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Tracts La Scène Watteau luigi nono / karl amadeus hartmann / bruno maderna 18 novembre 2014 karl amadeus hartmann karl amadeus hartmann Adagio (Symphonie nº 2) Adagio (Symphonie nº 2) pour grand orchestre pour grand orchestre (1943-1949) Effectif : 3 flûtes (3 piccolos), 3 hautbois (cor anglais), bruno maderna 3 clarinettes en ut (saxophone baryton), 3 bassons (contrebasson), 4 cors, 3 trompettes, 3 trombones, tuba, timbales, Ausstrahlung percussion (caisse claire, cloches, cymbales, gongs, grosse caisse, tambour, triangle, vibraphone, xylophone), harpe, célesta, piano, pour voix de femme, flûte,hautbois, cordes (violons I et II, altos, violoncelles et contrebasses) orchestre et bande magnétique Création : Donaueschingen, 10 septembre 1950, Sinfonieorchester des Südwestfunks, sous la direction de Hans Rosbaud Éditeur : Schott. Durée : 16’ entracte luigi nono « Une grandeur et une généreuse humanité faisaient entière, les Sinfoniae Dramaticae , composées de vibrer chez Karl Amadeus Hartmann sa musique trois panneaux : l’ Ouverture symphonique « La Chine Como una ola de fuerza y luz comme chaque acte de sa vie. Violence, beauté et en lutte », des Hymnes symphoniques en trois mou - pour soprano, piano, orchestre vérité des passions, des souffrances, des amours, des vements (Fantaisie, Adagio, Toccata) et la Suite sym - et bande magnétique Ce concert regroupe trois œuvres symphoniques conflits, des injustices insupportables, des enthou - phonique « Vita Nova », vraisemblablement conçue majeures, aux exécutions rares : création en France siasmes, des hostilités, des haines civiles, des respon - en quatre mouvements : une introduction dévelop - pour l’ Adagio de Hartmann, première audition à sabilités et des choix, animaient sa présence, pée, un Adagio , un mouvement avec voix et un finale Paris pour Ausstrahlung de Maderna et seconde audi - profondément enracinée dans son temps, comme incluant de courtes citations de L’Internationale . Laura Aikin, soprano tion à Paris (première en 1977) pour Como una ola l’arbre de vie dans son Simplicius Simplicissimus . En février 1946, Hartmann adresse à Universal Edition Jean-Frédéric Neuburger, piano de Luigi Nono. Ses jeux joyeux avec ma fille Silvia, son bonheur (Vienne) son projet, initié entre 1941 et 1943, au André Richard, projection du son Lors d’un voyage en Amérique du Sud, en mai 1971, immédiat à Laigueglia au bord de la mer avec Elisabeth moment où l’Allemagne traversait les sombres heures Luigi Nono fait la connaissance du révolutionnaire et les amis Steinecke, sa violence passionnée dans les du régime national-socialiste. À plusieurs reprises, Orchestre symphonique Luciano Cruz. La personnalité de cet étudiant en discussions, dans un bar de Venise comme sur la il demande énergiquement la restitution de ses du SWR Baden-Baden & Freiburg médecine et son action auprès des ouvriers et des Marienhöhe à Darmstadt ou Franz Josephstr. 20 – documents et une décision de l’éditeur, qui ne viendra Ingo Metzmacher, direction paysans l’enthousiasment. Mais en septembre, sa excuse-moi, Karl, si j’ai parfois provoqué ta colère –, pas. Convaincu de la nécessité du triptyque, il constate mort non élucidée suscite l’émotion. Como una ola la consciente responsabilité civile de l’opposition dans déjà en décembre 1946 : « L’œuvre symphonique Vita de fuerza y luz (Comme une onde de force et de lumière ) l’action de ses frères et de sa famille socialiste, contre Nova me paraît particulièrement actuelle ». Quelques est l’épitaphe de Cruz : une voix incantatoire, un les hitlériens d’hier et d’aujourd’hui, son enthousiasme mois plus tard, en juillet 1947, aux Cours d’été de En collaboration avec l’Orchestre symphonique piano radical et l’orchestre, éruptif, en une longue pour la vie simple sur une place vénitienne comme Darmstadt, est créée, sous la direction de Scherchen, du SWR Baden-Baden & Freiburg marche, rendent hommage à cet « exemple d’audace, pour la chapelle de Ronchamp, dans le souvenir de l’ Ouverture symphonique . L’accueil est réservé. « Mal - et le Holland Festival/Amsterdam de responsabilité et de liberté ». son rapport à Webern et de la période d’études avec heureusement de larges cercles d’Allemagne ne veu - La même année, Bruno Maderna dirige en Iran la Scherchen, en parlant des études, de l’avenir de [son lent pas entendre de musique existentielle », en création de Ausstrahlung (Rayonnement ), sur des fils] Richard ou d’un projet pour une nouvelle œuvre, conclut Hartmann dans une lettre à Alois Hába. textes mystiques et poétiques d’Inde et de Perse. De tout cela, et tant d’autres choses encore, était dans Hartmann abandonne alors l’idée de donner d’autres Coproduction Cité de la musique ; Festival d’Automne à Paris Maderna, dont il fut l’élève et l’ami, Luigi Nono admi - la riche intelligence humaine de Karl Amadeus sections du cycle, à l’exception de l’ Adagio de la Suite Avec le soutien de Mécénat Musical Société Générale rait l’intelligence toujours ouverte et prospective, Hartmann. Merci, Karl, de ton amitié et de tout ce symphonique « Vita Nova », qui remonte à 1943. La et de la Fondation Ernst von Siemens pour la musique « dans la mesure où l’homme vit en tant que sujet que tu m’as laissé en héritage de ta vie et de l’histoire Symphonie nº 2 en est la résultante et porta pour dans notre temps, toujours tendu vers l’homme ». à laquelle tu as participé ». titre, longtemps, la seule mention du tempo, avant Ainsi, Ausstrahlung est comme une prière universelle En ces termes, Luigi Nono rendit hommage à son que ne lui soit ajoutée en 1949, et entre parenthèses, par laquelle l’homme se relie à ses semblables. ami disparu en 1963, dont il louait aussi l’exigence cette dénomination secondaire et pourtant essen - « Une grandeur et une généreuse humanité faisaient d’une communication non circonscrite à la technique tielle – cela, curieusement, après les Symphonies vibrer chez Karl Amadeus Hartmann sa musique musicale, mais en tant que « participation et témoi - nos 3 et 4. comme chaque acte de sa vie », écrivait Nono, proche gnage de la problématique humaine, dans son carac - Adagio (Symphonie nº 2) perpétue un type de mou - de ce compositeur marqué par les horreurs de la tère tragique ». vement lent de la tradition symphonique : intro - Première Guerre mondiale. Mais l’histoire devait se duction sur un thème soliste, aux contours nets, et répéter et la nuit nazie contraignit Hartmann à l’exil Dédiée à Paul Collaer, « au grand musicien et à ici confié au saxophone, courte section contrastante, France Musique enregistre ce concert intérieur – il choisit d’interdire toute exécution de l’homme admirable », la Symphonie nº 2 (1948-1949) accélération du tempo et exaspération de la tension Diffusion le 22 décembre 2014 à 20h ses œuvres sous le Troisième Reich. Composé en de Karl Amadeus Hartmann a été créée en 1950, à dramatique jusqu’à un point culminant, retour du 1943-1949, l’ Adagio (Symphonie nº 2) multiplie les Donaueschingen, sous la direction de Hans Rosbaud. thème, au caractère légèrement transformé, et conclu - plans aux splendides dissonances, auxquels s’oppose Les quinze minutes environ de cette œuvre sont les sion atténuée, refermant l’arche musicale. l’humanité d’une ligne de saxophone. traces d’un cycle qui devait occuper une soirée Laurent Feneyrou 3 bruno maderna S’il était une image, ce serait celle de Protée, la Risonanze erranti de Luigi Nono), Ausstrahlung cons - Ausstrahlung divinité marine qui embrasse et contient toute titue un aboutissement des recherches du compo - Né le 2 août 1905 à Munich, Karl Amadeus Hartmann pour soprano, flûte, hautbois, orchestre et bande forme. Inlassable chef d’orchestre, dirigeant et enre - siteur qui – depuis Dimensioni II / Invenzione su una est le quatrième enfant du peintre Friedrich Richard magnétique (1971) gistrant avec une rare intelligence œuvres anciennes, voce , Don Perlimplin en passant par From A to Z ou Hartmann (1866-1925) et de sa femme, Gertrud, née Textes sacrés et poétiques indiens et perses modernes et contemporaines, qu’il aime faire figurer plus tard Ages – questionne la valeur purement Schwamm (1874-1935). Après la découverte enthou - dans les mêmes programmes, créateur d’institutions sonore du langage. siaste, en 1915, du Freischütz, il étudie le trombone Effectif : soprano ; flûte (flûte en sol , flûte basse) et hautbois musicales parmi les plus innovantes et pérennes, Ausstrahlung frappe par son souffle ardent et flam - et la composition à l’Académie de musique de Munich (cor anglais, hautbois d’amour, musette) ; 4 flûtes (2 piccolos), Maderna fut un compositeur prolixe et aborda tous boyant, une énergie qui provient d’un travail de (1924-1929), où il a pour professeur Joseph Haas. Ses 3 hautbois, cor anglais, clarinette en mi b, 4 clarinettes en si b les genres. Avec Boulez, Nono et Stockhausen, il pra - « composition » musico-littéraire. Les textes sont premières pièces pour piano datent de 1927 et sont (2 clarinettes basses), 3 bassons, 4 cors, 5 trompettes, tique une combinatoire sérielle qui culmine dans nombreux, choisis pour leur puissance de portée données dans la série de concerts de l’association 4 trombones, tuba, percussion (2 xylophones, 2 marimbas, le Concerto pour flûte ou le Quatuor à cordes ; mais (textes anciens fondateurs ou poésie intense d’évo - Die Juryfreien, qu’il fonde l’année suivante. En 1931, vibraphone, célesta, glockenspiel, 4 gongs, 3 cymbales il compose aussi des chansons, écrit pour la scène cation), tandis que la musique (des mots récités, il rencontre Hermann Scherchen, qui créera plusieurs suspendues, 4 tam-tams, fouet, tambour basque, 2 bongos, et le cinéma, et réalise même des indicatifs pour la chantés et des instruments) incarne leur « rayon - de ses œuvres ( Miserae à Prague, en 1935 ; Ouverture 2 congas, timbales, 2 wood-blocks), 2 harpes, 12 violons I, télévision, adaptations de classiques ou feuilletons nement » sonore et spirituel. La partition est elle- symphonique à Darmstadt, en 1947 ; Concert pour 12 violons II, 12 altos, 10 violoncelles, 8 contrebasses ; policiers.
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