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Alfred Cortot, Interprète De Frédéric Chopin

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Alfred Cortot, Interprète De Frédéric Chopin Alfred cortot, interpr`etede Fr´ed´ericChopin In`esTaillandier-Guittard To cite this version: In`esTaillandier-Guittard. Alfred cortot, interpr`etede Fr´ed´ericChopin. Musique, musicolo- gie et arts de la sc`ene. Universit´eJean Monnet - Saint-Etienne, 2013. Fran¸cais. <NNT : 2013STET2175>. <tel-00991691> HAL Id: tel-00991691 https://tel.archives-ouvertes.fr/tel-00991691 Submitted on 19 May 2014 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Université Jean Monnet, Saint-Étienne École doctorale Lettres, Langues, Linguistique et Arts (ED 484) Laboratoire de recherche LIRE – UMR 5611 THÈSE pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ DE SAINT-ÉTIENNE Discipline : Musicologie Présentée et soutenue par : Inès TAILLANDIER-GUITTARD le 6 décembre 2013 Alfred Cortot, interprète de Frédéric Chopin Thèse dirigée par M. Alban Ramaut, Professeur des Universités Jury : M. Christian ACCAOUI, Maître de conférences HDR à l’Université Paris VIII Mme Violaine ANGER, Maître de conférences HDR à l’Université d’Évry-Val- d’Essonne Mme Michelle BIGET-MAINFROY, Professeur à l’Université de Tours M. Clément CANONNE, Maître de conférences à l’Université de Bourgogne M. Alban RAMAUT, Professeur à l’Université de Saint-Étienne Résumé Si Alfred Cortot se définit comme interprète de Frédéric Chopin, c’est non seulement comme pianiste mais aussi comme théoricien. Le travail d’exégèse qu’il mène, notamment au travers de nombreux écrits, est le corrélat de toute exécution instrumentale. Notre recherche a ainsi pour objet de montrer comment ces deux acceptions du terme « interprétation » se complètent et suscitent un dialogue fructueux entre la concrétude d’un objet sonore et l’abstraction d’une pensée. Cela suppose de considérer non seulement la manière dont Cortot nous donne à réfléchir, en tant que biographe, sur une image particulière de Chopin et de sa musique, mais aussi le procédé par lequel il passe d’une formalisation théorique à une concrétisation de sa pensée dans et par l’interprétation. Notre travail s’organise selon trois axes : un examen des méthodes historiographiques employées par Cortot, une étude de sa démarche herméneutique – en particulier dans l’édition de travail des œuvres de Chopin – et enfin une analyse de quelques enregistrements des Préludes op. 28. Mots clés Alfred Cortot ; Frédéric Chopin ; interprétation ; herméneutique musicale ; esthétique ; enregistrements sonores Summary If Alfred Cortot performs and interprets Chopin’s, it is not only as a pianist but also as a theoretician. His exegesis, expounded in many writings, is the correlate of his instrumental performance. The purpose of our research is to show how both aspects of interpretation complement each other and generate a fruitful dialogue between concerte sound and abstracte thought. This implies to consider in which terms Cortot proposes and creates, as a biographer, a singular image of Chopin, but also the process through which he switches from a theoretical formalization to the embodiment of his thought in his performance. Our work is organized along three axes: a review of historiographical methods used by Cortot, a study of the hermeneutical process – especially in the student edition of Chopin’s work – and finally an analysis of some recordings of the Preludes op. 28. Keywords Alfred Cortot ; Frédéric Chopin ; performance ; musical hermeneutics ; aesthetics : recordings 7 REMERCIEMENTS Je remercie chaleureusement mon directeur de Thèse, qui m’a accordé sa confiance pour mener à bien ce projet et m’a soutenue tout au long de mon travail. Ses conseils m’ont toujours été très précieux. J’exprime également toute ma reconnaissance aux enseignants qui ont été mes collègues à l’Université Jean Monnet, à l’École Normale Supérieure de Lyon et à l’Université d’Évry- Val-d’Essonne. Les discussions que nous avons eues ont été extrêmement stimulantes, dans une ambiance professionnelle des plus agréables. Je remercie tout particulièrement mes amis, qui ont pris le temps de relire mon manuscrit et m’ont prodigué leurs remarques et points de vue. Je pense notamment à Céline, Vincent, Cécile, Marie, Lucie et Grégoire. Ce travail n’aurait pas pu aboutir sans le soutien indéfectible de mon époux, dans les moments de doute qui ont émaillé ces années de recherche. 9 INTRODUCTION Émergence d’un sujet De plus en plus de chercheurs s’intéressent aujourd’hui à l’interprétation, comme phénomène d’une part (l’interprétation est alors un acte), comme objet sonore défini d’autre part1 (il s’agit donc du résultat d’une interprétation). Dans le premier cas, les questions posées se ramènent le plus souvent à des problèmes définitionnels d’ordre général, qui mettent en jeu les deux acceptions du terme « interprétation », compris tour à tour comme exégèse ou exécution2 : - qu’est-ce qu’interpréter ? c’est-à-dire de quelle manière pense-t-on l’œuvre et sous quelles modalités discursives cette pensée s’exprime-t-elle3 ? ; - comment interpréter ? sous cette catégorie se rangent en particulier toutes les études portant sur l’histoire des écoles et des méthodes, ou sur la pédagogie musicale4 ; - qu’interprète-t-on ? inévitablement apparaît le problème de la relation entre l’œuvre écrite (la partition) et sa réalisation5 ; - quel est le rapport entre la connaissance historique et l’interprétation (c’est l’une des questions auxquelles sont confrontés les partisans des restitutions historiques) ? et par conséquent y a-t-il une éthique de l’interprétation6 ? 1 En France, l’interprétation est l’un des axes de recherche de l’IRCAM (« Musicologies de l’interprétation ») et du laboratoire RASM (Université d’Évry-Val-d’Essonne). Cette question occupe également une place importante au sein de la revue Déméter (disponible sur : http://demeter.revue.univ-lille3.fr/lodel9/). À l’étranger, et notamment dans le monde anglo-saxon, il faut évidemment citer les travaux menés au sein du CHARM (Centre for the History and Analysis of Recorded Music, disponible sur : http://www.charm.rhul.ac.uk/index.html). Autre exemple : la revue en ligne Music Performance Research (disponible sur : http://mpr-online.net/), éditée depuis 2007, est consacrée exclusivement à la question de l’interprétation, tant d’un point de vue théorique que pratique. 2 Cette ambivalence sémantique n’existe pas en anglais. C’est la raison pour laquelle nous n’utiliserons que rarement le terme « performance ». 3 Cette question est au centre de l’herméneutique musicale. Voir par exemple, au sujet du rapport entre l’œuvre et sa description verbale, ARBO, Alessandro, « Herméneutique de la musique ? », International Review of the Aesthetics and Sociology of Music, XXXI (juin 2000), no 1, p. 53-66. 4 Cette question inclut celle de l’évolution des techniques de jeu. Elle implique également d’étudier l’histoire des institutions. Voir par exemple CAMPOS, Rémy, Instituer la musique. Les Premières Années du Conservatoire de musique de Genève (1835-1859), Genève : Université : Conservatoire de musique, 2003. 5 Voir notamment, sur ce sujet, TARUSKIN, Richard, « Resisting the Ninth. Symphony No. 9 in D minor, op. 125 by Beethoven ; Yvonne Kenny ; Sarah Walker ; Patrick Power ; Petteri Salomaa ; the Schütz Choir of London, the London Classical Players, Roger Norrington », 19th-Century Music, XII (1989), no 3, p. 241-256. 6 Cette question sous-tend tout le mouvement des « baroqueux ». Sur le problème de l’authenticité, voir notamment GODLOVITCH, Stan, « Performance authenticity ; possible, practical, virtuous », dans KEMAL, Salim ; GASKELL, Ivan, (éds.) Performance and Authenticity in the Arts, Cambrige : Cambridge University 11 - comment pensée et geste s’articulent-ils dans l’interprétation instrumentale ou vocale7 ? etc. Dans le second cas, il s’agit d’étudier l’œuvre, non pas comme une entité formelle encore abstraite, mais comme une réalité potentiellement infinie, qui s’incarne dans une exécution unique et singulière. Par conséquent, la musicologie de l’interprétation suppose de croiser les approches méthodologiques. Elle oblige à penser l’interaction de la sémiotique, de l’analyse formelle, de l’esthétique et de la pratique musicale. Il faut cependant noter que ces diverses orientations demeurent encore relativement cloisonnées pour les interprètes, malgré le nombre croissant de tentatives fructueuses de métissage du « dire » et du « faire »8. Pourtant, notre sujet de recherche ne se résume pas à l’examen et au déploiement de l’une de ces problématiques. S’il a en son centre la question de l’interprétation, la perspective que nous choisissons suppose de l’appréhender de manière oblique, du point de vue d’un interprète particulier – Alfred Cortot –, avec en outre une focalisation sur la musique de Chopin. Pourquoi ces deux figures ? En premier lieu, la profusion des écrits de Cortot rend possible une lecture critique qui ne se fonde pas exclusivement sur des sources secondaires. En second lieu, l’intérêt notoire du pianiste pour les aspects théoriques autant que pratiques de l’interprétation rend d’autant plus pertinente la mise en regard d’une pensée herméneutique et d’un objet sonore. Par ailleurs, il nous a paru intéressant de nous focaliser sur Chopin pour deux raisons : d’une part, l’interprétation de son œuvre a toujours posé et pose encore de nombreux problèmes, non seulement en raison de la réticence de Chopin à la fixer sous une forme scripturale unique et définitive, mais encore par la diversité d’approches et d’interprétations qu’elle autorise – parfois contradictoires. Cela explique d’ailleurs pourquoi la musique de Chopin est l’un des objets d’étude favoris des performance studies9.
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