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Les Conséquences Du Travail Empirique De Luciano Berio Au Studio Di Fonologia : Vers Une Autre Écoute Martin Feuillerac

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Les Conséquences Du Travail Empirique De Luciano Berio Au Studio Di Fonologia : Vers Une Autre Écoute Martin Feuillerac Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute Martin Feuillerac To cite this version: Martin Feuillerac. Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute. Musique, musicologie et arts de la scène. Université Toulouse le Mirail - Toulouse II, 2016. Français. NNT : 2016TOU20100. tel-01945269 HAL Id: tel-01945269 https://tel.archives-ouvertes.fr/tel-01945269 Submitted on 5 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 5)µ4& &OWVFEFMPCUFOUJPOEV %0$503"5%&-6/*7&34*5²%&506-064& %ÏMJWSÏQBS Université Toulouse - Jean Jaurès 1SÏTFOUÏFFUTPVUFOVFQBS Martin FEUILLERAC le mardi 15 novembre 2016 5JUSF Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute ²DPMF EPDUPSBMF et discipline ou spécialité ED ALLPH@ : Musique 6OJUÏEFSFDIFSDIF LLA CREATIS %JSFDUFVSUSJDF T EFʾÒTF Jésus AGUILA Jury : François Madurell (PR, Paris IV Sorbonne) Pierre Albert Castanet (PR, Université de Rouen) Stefan Keym (PR, Université Toulouse Jean Jaurès) 5)µ4& &OWVFEFMPCUFOUJPOEV %0$503"5%&-6/*7&34*5²%&506-064& %ÏMJWSÏQBS Université Toulouse - Jean Jaurès 1SÏTFOUÏFFUTPVUFOVFQBS Martin FEUILLERAC le mardi 15 novembre 2016 5JUSF Les conséquences du travail empirique de Luciano Berio au Studio di Fonologia : vers une autre écoute ²DPMF EPDUPSBMF et discipline ou spécialité ED ALLPH@ : Musique 6OJUÏEFSFDIFSDIF LLA CREATIS %JSFDUFVSUSJDF T EFʾÒTF Jésus AGUILA Jury : François Madurell (PR, Paris IV Sorbonne) Pierre Albert Castanet (PR, Université de Rouen) Stefan Keym (PR, Université Toulouse Jean Jaurès) 4 DÉDICACE TrIlling, trilling: By bronze, by gold, iN oceangreen of shadow The Morn is breaking. Pearls: when shE. BooMed crashing chords. When love absOrbs. Rrrpr. Kraa. Kraandl. HorrId! SweetheArt, goodbye! War! War! The tympanuM And gold flUshed more a juMping rose Blew. Blue bloom is on the impErthnthn thnthnthn O Rose! rose of CasTille Bronzelydia by MinagOld JinglE. Bloo Gold pinnaCled hair bronze by gOld Martin Feuillerac 5 REMERCIEMENTS Nous tenons à remercier pour l’accompagnement qu’il a assuré tout au long de notre travail Jésus Aguila. We also would like to thank, for the opportunity they gave us, Pr. Marie Rolf and Pr. Jonathan Dunsby, and for the many details he gave us about Luciano Berio Opera’s premiere, Pr. Benton Hess from the Eastman School of Rochester, NY. Vogliamo anche ringraziare per l'aiuto prezioso che ci ha portato la Professoressa Rossana Dalmonte così come il Professor Agostino Ziino per la sua cortesia e la sua amabilità. Nous remercions également Adam, Lélio et Orion Feuillerac, qui, par leur dynamisme et l’entrain qu’ils ont mis à se réveiller aux aurores depuis 10 ans nous ont permis de disposer d’un temps de travail journalier conséquent et de parvenir au bout de ce travail, qui n’aura finalement abouti que pour qu’ils aient la fierté, un jour, de pouvoir y jeter un œil que nous espérons avide. 6 SOMMAIRE Dédicace .................................................................................................................................................. 4 Remerciements ....................................................................................................................................... 5 Sommaire ................................................................................................................................................ 6 Introduction ........................................................................................................................................... 12 I ‐ Un musicien accompli qui crée son propre studio ........................................................................... 17 Transmission d'une expérience familiale .................................................................................. 17 Solide formation au Conservatoire de Milan ............................................................................ 18 Un pianiste accompagnateur à l'écoute .................................................................................... 18 Un chef d'orchestre par défaut ................................................................................................. 20 Au fond de l'orchestre : un timbalier ........................................................................................ 22 S’aventurer à créer un studio .................................................................................................... 24 II ‐ La radio : un métier, des métiers ..................................................................................................... 26 Sonoriser des programmes radiophoniques ............................................................................. 27 Diriger des ensembles instrumentaux ....................................................................................... 27 Composer sur des supports différenciés ................................................................................... 28 Jouer soi‐même du piano ou des ondes Martenot ................................................................... 29 Réaliser des ambiances sonores ................................................................................................ 30 Organiser des concerts .............................................................................................................. 30 Diriger une revue ....................................................................................................................... 31 Tenir une place dans le monde de l’art ..................................................................................... 32 Devenir formateur de niveau international .............................................................................. 33 III ‐ Le studio di fonologia, un cercle d’avant‐garde .............................................................................. 34 1) Un lieu attractif pour de nombreuses personnalités ................................................................ 35 Cathy Berberian, première complice......................................................................................... 36 Bruno Maderna, frère siamois .................................................................................................. 37 John Cage, une ouverture à d'autres formes de pensée ........................................................... 43 Umberto Eco, le passeur ........................................................................................................... 47 Luigi Rognoni : différentes facettes de la musicologie .............................................................. 49 Roberto Leydi, la curiosité pour d'autres musiques .................................................................. 50 Bertold Brecht : l’impulsion d'un créateur mythique ................................................................ 52 Massimo Mila et Fedele D'Amico, critiques et complices ......................................................... 53 Severino Gazzeloni, l’accès à la virtuosité ................................................................................. 56 Alfredo Lietti et Marino Zuccheri, au‐delà de la barrière technologique ................................. 57 7 2) Un réseau international de compositeurs ................................................................................. 59 Les principaux musiciens invités ............................................................................................... 59 Même matériel, regards différents ........................................................................................... 62 Un lien avec Darmstadt maintenu mais distant ........................................................................ 62 3) Un contexte culturel favorable .................................................................................................. 65 L’américanisation de Milan ....................................................................................................... 66 Une évolution politique en direction de la gauche ................................................................... 69 Le Prix Italia, moteur de la créativité européenne .................................................................... 70 IV ‐ L'écoute directe en studio ............................................................................................................... 72 1) L’absence de médiation des interprètes ................................................................................... 72 Le compositeur‐interprète ........................................................................................................ 72 Ambivalences vis‐à‐vis de l’interprète ...................................................................................... 73 Le choix bérien d’une approche électroacoustique .................................................................. 74 Redonner une place centrale à l’interprète et à l’interprétation ............................................
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