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Le Chat Dans La Musique Classique These VETAGRO SUP CAMPUS VETERINAIRE DE LYON Année 2011 - Thèse n° LE CHAT DANS LA MUSIQUE CLASSIQUE THESE Présentée à l’UNIVERSITE CLAUDE-BERNARD - LYON I (Médecine - Pharmacie) et soutenue publiquement le 15 décembre 2011 pour obtenir le grade de Docteur Vétérinaire par MARION Claire Née le 9 mars 1987 à Bourg-de-Péage (Drôme) VETAGRO SUP CAMPUS VETERINAIRE DE LYON Année 2011 - Thèse n° LE CHAT DANS LA MUSIQUE CLASSIQUE THESE Présentée à l’UNIVERSITE CLAUDE-BERNARD - LYON I (Médecine - Pharmacie) et soutenue publiquement le 15 décembre 2011 pour obtenir le grade de Docteur Vétérinaire par MARION Claire Née le 9 mars 1987 à Bourg-de-Péage (Drôme) 2 Enseignants du Campus Vétérinaire de VetAgro Sup 3 4 Remerciements A Monsieur le Professeur Mohamed SAOUD, Professeur à la Faculté de Médecine de Lyon, Qui nous a fait l’honneur d’accepter la présidence de notre jury de thèse. Mes hommages respectueux A Monsieur le Professeur Philippe BERNY, Professeur au Campus Vétérinaire de Lyon, Pour m’avoir fait l’honneur et le plaisir de diriger cette thèse, Pour sa gentillesse et son enthousiasme sans faille face à ce sujet qui me tenait à cœur. Sincères remerciements. A Madame le Professeur Marie-Laure DELIGNETTE-MULLER, Professeur au Campus Vétérinaire de Lyon, Qui nous a fait l’honneur de participer à notre jury de thèse, Sincères remerciements. 5 6 « Il y a deux moyens d’oublier les tracas de la vie : la musique et les chats. » Albert Schweitzer (1875 – 1965) 7 8 Table des matières Enseignants du Campus Vétérinaire de VetAgro Sup ..............................................................3 Remerciements .......................................................................................................................5 Table des matières ..................................................................................................................9 Table des illustrations ........................................................................................................... 13 Introduction .......................................................................................................................... 15 I. Le chat, un animal étroitement lié à la musique ............................................................. 19 A. Le chat et la musique, une représentation artistique foisonnante ................................ 19 1. Une alliance datant de l’Antiquité ......................................................................... 19 a) Dans la civilisation égyptienne ........................................................................ 19 b) Dans les autres civilisations antiques ............................................................... 21 2. De nombreuses représentations au cours des siècles .............................................. 22 a) Un musicien… mais un animal avant tout ! ..................................................... 22 b) Une métaphore des cultures et des peuples étrangers ....................................... 26 c) Un félin source d’amusements plaisants .......................................................... 28 d) Le chat et la musique dans la publicité ............................................................. 29 B. Une « matière première » musicale ........................................................................... 33 1. Utilisation de l’anatomie du chat ........................................................................... 33 a) Pour la fabrication de cordes ........................................................................... 33 b) Pour le revêtement d’instruments de musique .................................................. 34 c) Pour la forme d’instruments de musique .......................................................... 35 2. Utilisation du cri du chat ....................................................................................... 36 a) Les concerts de chats ....................................................................................... 36 b) Les orgues de chats ......................................................................................... 39 (1) Un cruel divertissement ............................................................................... 39 (2) Une curieuse thérapeutique .......................................................................... 41 C. Le miaulement du chat, une musique sujette à controverses ...................................... 43 1. Une musicalité décriée .......................................................................................... 43 a) Un miaulement anti-musical ............................................................................ 43 b) Un véritable « charivari » ................................................................................ 44 2. Une concorde discordante ..................................................................................... 44 3. Un plaidoyer face à l’ethnocentrisme occidental .................................................... 46 4. Un talent musical certain ....................................................................................... 48 9 II. Le chat et les musiciens ................................................................................................ 53 A. Un compagnon fidèle ................................................................................................ 53 1. Des chanteurs ........................................................................................................ 53 2. Des instrumentistes ............................................................................................... 54 a) Mademoiselle Dupuy (XVIIème siècle) ............................................................. 54 b) Albert Schweitzer (1875 – 1965) ..................................................................... 55 c) Wanda Landowska (1879 – 1959) ................................................................... 56 3. Des compositeurs .................................................................................................. 57 a) Antonio Sacchini (1730 – 1786) ...................................................................... 57 b) E.T.A. Hoffmann (1776 – 1822) ...................................................................... 57 c) Alexandre Borodine (1833 – 1887) .................................................................. 58 d) Maurice Ravel (1875 – 1937) .......................................................................... 59 e) Henri Sauguet (1901 – 1989) ........................................................................... 60 B. Un animal à l’origine d’œuvres musicales ................................................................. 63 1. Une muse, véritable source d’inspiration pour les compositeurs ............................ 63 a) Erik Satie, « Chanson du Chat » (1923) ........................................................... 63 b) Henri Sauguet, « Six mélodies sur des poèmes symbolistes » (1938) ............... 65 2. Un compositeur malgré lui .................................................................................... 66 a) Domenico Scarlatti, La « Fugue du Chat » (1738) ........................................... 66 b) Frédéric Chopin, La « Valse du Chat » (1838) ................................................. 68 c) Zez Confrey, « Kitten on the keys » (1919) ..................................................... 69 III. Symbolique du chat dans les œuvres musicales classiques ......................................... 73 A. Une imitation du cri et des attitudes de l’animal ........................................................ 73 1. Par le chant ........................................................................................................... 73 a) Le miaulement du chat, un langage simpliste ................................................... 73 b) Un animal aux bas instincts ............................................................................. 74 (1) Jacques Offenbach, « La Chatte métamorphosée en femme » (1858) ........... 74 (2) Henri Sauguet, « La Chatte » (1927) ............................................................ 75 c) Une parodie des comédies italiennes................................................................ 77 2. Par les instruments ................................................................................................ 78 a) Les cordes ....................................................................................................... 78 b) Les vents ......................................................................................................... 79 (1) Igor Stravinsky : « Berceuses du chat » (1916) ............................................. 79 (2) Maurice Ravel : « L’Enfant et les Sortilèges » (1919) .................................. 80 (3) Serge Prokofiev : « Pierre et le Loup » (1936).............................................. 81 c) Tout l’orchestre ............................................................................................... 82 B. Une évocation nostalgique de l’enfance .................................................................... 83 1. Modeste Moussorgsky, le « Chat Matelot » (1872) ................................................ 83 2. Mortimer Wilson : « Funeral of a Calico Cat » (1911) ........................................... 85 3. Darius Milhaud et Guy Sacre, « Chat » (1956 et 1978) .......................................... 86 10 C. Une critique du genre humain ..................................................................................
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