{"id":2265,"date":"2010-09-15T10:16:35","date_gmt":"2010-09-15T08:16:35","guid":{"rendered":"http:\/\/www.ensembleinter.com\/accents-online\/?p=2265"},"modified":"2019-10-15T16:50:24","modified_gmt":"2019-10-15T14:50:24","slug":"luciano-berio-sequenze","status":"publish","type":"post","link":"https:\/\/www.ensembleintercontemporain.com\/fr\/2010\/09\/luciano-berio-sequenze\/","title":{"rendered":"Luciano Berio : Sequenze."},"content":{"rendered":"<p><span style=\"font-size: 14pt;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-17533\" src=\"http:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2012\/06\/berio_929187_26.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2012\/06\/berio_929187_26.jpg 1920w, https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2012\/06\/berio_929187_26-300x200.jpg 300w, https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2012\/06\/berio_929187_26-768x511.jpg 768w, https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2012\/06\/berio_929187_26-1024x682.jpg 1024w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \/><\/span><\/p>\n<p><span style=\"font-size: 14pt;\">Depuis leur lointaine gen\u00e8se, puis \u00e0 travers leur lente \u00e9volution au cours des si\u00e8cles au gr\u00e9 des usages et des besoins, les instruments de musique s\u00e9dimentent de larges pans de l\u2019histoire de la musique. Avant m\u00eame d\u2019\u00eatre sollicit\u00e9s par un compositeur, ces objets techniques parfois tr\u00e8s complexes sont porteurs d\u2019une pens\u00e9e musicale implicite\u00a0: une intelligence collective du son musical. C\u2019est \u00e0 partir de ce constat, en claire connaissance de ce qu\u2019\u00ab\u2009un instrument de musique est de par lui-m\u00eame un morceau de langage musical\u2009\u00bb, que Luciano Berio a \u00e9crit son c\u00e9l\u00e8bre cycle de pi\u00e8ces pour instruments solistes \u00e9tal\u00e9 sur quarante-quatre ans d\u2019activit\u00e9 (1958-2002), les <em>Sequenze<\/em>.<\/span><br \/>\n<span style=\"font-size: 14pt;\">Chacune de ces quatorze courtes pi\u00e8ces saisit les instruments pour ainsi dire verticalement, en coupe, comme un \u00e9tat des possibles \u00e0 un moment donn\u00e9 de -l\u2019histoire. Le compositeur y exp\u00e9rimente certes des modes de jeu alors peu courants voire in\u00e9dits, notamment dans les premi\u00e8res pi\u00e8ces (les multiphoniques de la fl\u00fbte, le jeu percussif sur les cordes de la harpe, le jeu en accords de l\u2019alto, l\u2019emploi du piano comme simple caisse de r\u00e9sonance de la trompette, etc.), modes de jeu qui font reculer les limites de l\u2019idiome et anticipent la musique concr\u00e8te instrumentale ou les \u00ab\u2009bruitismes\u2009\u00bb plus r\u00e9cents. Mais paradoxalement \u2013 ou\u00a0plut\u00f4t par un de ces retournements gr\u00e2ce auxquels une \u0153uvre r\u00e9siste \u00e0 ce que son id\u00e9e premi\u00e8re semble programmer\u00a0\u2013, les <em>Sequenze<\/em> sont guid\u00e9es non tant par un jeu timbrique sur la mati\u00e8re de l\u2019instrument que par un souci de l\u2019ordre du langage, que l\u2019on pourrait rapporter \u00e0 une \u00ab\u2009musique pure\u2009\u00bb, s\u2019enracinant dans l\u2019id\u00e9al de la \u00ab\u2009monodie polyphonique\u2009\u00bb chez Bach. <\/span><\/p>\n<p><span style=\"font-size: 14pt;\">Faire surgir le multiple de l\u2019unique, tel est ainsi le projet lisible d\u00e8s l\u2019inaugurale <em>Sequenza <\/em>pour fl\u00fbte (1958), o\u00f9, par d\u2019extr\u00eames et rapides contrastes, l\u2019instrument monodique fait jouer des \u00e9l\u00e9ments fortement caract\u00e9ris\u00e9s (tenues et traits rapides) qui semblent presque simultan\u00e9s. On ne s\u2019\u00e9tonnera pas, d\u00e8s lors, que la plupart des <em>Sequenze<\/em> puissent se lire dans leur globalit\u00e9, et malgr\u00e9 leurs nombreuses fractures, comme des processus (d\u2019o\u00f9 le titre qui renvoie aux \u00ab\u2009s\u00e9quences\u2009\u00bb de champs harmoniques)\u00a0: \u00e9puisement d\u2019un mat\u00e9riau par sa r\u00e9p\u00e9tition et sa variation (<em>Sequenza\u00a0VI<\/em> pour alto), enrichissement vertical d\u2019un discours d\u2019abord monodique (<em>Sequenza II<\/em> pour harpe), libre r\u00e9p\u00e9tition et ornementation quasi improvis\u00e9e autour d\u2019une cellule m\u00e9lodique simple (<em>Sequenza XIII<\/em> \u00ab\u2009Chanson\u2009\u00bb pour accord\u00e9on\u2026<\/span><br \/>\n<span style=\"font-size: 14pt;\">Les <em>Sequenze<\/em> se situent au point de tension entre la primaut\u00e9 d\u2019un instrument pris dans toutes ses d\u00e9terminations techniques et une aspiration \u00e0 la musique pure. Mais on les d\u00e9crirait inad\u00e9quatement comme de simples \u00e9tudes instrumentales, si l\u2019on tait le r\u00f4le jou\u00e9 par l\u2019instrumentiste virtuose qui est le commanditaire et le d\u00e9dicataire de chacune d\u2019elles (Francis Pierre pour la <em>Sequenza\u00a0II<\/em>, Cathy Berberian pour la <em>Sequenza\u00a0III<\/em>, Heinz Holliger pour la <em>Sequenza\u00a0VII<\/em>\u2026). Les gestes de l\u2019instrumentiste, en -partie h\u00e9rit\u00e9s d\u2019une tradition transmise par l\u2019apprentissage, sont, dans le cas du -virtuose, pouss\u00e9s \u00e0 un point de ma\u00eetrise qui met paradoxalement ce dernier en situation d\u2019intense conflit ou de corps \u00e0 corps avec la machine instrumentale. <\/span><\/p>\n<p><span style=\"font-size: 14pt;\">La th\u00e9\u00e2tralit\u00e9 surgit naturellement lorsque l\u2019\u00e9criture musicale met d\u00e9lib\u00e9r\u00e9ment cette friction en avant, produisant des gestes in\u00e9dits, mettant en sc\u00e8ne la situation de production du son et faisant \u00e9merger en la personne de l\u2019interpr\u00e8te une figure ou un type\u00a0: ici une cantatrice qui, entre rires, murmures et chant, r\u00e9clame \u00ab\u2009quelques mots \u00e0 chanter\u2009\u00bb (<em>Sequenza\u00a0III<\/em> pour voix), ailleurs un tromboniste qui, m\u00ealant sa propre voix \u00e0 celle de son instrument, rend un \u00e9mouvant hommage au clown Grock et \u00e0 son m\u00e9taphysique \u00ab\u2009Warum\u00a0?\u2009\u00bb (pourquoi\u00a0?) (<em>Sequenza\u00a0V<\/em> pour trombone).<\/span><br \/>\n<span style=\"font-size: 14pt;\">L\u2019\u00e9change ne s\u2019arr\u00eate pas au rapport entre compositeur et instrumentiste. Disparu le 18 mai dernier, le po\u00e8te Edoardo Sanguineti, collaborateur fid\u00e8le du compositeur (<em>Passaggio<\/em>, <em>Laborintus\u00a0II<\/em>, <em>A-Ronne\u2026<\/em>), s\u2019est joint, plus tardivement, au cycle. En 1994, il offre \u00e0 Berio une -collection de phrases destin\u00e9es \u00e0 \u00eatre plac\u00e9es en exergue de chaque <em>Sequenza<\/em>. Tant\u00f4t litt\u00e9ralement descriptives du contenu de la pi\u00e8ce, tant\u00f4t plus sibyllines, ces \u00e9pigrammes formulent toutes le mouvement d\u2019une adresse, avec ses marques caract\u00e9ristiques (\u00ab\u2009je\u2009\u00bb, \u00ab\u2009tu\u2009\u00bb). Don du po\u00e8te au compositeur couronnant cette \u00ab\u2009musique des musiques\u2009\u00bb, elles scellent par la voie po\u00e9tique l\u2019art de la rencontre qui est v\u00e9ritablement au c\u0153ur des <em>Sequenze<\/em> et en forme la stimulation essentielle.<\/span><br \/>\n<span style=\"font-size: 14pt;\">\u00ab\u2009Et ici commence ton d\u00e9sir, qui est le d\u00e9lire de mon d\u00e9sir\u2009: la musique est le d\u00e9sir des d\u00e9sirs\u2009\u00bb (<em>Sequenza\u00a0I<\/em>)<\/span><\/p>\n<p><em><br \/>\n<\/em>Extrait d&rsquo;Accents n\u00b0 42 &#8211; septembre-d\u00e9cembre 2010<br \/>\nPhoto \u00a9 Philippe Gontier <em><br \/>\n<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Depuis leur lointaine gen\u00e8se, puis \u00e0 travers leur lente \u00e9volution au cours des si\u00e8cles au gr\u00e9 des usages et des besoins, les instruments de musique s\u00e9dimentent de larges pans de l\u2019histoire de la musique. Avant m\u00eame d\u2019\u00eatre sollicit\u00e9s par un compositeur, ces objets techniques parfois tr\u00e8s complexes sont porteurs d\u2019une pens\u00e9e musicale implicite\u00a0: une intelligence [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":3429,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[102],"tags":[427,32,438],"class_list":["post-2265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-eclairage","tag-accents-n42","tag-luciano-berio","tag-sequenze","concert-sinfonia"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Luciano Berio : Sequenze. - 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\/2010\/09\/luciano-berio-sequenze\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Luciano Berio : Sequenze. - Ensemble intercontemporain\" \/>\n<meta property=\"og:description\" content=\"Depuis leur lointaine gen\u00e8se, puis \u00e0 travers leur lente \u00e9volution au cours des si\u00e8cles au gr\u00e9 des usages et des besoins, les instruments de musique s\u00e9dimentent de larges pans de l\u2019histoire de la musique. Avant m\u00eame d\u2019\u00eatre sollicit\u00e9s par un compositeur, ces objets techniques parfois tr\u00e8s complexes sont porteurs d\u2019une pens\u00e9e musicale implicite\u00a0: une intelligence [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.ensembleintercontemporain.com\/fr\/2010\/09\/luciano-berio-sequenze\/\" \/>\n<meta property=\"og:site_name\" content=\"Ensemble intercontemporain\" \/>\n<meta property=\"article:published_time\" content=\"2010-09-15T08:16:35+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-10-15T14:50:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.ensembleintercontemporain.com\/content\/uploads\/2010\/11\/20100129-_ESC3093_une.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=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Pierre-Yves Mac\u00e9\" \/>\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\\\/2010\\\/09\\\/luciano-berio-sequenze\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2010\\\/09\\\/luciano-berio-sequenze\\\/\"},\"author\":{\"name\":\"Pierre-Yves Mac\u00e9\",\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/en\\\/#\\\/schema\\\/person\\\/754ccc2c496b6cf14c499f357309c165\"},\"headline\":\"Luciano Berio : Sequenze.\",\"datePublished\":\"2010-09-15T08:16:35+00:00\",\"dateModified\":\"2019-10-15T14:50:24+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2010\\\/09\\\/luciano-berio-sequenze\\\/\"},\"wordCount\":830,\"image\":{\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2010\\\/09\\\/luciano-berio-sequenze\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/content\\\/uploads\\\/2010\\\/11\\\/20100129-_ESC3093_une.jpg\",\"keywords\":[\"Accents n\u00b042\",\"Luciano Berio\",\"sequenze\"],\"articleSection\":[\"\u00c9clairage\"],\"inLanguage\":\"fr-FR\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2010\\\/09\\\/luciano-berio-sequenze\\\/\",\"url\":\"https:\\\/\\\/www.ensembleintercontemporain.com\\\/fr\\\/2010\\\/09\\\/luciano-berio-sequenze\\\/\",\"name\":\"Luciano Berio : Sequenze. - 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