{"id":8698,"date":"2016-02-08T13:37:46","date_gmt":"2016-02-08T11:37:46","guid":{"rendered":"http:\/\/www.ensembleinter.com\/accents-online\/?p=8698"},"modified":"2019-04-10T12:20:05","modified_gmt":"2019-04-10T10:20:05","slug":"kassandra-une-oeuvre-dart-sonore-totale","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/en\/2016\/02\/kassandra-une-oeuvre-dart-sonore-totale\/","title":{"rendered":"Kassandra, une “\u0153uvre d\u2019art sonore totale”."},"content":{"rendered":"

\"<
\nKassandra<\/em> (1977) du compositeur fran\u00e7ais Fran\u00e7ois-Bernard M\u00e2che (photo ci-dessus) met en pr\u00e9sence toutes les r\u00e9alit\u00e9s sonores du vivant, et questionne notre sens de l\u2019\u00e9coute, en faisant se rencontrer l\u2019int\u00e9rieur et l\u2019ext\u00e9rieur, la salle de concert et la nature bruissante, le son et le sens. Analyse d\u2019une \u00ab \u0153uvre d\u2019art sonore totale \u00bb<\/em> au programme du concert du 9 f\u00e9vrier 2016 \u00e0 la Philharmonie de Paris.<\/strong><\/span><\/p>\n

Dans Kassandra<\/em>, Fran\u00e7ois-Bernard M\u00e2che pose ensemble (com-pose) des sons tir\u00e9s de la nature, du r\u00e8gne animal, et des activit\u00e9s humaines, et cr\u00e9e des mouvements entre eux, des dialogues, des jeux d\u2019imitation et de va-et-vient. On y entend l\u2019orage, le grondement du tonnerre, le clapotis du ruisseau et le cr\u00e9pitement du feu. Les grenouilles et les abeilles y c\u00f4toient des langues exotiques ou disparues (kannada, grec, amharique, tib\u00e9tain, g\u00e9orgien, fidjien, telugu et basque). Et le compositeur fait appara\u00eetre au cot\u00e9 de l\u2019orchestre des instruments de musique extra-europ\u00e9ens (mandouras, pungis, surnas bataks, shana\u00efs indiens, magrounas) ou anciens (cervelas, cromornes, bombardes, hautbois du poitou).<\/span><\/p>\n

\"DSCF9182\"
\nCes rencontres sont rendues possibles par le dispositif que propose la musique mixte. Fran\u00e7ois-Bernard M\u00e2che confiait d\u2019ailleurs que c\u2019est l\u2019une des raisons qui l\u2019a attir\u00e9 \u00ab\u00a0vers la musique concr\u00e8te, qui offrait brusquement la possibilit\u00e9 de r\u00e9v\u00e9ler la pr\u00e9sence \u00e0 l\u2019int\u00e9rieur de choses triviales comme un son de chemin de fer ou un cri animal quelque chose de plus grand.\u00a0\u00bb<\/em> Le compositeur brosse des paysages sonores, abolissant d\u2019un m\u00eame mouvement chronologie et g\u00e9ographie, puisque des grenouilles de Java se retrouvent prises dans un orage d\u2019\u00cele-de-France, tandis que des shana\u00efs indiens r\u00e9pondent aux hautbois modernes ; Fran\u00e7ois-Bernard M\u00e2che, \u00e9rudit et curieux, rapproche cela de l\u2019art des peintres, qui croquent dans leurs carnets des arbres et des plantes du monde entier pour les r\u00e9unir ensuite dans une toile.<\/span><\/p>\n

\"DSCF4685\"
\nKassandra<\/em> est, d\u2019apr\u00e8s son auteur, un \u00ab cin\u00e9ma pour l\u2019oreille \u00bb <\/em>; il y d\u00e9ploie des tr\u00e9sors de \u00ab\u00a0preneur de son\u00a0\u00bb<\/em>, mais aussi de \u00ab monteur\u00bb<\/em>. Comme au cin\u00e9ma, il y a une construction par s\u00e9quences, d\u00e9coup\u00e9e par les interventions de la bande. On y entend des figures de rh\u00e9torique qui \u00e9voquent directement celles du 7e art : du travelling sonore \u00e0 travers l\u2019orage qui ouvre les premi\u00e8res secondes de la pi\u00e8ce, au fondu-encha\u00een\u00e9 qui transforme les interventions des percussionnistes en feu cr\u00e9pitant.<\/span>
\nFran\u00e7ois-Bernard M\u00e2che, qui se passionne tout autant pour les mythes que pour les langues et leurs sonorit\u00e9s, ne pouvait choisir un plus beau titre pour cette \u0153uvre. Selon la l\u00e9gende, Cassandre parle, elle dit le futur, elle pr\u00e9dit ; pourtant, maudite par Apollon apr\u00e8s s\u2019\u00eatre refus\u00e9e \u00e0 lui, elle est condamn\u00e9e \u00e0 n\u2019\u00eatre jamais crue. C\u2019est \u00e0 dire que sa langue est morte, qu\u2019elle est un son dont le sens \u00e9chappe, qu\u2019elle n\u2019est finalement que musique. \u00ab\u00a0Parmi les objets de notre monde sonore, il y a la parole. L\u2019humanit\u00e9 bavarde beaucoup. Dans ma jeunesse, j\u2019\u00e9coutais les ondes courtes et je tombais toujours sur des stations o\u00f9 l\u2019on parlait des langues que je ne pouvais identifier mais qui me captivaient. Parce que, renon\u00e7ant d\u2019embl\u00e9e \u00e0 la compr\u00e9hension, je pouvais les percevoir comme une musique verbale avec ses lois, ses attraits et ses d\u00e9fauts.\u00a0\u00bb<\/em><\/span><\/p>\n

\"DSCF9190\"
\nChaque langue est choisie pour sa sonorit\u00e9 (le kannada par exemple pour l\u2019incandescence de ses consonnes) ; mais aussi pour son rythme, sa prosodie, son locuteur. C\u2019est ainsi un v\u00e9ritable contrepoint (et non un dialogue) qui se joue entre le tib\u00e9tain hi\u00e9ratique, pos\u00e9 et r\u00e9gulier, et le amharique, scand\u00e9 et dynamique. Kassandra<\/em> s\u2019ach\u00e8ve apr\u00e8s un passage chuchot\u00e9 en basque, fidjien, g\u00e9orgien et t\u00e9lougou ; l\u2019auditeur y sent confus\u00e9ment que s\u2019y murmurent des secrets d\u2019humanit\u00e9, mais par la magie de l\u2019\u0153uvre, la mal\u00e9diction de Cassandre est lev\u00e9e ; derri\u00e8re cette voix que personne n\u2019\u00e9coute, il y a une musique que tout le monde peut entendre.<\/span><\/p>\n

 <\/p>\n

Photos : Portrait \u00a9 DR \/ autres photos \u00a9 Luc Hossepied pour l’Ensemble intercontemporain<\/p>\n","protected":false},"excerpt":{"rendered":"

Kassandra <\/em> (1977) du compositeur fran\u00e7ais Fran\u00e7ois Bernard M\u00e2che met en pr\u00e9sence toutes les r\u00e9alit\u00e9s sonores du vivant, qui questionne notre sens de l\u2019\u00e9coute, en faisant se rencontrer l\u2019int\u00e9rieur et l\u2019ext\u00e9rieur, la salle de concert et la nature bruissante, le son et le sens. Analyse d\u2019une \u00ab \u0153uvre d\u2019art sonore totale \u00bb. <\/p>\n","protected":false},"author":118,"featured_media":8703,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[714,715,665],"class_list":["post-8698","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eclairage","tag-francois-bernard-mache","tag-grm","tag-musique-electroacoustique","concert-traitres-mots","concert-words-and-music"],"acf":[],"yoast_head":"\nKassandra, une "\u0153uvre d\u2019art sonore totale". - 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\/2016\/02\/kassandra-une-oeuvre-dart-sonore-totale\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kassandra, une "\u0153uvre d\u2019art sonore totale". - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"Kassandra (1977) du compositeur fran\u00e7ais Fran\u00e7ois Bernard M\u00e2che met en pr\u00e9sence toutes les r\u00e9alit\u00e9s sonores du vivant, qui questionne notre sens de l\u2019\u00e9coute, en faisant se rencontrer l\u2019int\u00e9rieur et l\u2019ext\u00e9rieur, la salle de concert et la nature bruissante, le son et le sens. 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