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2012PA030185.Pdf ________________________________________________________________________ UNIVERSITÉ DE PARIS III SORBONNE NOUVELLE U.F.R. DE LANGUE ET LITTÉRATURE FRANÇAISES ET LATINES École doctorale 120 : Littérature française et comparée ________________________________________________________________________ THÈSE DE DOCTORAT Domenico Zipoli (1688-1726) et la musique dans les missions jésuites : évangélisation et respect des cultures locales ? Par Norberto BUCARI Sous la direction de Madame le Professeur Édith FLAMARION Directrice de recherche à l’Université de Paris III-Sorbonne Nouvelle Paris, 15 décembre 2012 Membres du jury : Madame le Professeur Nathalie Dauvois ; Monsieur le Professeur Jean- Paul Duviols ; Monsieur le Professeur Jean-Noël Pascal 2 REMERCIEMENTS Je tiens à remercier Madame le Professeur Édith FLAMARION pour ses suggestions, ses sages conseils, et surtout pour sa rigueur intellectuelle sans faille. Tout spécialement à ma femme, sans qui rien de cela n’aurait été possible. À mes enfants 3 RÉSUMÉ L’histoire chrétienne latino-américaine est le résultat d’une rencontre entre deux civilisations très différentes : l’Europe de la Contre-Réforme et le monde des Guaranis. Dans cette rencontre, les missionnaires jésuites occupèrent la position d’intermédiaires privilégiés entre le Paraguay et l’Europe. Ils initièrent les Guaranis aux arts et aux techniques européennes, qui rayonnaient alors de toute leur nouveauté. Ceci fut possible grâce, notamment, à la présence de nombreux musiciens de talent embarqués dans l’aventure missionnaire, dont, incontestablement, se dégage le personnage de Domenico Zipoli (1688-1726). En retour, ces musiciens recréèrent en Amérique une musique d’esthétique baroque, longtemps restée sinon ignorée du moins mythique, et aujourd’hui dévoilée. Mots clés : Zipoli ; Jésuites ; Missions ; Paraguay ; Musique ; Baroque. ABSTRACT Christian history in Latin America is the result of an encounter between two very different civilizations: the Europe of the Counter-Reformation and the world of the Guaranis. In this meeting, Jesuit missionaries occupied the privileged position of intermediaries between Paraguay and Europe. They initiated the Guaranis to European arts and techniques, in the full radiance of their novelty. This was possible especially thanks to the many talented musicians embarked on the missionary adventure, where, undoubtedly, emerges the figure of Domenico Zipoli (1688-1726). In return, in America these musicians recreated the music of Baroque aesthetics, which remained for long if not ignored, at least mythical, and is unveiled to us today. Keywords : Zipoli ; Jesuits ; Missions ; Paraguay ; Music ; Baroque. 4 L’idée d’écrire sur la vie et l’œuvre de Domenico Zipoli, la musique baroque latino-américaine et le respect des cultures locales par les jésuites, remonte à 1984, alors que, curieusement, personne ne songeait alors à l’existence d’un tel personnage ni d’un tel répertoire. Certains problèmes d’ordre personnel m’éloignèrent considérablement du sujet en question. Mais, ayant donc débuté mes recherches en terre pour ainsi dire vierge, ce long intervalle m’a finalement fort bien servi pour aborder avec une certaine objectivité un aspect controversé du sujet. Certes, ce sujet est vaste ; et, il se trouve très à la mode aujourd’hui. Pour se démarquer, en quelque sorte, ce travail aborde une nette différence de style par rapport aux autres travaux. C’est ainsi que, par exemple, dans Les Chemins du Baroque dans le Nouveau Monde, son auteur, Alain Pacquier, propose une excellente approche du sujet mais fait avant tout œuvre journalistique. Si je fais mention de cet ouvrage, c’est parce que la bibliographie complète sur Zipoli en français est, en dehors de celle très sous- jacente de Pacquier, inexistante. Il m’a semblé qu’un travail en français, clarifiant les différentes découvertes sur la vie et l’œuvre du Zipoli, était indispensable, au-delà des modes. Puisse contribuer ce qui va suivre à cette clarification. Norberto Bucari 5 TABLE DES MATIÈRES Introduction 8 CHAPITRE PREMIER DOMENICO ZIPOLI OU À LA DÉCOUVERTE D’UN GRAND OUBLIÉ : UNE HISTOIRE DOUBLE I. Un musicien italien 15 I.1. Environnement familial I.2. Formation musicale I.3. Naples I.4. Rome I.5. Les Strozzi II. Un musicien jésuite au Nouveau Monde : Découvertes successives 24 II.1. 1933: Guillermo Furlong, S.J. (1889-1974) II.2. 1941 Lauro Ayestarán (1913-1966) II.3. 1941 Les archives de la Compagnie de Jésus : la notice nécrologique de Zipoli III. Y a-t-il deux Zipoli : un italien et un américain ? Un musicien italien jésuite au Nouveau Monde 30 III.1. 1946 : Article d’Adolfo Salazar (1890-1958) III.2. 1946 : Victor de Rubertis (1911-1975) : l’acte de naissance de Zipoli III.3. 1957 : Luigi Tagliavini : le manuscrit du père Martini III.4. 1959 : Robert Stevenson (1916-2002) : la Messe en Fa de Zipoli III.5.1972 - Hans Roth : les archives de Concepción III.6. État actuel des recherches : Luis Szaran – Bernardo Illari – Piotr Nawrot 6 CHAPITRE DEUXIÈME D’UN CONTINENT À L’AUTRE : DE L’EUROPE AU NOUVEAU MONDE I En route vers le Nouveau Monde : De Séville à Córdoba (1716-1717) 47 I.1 Séjour espagnol I.2. Le voyage : Difficultés du périple I.3. Les motivations de Zipoli ? Qui était la princesse Maria Teresa Strozzi ? II. Domenico Zipoli en Amérique 59 e II.1. à Córdoba del Tucumán à l’aube du XVIII siècle II.2. Vie et mort de Domenico Zipoli à Córdoba (1717-1726) II.3. Les missions jésuites II.3.1. Qui sont les Guaranis ? II.3.2. La République jésuite du Paraguay au temps de Zipoli II.3.3. Conclusion : expulsion des jésuites, et devenir des missions CHAPITRE TROISIÈME ZIPOLI, MUSICIEN JÉSUITE DES MISSIONS OU « L’ORPHÉE DES GUARANIS » I. Art et religion 103 I.1. L’enseignement jésuite I.2. Rhétorique, théâtre et musique I.3. Vocation enseignante et musique : l’analyse de Pierre Guillot II. L’importance de l’art dans l’évangélisation II.1. Le style jésuite II.2. Le pouvoir de l’image et des peintures II. Musique missionnaire au Paraguay et dogme évangélisateur 121 II.1. Évangélisation des Indiens : l’œuvre de José d’Acosta II.2. Musique chez les Indiens avant l’arrivée des missionnaires : un « goût naturel » pour la musique 7 II.3.Musique dans les missions avant Zipoli Au début de XVIIème : Jean Vaisseau, Louis Berger A la charnière des XVII – XVIIIèmes siècles : Anton Sepp (1655-1733), créateur d’un conservatoire et d’une fabrique d’instruments musicaux III. Analyse des œuvres américaines de Domenico Zipoli 152 III.1. Les thèmes III.2. -L’écriture musicale - Influence baroque Musique baroque en Europe : l’opéra baroque et le mythe d’Orphée Musique baroque dans le Nouveau Monde, en dehors des missions Modestie de l’influence sur les œuvres de Zipoli - Adaptation au Nouveau Monde : nouveaux musiciens et nouveau public III.3. De Martin Schmid (1694-1772) à Domenico Zipoli : les travaux de Stefan Fellner (1993) III.4. Questions sur l’interprétation de la musique missionnaire au XVIII e siècle Conclusion générale 193 Annexes 1 199 Chronologie de Domenico Zipoli Analyse des œuvres européennes de Zipoli Livrets d’Opéra, Cantates et œuvres diverses d’Europe et du Nouveau Monde Biographie des principaux musiciens du Nouveau Monde Lexique Déclaration du Ñanderu Simón Delgado, Indien guarani (2005) Bibliographie 238 Discographie Sélective 271 8 L’année 1986, qui marque le début d’un formidable regain d’intérêt pour l’épopée e e missionnaire jésuite en Amérique latine, aux XVII et XVIII siècles. Ce nouvel engouement est symbolisé, en quelque sorte, du moins pour le grand public, par l’extraordinaire succès du film historique « Mission » (The Mission), réalisé par Roland Joffé, écrit par le scénariste britannique Robert Bolt (1924–1995), et couronné par de multiples récompenses – Palme d’or au Festival du film de Cannes de 1986, suivie, en 1987, de sept Oscars aux États-Unis et du César du meilleur film étranger en France. Cette aventure, à la fois tragique et fantastique, est fondée sur une pièce de théâtre de Fritz Hochwälder, Sur la terre comme au ciel de 1942.1 « Ce film humaniste à grand spectacle, rythmé par la musique d’Ennio Morricone et dans lequel Jeremy Irons incarne le père Gabriel et Robert de Niro un mercenaire chasser d’esclaves converti, Rodrigo Mendoza, présente un modèle de mission et de conversion des indigènes guaranis. »2 Quel est le synopsis du film ? Le cardinal Altamarino, légat du pape, est envoyé dans les missions jésuites d’Amérique du Sud. Là, il fait la connaissance du père Gabriel S.J., qui s’est aventuré dans les rapides del Iguazú vers la forêt tropicale sud-américaine afin d’évangéliser les Guaranis, en particulier grâce à la musique. Un ex chasseur d’esclaves, Rodrigo, repenti et cherchant la rédemption, s’est même joint à lui. Le père Gabriel fait ainsi visiter plusieurs missions au cardinal Altamirano ; ce dernier est stupéfait autant qu’admiratif des multiples réalisations qu’il découvre : réductions organisées et prospérité de celles-ci, qualité de vie, présence de la religion, etc. À la fin de son séjour, Altamirano révèle la décision, sûrement du pape, prise avant même son arrivée en Amérique du Sud : les jésuites doivent quitter les réductions. Le prêtre et le frère Rodrigo refusent d’abandonner les Guaranis. Ils organisent la résistance contre l’armée portugaise, venue appliquer les accords de redistribution des terres entre Espagnols et Portugais : ceux-ci venaient d’être définis dans le Traité des Limites, signé en 1750 entre Ferdinand VI d’Espagne et Jean V du Portugal, dont le principal instigateur 1 Fritz Hochwälder, dramaturge autrichien né le 28 mai 1911 à Vienne et mort le 20 octobre 1986 à Zurich. Après avoir émigré en Suisse en 1938, il commence à écrire des pièces de théâtre pour gagner sa vie. Sa pièce la plus célèbre, Sur la terre comme au ciel (Das Heilige Experiment), écrite en 1942, a pour thème la colonisation du Paraguay par les Jésuites au XVIIe siècle.
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