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Istanpitta Danses Florentines Du Trecento

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Istanpitta Danses Florentines Du Trecento ISTANPITTA DANSES FLORENTINES DU TRECENTO HENRI AGNEL MICHAEL NICK HENRI TOURNIER DJAMCHID CHEMIRANI IDRISS AGNEL MENU TRACKLIST TEXTE EN FRANÇAIS ENGLISH TEXT DEUTSCH KOMMENTAR REPÈRES / LANDMARKS / EINIGE DATEN ALPHA COLLECTION 37 DANSES FLORENTINES DU TRECENTO ISTANPITTA 1 ISTANPITTA TRISTANO & MANFREDINA 6’30 PRELUDE FOR FLUTE LAMENTO DE TRISTANO | ANONYMOUS LAMENTO DE LA MANFREDINA | ANONYMOUS ROTTA DE TRISTANO | ANONYMOUS ROTTA DE LA MANFREDINA | ANONYMOUS 2 ISTANPITTA GHAETTA 12’23 PRELUDE FOR CITTERN PRELUDE GHAETTA | HENRI AGNEL GHAETTA | ANONYMOUS SENTO D’AMOR LA FIAMMA | GREGORIO CALONISTA 3 ISTANPITTA IN PRO 6’05 PRELUDE FOR QUINTON IN PRO | ANONYMOUS 4 ISTANPITTA CHANCONETTA TEDESCHA 5’01 PRELUDE FOR CETERA CHANCONETTA TEDESCHA | ANONYMOUS MENU 5 INSTANPITTA SALTARELLO 3’43 PRELUDE FOR FLUTE SALTARELLO IN 4 | ANONYMOUS 6 ISTANPITTA SALTARELLO & TROTTO 7’02 PRELUDE FOR ZARB SALTARELLO IN 5 | ANONYMOUS TROTTO | ANONYMOUS 7 ISTANPITTA ISABELLA 6’34 - PRELU DE FOR ’UD ISABELLA | ANONYMOUS 8 ISTANPITTA TRE FONTANA 5’06 PRELUDE FOR QUINTON TRE FONTANA | ANONYMOUS 9 ISTANPITTA SALTARELLO 4’22 PRELUDE FOR CETERA, QUINTON AND FLUTE SALTARELLO IN 6 | ANONYMOUS TOTAL TIME: 57’09 - HENRI AGNEL CITTERN, CETERA, ’UD, ARRANGEMENTS AND DIRECTION cittern (copy of Renaissance model) tuned d-a-d’-g” by David Rubio medieval cetera tuned c-g-c’-f’ by Marcelo Ardizzone ‘ud- (Arab lute) tuned d-g-a-d’-g’-c”-f’ by Frédéric Pinard MICHAEL NICK QUINTON quinton (fi ve-stringed violin) tuned c-g-d’-a’-e” (violin and viola in a single instrument) by André Sakellarides (the quinton is fi tted with seven sympathetic strings, rather like the viola d’amore or Indian stringed instruments) HENRI TOURNIER FLUTE Indian bamboo fl utes (bansura) by Harsh Wardhan DJAMCHID CHEMIRANI ZARB traditional Iranian zarb (anonymous) IDRISS AGNEL UDU Brazilian udu or Indian gatam by Nathalie Pierlot Le texte d’origine de cet enregistrement est disponible sur notre site / The complete original booklet notes for this recording are available on our website / Andere Texte zu dieser Aufnahme sind auf unserer Website abrufbar alpha-classics.com Recorded in March 2003, Chapelle de l’Hôpital Notre-Dame de Bon-Secours, Paris (France) Hugues Deschaux RECORDING PRODUCER, SOUND ENGINEER AND EDITING ALPHA CLASSICS Didier Martin DIRECTOR Louise Burel PRODUCTION MANAGER Amélie Boccon-Gibod EDITORIAL COORDINATOR Valérie Lagarde ARTWORK Claire Boisteau BOOKLET EDITOR Charles Johnston ENGLISH TRANSLATION Achim Russer GERMAN TRANSLATION Cover © Plainpicture/Colas Declercq Photos p.8-9: Giotto di Bondone, St Francis gives his coat to a stranger, fresco, San Francesco, Upper Church, Assisi, Italy © Bridgeman Images. Coronation of Pope Clement V in Lyon (1305) © akg-images/British Library. Anonymous, Cowards, stung by insects, follow a demon, after Dante’s Divine Comedy (Hell), Chantilly, Musée Condé © RMN-Grand Palais (Domaine de Chantilly)/René-Gabriel Ojéda. Alpha 336 Original CD: Alpha 510 Made in the Netherlands p Alpha 2003 & © Alpha Classics/Outhere Music France 2017 [2] Coronation of Pope Clement V [1] St Francis gives his coat to a stranger, 1296-97 (fresco) by Giotto di Bondone (c.1266-1337) 1309 Le pape transfère sa résidence de Rome 1297 en Avignon / The Pope transfers his residence Giotto peint ses fresques sur la vie de saint from Rome to Avignon / Der Papst verlegt François à Assise / Giotto paints his frescoes seinen Sitz von Rom nach Avignon. on the life of St Francis in Assisi / Giotto malt in Assisi seine Fresken über das Lebendes heiligen 1313 Franziskus. [1] Naissance de Boccace / Birth of Boccaccio / Geburt von Boccaccio. 1299 Le palais de la Seigneurie est achevé à Florence 1321 / The Palazzo della Signoria is completed Dante achève La Divine Comédie. Philippe de Vitry in Florence / In Florenz wird der Palazzo formule la théorie musicale de l’Ars Nova / Dante della Signoria fertiggestellt. completes the Divine Comedy. Philippe de Vitry formulat es the musical theory of the Ars Nova / 1304 Dante vollendet La Divina Commedia. Philippe de Naissance de Pétrarque / Birth of Petrarch / Vitry formuliert die musikalische Theorie Ars Nova. Geburt von Petrarca. [3] MENU [3] Dante, the Divine Comedy: Cowards, goaded by devils, follow a devil (c.1328-30) 1346 Pétrarque condamne le luxe et la corruption [4] Four playing cards from a set of 52 de l’Église / Petrarch condemns the luxury 1376 and corruption of the Church / Petrarca verdammt Le pape se réinstalle à Rome / The Pope returns den Luxus und die Korruptheit der Kirche. to Rome / Der Papst verlegt seinen Sitz zurück nach Rom. 1350 La tour de Pise est achevée malgré l’affaissement 1379 du sol / The Tower of Pisa is completed despite Le pape Clément VII revient en Avignon comme subsidence / Der Turm von Pisa wird trotz antipape (schisme) / Pope Clement VII returns des nachgebenden Bodens vollendet. to Avignon as antipope (Great Schism) / Papst Clemens VII. kehrt als Gegenpapst nach Avignon 1370 zurück (Schisma). [2] Le jeu de cartes arrive d’Orient à Florence / The game of cards reaches Florence from 1395 the Orient / Aus dem Orient gelangen Spielkarten Naissance de Fra Angelico / Birth of Fra Angelico / nach Florenz. [4] Geburt von Fra Angelico . MENU « AUJOURD’HUI, ON S’ATTACHE À REJOUER CES MUSIQUES SUR DES RECONSTRUCTIONS D’INSTRUMENTS D’ÉPOQUE MAIS L’ART MONODIQUE EST OUVERT À TOUS LES INSTRUMENTS. » FRANÇAIS LES ESTAMPIES ITALIENNES DU TRECENTO Ces estampies italiennes sont rassemblées dans un manuscrit anonyme unique de la fi n du XIVe siècle (British Museum additional 29987), propriété d’une famille italienne de Florence dont nous ne connaissons pas le nom. La tradition et la transmission sont orales, et les manuscrits et partitions musicales ont été rédigés après avoir été appris et interprétés. Il est diffi cile de marquer nettement la frontière entre le compositeur et l’interprète, les deux ayant une part créative. L’interprète dispose d’une composition de base – un chant profane ou liturgique souvent connu de son auditoire – à partir de laquelle il va improviser, orner, développer une estampie instrumentale rythmée (estampie vient de « stamp » : frapper, rythmer), utilisant en référence les rythmes des danses connues à l’époque. La forme de l’estampie est construite suivant la formule couplets-refrains (ouverts et clos). Et déjà dans cette construction, une liberté d’organisation est possible : le couplet, ou point (punctus, pars), est le moment soliste. Il s’enchaîne au refrain ouvert, qui appelle à un recommencement puis soit répétition du même couplet soit utilisation du couplet suivant qui s’enchaîne avec le refrain clos qui conclut. Cela offre la possibilité de fi nir là ou de redémarrer sur un autre couplet, qui s’enchaînera à son tour sur le refrain ouvert. Puis ce couplet ou un autre s’enchaînera sur le refrain clos, et ainsi de suite. 11 On peut imaginer deux approches différentes de ces estampies : quand elles sont dansées, elles sont organisées pour cette fonction, ce qui expliquerait les quelques fois où la mesure choisie peut s’augmenter d’un temps ou plus par moment, et qui correspondrait à certains pas des danseurs. Quand elles servent le seul plaisir de l’interprétation musicale, elles peuvent être organisées dans cette optique, et les mesures qui posent question ont moins d’intérêt. C’est le parti que j’ai pris : je les ai organisées autour de rythmes constants, ce qui me permet de les jouer avec des percussionnistes de rencontre ou avec des instrumentistes mélodistes à qui il me suffi t de faire entendre le refrain. Nous improvisons les couplets en alternance, en duo ou plus à notre guise – ce qui rallie les musiques monodiques médiévales européennes à la grande famille des musiques modales du Maghreb, du Proche-Orient, des pays arabes, de Perse, de Grèce et jusqu’à l’Inde, et, étonnamment aux musiques modernes comme le jazz et le jazz rock. À l’époque, la musique est mouvante, composée puis réinventée, jouée différemment d’une région à une autre, d’une famille de musiciens à une autre, d’un maître à un autre. L’improvisation, l’ornementation et l’art de préluder sont autant d’espaces de liberté qui ne méritent pas de cloisonnement. Je suis né dans une famille de musiciens français vivant au Maroc et profondément épris de l’art de ce pays. Par tradition familiale, nous étudiions dès l’enfance la musique classique, ce qui m’a amené à comparer les musiques monodiques européennes avec la musique arabo-andalouse, puis avec les musiques arabe, persane, indienne et grecque. J’ai étudié les techniques instrumentales, les techniques d’improvisation, 12 FRANÇAIS MENU d’ornementation, le respect du mode avec ses notes principales et ses notes secondaires, la géométrie qui permet de construire une improvisation comme un développement harmonieux équilibré et spontané, dans le respect de l’esprit, de la sensibilité du mode au service du chant ou de l’estampie que l’on introduit et interprète. Il est évident que les points communs des traditions monodiques n’ont d’intérêt que si l’on tient compte aussi des différences. On trouve au Moyen Âge un très grand nombre d’instruments représentés sur les enluminures, sur les statues ou sur les vitraux des églises et des cathédrales. On n’indique jamais par contre quel instrument doit jouer telle ou telle œuvre car la monodie est accessible à tous les instruments, et l’instrumentiste doit adapter ce qu’il joue aux possibilités offertes par celui-ci. Aujourd’hui, on s’attache à rejouer ces musiques sur des reconstructions d’instruments d’époque mais l’art monodique est ouvert à tous les instruments. Ainsi les Indiens et les Arabes ont-ils intégré des instruments occidentaux dans leur musique ; les musiciens arabo-andalous ont eux remplacé le kamanché par le violon, intégré le piano, le banjo, le violoncelle… Pourquoi dans la musique médiévale, qui permet les mêmes emprunts, ne le ferions-nous pas ? D’expérience, je sais que l’esprit de la musique est plus important que l’instrument de musique qui porte bien son nom : « instrument ».
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