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Du Concert Au Show Business. Le Rôle Des Impréssarios Dans Le Développement International Du Commerce Musical, 1850-1930 Laetitia Corbière

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Du Concert Au Show Business. Le Rôle Des Impréssarios Dans Le Développement International Du Commerce Musical, 1850-1930 Laetitia Corbière Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930 Laetitia Corbière To cite this version: Laetitia Corbière. Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930. Histoire. Université de Lille, 2018. Français. NNT : 2018LILUH025. tel-01989103 HAL Id: tel-01989103 https://tel.archives-ouvertes.fr/tel-01989103 Submitted on 22 Jan 2019 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. UNIVERSITE LILLE 3 – CHARLES DE GAULLE / UNIVERSITE DE GENEVE ÉCOLE DOCTORALE DES SCIENCES DE L’HOMME ET DE LA SOCIETE Doctorat Histoire Lætitia CORBIERE DU CONCERT AU SHOW BUSINESS. Le rôle des imprésarios dans le développement international du commerce musical, 1850-1930 Thèse dirigée par Sylvie APRILE / Ludovic TOURNES Soutenue le 19 juin 2018 Jury : Philippe DARRIULAT Didier FRANCFORT Michel PORRET Jean-Claude YON 1 2 Du concert au show business. Le rôle des imprésarios dans le développement international du commerce musical, 1850-1930. Résumé : Cette recherche porte sur le développement international des tournées musicales entre 1850 et 1930, période caractérisée par l’affirmation de la fonction d’intermédiation et par une approche commerciale de plus en plus assumée du concert. En adoptant la perspective des intermédiaires qui ont porté cette évolution, nous nous proposons d’étudier comment le changement d’échelle de ces échanges culturels et économiques que constituent les tournées musicales a provoqué de profondes mutations. En particulier, la dimension transatlantique qu’acquiert le commerce musical à partir de 1850 a des conséquences décisives sur le concert. En effet, non seulement la structure des échanges doit être adaptée à cette nouvelle échelle, mais les répercussions sont sensibles également sur les objets artistiques et sur les pratiques sociales qui entourent l’activité musicale. Traitant le concert comme un spectacle, les imprésarios américains promeuvent une approche résolument commerciale qui, a priori, s’oppose aux conceptions artistiques européennes. Cependant, par le jeu des concurrences et des coopérations transnationales, les innovations apportées par les intermédiaires américains transforment le commerce musical dans son ensemble. Elles suscitent notamment l’émergence, par réaction mais aussi par réappropriation, de directions de concerts modernes à partir des traditionnelles maisons d’édition musicale européennes. En outre, parce que les œuvres musicales sont aussi des objets symboliquement connotés, socialement et nationalement, leur commerce reflète les tensions entre démocratisation et distinction d’une part, et entre enjeux nationaux et tentation universaliste d’autre part. Mots clés : histoire transnationale, circulations musicales, commerce musical, imprésarios, directions de concerts, agents artistiques, intermédiaires artistiques, passeurs culturels 3 4 From Concert to Show business: the Role of the Impresarios in the Global Development of Music Trade, 1850-1930. Abstract: This research concerns the international development of musical tours between 1850 and 1930, a period characterized by the affirmation of the intermediation function and by an increasingly commercial approach to concerts. By adopting the perspective of the intermediaries who have brought about this evolution, we propose to study how the change in scale of those cultural and economic exchanges that musical tours are has caused profound changes. In particular, the transatlantic dimension that the music trade acquired from 1850 onwards had decisive consequences for the concert. Indeed, not only the structure of the exchanges had to be adapted to this new scale, but the repercussions were also sensitive on the artistic objects and on the social practices which surround the musical activity. Treating the concert as a show, the American impresarios promoted a resolutely commercial approach which, a priori, was opposed to European artistic conceptions. However, through transnational competition and cooperation, the innovations brought by American intermediaries transformed the music trade as a whole. In particular, they led to the emergence, by reaction but also by reappropriation, of modern concert directions based on traditional European music publishing houses. Moreover, because musical works are also symbolically, socially and nationally connoted objects, their trade reflects the tensions between democratization and distinction on the one hand, and between national issues and universalist temptation on the other. Key-words: transnational history, musical circulations, music trade, impresarios, concert directions, artists’ managers, artistic go-between, cultural brokers. 5 6 Institut de Recherches Historiques du Septentrion, Université Lille 3, BP60 149 59653 Villeneuve d’Ascq Cedex EDSHS Université Lille 3, BP60 149 59653 Villeneuve d’Ascq Cedex Département d’Histoire, Faculté de Lettres Université de Genève Rue Saint-Ours 5 1205 Genève 7 Remerciements À l’issue de cette rédaction, je suis convaincue que la thèse est loin d’être un travail solitaire et je suis heureuse de pouvoir adresser mes remerciements à tous ceux grâce à qui cette recherche a pu être réalisée. En premier lieu, je tiens à remercier mes directeurs de thèse, Sylvie Aprile et Ludovic Tournès, pour la confiance qu’ils m’ont accordée en acceptant d’encadrer ce travail doctoral, mais aussi pour leurs précieux conseils et leur patience. Mes remerciements vont également à Michel Porret, qui me fait l’honneur de présider mon jury de thèse, à Didier Francfort et à Jean-Claude Yon pour l’intérêt qu’ils ont manifesté pour cette recherche en s’engageant à en être les rapporteurs, ainsi qu’à Philippe Darriulat qui a accepté d’être membre du jury. Je remercie le ministère de l’Enseignement supérieur et de la recherche, qui a financé cette thèse en m’accordant un poste d'Attachée Temporaire d'Enseignement et de la Recherche, et l’Université de Genève, qui m’a ensuite offert un poste d’assistante en histoire. Je suis également reconnaissante envers l’Institut de Recherche Historique du Septentrion, et plus largement envers l’École doctorale des Sciences de l’Homme et de la société, pour le cadre intellectuel stimulant qu’ils m’ont offert, ainsi que toute l’équipe du Global Institute Studies et du Département d’histoire de Genève pour leur soutien. Mes pensées vont tout particulièrement à mes collègues Véronique, Thaïs et Laure qui se sont montrées compréhensives pendant les dernières semaines de la rédaction de cette thèse, à Nicolas, Élodie, Naïma, Consuelo, Ombeline, Grégory et Marguerite, avec qui j’ai eu le plaisir de travailler, à Ozcan et Anna pour nos nombreuses discussions autour d’une théière. 8 Je sais infiniment gré à Frédéric Attal et à Mélanie Traversier d’avoir généreusement outrepassé leur rôle administratif au sein du Comité de suivi de thèse, en me prodiguant leurs encouragements et leurs suggestions, et en prenant le temps de me relire. Je tiens aussi à remercier chaleureusement Florian, Nicolas, François, Raphaël, Jérémy, Gaulthier, Claire et Ombelyne pour leurs relectures soignées et enrichissantes malgré les délais contraignants que je leur avais imposés, Françoise pour la rigueur de son travail, Laure pour ses traductions, le temps passé à la saisie de données, et son soutien permanent, Marie pour ses suggestions numériques, Pascal pour son travail d’éditeur et sa disponibilité, et Julien – pour tout. Enfin, un grand merci tous mes proches et amis qui m’ont encouragée dans « mes recherches sur Mozart et ses potes »… Mes parents bien sûr, qui ont toujours été à mes côtés et ont suivi avec passion chaque étape de cette aventure personnelle ; Didier, qui a souvent transformé les dîners chez lui en séances de questions stimulantes ; Marie-France, qui attend la soutenance de cette thèse depuis si longtemps ; mes amis Marjorie, Coraline, Victor, Yann, Marie, Paul, Magalie, Marine, Nicolas (les trois), Flore ; Héloïse S., les deux Sophie, Fanny et Olivia (quand même, la première tournée internationale, c’était avec vous !) ; Clément, Alice et Pierre ; Lionel, Héloïse B., Florian et Victor B. Surtout, je remercie du fond du cœur Julien, mon compagnon et mon partenaire. Ton amour m’a permis d’y croire. 9 Table des matières Résumé : .................................................................................................................................... 3 Abstract: .................................................................................................................................... 5 Remerciements ........................................................................................................................... 8 Table des matières ................................................................................................................... 10 Tables des illustrations ............................................................................................................ 19 Liste des abréviations .............................................................................................................
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