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The Dubhlinn Gardens ANNA BESSON Reinoud Van Mechelen a Nocte Temporis Menu THE DUBHLINN GARDENS ANNA BESSON REInoUD Van MECHELEN A NOCTE TemPORIS MENU TRACKLIST FRANÇAIS ENGLISH DEUTSCH SUNG TEXTS MENU THE DUBHLINN GARDENS (17TH & 18TH CENTURIES) 1 THE ORIGINAL BLACK JOKE, SENT FROM DUBLIN 7’26 2 THE RED JOCK 1’37 3 TRUE JOAK / WHITE JOAK / BLUE JOAK / FANCY’S ALL 7’57 4 AH! THE POOR SHEPHERD’S MOURNFUL FATE 5’14 5 JACK LATINE 2’59 6 EILEANÓIR A RÚN (SEAN-NÓS) 5’05 7 ELLEN A ROONE 2’21 8 AILEN AROON AN IRISH BALLAD SUNG BY MRS CLIVE AT YE THEATER ROYAL 4’45 9 TEAGUE, THE IRISH TROOPER 4’46 10 WILL YE GO TO FLANDERS 3’12 11 KILLIECRANKIE 2’31 12 MR CREAGH’S IRISH TUNE / THE HAWK OF BALLYSHANNON 2’58 13 ANNA, A PARTICULAR FAVOURITE IRISH SONG 2’44 14 MOGGY LAWTHER 2’27 15 AN BUACHAILLÍN BÁN / DONALD OG 3’52 16 HUNT THE SQUIRREL / A REELL FOR JANNIE / UP WI’T AILEY / 4’00 D° FOR THE GERMAN FLUTE / CHORUS JIG 17 MY NANNY O 5’18 TOTAL TIME: 69’17 THE DUBHLINN GARDENS (17TH & 18TH CENTURIES) REINOUD VAN MECHELEN TENOR A NOCTE TEMPORIS ANNA BESSON FLUTE Bressan traverso copy by Jean-Jacques Melzer, 2018 Original 18c tierce fl ute by Cahusac Copy of an Hotteterre piccolo by Jean-Jacques Melzer, 2017 SARAH RIDY HARP Copy of a triple harp by Rainer Thurau, 2002 Copy of an Irish harp by Violaine Alfaric, 2016 MYRIAM RIGNOL VIOLA DA GAMBA Bass viol copy by Stefan Schürch, 2006 Treble viol copy by Tilman Muthesius, 2015 LORIS BARRUCAND HARPSICHORD Copy of a Ruckers harpsichord by The Paris Workshop and Jullien Bailly, 2018 KOEN PLAETINCK DRUM (9) DOUG BALLIETT BASS VIOL (9) MENU THE DUBHLINN GARDENS FRANÇAIS PAR ANNA BESSON C’est guidée par mes deux plus grandes passions artistiques que j’ai créé le programme The Dubhlinn Gardens. Baignant depuis mon enfance dans l’univers des musiques et danses traditionnelles, j’ai découvert la musique traditionnelle irlandaise à l’âge de dix ans, et ai commencé à me former auprès de fl ûtistes irlandais lors de festivals et de stages basés sur un apprentissage essentiellement oral. Quelques années plus tard, cette affi nité pour la fl ûte en bois m’a poussée vers la fl ûte traversière baroque et l’interprétation historique. Forte de cette double pratique, The Dubhlinn Gardens est le fruit de longues recherches sur les airs les plus populaires dans l’Irlande du XVIIIe siècle, à une époque où musique traditionnelle et musique « savante » n’avaient rien d’antinomiques... Jusqu’au XVIIIe siècle, noter la musique issue de transmission orale n’était pas une nécessité car les compositions musicales étaient retenues et transmises de génération en génération. Malheureusement, cela provoqua la perte de beaucoup de compositions, s’éteignant en même temps que leurs auteurs. C’est dans cette optique qu’à partir de la fi n du XVIIIe siècle, de nombreux airs irlandais sont publiés à Londres, au sein de collections plus générales comportant également des airs écossais ou anglais, rendant diffi cile la traçabilité de chaque air. Puis la toute première collection composée essentiellement d’airs irlandais, A Collection of the Most Celebrated Irish Airs, est publiée à Dublin par les frères O’Neill en 1724, suivie par The Beggar’s Wedding, compilé et arrangé par Charles Coffey en 1728, directement inspiré du Beggar’s Opera de John Gay. Mais c’est à la fi n du XVIIIe siècle que se produit une véritable prise de conscience du patrimoine musical irlandais ; le premier festival de harpe est organisé à Granard de 1784 à 1786, bientôt suivi par celui de Belfast en 1792, célèbre car relaté par le jeune organiste Edward Bunting (1773-1843) ; ce dernier est considéré comme le premier collecteur à avoir transcrit directement les mélodies et le jeu des harpeurs dans son Ancient 7 Music of Ireland. Son œuvre constitue aujourd’hui l’essentiel de nos connaissances sur les techniques des harpistes aux XVIIe et XVIIIe siècle et confi rme le caractère solo de cette musique, les arrangements avec basses ajoutées découlant d’un besoin de faire découvrir cette musique à une classe sociale habituée aux opéras et œuvres de chambre. The Original Black Joke, sent from Dublin, présenté ici dans sa version la plus ancienne (1720), a été l’air le plus populaire en Irlande et en Grande Bretagne pendant la première moitié du XVIIIe siècle. Décliné en chansons paillardes, pièces de théâtre, ballad operas, danses de cour, airs variés et autres Joak (Red Joak, White Joak, Yellow Joak, Blue Joke, True Joke, Widow Joak, Grey Joak...), le Black Joke doit son succès à son côté grivois, Joak (ou Joke) évoquant le sexe féminin. La chanson Eileanóir a Rún (Eleanor, mon secret amour) est présentée ici dans trois versions chronologiques : l’ancienneté de cette love song rend diffi cile l’exactitude quant à sa date de composition, mais elle aurait été écrite au XVe siècle par le barde Cearbhal Ua Dalaigh, auteur d’un poème adressé à Elanor Cavanagh, fi lle de Sir Morgen Cavanagh du château de Clonmullen, dans le comté de Carlow. La première version, interprétée ici en sean-nós (« ancien style ») et transmise de génération en génération, est toujours entendue de nos jours, notamment dans le Connemara. Reinoud l’a apprise avec la chanteuse Orlaith Ni Mheachair, elle-même la tenant de son père. Le succès de cette chanson fut tel qu’elle apparaît dans nombre de collections au XVIIIe siècle, notamment dans le Beggar’s Wedding de Charles Coffee (1728) et dans A General Collection of Ancient Irish Music (1796) d’Edward Bunting, d’après une version du harper Denis Hempson, âgé de 99 ans à l’époque. C’est cette version que j’ai choisie, et que Sarah interprète sur une réplique de la harpe irlandaise (dite de Brian Boru), à cordes en métal. Enfi n, Ailen Aroon an Irish Ballad sung by Mrs Clive at ye theater Royal est tout à fait inédite puisqu’il s’agit de la même chanson, mais dans la version proposée par la très populaire actrice et chanteuse Kitty Clive (1711-1785) en 1740, et notée phonétiquement dans un dialecte irlandais de la province de l’Ulster. Il était commun à cette époque d’insérer des chansons entre les actes de pièces de théâtre, et 8 MENU la popularité d’Aileen Aroon (ou Ellen a Roon) est pour beaucoup due à Kitty Clive, puisque nombre de FRANÇAIS chanteurs et musiciens ajouteront la chanson à leur répertoire par la suite, à Dublin comme à Londres. Selon le journal irlandais Bolster’s Quarterly, Handel aurait même déclaré, après avoir entendu Aileen Aroon, qu’il aurait préféré être l’auteur de cet air plutôt que de tout ce qu’il avait composé jusqu’alors ! Un autre thème très souvent abordé dans la musique traditionnelle irlandaise est celui des batailles. Tandis que Will ye go to Flanders fait partie des chansons anti-guerre, référence directe à la pratique historique qui voulait que l’aristocratie – les hommes aussi bien que les femmes – aille admirer les champs de bataille comme si elle allait au théâtre, la chanson Teague, the Irish trooper, dans un tout autre registre, moque la défaite des Irlandais lors du siège de Limerick en 1691 face à l’invasion de Guillaume d’Orange. Les paroles sont volontairement mal adaptées à la mélodie The Siege of Limerick, afi n de se moquer du manque d’éducation des protagonistes : dès la fi n du XVIIe siècle, de longs poèmes singent la manière de parler des Irlandais issus des classes sociales les plus pauvres et utilisent le prénom Teague (Tadhg), signifi ant « poète » en irlandais. Enfi n, le slow air An Buachaillín Bán est une chanson du comté de Cork, que j’ai apprise de la chanteuse irlandaise Karan Casey. Derrière cette lamentation se cache une chanson révolutionnaire : An Buachaillín Bán se traduit par The Fair-Haired Boy, nom de code de Bonnie Prince Charlie (Charles Edward Stuart , 1720-1788) – qui, quelques années après sa défaite en 1746 à la bataille de Culloden et son exil forcé, est resté pour nombre d’Irlandais et d’Écossais l’espoir de renverser le régime hanovrien. Cet air vient confi rmer l’idée de tradition vivante propre à la musique irlandaise, puisqu’il est encore chanté et joué de nos jours, au même titre que le White Joak, The Hawk of Ballyshannon, ou Eileanóir a run. 9 10 11 MENU THE DUBHLINN GARDENS BY ANNA BESSON It was my two greatest artistic passions that prompted me to conceive this programme entitled The Dubhlinn Gardens. Ever since my childhood, I have been immersed in the world of traditional music and dance. I discovered traditional Irish music at the age of ten, and began to train with Irish fl autists at festivals and in workshops based on essentially oral learning methods. A few years later, my affi nity for the wooden fl ute drew me to the Baroque transverse fl ute and historical performance. The Dubhlinn Gardens is the outcome of this twofold musical practice, and results from extensive research into the most popular airs in eighteenth-century Ireland, from a time when traditional and ‘art’ music were in no way opposing concepts . Until the eighteenth century, there was no need to write down music deriving from oral transmission, because such compositions were memorised and passed on from generation to generation. Unfortunately, this also caused the loss of many songs, which died with their composers. It was with the aim of remedying this situation that, from the end of the seventeenth century onwards, London publishers issued many Irish tunes as part of more general collections that also included Scottish or English tunes – which, however, makes it diffi cult to trace each tune.
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