Atom Heart Mother Est Une Oeuvre Singulière Qu'on a Qualifiée D'énigme : Existe-T-Il Un Rapport Entre Le Titre, La Pochette

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Atom Heart Mother Est Une Oeuvre Singulière Qu'on a Qualifiée D'énigme : Existe-T-Il Un Rapport Entre Le Titre, La Pochette Atom Heart Mother est une oeuvre singulière qu'on a qualifiée d'énigme : existe-t-il un rapport entre le titre, la pochette, et la musique ? Titre-pochette : lait (voir ci-dessous la magnifique version des élèves du CNSM de Paris), pochette-musique : vache des westerns ? … Finalement, il n'y a sans doute rien à expliquer. Le compositeur Ron Geesin dit d'ailleurs apprécier l'absurdité, et être influencé par le surréalisme (voir « les cadavres exquis ). Le rapport titre-pochette-musique m'évoque un cadavre exquis. Le rock progressif anglais se dit influencé par le surréalisme. de Patchwork : « Cet album était un patchwork confus » (David Gilmour). Effectivement, les pièces mises bout à bout n'ont pas forcément de rapport entre elles, si ce n'est un fil conducteur de mi mineur. d'oeuvre charnière, charnière entre la musique savante et la musique populaire, mais charnière aussi dans la carrière du groupe entre l'héritage pop des Beatles et le sommet en mars 1973, avec l'album The Dark Side of the Moon qui restera plus de 14 ans dans le top 200 (record absolu) et le 3e album le plus vendu au monde, album dans lequel le séquenceur fait son apparition. d'Odyssée (terme employé par Roger Waters) ou de poème symphonique avec 6 parties dont les titres forment une sorte de lien : Father's Shout , Breast Milky , Mother Fore, Funky Dung Mind your Throats Please , Remergence. Le mouvement Rock est issu du blues. Le premier succès mondial du rock'n'roll est Rock around the Clock de Bill Haley en 1954 aux USA. Bill Haley, Rock Around The Clock (1954) A partir de 1956, le king Elvis Presley incarne la figure charismatique à laquelle s'identifient les jeunes. « Il fait scandale en chantant comme les noirs. Cela est certainement un des signes frémissants de la revendication des droits civiques qui au cours des années suivantes va rejoindre l'opposition pacifiste à la guerre au Vietnam et aboutir à fédérer un vaste mouvement de jeunesse, désireuse de reconnaissance (non pas seulement comme des adultes en devenir), avide d'ouvrir de nouveaux horizons, de secouer tabous et traditions étriquées. Par dessus les frontières, les origines sociales, une partie de la jeunesse du monde entier va chercher à se trouver, à se fabriquer des marqueurs identitaires dans ce sens. »1 Le rock'n roll des débuts, la pop music du début des années 60 engendrent le rock progressif qui « se nourrit de toutes ces diversités : goût pour les musiques extra européennes, le jazz, la musique classique, le plain-chant des moines de Solesmes, etc. Il est attiré par les marginalités, la recherche de nouvelles spiritualités, le fantastique, la science-fiction, la déformation, voire la dégradation de la réalité (souvent par la drogue), ce qui est associé au mouvement dit psychédélique. » Les 5 membres de Pink Floyd sont : Syd Barrett (guitare) (écarté du groupe en 1968 à cause de sa surconsommation de drogue) Roger Waters (basse) David Gilmour (guitare) Nick Mason (batterie) Richard Wright (claviers). Ils sont issus de bonnes familles et le noyau du groupe s'est rencontré en école d'architecture. Le nom du groupe : Pink + Floyd = Pink Floyd. Le choix de ce nom est dû à Syd Barrett qui eut l'idée de joindre les prénoms de deux bluesmen qu'il admirait : Pink Anderson (1901-1974) et Floyd Council (1911- 1976). Ce sont les pionniers du rock psychédélique anglais et précurseurs du rock progressif au milieu des années soixante. Le groupe pratique une musique futuriste en perpétuelle évolution. Les débuts du groupe avec les disques The Piper at the gates of dawn (1967) et A Saucerful of secrets (1968) révolutionnent les schémas établis du rock par l'aspect psychédélique. Atom Heart Mother (1970) est une œuvre collective du groupe Pink Floyd (avec également la participation de Ron Geesin pour les arrangements orchestraux et de John Alldis pour le choeur). Formation : Basse (Fender Precision) Batterie (Ludwig) Claviers (Orgue Farfisa, modèle Compact-Duo Organ ; Orgue Hammond modèle M-102 ; « Baby » Grand piano Steinway ; Mellotron modèle M-400) Guitare (Fender Stratocaster) 10 cuivres, violoncelle solo et 20 choristes (John Alldis Choir). L'œuvre est emblématique du rock progressif par sa durée (près de 25 minutes, soit une face entière d'album 33 tours), sa composition en plusieurs parties, ses arrangements (avec des emprunts à la musique savante) et l'absence de texte. Caractéristiques principales : richesse sonore avec notamment l'orchestration inhabituelle, l'utilisation diversifiée des claviers électroniques, ainsi que celle des collages sonores (Influence de la musique concrète hennissements, galopades, explosions et démarrage de moto). Atom Heart Mother est interprété en public dès janvier 1970 dans une configuration quatuor, puis en version orchestrée, celle qui sera développée en studio de mars à juillet 1970 et pour laquelle Pink Floyd fera appel à des collaborations extérieures déterminantes : Ron Geesin est compositeur, musicien, architecte, écrivain, designer né en 1943 inspiré par le surréalisme, et attiré par l'absurde. Ses influences musicales sont Prokofiev, Rachmaninov, Elgar, Wagner, Schönberg, Varèse et Berio . Mais il hait Britten et Stravinsky. Il aime, comme les poires et le vin, ce qu'il faut mûrir avant de consommer. Il avait déjà collaboré au premier album solo de Roger Waters, Music from the Body en 1970. « Pour créer les arrangements d'Atom Heart Mother, Ron s'imposait. Il maitrisait toutes les techniques de la composition et de l'arrangement, et ses idées étaient suffisamment originales pour nous distinguer des oeuvres orchestrales en vogue à l'époque. En ces temps, les arrangements obéissaient à des idées très conservatrices : les musiciens de formation classique avaient été endoctrinés pour mépriser le rock. Ceux qui s'aventuraient dans cette voie étaient considéré comme des traîtres. Nous avions la certitude qu'avec Ron, nous de ferions pas dans le style le London Symphonic Philharmonia joue du Pink Floyd. » (Nick Mason, in Pink Floyd, l'histoire selon Nick Mason). John Alldis est un chef de choeur anglais (1929-2010). En 1962, il crée le John Alldis Choir à Londres, formation qui aborde aussi bien le répertoire contemporain que les grands ouvrages lyriques. Il a été en France à la tête du « Groupe vocal de France » de 1979 à 1983 (cet ensemble notamment spécialisé dans le répertoire contemporain a été dissous au début des années 90). John Alldis a également collaboré avec Duke Ellington (Third Sacred Concert, 1973). Le titre : Geesin trouve le titre de l'album alors que le groupe doit passer a un show radio de la BBC pour interpréter un morceau sans nom. Il déniche dans Evening Standard un article sur une femme enceinte qui porte un pacemaker3 nucléaire, intitulé « Atom Heart Mother » (Mère au coeur atomique). L'histoire rapporte que les membres du groupe adoptèrent ce titre sur le champ. La pochette à la vache est devenue l'une plus mythiques de l'histoire du rock. Storm Thorgerson, le maître à penser d'Hipgnosis4 souhaite surprendre les fans du groupe avant-gardiste avec une photo aussi ordinaire et aussi peu psychédélique que possible. On lui parle du papier peint orné de vaches d'Andy Warhol. Alors qu'il roule en voiture dans l'Essex (Angleterre), il immortalise spontanément la première vache qu'il aperçoit dans l'herbe grasse. La fière noiraude s'appelle Lulubelle III. On ne verra qu'elle sur la pochette de l'album sans titre : même le nom du groupe est absent. 1 - Father's Shout (introduction et [A]) Introduction. Installation d'une pédale de mi à l'orgue (tonique de mi mineur, tonalité de la pièce à l'exception de Funky Dung en sol mineur). Progressivement émergent les cuivres dans un climat confus. Entrée des trombones sur sol# ré# (accord EM7 mais impression de polytonalité) : Entrée des trompettes sur une gamme par tons (on pense à des couleurs debussystes dans un climat varèsien) : Ensuite de ce chaos apparent émerge le thème principal de l'oeuvre à l'état embryonnaire aux trois cors : puis motif secondaire chromatique des trompettes et prémices des grilles harmoniques des 2 thèmes principaux (Father's shout et Breast Milky) Densification progressive jusqu'au climax de l'entrée du thème principal : Les influences dans cette introduction : Prélude de l'Or du Rhin de Wagner (pédale de Mib, les cors, et grand crescendo), les oeuvres symphoniques de Varèse comme Amériques ou Arcana ou même Deserts avec notamment les tuilages d'accords agrégats, et même l'introduction du Sacre du printemps de Stravinsky pour les superpositions de couches sonores autonomes. Wagner, Das Rheingold, Prelude (Bayreuther Festspiele, Barenboim / Kupfer) Ron Geesin apprécie d'ailleurs Wagner et Varèse tout comme il aime Prokofiev, Rachmaninov, Elgar, Schönberg, et Berio. En revanche il n'aime pas Stravinsky. A. Thème principal de l'oeuvre joué par les cors accompagnés du quartet David Gilmour (guitare) Richard Wright (claviers) Roger Waters (basse) Nick Mason (batterie). Importance des cors : instrument du héros masculin, instrument le mieux payé de l'orchestre aux USA. Presque toutes les musiques de westerns (d'Ennio Morricone notamment) comportent des cors, or ce thème principal est issu d'une improvisation que David Gilmour avait baptisé thème d'un western imaginaire. Coïncidence ? Ce thème réapparaîtra à plusieurs reprises par la suite. Forme : thème relativement carré de forme a (8+1 mesures) ; b (8 mesures) : a' (8+1 mesures). Le contraste entre a et b est très marqué. L'atmosphère de a est très inspirée par les effets grandioses de la fin du romantisme (écouter montage avec Dvorak : symphonie du nouveau monde, mi mineur, importance des cors) : typique du rock progressif (affranchissement des canons du Blues et de la pop musique) et du psychédélisme (état de rêve éveillé, côté hallucinogène, explosion de couleurs).
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