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Stevenson À Hamilton, Messiaen À Toronto Sonances, juillet 1985 Stevenson à Hamilton, Messiaen à Toronto Marc-André Roberge I1 y a un peu plus d’un an, j’atti- compte parmi son comité d’hon- res, qui fait entendre trois présen- rais l’attention des lecteurs - des neur des noms aussi prestigieux tations du motif D-S-C-H (ré, mi pianistes en particulier - sur un que Leonard Bernstein, Herbert bémol, do, si), formé à partir de certain nombre d’œuvres pour von Karajan, Yehudi Menuhin et l’initiale du prénom et de la trans- piano du XX“ siècle dont la qua- Rudolf Serkin, et dont les profits littération allemande du nom de lité et l’importance dans l’évolu- d’un gala bénéfice serviront à éta- Dmitri Chostakovitch, à qui tion de l’histoire de la musique ou blir et à soutenir la Glenn Gould l’œuvre est dédiée7. Cet énoncé de celle de l’instrument justifient, Memorial Foundation. du thème est suivi de 318 varia- à mon avis, qu’elles soient jouées tions qui, cependant - et c’est là et enregistrées beaucoup plus fré- O l’un des aspects les plus remar- quemment qu’elles ne l’ont été quables de l’œuvre - ne consti- jusqu’à maintenant’. Je n’osais Contrairement à Messiaen, le tuent qu’un aspect de la structure. cependant pas espérer assister compositeur, pianiste et auteur En effet, l’œuvre est divisée en dans l’espace d’une seule saison à écossais Ronald Stevenson est si 19 sections parmi lesquelles on des exécutions publiques de trois peu connu, du moins des lecteurs retrouve un allegro de sonate, une de ces œuvres, à savoir: l’Opus de langue française, qu’une pré- valse, une suite, un pibrocha, des clavicembalisticum (1929-30) de sentation s’impose. Comme ce fut variations, des études, ainsi Kaikhosru Shapurji Sorabji (né en le cas pour Sorabji un quart de siè- qu’une triple fugue dont les sujets 1892)’, les Vingt regards sur cle plus tôt, Stevenson a décou- sont respectivement un thème l’Enfant-Jésus (1944) d’olivier vert de bonne heure les œuvres libre contenant les douze sons Messiaen (né en 1908), et la Pas- de Busoni, événement capital (sans pour autant être dodécapho- sacaglia on DSCH (1960-62) de pour toute sa carrière. En effet, il a nique), le motif B-A-C-H, de Ronald Stevenson (né en 1928). étudié d’une façon exhaustive la même que le Dies irae, que le J’ai déjà fait part aux lecteurs de vie et l’œuvre de ce compositeur compositeur utilise (( In memo- l’exécution historique que le pia- - on peut espérer qu’il pourra un riam the six million )). Le principe niste Geoffrey Douglas Madge (né jour publier le résultat de ces de la passacaille - la répétition en 1941) a donnée à Montréal le 9 quelque trente années de recher- constante d’un même thème - novembre 1984 de l’œuvre à ches -, préoccupation qui s’est force donc le compositeur à varier laquelle le nom de Sorabji est le concrétisée musicalement dans le genre de technique à toutes les plus souvent associé3. Quelques deux œuvres: le Prelude, Fugue sept mesures. I1 importe de dire, mois plus tard, le 8 mars 1985, and Fantasy on Themes from cependant, que plusieurs varia- Ronald Stevenson, de passage à Busoni’s (( Faust x (1949-59), qui tions utilisent des techniques l’université McMaster de Hamil- existe aussi sous la forme d’un apparentées, de sorte que, lors- ton, donnait au Convocation Hall concerto pour piano intitulé A qu’on regarde avec un peu plus de de cet établissement la première Faust Triptych (1960), et la Passa- distance, les changements sont nord-américaine de son œuvre caglia5. Son œuvre est aussi mar- moins fréquents, ce qui contribue maîtresse4. Enfin, le 29 avril, quée par son idéal d’une musique à l’unité de l’ensemble, lequel Yvonne Loriod (née en 1924) universelle, sans barrières cultu- constitue un extraordinaire com- jouait en présence de son mari les relles, et par son intérêt pour la pendium de l’écriture pour piano. Vingt regards à la St. Andrew’s musique traditionnelle écossaise, Presbyterian Church de Toronto, ce en quoi l’exemple de Francis Parmi les techniques utilisées, qui est située à deux pas du Roy George Scott (1880-1958) a joué citons des passages pour la main Thompson Hall, à l’angle des rues un rôle de premier plan6. gauche seule, ou, ce qui est beau- King et Simcoe. La présence de coup plus rare, pour la main Messiaen et de Loriod à Toronto La Passacaglia on DSCH, qui droite seule; des glissandos (sur s’explique du fait qu’ils avaient compte sûrement parmi les œu- les touches, ou encore directe- été invités à faire partie du jury de vres pour piano les plus fascinan- ment sur les cordes du pi an^)^; la 1985 International Bach Piano tes de notre siècle, est basée sur l’utilisation des sons harmoni- Competition (le,au 12 mai), qui une basse (ground) de sept mesu- ques ; et le jeu simultané dans le 30 Sonances, juillet 1985 grave du piano avec un ostinato Suite à une publicité pour ainsi entièrement consacrée à sa pré- frappé avec la main sur les cordes dire inexistante, seules quelques sentation, dans un tempo extrê- de l’octave la plus grave (dans la centaines de personnes s’étaient mement lent, un peu comme section (( To Emergent Africa N, déplacées pour entendre Yvonne Wagner l’avait fait dans le prélude jouée (( con monotonia quasi Loriod jouer les Vingt regards sur de Das Rheingold, ouvrant ainsi incantazionale H, l’un des exem- l’Enfant-Jésus de son mari. Ceci sur l’œuvre un majestueux por- ples de cet idéal de musique uni- est d’autant plus regrettable que tail dont les proportions sont en verselle mentionné plus haut). l’on a bien peu de chances, à accord avec les dimensions de moins de voyager beaucoup (et l’ensemble. La cinquième pièce La triple fugue, très variée ryth- encore!), d’assister à une exécu- ((( Regard du Fils sur le Fils D), qui miquement, est probablement tion complète de ce monument de consiste en un canon rythmique l’une des plus fascinantes jamais la littérature du piano, et, à plus en polymodalité au-dessous écrites. I1 s’agit aussi d’un tour de forte raison, lorsqu’il est présenté duquel se fait entendre, (( lumi- force contrapuntique fort proba- par son interprète par excellence. neux et solennel », le thème de blement unique étant donné que I1 reste cependant que, dans -un Dieu, a, à mon avis, été l’un des la fugue incorpore la passacaille cas comme celui-là, le public a plus beaux moments du concert; dans sa structure. I1 est intéressant beaucoup plus de chances d’être Madame Loriod - qui, par ail- de noter que la forme complète du composé de gens en mesure d’ap- leurs, jouait les 177 pages de thème de la seconde fugue est précier pleinement ce qu’ils mémoire - a su timbrer d’une B-A-C-H suivi de D-S-C-H. Ainsi, entendent que dans le cas d’un façon remarquable le thème tout à partir de ce moment, le motif qui récital traditionnel. en différenciant les autres sonori- sous-tend l’œuvre entière est tés. Dans d’autres pièces, comme superposé à lui-même avec dépla- L’œuvre, qui dure environ 130 les sixième et vingtième ((( Par Lui cement rythmique. La troisième minutes et qui a été présentée en to,ut a été fait », (( Regard de fugue est suivie d’un G Adagis- deux parties, se compose de 20 1’Eglise d’amour D), il est présenté simo barocco)) basé sur une pièces dans lesquelles Messiaen avec le thème d’accords en triple extension du thème original, et cherche à exprimer les diverses forte afin de représenter la (( face qui consiste en une longue et très contemplations de l’Enfant-Jésus de Dieu derrière la flamme et le progressive ascension rythmique dans la crèche et les regards qui se bouillonnement N, ou encore et dynamique vers un sommet. posent sur lui. On y retrouve tous (( glorifié », en (( triomphe d’amour les éléments qui caractérisent son et de joie », pour couronner le Un examen de la partition style très personnel, soit les cycle. publiée à Londres en 1967 par modes à transpositions limitées l’Oxford University Press de (seuls ou superposés), les canons Tout au long du récital, les même qu’une audition de la qua- rythmiques basés sur des rythmes auditeurs ont pu apprécier la lité de celle donnée par le compo- hindous, les rythmes non rétro- technique très sûre de la pianiste, siteur permettent de voir qu’il gradables, les chants d’oiseaux et la précision rythmique remarqua- s’agit là d’une des œuvres majeu- les agrandissements asymétri- ble dont elle a fait preuve, même res de la littérature pour piano de ques. dans les passages les plus com- notre siècle. L’œuvre, que le plexes, ainsi que sa façon de cui- compositeur a terminée à l’âge de Messiaen utilise quatre thèmes vrer les notes mélodiquement seulement 34 ans, n’est pas cycliques qu’il nomme thèmes de importantes. I1 m’a cependant impressionnante que par sa tech- Dieu, d’amour, de 1’Etoile et de la semblé que certaines pièces, parti- nique compositionnelle unique et Croix, et d’accords. Le premier - culièrement les plus connues - et par la richesse de son invention qui consiste en cinq accords dans aussi les plus impressionnantes -, pianistique; bien plus, il s’agit la tranposition sur fa dièse du comme les nos 6, 10 et 15 («Par d’une œuvre d’une très grande mode 2, probablement le plus Lui tout a été fait », ((Regard de beauté, qui retient constamment richement coloré des 7 modes - l’Esprit de joie », (( Le Baiser de l’attention et dont l’audition sem- est le plus important et constitue l’Enfant-Jésus D), auraient peut- ble beaucoup plus courte que les l’une des plus remarquables ins- être eu avantage à être jouées un 80 minutes qu’elle dure.
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