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Leduc Marie-Pier 2015 Memoire

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Université de Montréal Artisans, génies et vedettes Le statut des compositeurs dans la presse musicale française au début du XXe siècle par MARIE-PIER LEDUC Faculté de musique Mémoire présenté à la Faculté de musique en vue de l’obtention du grade de Maître en Musique, option Musicologie août 2015 © Marie-Pier Leduc, 2015 Résumé Ce mémoire propose d’explorer quel(s) statut(s) sont accordés aux compositeurs contemporains dans le contexte musical parisien des premières années du XXe siècle à travers une analyse de la presse musicale spécialisée de l’époque. Le corpus de notre recherche est constitué de trois revues, chacune ancrée dans des sphères de sociabilités bien distinctes : La Revue musicale (histoire et critique), une « revue savante » proche du milieu de la Schola cantorum ; Le Mercure musical, une « petite revue » d’avant-garde militant en faveur de la musique de Maurice Ravel ; et Musica, une « grande revue » destinée à un lectorat issu de la petite bourgeoisie en plein essor, essentiellement féminin et pratiquant la musique en amateur. Cette étude révèle que la traditionnelle opposition entre la conception du compositeur- artisan et celle du compositeur-génie issue de la fin du XVIIIe siècle et du XIXe siècle voit apparaître un troisième joueur à l’aube du XXe siècle : le compositeur-vedette, un statut qui était jusqu’alors généralement réservé aux interprètes. Ces trois statuts coexistent dans le panorama de la presse musicale du tournant du XXe siècle, et leur promotion par certains organes de presse spécifiques répond à une logique tantôt esthétique, tantôt économique. Il se dégage de cette étude que la presse musicale constitue non seulement un indice des variations qu’a subies la figure du compositeur dans le spectre de la grandeur en culture, mais qu’elle a également joué un rôle actif dans ces transformations. Mots clefs : Presse musicale – Musique française – Belle Époque – La Revue musicale (histoire et critique) – Le Mercure musical – Musica – Analyse du discours – Génie – Vedette – Artisan Abstract This master thesis proposes a look of various statuses given to contemporary composers in the Parisian musical context at the beginning of the 20th century, through an analysis of the specialised press of that period. The corpus of my research consists in three different journals, each one with its own distinct sphere of sociability: La revue musicale (histoire et critique), a scholarly publication close to the Schola cantorum; Le Mercure musical, an avant-garde publication which has championed Maurice Ravel’s music; and a third, Musica, a magazine with a much larger audience, intended for the growing middle class, and which readership is mostly constituted of women and music learners. This thesis reveals that the traditional opposition between the concepts of craftman- composer and of genius-composer — a concept deriving from the end of the 18th century and the 19th century — sees the rise of a third component at the beginning of the 20th century: the star-composer, a status which was until then only limited to performers. Those three statuses coexisted throughout the musical press during the early 20th century. Their promotion by specific publications was in some cases done for aesthetic reasons and in others for economical motives. The outcome of this study reveals that the musical press is not only an indicator of the changes in the composers’ status within the array of cultural greatness, but it has also played an active role in these transformations. Key words : Musical press – French music – Belle Époque – La Revue musicale (histoire et critique) – Le Mercure musical – Musica – Discourse analysis – Genius – Stardom – Craftsman Table des matières RÉSUMÉ .............................................................................................................................. Xiii ABSTRACT .......................................................................................................................... xxv TABLE DES MATIÈRES .......................................................................................................... Xvii LISTE DES ILLUSTRATIONS ................................................................................................... xxix REMERCIEMENTS ................................................................................................................ xxiii INTRODUCTION .................................................................................................................. 001 0.1. Objectifs et questions de recherche .................................................................. 003 0.2. Méthodologie et état de l’art ............................................................................. 004 0.2.1. La presse comme source .......................................................................... 007 0.2.2. Le choix du corpus ................................................................................... 014 0.2.3. L’analyse du discours ............................................................................... 020 0.3. Plan du mémoire ................................................................................................ 025 CHAPITRE 1. La Revue musicale : Le modèle de l’« artisan », l’historicisme et la Schola cantorum .............................................................................................................. 027 1.1. La sphère de sociabilité de La Revue musicale ................................................. 034 1.2. Quels statuts pour les compositeurs contemporains dans La Revue musicale ? .................................................................................................................. 041 1.2.1. De grands compositeurs qui ont un « savoir-faire » ............................... 044 1.2.2. Les « ennemis » du « savoir-faire » .......................................................... 053 CHAPITRE 2. Le Mercure musical : Le « génie » pour une avant-garde ......................... 057 2.1. La sphère de sociabilité du Mercure musical ................................................... 065 2.1.1. Jean Marnold et Louis Laloy à la direction du Mercure musical .......... 069 2.1.2. Les contributeurs de la revue : Amitiés et affinités esthétiques entre les Apaches et Le Mercure musical ................................................................... 076 2.1.3. Demets, éditeur du Mercure musical...................................................... 085 2.1.4. Un lectorat formé de pairs ....................................................................... 086 2.2. Quels statuts pour les compositeurs contemporains dans Le Mercure musical ? .................................................................................................................... 088 3.2.1. Les compositeurs de l’avant-garde .......................................................... 089 3.2.2. Les autres compositeurs contemporains ................................................. 099 CHAPITRE 3. Musica : Le « vedettariat » à la conquête de nouveaux milieux................ 107 3.1. La sphère de sociabilité de Musica .................................................................... 111 3.1.1. Charles Joly face aux autres rédacteurs en chef : Les spécificités des années 1902 à 1905 ............................................................................................ 115 3.1.2. Une revue des Éditions Pierre Lafitte et Cie ........................................... 124 3.1.3. Le lectorat de Musica ............................................................................... 128 3.2. Quels statuts pour les compositeurs contemporains dans Musica ? ................ 138 3.2.1. Le choix des compositeurs « mis en scène » : Miser sur un capital de visibilité .............................................................................................................. 144 3.2.2. La « mise en scène » des compositeurs : Des vedettes « ordinaires » ..... 157 3.2.3. Un surinvestissement du futur qui a mauvaise presse ........................... 167 RÉFÉRENCES ....................................................................................................................... 171 viii Liste des tableaux et des illustrations Tableaux : 1. Chronologie des revues étudiées .............................................................................. 019 2. Liste des textes consacrés à la musique contemporaine publiés dans La Revue musicale pour les années 1901 à 1903 ..................................................................... 045 3. Liste des textes consacrés à la musique contemporaine publiés dans La Revue musicale pour les années 1901 à 1903 émettant un jugement positif .................... 050 4. Liste des textes comportant une dimension littéraire dans Le Mercure musical ... 061 5. Principaux réseaux des contributeurs réguliers du Mercure musical .................... 084 6. Classification des textes parus dans Le Mercure musical en fonction de leur usage des notions de surinvestissement du futur et d’inspiration .......................... 095 7. Liste des textes du Mercure musical où il est question de Jules Massenet ............ 105 8. Personnalités mises de l’avant sur les couvertures de Musica pour les années 1902 à 1906 ................................................................................................................ 139 9. Prise de parole des compositeurs dans Musica pour les années 1902 à 1906 ........ 143 10. Classification de la visibilité des compositeurs contemporains au sein de
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