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Le Concerto Pour Groupe Et Orchestre De Jon Lord

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Le Concerto Pour Groupe Et Orchestre De Jon Lord UNIVERSITÉ DE REIMS CHAMPAGNE-ARDENNE – Département de musicologie __________ MÉMOIRE présenté en vue d'obtenir Master de musicologie PARCOURS : Musicologie _________ Le Concerto pour groupe et orchestre de Jon Lord. Rock progressif et postmodernité. Jean-René LARUE __________________________________________________________________________ Sous la direction de : M. Jean-Marc CHOUVEL. JURY PRÉSIDENT : M. Jean-Marc CHOUVEL. Professeur des universités. MEMBRES : M. Bertrand POROT. Professeur des universités. M. Pierre RIGAUDIÈRE. Maître de conférence. Soutenu en juin 2015. Le Concerto pour groupe et orchestre de Jon Lord. Remerciements Avant toute chose, je tiens à exprimer ma sincère reconnaissance envers l’ensemble des personnes qui m’ont aidé à mener à bien ce travail de recherche. Je remercie tout particulièrement mon directeur de mémoire, Monsieur Jean-Marc Chouvel, professeur au département de musicologie de l'université Reims Champagne- Ardenne, pour m’avoir aiguillé et prodigué ses conseils tout au long de ce mémoire. Je tiens à remercier ma famille pour leur soutient moral, ainsi que Benoît Chedorge dont les discussions ont nourri ma réflexion, et Hadrien Bresciani qui a su me faire partager sa culture et ses réflexions sur la musique. Je remercie également Emilie Crépin qui a bien voulu être l'un des sujets d'une expérience. Je remercie chaleureusement Paul Mann, chef d'orchestre et ami de Jon Lord, dont la disponibilité et le travail m'ont aidé dans mes recherches, ainsi que Christophe Pirenne, dont l'accessibilité et les connaissances m'ont permis d'avancer dans cette étude. Je tiens également à remercier l'ensemble des enseignants du département de musicologie de l'Université Reims Champagne-Ardenne qui ont su faire preuve de patience et de disponibilité dans l'élaboration de ce mémoire. Enfin, je remercie tous les passionnés de musique que j'ai été amenés à rencontrer durant ce travail et qui m'ont donné de précieuses informations pour mes recherches. 3 / 164 Le Concerto pour groupe et orchestre de Jon Lord. Résumé Jean-René LARUE, Le Concerto pour groupe et orchestre de Jon Lord : rock progressif et postmodernité. Apparu au milieu des années 1960, le rock progressif est un des courants les plus importants du rock. Fondé sur une volonté d'intellectualiser et d'enrichir ce genre, ce dernier partage aussi plusieurs aspects avec la pensée postmoderne. En se basant sur une étude approfondie du Concerto pour groupe et orchestre de Jon Lord, tant d'un point de vue contextuel, musical, qu'esthétique, ce mémoire de recherche a permis, dans un premier temps, de mettre en évidence les caractéristiques qui font de ce concerto, une œuvre à part dans l’histoire du rock progressif. Puis, dans un second temps, de dévoiler les liens entre ce genre et la pensée postmoderne. Mots clés : Rock progressif, postmodernité, années 1960. Abstract Jean-René LARUE, Concerto for group and orchestra by Jon Lord : progressiv rock and postmodernity. Appeared in the mid 60's, progressive rock is one of the most important rock currents. Based on a desire to intellectualize and enrich this genre, it also shares many aspects with the postmodernity. Based on a study of the Concerto for Group and Orchestra by Jon Lord, as a contextual, musical, and aesthetic point of view, this research has allowed, at first , to highlight the characteristics that make this concerto, a work in the history of progressive rock . Then, in a second time, to reveal the links between these and postmodern thought . Key words : Progressive rock, postmodernity, sixties. 4 / 164 Le Concerto pour groupe et orchestre de Jon Lord. Liste des abréviations - BBC : La British Broadcasting Corporation. - LSO : Le London Symphony Orchestra. - RPO : Le Royal Philharmonic Orchestra. 5 / 164 Le Concerto pour groupe et orchestre de Jon Lord. Table des matières REMERCIEMENTS............................................................................................................................3 LISTE DES ABRÉVIATIONS.................................................................................................................5 INTRODUCTION...............................................................................................................................9 1 CONTEXTUALISATION.................................................................................................................15 1.1 L’Angleterre dans les années 1960.................................................................................15 1.1.1 Le contexte général............................................................................................................15 1.1.1.1 Le contexte politico-économique........................................................................................15 1.1.1.2 Le contexte social. ..............................................................................................................17 1.1.2 Enseignement et diffusion de la musique dans l'Angleterre des sixties..............................19 1.1.2.1 L'enseignement....................................................................................................................20 1.1.2.2 La diffusion..........................................................................................................................21 1.1.3 La musique anglaise..........................................................................................................25 1.1.3.1 La musique savante anglaise. .............................................................................................25 1.1.3.2 De la pop à la contre-culture...............................................................................................28 1.2 Quelques notions du rock progressif..............................................................................31 1.2.1 Les caractéristiques du rock progressif..............................................................................33 1.2.1.1 Une technicité instrumentale...............................................................................................34 1.2.1.2 Des compositions travaillées...............................................................................................34 1.2.1.3 Une liberté formelle.............................................................................................................37 1.2.1.4 Des effets sonores et visuels. ..............................................................................................39 1.2.2 Les liens entre le rock progressif et la musique savante occidentale..................................41 1.2.2.1 Les œuvres du rock progressif qui s'inspirent de la musique savante occidentale.............41 1.2.2.2 Les œuvres de la musique savante occidentale qui s'inspirent du rock progressif.............46 1.2.2.3 Les musiciens de double culture. .......................................................................................47 2 LE CONCERTO POUR GROUPE ET ORCHESTRE...............................................................................50 2.1 Jon Lord..........................................................................................................................50 2.1.1 Repères biographiques.......................................................................................................50 2.1.2 Un musicien atypique........................................................................................................55 2.2 Histoire de l’œuvre.........................................................................................................58 2.2.1 La genèse de l’œuvre.........................................................................................................58 2.2.2 Les conditions du concert..................................................................................................62 2.2.3 Un chef célèbre..................................................................................................................65 2.2.4 Un lieu emblématique........................................................................................................66 2.2.5 Un orchestre de renom.......................................................................................................67 2.3 Présentation du Concerto pour groupe et orchestre........................................................68 2.3.1 Premier mouvement. .........................................................................................................70 2.3.2 Deuxième mouvement.......................................................................................................74 2.3.3 Troisième mouvement.......................................................................................................77 2.4 Réception de l’œuvre......................................................................................................81 2.4.1 Le Concerto pour groupe et orchestre vu par les médias...................................................82 2.4.2 Le Concerto pour groupe et orchestre dans la carrière de Deep Purple..............................87 2.4.3 Son impact dans le rock progressif....................................................................................90 3 LE CONCERTO POUR GROUPE ET ORCHESTRE ET LA PENSÉE POSTMODERNE......................................95 3.1 Définitions......................................................................................................................95 3.1.1 La crise de la modernité.....................................................................................................96
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