{"id":1515,"date":"2004-04-15T10:10:52","date_gmt":"2004-04-15T08:10:52","guid":{"rendered":"http:\/\/www.ensembleinter.com\/accents-online\/?p=1515"},"modified":"2004-04-15T10:10:52","modified_gmt":"2004-04-15T08:10:52","slug":"a-propos-de-nachtmusik-par-emmanuel-nunes-et-christophe-desjardins-accents-n-23","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/fr\/2004\/04\/a-propos-de-nachtmusik-par-emmanuel-nunes-et-christophe-desjardins-accents-n-23\/","title":{"rendered":"\u00c0 propos de Nachtmusik"},"content":{"rendered":"

Emmanuel Nunes et Christophe Desjardins parlent de Nachtmusik<\/em> ( 1977-1978 ) pour alto, violoncelle, clarinette basse, cor anglais, trombone, et \u00e9lectronique en direct ad libitum<\/em>
\nLa totalit\u00e9 de la partition a \u00e9t\u00e9 r\u00e9dig\u00e9e au cours de l\u2019hiver 1977-1978, et aucun d\u00e9tail
\ndes esquisses datant de 1973 n\u2019a \u00e9t\u00e9 retenu. Le choix de l\u2019utilisation exclusive de huit notes (do, do<\/em> di\u00e8se, r\u00e9, r\u00e9<\/em> di\u00e8se, fa, fa<\/em> di\u00e8se, si<\/em> b\u00e9mol, si<\/em>) a d\u00e9termin\u00e9 d\u2019une mani\u00e8re assez stricte, et presque obstin\u00e9e, tout le d\u00e9roulement rythmique de l\u2019\u0153uvre, ainsi que les relations entre les diff\u00e9rents tempos et leurs changements. N\u00e9anmoins, l\u2019improvisation locale ne cesse d\u2019y jouer un r\u00f4le pr\u00e9pond\u00e9rant.
\nChristophe Desjardins\u202f: Quand j\u2019ai d\u00e9couvert cette partition, j\u2019ai \u00e9t\u00e9 tout de suite impressionn\u00e9 par son instrumentation singuli\u00e8re et in\u00e9dite. Situ\u00e9 dans les tessitures medium et graves, l\u2019ensemble r\u00e9unit plusieurs instruments dont l\u2019histoire musicale a particuli\u00e8rement exalt\u00e9 le caract\u00e8re t\u00e9n\u00e9breux et introspectif, comme le cor anglais, le trombone ou l\u2019alto. Par ce choix, les longs ostinatos du d\u00e9but de la pi\u00e8ce prennent imm\u00e9diatement une coloration sombre et \u00e9nigmatique, comme une volont\u00e9 d\u00e9lib\u00e9r\u00e9e de tenir encore \u00e0 distance la brillance diurne.<\/em>
\nEmmanuel Nunes\u202f: Il existe pendant tout le d\u00e9roulement un potentiel de tension vivifiant la forme globale\u202f: d\u2019une part, les quatre sons manquants (mi, sol, sol<\/em> di\u00e8se, la<\/em>) qui, par le fait m\u00eame de leur bannissement, tendent \u00e0 imposer \u00e0 tout \u00e9v\u00e9nement un \u00ab\u202fespace de l\u2019absence\u202f\u00bb\u202f; d\u2019autre part, une multiplicit\u00e9 de rapports entre les param\u00e8tres issus du potentiel des huit sons, leur \u00ab\u202fexclusivit\u00e9\u202f\u00bb les \u00e9rigeant en une sorte de \u00ab\u202ftemp\u00e9rament\u202f\u00bb. Celui-ci n\u2019avait pas son origine dans un choix initial des huit sons, mais, au contraire, dans la d\u00e9cision de bannir les quatre sons.
\nC.D.\u202f: Jouer<\/em> Nachtmusik I sans chef pr\u00e9sente un double enjeu<\/em> : cela oblige d\u2019abord \u00e0 s\u2019approprier en commun la charpente rythmique de l\u2019\u0153uvre, \u00e0 faire circuler entre
\nnous la pulsation, dans le d\u00e9roulement complexe de ses variations. A partir de cette trame, nous avons pu ensuite approfondir l\u2019interpr\u00e9tation, en affinant les relations de jeu entre instruments<\/em> : fusion des timbres, modes d\u2019attaques, \u00e9quilibres dynamiques, dans le but de restituer le plus clairement possible la polyphonie de l\u2019\u0153uvre.<\/em>
\nE.N.\u202f: La simple id\u00e9e que cette \u0153uvre serait un jour interpr\u00e9t\u00e9e comme une \u0153uvre de musique de chambre, c\u2019est-\u00e0-dire sans direction, me paraissait une utopie. Certains chefs l\u2019ont dirig\u00e9e de telle mani\u00e8re que la dimension \u00ab\u202fchambriste\u202f\u00bb \u00e9tait pleinement restitu\u00e9e par la direction\u202felle-m\u00eame. Mais je n\u2019imaginais pas l\u2019\u00e9couter un jour sans chef avec cependant tout l\u2019\u00e9clat de la profusion, entre les cinq instruments, de rencontres rythmiques tr\u00e8s diversifi\u00e9es qui parcourent toute la partition. L\u2019utopie est devenue r\u00e9alit\u00e9 depuis que Christophe Desjardins, Pierre Strauch, Alain Billard, Benny Sluchin et Didier Pateau, ont pris la d\u00e9cision d\u2019interpr\u00e9ter seuls Nachtmusik<\/em> I<\/em>.
\nC.D.\u202f: Espace de l\u2019absence ou espace d\u2019une autre pr\u00e9sence au monde, la nuit induit une perception diff\u00e9rente de l\u2019\u00e9coulement du temps, mais aussi une perception plus aiguis\u00e9e des sons et des formes. Qu\u2019Emmanuel Nunes soit ici remerci\u00e9 pour ce que sa musique permet de toucher, cet indicible suspendu quelque part entre \u00e9nigmatique \u00e9tranget\u00e9, sensualit\u00e9 et utopie visionnaire.<\/em>
\nEmmanuel Nunes et Christophe Desjardins
\nExtrait d\u2019Accents n\u00b0 23 – avril-juillet 2004
\n<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Emmanuel Nunes et Christophe Desjardins parlent de Nachtmusik<\/em> ( 1977-1978 ) pour alto, violoncelle, clarinette basse, cor anglais, trombone, et \u00e9lectronique en direct ad libitum<\/em><\/p>\n","protected":false},"author":14,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[162,138,75,163],"class_list":["post-1515","post","type-post","status-publish","format-standard","hentry","category-eclairage","tag-accents-n23","tag-christophe-desjardins","tag-emmanuel-nunes","tag-nachtmusik"],"acf":[],"yoast_head":"\n\u00c0 propos de Nachtmusik - 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\/fr\/2004\/04\/a-propos-de-nachtmusik-par-emmanuel-nunes-et-christophe-desjardins-accents-n-23\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c0 propos de Nachtmusik - 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