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Maxim Vengerov Maxim Vengerov ORCHESTRE NATIONAL DE FRANCE DIMANCHE 6 MAI 16H ©B EALOVEGA JEAN-SÉBASTIEN BACH Concerto pour violon en la mineur BWV 1041 1. (Pas d’indication de tempo) 2. Andante 3. Allegro assai (13 minutes environ) DMITRI CHOSTAKOVITCH Symphonie no 10 en mi mineur, op. 93 1. Moderato 2. Allegro 3. Allegretto 4. Andante-Allegro (50 minutes environ) SASKIA DE VILLE présentation ORCHESTRE NATIONAL DE FRANCE Elisabeth Glab violon solo MAXIM VENGEROV violon et direction Ce concert sera diffusé ultérieurement sur l’antenne de France Musique. ILLUSTRATION : FRANÇOIS OLISLAEGER ILLUSTRATION RF_DM_Concert_A5.indd 1 04/04/2018 16:42 JEAN-SÉBASTIEN BACH 1685-1750 CES ANNÉES-LÀ : POUR EN SAVOIR PLUS : 1717 : Couperin devient claveciniste du Gilles Cantagrel, Jean-Sébastien Bach. Concerto pour violon BWV 1041 L’œuvre instrumentale, Buchet-Chastel, roi de France. En juillet, la Water Music de Composé sans doute à Köthen entre 1718 et 1723, peut-être ébauché avant à Weimar, peut-être écrit à 2018. Haendel est jouée pour la première fois sur Leipzig après 1723 (en tout cas avant 1730, date des plus anciennes copies de l’œuvre). Nomenclature : violon solo ; les cordes ; basse continue. les bords de la Tamise. En décembre : Bach est nommé Kapellmeister à Köthen. Parution des Mémoires du Cardinal de Retz. Face aux concertos pour violon d’Antonio Vivaldi, écrits par dizaines, la rareté de ceux de Jean-Sébastien Bach intrigue : trois partitions seulement, dont deux concertos pour violon (BWV 1718 : Watteau, L’Embarquement pour 1041 et BWV 1042) et un concerto pour deux violons (BWV 1043). Le Concerto en la mi- Cythère, réplique du Pèlerinage à l’Ile de neur BWV 1041 est composé avant 1730, très probablement lorsque le compositeur est Ka- Cythère réalisé un an plus tôt. pellmeister et director musices du jeune prince Léopold d’Anhalt-Köthen : mélomane passionné, habile danseur, jouant de plusieurs instruments dont le clavecin, le violon et la viole de gambe. 1719 : Daniel Defoe, Robinson Crusoé. Comme il est calviniste, la seule musique admise aux offices de la cour est le chanta cappella des psaumes. Bach compose donc à Köthen des œuvres profanes, surtout instrumentales, en 1720 : Bach termine les Sonates et partitas particulier pour l’orchestre de la cour qui réunit dix-sept musiciens de premier plan – dont le pour violon seul. Mort de Maria Barba- violoniste virtuose Joseph Spiess. La période est fertile. Voient le jour, notamment, les Concertos ra, sa première épouse, en l’absence du pour violon(s), des Suites orchestrales, les Six Concertos avec plusieurs instruments, dits « brande- compositeur parti accompagner le prince bourgeois » parce que Jean-Sébastien Bach les dédie au margrave de Brandebourg. Et du d’Anhalt-Köthen à Carlsbad. Vivaldi : La côté de la musique de chambre, dans une extraordinaire imagination polyphonique, les So- Verità in cimento. Watteau, L’Enseigne de nates et Partitas pour violon seul, les Suites pour violoncelle seul, la Partita pour flûte seule. Gersaint. Épidémie de peste à Marseille et Curieux de ce qui s’écrit en Italie, Bach s’est intéressé tôt à ses contemporains Giuseppe Torelli, Arles. Benedetto et Alessandro Marcello, Antonio Vivaldi, qui fixent la forme du concerto de soliste 1721 : Le Sénat russe accorde à Pierre le et dont il transcrit des partitions au clavecin. Du modèle italien, le Concerto pour violon en la Grand le titre d’« Empereur de toutes les mineur hérite sa construction en trois mouvements de tempi alternés (vif, lent, vif), ainsi que son Russies ». Bach dédicace ses Six Concertos dialogue entre tutti et soliste sur le mode de la ritournelle : le tutti comme refrain, les parties solo comme couplets. Mais Bach y reste fidèle à son écriture contrapuntique, réalisant par là, comme avec plusieurs instruments au margrave de Brandebourg. Il épouse Anna Magdalena 4 dans bien d’autres partitions, la réunion des goûts italiens et allemands. D’où une texture « très 5 travaillée, d’une densité polyphonique inhabituelle, et surtout procédant à un jeu d’imitations Wilcke, chanteuse à la cour de Köthen. dans un réseau contrapuntique nourri, propre au génie de Bach », comme le dit Gilles Cantagrel. Lettres persanes de Montesquieu. Après l’élan dansant du premier mouvement, néanmoins voilé par la mélancolie du la mineur (mou- 1722 : Bach, premier livre du Clavier bien vement sans indication de tempo), le violon déroule sur une basse obstinée la ligne méditative de tempéré, Suites françaises BWV 812-817. l’Andante qui fait alterner tenues, arabesques raffinées de triolets, et dramatisme contenu des des- centes chromatiques. Le Finale, gigue incisive, renoue avec la vigueur du premier mouvement, dans 1723 : Début du règne de Louis XV. Élection un tempo plus rapide (Allegro assai – très rapidement) et une grande virtuosité de la partie de soliste. de Bach comme cantor et directeur de la musique à Leipzig. Otton de Haendel. Livre Fils de violoniste, Bach jouait du violon avec « pureté et précision ». On sait par Carl-Phi- de Sonates pour violon de Leclair. Marivaux lipp Emanuel Bach, son fils, qu’il préférait diriger l’orchestre du violon que du clavecin. écrit La Double Inconstance. Il est possible qu’il ait été l’interprète du BWV 1041 à Köthen, à la tête de l’orchestre ; ou à Leipzig, un peu plus tard, au Café Zimmermann, où il donnait au concert, avec le Colle- gium musicum de la ville, un répertoire fourni de cantates profanes, suites et concertos. Laetitia Le Guay DMITRI CHOSTAKOVITCH 1906-1975 martelé c’est le retour de la couleur nocturne, avec solos des vents, bribes de valse, la fin ramenant le tapis de cordes graves de l’ouverture et dans les dernières mesures, un ultime appel aux piccolos. Symphonie no 10 Suit un Allegro galvanisant. Après un début, martelé, jouant de toutes les couleurs de l’orchestre, c’est un tour- Composée du printemps au 25 octobre 1953. Créée le 17 décembre 1953 à Léningrad, sous la direction noiement des cordes, une manière de vol du bourdon revisité dans un climat dramatique, avec sonneries des d’Evgueni Mravinski. Nomenclature : 3 flûtes dont 1 piccolo, 3 hautbois dont 1 cor anglais, 4 clarinettes, 3 bassons dont 1 contrebasson ; 4 cors, 3 trompettes, 3 trombones, 1 tuba ; timbales, percussions ; les cordes. cuivres, martèlement des timbales, éclats de percussions, dans une intensité évocatrice de toutes les violences. Dans l’Allegretto et le Finale, de longueur égale, passe et repasse, pour la première fois dans une Chostakovitch est soumis en janvier-février 1948, et toute l’élite musicale avec lui, à la répression cultu- symphonie de Chostakovitch, sa signature DSCH. Dans le troisième mouvement, il est combiné à la relle menée par Andrei Jdanov. Dans un climat de peur et d’humiliation, Chostakovitch, Prokofiev, signature d’Elmira Nazirova, ancienne élève dont le compositeur était alors épris. Un appel de Miaskovski, Khatchatourian, Chebaline, Popov etc. sont dénoncés pour « formalisme », autrement cor mêle le motif d’Elmira et une réminiscence du Chant de la terre de Mahler, comme Alban dit pour excès de modernisme. Déchu de son poste au Conservatoire de Moscou, Chostakovitch Berg, dans sa Suite lyrique avait mêlé le motif musical de son nom à celui de la femme aimée voit mettre à l’index nombre de ses partitions, dont les Sixième, Huitième et Neuvième Symphonie. (Anna Fuchs) en citant lui aussi Le Chant de la terre. « Les musicologues de l’avenir auront bien Celle-ci avait été vivement critiquée à sa création fin 1945 : jugée trop courte et sarcastique, alors du mal à déchiffrer cette symphonie », s’était amusé Chostakovitch dans une lettre à Elmira. que le pouvoir attendait une page épique et triomphale célébrant la victoire de Staline sur Hitler. Le Finale s’ouvre comme le Moderato, nocturne et pastoral, avec de longs solos nostalgiques des Après la mise au pas de 1948, à l’exception de musiques de film et de propagande qui bois, puis bascule dans un bruissement joyeux de fête populaire que revient traverser le motif DSCH. lui valent un Prix Staline (Chute de Berlin, Chant des forêts), Chostakovitch se détourne du do- Le climat de la Dixième tranche sur celui des symphonies précédentes : moins épique, parcouru de maine symphonique au profit de partitions de chambre et du piano. Le tricentenaire de Jean-Sé- moins d’épisodes dissonants. Les accents funèbres sont mahlériens, mais cohabitent avec des passages bastien Bach en 1950, et un voyage à Leipzig pour un jury de concours, lui inspirent des Pré- apaisés. Chostakovitch a-t-il pensé à la récente Septième Symphonie de Prokofiev ? Lors de sa création, ludes et fugues en hommage à ceux de Bach. « Je joue tous les jours une de ses pièces. C’est le 11 octobre 1952, il avait déclaré à son auteur : « Je te souhaite cent ans de vie et de création, pour moi un véritable besoin, et ce contact quotidien […] m’apporte énormément. » Bach est ta Septième rend la vie plus facile et plus joyeuse. » Prokofiev était mort le même jour que Staline. toujours présent deux ans plus tard, lors de la composition du Cinquième Quatuor. Chostako- vitch insère dans cette page intense qui annonce la Dixième Symphonie, la transposition musi- Laetitia Le Guay cale de son nom. Le motif ré, mi bémol, do, si bécarre, est la correspondance musicale des ini- tiales DSCH (nom du compositeur orthographié en allemand et non avec l’alphabet cyrillique), comme BACH avait transcrit par si bémol, la, do, si bécarre, ses initiales dans L’Art de la fugue. 6 La mort de Staline le 5 mars 1953 met fin à l’une des périodes les plus sombres de l’histoire so- 7 viétique. Quelques semaines plus tard, Chostakovitch commence sa Dixième Symphonie. Faut-il y entendre, comme on peut le lire parfois, un bilan du stalinisme, dont l’Allegro serait un « portrait de Staline » ? Toute réduction de la partition à une intention politique est à exclure, même si les sympho- nies de Chostakovitch sont inséparables du destin russe du XXe siècle et de ses méandres tragiques.
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