{"id":1777,"date":"2008-04-15T10:13:40","date_gmt":"2008-04-15T08:13:40","guid":{"rendered":"http:\/\/www.ensembleinter.com\/accents-online\/?p=1777"},"modified":"2008-04-15T10:13:40","modified_gmt":"2008-04-15T08:13:40","slug":"lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/fr\/2008\/04\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\/","title":{"rendered":"L\u2019avers et l\u2019envers, un portrait de G\u00e9rard Pesson"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-1778\" title=\"Pesson\" src=\"http:\/\/www.ensembleinter.com\/accents-online\/wp-content\/uploads\/2010\/05\/Pesson-299x300.jpg\" alt=\"Pesson\" width=\"299\" height=\"300\" \/><br \/>\n\u00c0 propos de l\u2019une de ses premi\u00e8res partitions, <em>les Nocturnes en quatuor<\/em>, Pesson parlait d\u2019un \u00ab\u2009discours musical qui lutte contre le silence\u2009\u00bb, d\u2019\u00ab\u2009\u00eelots\u2009\u00bb qui \u00e9mergeaient, \u00ab\u2009comme si la mati\u00e8re sonore avait \u00e9t\u00e9 recouverte, estomp\u00e9e, submerg\u00e9e\u2009\u00bb. Cette po\u00e9tique de l\u2019effacement, fascin\u00e9e par le silence, le t\u00e9nu, consid\u00e9rant toute grande forme, tout grand r\u00e9cit ou toute structure comme un reste, faisait ainsi un \u00ab\u2009pas \u00e0 c\u00f4t\u00e9\u2009\u00bb, afin de s\u2019\u00e9carter de ce que le compositeur d\u00e9crivait avec une certaine m\u00e9fiance comme la ma\u00eetrise instrumentale, la\u00a0\u00ab\u2009sant\u00e9 et la bien-sonnance\u2009\u00bb, l\u2019efficacit\u00e9 imm\u00e9diate de beaucoup d\u2019\u00e9mules d\u2019un s\u00e9rialisme ou d\u2019un spectralisme \u00ab\u2009boost\u00e9s\u2009\u00bb \u00e0 la CAO [Composition Assist\u00e9e par Ordinateur]. Mais le pari de se tenir dans l\u2019effacement tel \u00ab\u2009un<em> muezzin<\/em> sans dogme, un <em>muezzin<\/em> du blanc\u2009\u00bb (Dominique Fourcade) ne pouvait r\u00e9ussir que si l\u2019invention se d\u00e9pla\u00e7ait sur un autre terrain, celui en l\u2019occurrence des techniques et des gestes instrumentaux, que Pesson a d\u00e9velopp\u00e9 avec obstination \u00e0 partir des solutions de Sciarrino ou Lachenmann\u00a0; elles fascinent chez lui par leur verve et leur ing\u00e9niosit\u00e9 \u2013 il y a un <em>estro strumentale<\/em> chez Pesson comme il y en eut d\u2019harmonique chez Vivaldi. Ces techniques rel\u00e8vent souvent d\u2019un effacement et d\u2019un retournement, proposant le geste et son retournement, le\u00a0 positif et le n\u00e9gatif, l\u2019avers et l\u2019envers\u00a0; la musique elle-m\u00eame a quelque chose d\u2019\u00e2pre et de soyeux, tour \u00e0 tour de plein ou de vide, de velout\u00e9 et de r\u00e2peux\u00a0: plus s\u00e8che et obstin\u00e9e dans <em>Cassation<\/em> ou la seconde des <em>Cinq Chansons<\/em>, plus soyeuse dans la premi\u00e8re de ce m\u00eame recueil ou la sixi\u00e8me des <em>R\u00e9cr\u00e9ations fran\u00e7aises<\/em>, mais de mani\u00e8re g\u00e9n\u00e9rale moins \u00e9l\u00e9giaque que nerveuse, plus proche du burin de Ravel que du moelleux debussyste.<br \/>\nSouvent des figures ou rythmes traditionnels, des clich\u00e9s ou objets trouv\u00e9s sont sauv\u00e9s pour \u00eatre aussit\u00f4t d\u00e9construits et broy\u00e9s \u2013 des rythmes (la valse dans <em>Le gel<\/em>, <em>par jeu<\/em> ou <em>La lumi\u00e8re n\u2019a pas de bras pour nous porter<\/em>, un branle du Poitou, une gigue), le balancement d\u2019une \u00ab\u2009tierce pendulaire\u2009\u00bb mahl\u00e9rienne, petit tic d\u2019\u00e9criture ou signal \u00e0 soi-m\u00eame, s\u00e9mantiquement juste en dessous d\u2019une citation reconnaissable. Ces objets apparaissent en un \u00e9clair, sous un projecteur braqu\u00e9 et aussit\u00f4t \u00e9teint, produisant alors, comme aussi le travail d\u2019effacement par les techniques instrumentales, une certaine tension chez l\u2019auditeur, soumis \u00e0 un perp\u00e9tuel \u00ab\u2009chaud-froid\u2009\u00bb\u00a0; la musique donne en m\u00eame temps qu\u2019elle interrompt et soustrait. \u00c0 propos de l\u2019op\u00e9ra <em>Pastorale<\/em>, le critique H.K Jungheinrich \u00e9crivait\u00a0: \u00ab<em> Le refus du pathos et le souffle court sont sa condition pr\u00e9alable. Pesson cite toutes sortes de types formels, surtout des danses, mais ils n\u2019apparaissent pas seulement (comme chez Stravinsky) \u00e0 l\u2019\u00e9tat de squelette, ils sont v\u00e9ritablement pulv\u00e9ris\u00e9s. Une \u00e9criture a\u00e9r\u00e9e, fluide, estomp\u00e9e, jamais triomphante, qui peut se rapprocher du trivial (sc\u00e8ne de la foire) et de l\u2019humoristique, acqu\u00e9rant ainsi une l\u00e9g\u00e8ret\u00e9 d\u2019insectes<\/em><em> <\/em>\u00bb.<br \/>\nC\u2019est en proc\u00e9dant la plupart du temps par unit\u00e9s courtes juxtapos\u00e9es, par fragments, par bouts et sursauts, que la musique de Pesson se veut anti-acad\u00e9mique, refusant l\u2019id\u00e9ologie du \u00ab\u2009d\u00e9veloppement\u2009\u00bb. D\u2019o\u00f9 une difficult\u00e9 \u00e0 l\u2019\u00e9coute\u00a0: nous ne sommes ni dans la suite baroque, ni dans une s\u00e9rie de vignettes, ni encore face \u00e0 une succession de \u00ab\u2009plateaux\u2009\u00bb comme chez Lachenmann, voire de \u00ab\u2009processus\u2009\u00bb spectraux. L\u2019auditeur est ainsi toujours en qu\u00eate de l\u2019arche formelle et des \u00ab\u00a0bonnes\u00a0\u00bb c\u00e9sures du discours, qui tant\u00f4t semblent donn\u00e9es par la texture, tant\u00f4t indiqu\u00e9es par le jeu des musiciens qui doivent \u00eatre observ\u00e9s avec attention\u00a0: Pesson a progressivement d\u00e9velopp\u00e9 la notion de geste sonore, de sons produits par les instruments tout juste effleur\u00e9s, d\u2019une \u00ab\u00a0musique d\u2019os\u00a0\u00bb o\u00f9 l\u2019\u0153il finit par suppl\u00e9er au son absent. Le jeu troublant entre l\u2019\u0153il et l\u2019oreille \u2013 qui tant\u00f4t collaborent, tant\u00f4t se battent en duel \u2013 se donne alors comme une autre figure de l\u2019interrogation du faire musical, toujours en \u00e9tat d\u2019ironisation ou d\u2019\u00e9nigme.<br \/>\n<em>Martin Kaltenecker<br \/>\nExtrait d\u2019Accents n\u00b0 35<\/em><em> &#8211; avril-juillet 2008<\/em><br \/>\n<em>Photo \u00a9 Nicolas Havette<br \/>\n<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00c0 propos de l\u2019une de ses premi\u00e8res partitions, les Nocturnes en quatuor, Pesson parlait d\u2019un \u00ab\u2009discours musical qui lutte contre le silence\u2009\u00bb, d\u2019\u00ab\u2009\u00eelots\u2009\u00bb qui \u00e9mergeaient, \u00ab\u2009comme si la mati\u00e8re sonore avait \u00e9t\u00e9 recouverte, estomp\u00e9e, submerg\u00e9e\u2009\u00bb. Cette po\u00e9tique de l\u2019effacement, fascin\u00e9e par le silence, le t\u00e9nu, consid\u00e9rant toute grande forme, tout grand r\u00e9cit ou toute structure [&hellip;]<\/p>\n","protected":false},"author":7,"featured_media":3548,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[335,342,343],"class_list":["post-1777","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eclairage","tag-accents-n35","tag-gerard-pesson","tag-les-nocturnes-en-quatuor"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>L\u2019avers et l\u2019envers, un portrait de G\u00e9rard Pesson - 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\/2008\/04\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u2019avers et l\u2019envers, un portrait de G\u00e9rard Pesson - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"\u00c0 propos de l\u2019une de ses premi\u00e8res partitions, les Nocturnes en quatuor, Pesson parlait d\u2019un \u00ab\u2009discours musical qui lutte contre le silence\u2009\u00bb, d\u2019\u00ab\u2009\u00eelots\u2009\u00bb qui \u00e9mergeaient, \u00ab\u2009comme si la mati\u00e8re sonore avait \u00e9t\u00e9 recouverte, estomp\u00e9e, submerg\u00e9e\u2009\u00bb. Cette po\u00e9tique de l\u2019effacement, fascin\u00e9e par le silence, le t\u00e9nu, consid\u00e9rant toute grande forme, tout grand r\u00e9cit ou toute structure [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.ensembleintercontemporain.com\/fr\/2008\/04\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\/\" \/>\n<meta property=\"og:site_name\" content=\"Ensemble intercontemporain\" \/>\n<meta property=\"article:published_time\" content=\"2008-04-15T08:13:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2010\/05\/pesson35.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"464\" \/>\n\t<meta property=\"og:image:height\" content=\"267\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Martin Kaltenecker\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Martin Kaltenecker\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\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\\\/fr\\\/2008\\\/04\\\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2008\\\/04\\\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\\\/\"},\"author\":{\"name\":\"Martin Kaltenecker\",\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/#\\\/schema\\\/person\\\/e955adbc5d659a58842a64663c50f640\"},\"headline\":\"L\u2019avers et l\u2019envers, un portrait de G\u00e9rard Pesson\",\"datePublished\":\"2008-04-15T08:13:40+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2008\\\/04\\\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\\\/\"},\"wordCount\":754,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2008\\\/04\\\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/content\\\/uploads\\\/2010\\\/05\\\/pesson35.jpg\",\"keywords\":[\"Accents n\u00b035\",\"G\u00e9rard Pesson\",\"les nocturnes en quatuor\"],\"articleSection\":[\"\u00c9clairage\"],\"inLanguage\":\"fr-FR\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2008\\\/04\\\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\\\/\",\"url\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2008\\\/04\\\/lavers-et-lenvers-un-portrait-de-gerard-pesson-par-martin-kaltenecker-accents-n-35\\\/\",\"name\":\"L\u2019avers et l\u2019envers, un portrait de G\u00e9rard Pesson - 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