture. La solution lui viendra notamment d\u2019une petite remarque attribu\u00e9e \u00e0 Colette, selon laquelle \u00ab\u00a0La musique de Bach est une sublime machine \u00e0 coudre\u00a0\u00bb. En guise de continuo<\/em>, la compositrice adjoint donc une machine \u00e0 \u00e9crire au clavecin canonique (un clavecin d\u00e9lib\u00e9r\u00e9ment d\u00e9natur\u00e9 au moyen du synth\u00e9tiseur) ainsi que quelques autres objets m\u00e9caniques du quotidien. Une mani\u00e8re de \u00ab\u00a0revisiter\u00a0\u00bb, non sans humour, la \u00ab\u00a0m\u00e9canique\u00a0\u00bb de la musique baroque, qui permet \u00e0 la compositrice de tourner ses regards vers les musiques m\u00e9caniques, voire le cirque. Bref, un \u00ab\u00a0ballet m\u00e9canomorphe\u00a0\u00bb.<\/span><\/p>\n

C\u2019est ainsi que ce qui devait \u00eatre un concerto pour violon (en r\u00e9f\u00e9rence au violon principal du quatri\u00e8me Brandebourgeois<\/em>) est devenu un concerto pour fl\u00fbte \u2014 sa gen\u00e8se est d\u2019ailleurs indissociable de sa cr\u00e9atrice, la fl\u00fbtiste Claire Chase, dont le jeu a fortement influenc\u00e9 l\u2019\u00e9criture. Celle-ci d\u00e9crit la partie soliste comme funambulesque, mais aussi diabolique, voire rageuse. Rappelons au passage que Aello<\/em>, litt\u00e9ralement \u00ab\u00a0bourrasque\u00a0\u00bb en grec, est une des trois Harpies, ces divinit\u00e9s de la d\u00e9vastation et de la vengeance divine.<\/span><\/p>\n

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\"\"La fl\u00fbte soliste est bien s\u00fbr un clin d\u2019\u0153il aux deux \u00ab\u00a0flauti d\u2019echo\u00a0\u00bb du quatri\u00e8me Brandebourgeois<\/em>, mais ce sont surtout les deux trompettes assourdies qui en reprennent le r\u00f4le concertant. En pratique, les parties que Bach\u00a0destine \u00e0 ces \u00ab\u00a0flauti d\u2019echo\u00a0\u00bb sont tenues par des fl\u00fbtes \u00e0 bec alto (certains musicologues tels Nikolaus Harnoncourt interpr\u00e8tent le terme \u00ab\u00a0echo\u00a0\u00bb par l\u2019\u00e9loignement spatial des deux flutistes du reste de l\u2019ensemble, notamment pendant le mouvement lent). Olga Neuwirth, quant \u00e0 elle, a d\u00e9couvert au fil de ses recherches qu\u2019il existait \u00e0 l\u2019\u00e9poque, \u00e0 la cour de K\u00f6then o\u00f9 Bach a compos\u00e9 ses Concertos Brandebourgeois<\/em>, un dr\u00f4le d\u2019instrument, une fl\u00fbte \u00e0 deux corps\u00a0: l\u2019un dont le son \u00e9tait tr\u00e8s assourdi et l\u2019autre dont le son \u00e9tait d\u2019une grande richesse en partiels. C\u2019est ainsi qu\u2019entre la fl\u00fbte soliste, les trompettes et le \u00ab\u00a0ripieno\u00a0\u00bb, s\u2019instaure un jeu de questions\/r\u00e9ponses au mat\u00e9riau familier, d\u00e9tourn\u00e9 par de savants d\u00e9saccords, d\u00e9timbrages, modes de jeu, pirouettes agogiques et autres jongleries sonores. Pour Olga Neuwirth, tous les instruments sont comme des jouets\u00a0et, de m\u00eame que la machine \u00e0 \u00e9crire, ces jouets peuvent \u00eatre bien plus sublimes qu\u2019ils ne le semblent au premier abord. Des jouets avec lesquels elle se joue de notre m\u00e9moire et de nos frustrations\u2026<\/span><\/p>\n

 <\/p>\n

Photos \u00a9 Ensemble intercontemporain<\/p>\n","protected":false},"excerpt":{"rendered":"

Une fl\u00fbte solo, deux trompettes avec sourdines, un ensemble de cordes, un clavier et une\u2026 machine \u00e0 \u00e9crire. C\u2019est l\u2019effectif requis par Aello<\/em> de la compositrice autrichienne Olga Neuwirth, qui sera pr\u00e9sent\u00e9e pour la premi\u00e8re fois en France samedi 16 mars \u00e0 la Philharmonie de Paris. Eclairage sur une \u0153uvre en forme d\u2019hommage iconoclaste \u00e0 Jean-S\u00e9bastien Bach.<\/p>\n","protected":false},"author":5,"featured_media":16179,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[61,488,600],"class_list":["post-16178","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eclairage","tag-creation-musicale","tag-olga-neuwirth","tag-philharmonie-de-paris","concert-grand-soir-olga-neuwirth"],"acf":[],"yoast_head":"\n\u00ab Aello - ballet m\u00e9canomorphe \u00bb d\u2019Olga Neuwirth - 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\/2019\/03\/aello-ballet-mecanomorphe-dolga-neuwirth\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00ab Aello - ballet m\u00e9canomorphe \u00bb d\u2019Olga Neuwirth - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"Une fl\u00fbte solo, deux trompettes avec sourdines, un ensemble de cordes, un clavier et une\u2026 machine \u00e0 \u00e9crire. C\u2019est l\u2019effectif requis par Aello de la compositrice autrichienne Olga Neuwirth, qui sera pr\u00e9sent\u00e9e pour la premi\u00e8re fois en France samedi 16 mars \u00e0 la Philharmonie de Paris. 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C\u2019est l\u2019effectif requis par Aello de la compositrice autrichienne Olga Neuwirth, qui sera pr\u00e9sent\u00e9e pour la premi\u00e8re fois en France samedi 16 mars \u00e0 la Philharmonie de Paris. 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