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La Musique De Pierre Mercure À L'affiche De Spectacles De Danse

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La Musique De Pierre Mercure À L'affiche De Spectacles De Danse Document generated on 09/29/2021 4:42 a.m. Circuit Musiques contemporaines La musique de Pierre Mercure à l’affiche de spectacles de danse Pierre Mercure’s music accompanies the dance Claudine Caron Musique automatiste ? Pierre Mercure et le Refus global Article abstract Volume 21, Number 3, 2011 Much of Pierre Mercure’s catalogue remains a mystery since many manuscripts are untraceable and tapes lost. Focusing on dance productions URI: https://id.erudit.org/iderudit/1006357ar that included his works, this article seeks to retrace their history based on DOI: https://doi.org/10.7202/1006357ar photographs, performance programs and newspaper articles. From this corpus we see how Mercure brought new thinking to composition through the years. See table of contents He took his writing in new directions, recasting the conventional concert format by using the tools and techniques of electroacoustic music. His works incorporated dancers and technical equipment along with special lighting and collaborators from the fine arts. In company with the Refus global artists, Publisher(s) Pierre Mercure was clearly a vital factor in the dissemination and reception of Les Presses de l’Université de Montréal contemporary music in Québec. ISSN 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Caron, C. (2011). La musique de Pierre Mercure à l’affiche de spectacles de danse. Circuit, 21(3), 9–21. https://doi.org/10.7202/1006357ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ La musique de Pierre Mercure à l’affiche de spectacles de danse1 Claudine Caron En hommage et reconnaissance à Françoise Riopelle Introduction Le catalogue des œuvres du compositeur Pierre Mercure (1927-1966) reste des 1. Cet article fait suite à une communication présentée dans le plus énigmatiques : manuscrits introuvables et bandes perdues seraient notam- cadre du colloque « Danse et musique : ment en cause. Jouissant d’une réputation certaine par l’originalité et l’audace Dialogues en mouvement », à qui l’ont caractérisé, Mercure a jusqu’alors surtout retenu l’attention par sa l’Université McGill, le 19 février 2011. Semaine internationale de musique actuelle présentée à Montréal en 1961 – au programme de laquelle figuraient notamment les compagnies de danse d’Alwyn Nikolais, de Merce Cunningham et de Françoise Riopelle –, ainsi que par ses réalisations extraordinaires à l’émission « L’Heure du concert » diffusée à la télévision de Radio-Canada à partir de 1954 – mentionnons la production de Toi/Loving (1965) de R. Murray Schafer, une commande pré- sentée dans une traduction française de Gabriel Charpentier, avec une choré- graphie de Françoise Riopelle et Serge Garant à la direction d’orchestre. Ces mêmes caractéristiques, pourtant si éloquentes de sa singularité, ne sont géné- ralement pas associées à ses œuvres ni à sa démarche comme compositeur. Peu jouée aujourd’hui, la musique de Pierre Mercure est tombée dans l’oubli, dans le silence de la scène et celui de l’histoire. De 1948 à 1964, il compose onze musiques de danse – Dualité (1948), Lucrèce Borgia (1949), La Femme archaïque (1949), Emprise (1950), Structures métalliques I (1961), Incandescence (1961), Structures métalliques II (1961), Improvisation (1961), Manipulations (1963), Tétrachromie (1963) et Surimpressions (1964) – dont plusieurs n’ont laissé que peu de traces. À partir du premier récital de danse caron claudine donné sur sa musique par Françoise Sullivan et Jeanne Renaud en 1948 9 jusqu’aux spectacles présentés par les Grands Ballets Canadiens en 1976 et par Montréal Danse en 1992, cet article propose de retracer l’historique des spectacles lors desquels les œuvres de Mercure ont été diffusées. Que nous apprennent les comptes rendus de spectacles, conservés dans les archives des principaux protagonistes, à propos des œuvres de Mercure ? En quoi ses col- laborations avec des chorégraphes et des artistes de l’heure participent-elles à la scène musicale et artistique d’avant-garde des années 1950 et 1960 ? Faut-il comprendre la danse moderne comme une invitation à l’élaboration d’un nouveau langage chez Mercure ? Que retenir du dialogue entre la musique et la danse pour l’histoire de la musique du Québec ? Enfin, Pierre Mercure a certes été un grand créateur aux côtés des artistes de Refus global (1948) et ceux-ci ont naturellement contribué à la diffusion et à la réception de la musique contemporaine au Québec : qu’en est-il, plus exactement ? Chronologie des œuvres chorégraphiées 2. Cet article étant centré sur la et de leurs représentations en spectacles2 musique de Pierre Mercure, nous référons le lecteur intéressé à en savoir Mise à part la musique que Mercure compose pour le théâtre et le cinéma, davantage sur les chorégraphies aux quatorze de ses œuvres sur vingt-deux (dont trois à titre posthume) sont cho- articles et ouvrages mentionnés dans la régraphiées et présentées en spectacles 3. Pour en retrouver les sillons, les bibliographie. archives du compositeur ainsi que celles des trois principales chorégraphes 3. Le catalogue de référence des œuvres de Pierre Mercure reste à ce jour celui avec qui il a travaillé – Jeanne Renaud, Françoise Riopelle et Françoise présenté dans l’ouvrage de Louise Sullivan – ont été investiguées. Quand ? Où ? Dans quel contexte la musique Laplante (1976, p. 13-19). de danse de Pierre Mercure a-t-elle été entendue ? 1) Œuvres chorégraphiées par Françoise Sullivan, Ludmilla Chiriaeff et Joey Harris Devant le tableau, il me semble que Sullivan retrouve un état premier qui aurait peut-être à voir avec cette forme de sublimation du monde primitif et des mythes anciens que sa pratique de chorégraphe, de danseuse, de sculpteure et de peintre n’a eu de cesse de relayer. Entre Paestum et la Crète, entre Saint-Hilaire et New York, comme une trame continue dans sa pratique d’artiste, la présence de cet élan inau- gural du mythe ancien traduit quelque chose de l’ordre de l’empreinte première, celle du corps et du mouvement, et quelque chose de l’ordre de l’emprise, celle du 4. Déry, 2003, p. 19. sang et du rythme 4. C’est Kaléidoscope (1947-1948), la toute première œuvre au catalogue de volume 21 numéro 3 numéro 21 volume 5. [ndlr] Franziska Boas (1902-1988), Pierre Mercure, qui sert de musique à la chorégraphie de Françoise Sullivan danseuse et chorégraphe. Fille de 5 l’anthropologue américain Franz Boas. intitulée Dualité. D’abord créée chez Franziska Boas , à New York, au prin- circuit circuit 6 6. Lindgren, 2003, p. 101. temps 1947 , cette chorégraphie prête son titre à Dualité de Mercure, pour trompette et piano, issue de Kaléidoscope originellement composée pour 10 orchestre 7. La chorégraphie de Sullivan dansée avec Jeanne Renaud sur 7. Bourassa et Lapointe, 1988, p. 163 ; la musique de Mercure est présentée le 3 avril 1948 dans un « Récital de Anthologie de la musique canadienne : Pierre Mercure (livret), ACM 35, Radio- 8 danse par Françoise Sullivan et Jeanne Renaud », au studio de Françoise Canada International, 1990, p. 31 ; et Sullivan situé dans la maison Ross 9. Cette même chorégraphie est reprise Laplante, 1976, p. 13. les 8 et 9 mai 1949 dans le spectacle « Les Deux arts », présenté au Théâtre 8. Photocopie du programme et photographies. Fonds Jeanne Renaud, des Compagnons, cette fois par les danseuses Françoise Sullivan et Penny UQAM. 10 Kondaks , puis elle est reconstituée et présentée par Louise Bédard et 9. Construite en 1893, la maison Ross Ginette Boutin les 29-30 avril et 1er mai 1988, au Musée d’art contemporain fait partie des bâtiments de l’Université de Montréal (MACM), dans un événement se voulant une reprise du réci- McGill. Elle est située au 3647, rue Peel à Montréal. tal de danse de 1948 afin de souligner les quarante ans de Refus global. Au 10. Luce, 1949, p. 10. MACM cependant, la chorégraphie est dansée en silence puisque la parti- tion n’est pas retrouvée. Dualité est également représentée en silence lors des spectacles du 25 au 29 février 1992 par Montréal Danse à l’Agora de la danse, ainsi qu’au Festival international de nouvelle danse durant l’automne de la même année ; les articles de presse ne font aucune mention de l’aspect musi- cal. Enfin, le 23 juin 1955, l’œuvre de Mercure Kaléidoscope est présentée dans sa version originale pour orchestre avec une chorégraphie de Ludmilla Chiriaeff à l’émission « L’Heure du concert », réalisée par Pierre Mercure, à la télévision de la Société Radio-Canada 11. 11. Banque de données de la En mai 1949, le spectacle « Les Deux arts » permet d’entendre deux autres Bibliothèque de la danse Vincent Warren : esbcm.asp.visard.ca/&lang=fr œuvres de jeunesse de Mercure : Lucrèce Borgia (1949), pour trompette, piano et percussions, dansée par Françoise Sullivan et Racheed Aboud ; et La Femme archaïque (1949), titre de la version chorégraphiée de Pantomime (1948/1949), pour alto, piano et timbales 12. La Femme archaïque est reprise 12. La version pour alto, piano et dans le spectacle de 1988 (mentionné plus haut), avec les costumes d’ori- timbales de Pantomime (1949) est mentionnée dans le curriculum vitæ de gine et les éclairages de Jean-Paul Mousseau. Entre-temps, en 1956, le cho- Pierre Mercure. Dossiers verticaux du régraphe Joey Harris travaille aussi sur la musique Pantomime et présente Centre de musique canadienne.
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