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3770001904221.Pdf This is America! Meredith Monk (b. 1942) 1 Ellis Island 3’02 Leonard Bernstein (1918-1990) Symphonic Dances from West Side Story (transcription: John Musto) 2 Prologue 4’18 3 Somewhere 4’29 4 Mambo 2’19 5 Cha-Cha 1’02 6 Meeting Scene 0'41 7 Cool 0’38 8 Fugue 3’02 9 Rumble 2’01 10 Finale 2’27 Philip Glass (b. 1937) Four Movements for Two Pianos 11 Movement 1 6’21 12 Movement 2 4’49 13 Movement 3 6’19 14 Movement 4 5’30 John Adams (b. 1947) Hallelujah Junction 15 Movement 1 6’43 16 Movement 2 2’52 17 Movement 3 5’58 TT: 62’34 3 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Entretien avec Vanessa Wagner et Wilhem Latchoumia Apparu au milieu des années 60 aux États-Unis, le courant minimaliste a longtemps tutoyé l’avant-garde avant de gagner, au fil des ans, une audience beaucoup plus large et de s’imposer comme une étape majeure de la musique contemporaine. Terry Riley, La Monte Young, Steve Reich et Philip Glass, tous américains, sont considérés comme les pionniers de ce courant. Si beaucoup de ces compositeurs contestent l’étiquette minimaliste, réductrice à leurs yeux, leur approche se rejoint dans la recherche de nouvelles structures musicales, comme l’emploi de motifs répétitifs, une certaine forme de dépouillement et l’emploi de certains procédés spécifiques (la technique de « phasing » de Reich, utilisant simultanément des enregistrements avec un léger décalage). Les minimalistes ont intégré de nombreuses influences pour nourrir leur travail, le jazz et l’improvisation pour Terry Riley, la mouvance expérimentale pour La Monte Young, la musique indienne pour Philip Glass, les cultures africaines pour Steve Reich. Leur attachement au patrimoine musical américain est également un point commun, tout comme l’est l’œuvre de l’iconoclaste Erik Satie, au début du XXe siècle. Rejeté à ses débuts par les institutions classiques, le courant minimaliste a vu son influence grandir au cours des années 70 et 80, popularisé entre autres par le succès rencontré par certaines musiques de film de Philip Glass. Peu à peu, le minimalisme fait des émules, à l’image de John Adams, l’un de ses plus illustres représentants, mais aussi en dehors du continent américain. Des compositeurs européens tels que Michael Nyman, John Tavener, Arvo Pärt ou Henryk Górecki entretiennent des liens avec ce courant. Si les minimalistes ont trouvé un écho auprès d’audiences plus larges que celles de la seule musique classique, leur travail a souvent subi la critique de certains commentateurs qui ont jugé simpliste ou superficielle leur proposition musicale. Un malentendu que Vanessa Wagner et Wilhem Latchoumia se font un devoir de dissiper. 5 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Comment est né ce projet entre vous deux ? Vanessa Wagner — Wilhem et moi nous connaissons depuis plusieurs années. Je l’ai découvert à travers son tout premier disque consacré à Villa-Lobos. Je l’avais alors contacté pour une tournée autour de la transcription d’Amériques de Varèse, où nous évoluions à quatre pianistes et deux pianos. Cela nous avait permis de faire un certain nombre de concerts ensemble et de mieux nous connaître. Nous avons en commun un « profil » légèrement atypique dans le métier qui nous a naturellement réunis et nous entraîne vers les mêmes envies. Parallèlement à ma discographie classique, j’avais sorti en 2016 puis 2018 deux disques consacrés à la musique minimaliste. Je lui ai confié mon rêve de jouer Piano Phase de Steve Reich (ici exclusivement disponible en bonus digital) et Hallelujah Junction de John Adams, deux pièces que j’écoutais depuis des années sans jamais les avoir jouées. De là est née cette idée, cette envie d’enregistrer ensemble ce répertoire assez peu couru, surtout en Europe. 6 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Nous nous sommes rapidement mis d’accord sur le fait d’intégrer Leonard Bernstein, acteur essentiel de l’histoire de la musique. L’ouverture qu’il a opérée entre musique savante et musique populaire a énormément marqué les esprits et élargi l’horizon de la musique américaine. Philip Glass et ses Four Movements for Two Pianos se sont vite imposés, tant ce compositeur est le pilier incontournable du courant minimaliste. Meredith Monk, chanteuse, performeuse, danseuse est une personnalité très forte et originale. Ses pièces, courtes, poétiques, à la fois mélodiques et axées sur le mouvement perpétuel nous plaisaient à tous les deux. Et une présence féminine était bienvenue ! Ayant déjà à titre individuel enregistré plusieurs albums sur le label La Dolce Volta, il nous a semblé évident de poursuivre notre épopée discographique en son sein. 7 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Pourquoi aller sur ce répertoire à deux pianos ? Vanessa Wagner — C’est une formation que je connais bien, que je pratique depuis longtemps et que je préfère nettement au quatre mains. Il existe une dimension euphorisante dans le deux pianos, très galvanisante, qui tient à la projection sonore, à l’impression d’avoir dix-huit voix ! Il faut être en symbiose, notamment dans les attaques. Il est impératif de ressentir les choses de façon quasi intuitive, car il n’y a pas la proximité physique et visuelle du quatre mains. La connexion se fait différemment entre les deux musiciens qui sont à l’écoute du souffle et de la rythmique de l’autre. C’est d’autant plus vrai dans ce répertoire à la fois hypnotique et rythmique, qui demande parfois une précision diabolique, notamment dans Hallelujah Junction de John Adams qui est à mon sens une des pièces les plus difficiles du répertoire à deux pianos. 8 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Wilhem, comment le projet s’inscrit-il dans votre parcours ? Wilhem Latchoumia — J’ai été lauréat du Concours d’Orléans, dédié à la musique contemporaine. Je suis donc en terrain familier ! Tout mon répertoire tourne autour de la curiosité, des pièces rares et de la découverte. L’idée de parcourir de nouveaux répertoires me séduit constamment ; c’est ma nature, et je partage cette envie avec Vanessa. Mon travail tisse aussi un fil rouge autour du folklore et des origines de la musique, tout ce qui s’apparente aux inspirations dites populaires. Quand j’ai réalisé mon disque Villa-Lobos, je savais qu’il s’était inspiré du folklore brésilien où il y a cette idée de transversalité, on passe d’un style à un autre et chacun emprunte à l’autre ce qui le touche et sans honte. Chacun de mes disques offre une relation avec la musique populaire et Bernstein exerce aussi ce lien. Le projet m’a interpelé ne serait-ce que pour cela. 9 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Comment s’est décidé le choix des pièces ? Le répertoire pour deux pianos n’est pas forcément si vaste dans la musique américaine ? Vanessa Wagner — Nous avons cherché à élaborer un programme qui nous plaisait, qui nous semblait cohérent et qui pouvait aussi emmener l’auditeur vers des découvertes, une vision plus large de cette musique américaine qu’on réduit souvent au terme « minimaliste ». Même s’ils appartiennent au même courant, on entend bien à l’écoute de leurs œuvres à quel point le style et l’écriture de Reich, Glass ou Adams sont personnels et ne se cantonnent pas à cette appellation de « minimalisme ». 10 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Wilhem Latchoumia — Nous avons également conçu le disque comme un voyage spatio-temporel. Un regard de deux Européens qui débarquent aux États-Unis, en passant par Ellis Island, l’ancienne frontière des migrants, qui entrent dans New York avec West Side Story, poursuivent avec la dramaturgie de Philip Glass, puis s’évadent sur les autoroutes et les paysages démesurés de ce pays avec la pièce de John Adams. Pour moi, Philip Glass est le plus radical, malgré une apparente facilité. Vanessa Wagner — Sa pièce Four Movements est très puissante en effet. Elle utilise des éléments extrêmement simples mais avec une radicalité de variations infimes dans lesquelles on rentre comme dans un mouvement hypnotique. Hallelujah Junction est incroyablement jouissive à jouer, par la précision démoniaque qu’elle exige des interprètes, par sa puissance rythmique et harmonique, par cette liberté folle, cette démesure qu’elle incarne. La musique américaine a des codes très éloignés de notre musique européenne. Elle est à la fois accessible et exigeante, simple et complexe. 11 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Pensez-vous que l’on interprète aujourd’hui différemment ces compositeurs qu’il y a dix ou vingt ans ? Vanessa Wagner — On les joue déjà un peu plus, notamment Glass, qui, bien que décrié par certains, est extrêmement populaire car ses œuvres pour piano solo sont plutôt accessibles. À mes débuts, il y avait d’un côté les pianistes qui jouaient le répertoire classique et de l’autre ceux qui osaient le contemporain. La nouvelle génération va contre ces cloisonnements, c’est à mon sens une évolution très positive. À titre personnel, je tenais à me réengager en faveur de ce répertoire américain parfois peu considéré. Par ailleurs, nos interprétations de ces auteurs se nourrissent aussi du grand répertoire classique que nous jouons, Wilhem et moi, depuis vingt-cinq ans. Wilhem Latchoumia — Quand la musique rentre dans le répertoire des pianistes, la pièce évolue forcément. Je pense que c’est aussi pour cela que nous réalisons des disques. Nous apportons chacun notre pierre à l’édifice, avec nos visions et notre bagage, c’est tout l’intérêt de continuer à enregistrer ! Vanessa Wagner — Ce répertoire a parfois souffert de codes qui mettaient de côté texture sonore, souplesse du phrasé, différenciation des nuances.
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