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Magnus Lindberg Jean-Philippe Billarant président du conseil d’administration Brigitte Marger directeur général Amis de longue date, les Finlandais Magnus Lindberg et Esa-Pekka Salonen – res- vendredi pectivement compositeur et chef d’orchestre – se retrouvent à la cité de la 23 novembre - 20h Witold Lutoslawski musique pour une carte blanche déclinée en trois moments : deux concerts en salle des concerts Livre pour orchestre durée : 19 minutes ce week-end et un troisième le samedi 9 février prochain. Tous deux ont apporté dans leurs bagages plusieurs figures tutélaires (Bach, Moussorgski, Berg, Bartók, concert Béla Bartók Stravinski et Lutoslawski), afin de compléter au mieux un univers musical déjà Le Mandarin merveilleux, suite d’orchestre, Sz 73 particulièrement riche. I - Introduction (bruit de la rue) ; l’ordre donné par les Virtuose des masses orchestrales et de la dramaturgie en musique, Magnus voyous à la fille. II - Premier appel de séduction de la fille (clarinette solo), Lindberg confie que son « instrument préféré est l’orchestre », même s’il n’hé- après quoi le vieil homme du monde apparaît, lequel est site pas à renforcer sa spatialité en lui adjoignant un dispositif électro-acous- finalement jeté par les voyous. tique, comme dans Kraft, en 1985 – sa première partition d’envergure. Si, dans III - Deuxième appel de séduction de la fille, après quoi Kraft, le compositeur « organise la musique en fonction de la masse et des for- le jeune gars apparaît, qui est, lui aussi, jeté dehors. mations sonores percussives », en revanche, pour Aura (1993/1994) et dans IV - Troisième appel de séduction de la fille ; le Mandarin apparaît (tutti ff). l’ensemble de ses œuvres ultérieures, il privilégie une plus grande limpidité de V - La danse de séduction de la fille devant le Mandarin texture, qui n’est pas si éloignée du courant spectral. (valse très lente au début, accélère par la suite). Pour cette carte blanche tournée à la fois vers l’Europe du Nord et de l’Est, Esa- VI - Le Mandarin rattrape la fille après une chasse infernale. Pekka Salonen retrouve le superbe Philharmonia Orchestra, avec lequel il nous avait durée : 22 minutes déjà enchantés dans le cycle consacré à György Ligeti, au Châtelet. En parallèle à ces concerts, des journées d’études sont consacrées à L’enseignement du chant choral dans les pays nordiques (23-25 novembre), entracte conclues par un concert de l’excellent Chœur d’enfants de Tapiola dirigé par Kari Ala-Pöllänen. Magnus Lindberg Kraft, pour ensemble de solistes et orchestre* durée : 27 minutes Esa-Pekka Salonen, direction Jonathan Stockhammer, chef assistant Ensemble Toiimi : Magnus Lindberg, piano, percussion Riku Niemi, Lassi Erkkilä, percussion Juani Liimatainen, live electronics Anssi Karttunen, violoncelle, percussion Kari Kriikku, clarinette, percussion Philharmonia Orchestra durée du concert (entracte compris) : 1 heure 20 La carte blanche à Magnus Lindberg a été réalisée en collaboration avec l’agence Van Walsum Management Ltd. * L’interprétation de Kraft bénéficie du soutien de Sound Intermedia. Elle sera précédée d’une présentation par Magnus Lindberg et Esa-Pekka Salonen. carte blanche à Magnus Lindberg carte blanche à Magnus Lindberg Witold Lutoslawski composition : 1968 ; commande de la ville de Hagen nettes, puis clarinettes et harpe et enfin piano et harpe – , Livre pour orchestre (Westphalie) ; création : le 18 novembre 1968 par l’orchestre ils sont constitués d’une matière musicale volontaire- de la ville, sous la direction de Berthold Lehmann, dédicataire ment peu signifiante – une simple formule répétée libre- de l’œuvre ; effectif : 3 flûtes/piccolo, 3 hautbois, 3 clari- ment – et agissent comme autant de respirations dans nettes, 3 bassons/contrebasson, 4 cors, 3 trompettes, 3trombones, tuba, 3 percussions, 1 piano, 1 célesta, l’élaboration formelle. Seul le troisième et dernier inter- 1harpe, cordes ; éditeur : Hansen. mède ménage une surprise : le bavardage des deux instrumentistes semble se prolonger, la substance musi- Le Livre pour orchestre se compose de quatre chapitres cale toujours jouée ad libitum se transforme peu à peu, séparés par des intermèdes très brefs joués ad libitum et s’amplifie, se propage à tous les instruments, donnant lieu non dirigés, contrairement aux premiers, eux strictement à une sorte de tutti semi-aléatoire : le finale a commencé, écrits et exécutés a battuta. L’équilibre global de l’œuvre sans rupture. Le retour progressif à un temps stricte- s’organise entre les trois premiers mouvements d’une ment contrôlé se fera par un grand geste d’accéléra- part, ramassés sur eux-mêmes, clairement séparés des tion qui conduit tout l’orchestre au point culminant. intermèdes, et le dernier d’autre part, plus vaste, émer- L’œuvre s’achève sur un retour au calme graduel : ultimes geant progressivement de la substance musicale de l’in- gesticulations des cuivres faisant place à un duo pas- termède qui le précède, et qui vient contrebalancer toral de flûtes, et enfin éloignement des cordes dans l’ensemble par l’ampleur de son développement. l’aigu sur un agrégat qui est la signature harmonique de Les trois premiers mouvements se caractérisent par l’œuvre (mi-fa dièse-la-si). leur compacité et par l’énergie intense qu’ils déga- gent. La substance musicale – faite de trames évo- Béla Bartók composition : 1918-1919 ; argument de Menyhért Lengyel ; lutives, de textures savamment composées, de Le Mandarin merveilleux, orchestration terminée en 1924 ; première représentation : sonorités éruptives aussitôt anéanties – est soumise Sz 73 novembre 1926 à Cologne sous la direction de Jeno Szenkar ; publication de la version de concert : 1927. à de grands mouvements d’intensification, fortement directionnels, qui la contraignent et la consument rapi- Action : dans un misérable réduit de faubourg, trois dement. À titre d’exemple, suivons la trajectoire expli- vagabonds forcent une fille à aguicher les passants cite du premier chapitre : un tissu harmonique des qu’ils veulent dépouiller. Un timide jeune homme et cordes évolue par glissandi successifs – les quarts un pauvre sire, qui se sont laissé attirer, sont mis à la de tons donnent ici la couleur singulière de ce début ; porte comme de misérables gueux. Le troisième client progressivement gagné par de plus larges intervalles, est le mystérieux mandarin. Par sa danse, la fille ce tissu devient plus dense et plus tendu, jusqu’à se cherche à dégeler l’angoissant personnage : au déchirer sous l’effet de violentes décharges des moment où timidement il veut l’enlacer, elle s’enfuit, cuivres et des percussions ; le climax central est atteint horrifée, à son approche. Après une poursuite effré- lorsque l’espace est saturé de ces sonorités, évo- née, il s’en saisit : au même instant, les trois vaga- quant celles de Varèse. La courbe se referme ensuite bonds sortent de leur cachette, le dépouillent et avec le retour des cordes, glissant dans le grave. veulent l’étouffer sous des coussins. Mais il se relève L’intensité et la précision de ce travail, dont on trouverait et jette des regards langoureux sur la fille. Les trois des équivalents dans les deuxième et troisième mou- vagabonds le transpercent d’une épée ; il chancelle, vements, rendent nécessaire l’aménagement de plages mais son désir est plus fort que sa blessure et il se de repos : c’est le rôle des intermèdes placés entre eux. précipite sur la fille. On le pend alors : mais il ne peut Aisément identifiables par leur instrumentation – clari- mourir. Ce n’est que lorsqu’on l’a dépendu et que la 4| cité de la musique notes de programme | 5 carte blanche à Magnus Lindberg carte blanche à Magnus Lindberg fille l’a pris dans ses bras que ses blessures com- pervertit même le désir par le calcul et l’intérêt, à la mencent à saigner, et il meurt. monstruosité des crimes qui habitaient l’époque – Composé au sortir de la guerre, dans une Hongrie auxquelles fait face la figure allégorique du mandarin démantelée en proie à des retournements politiques dans sa radicale étrangeté. L’intégration de ces forces incessants, Le Mandarin merveilleux marque une « primaires » et hétérogènes appelait une stylisation étape décisive dans l’évolution du langage musical du trait et un immense effort de construction qui seuls de Bartók. La nécessité d’enraciner la musique au pouvaient sauver le langage musical de l’éclectisme plus près de ses sources populaires, parce que là ou de la dissolution dont Bartók entrevoyait le risque. réside le vecteur d’un élan vital et universel dépas- sant le « sentiment » national, s’affronte ici aux exi- Magnus Lindberg composition : 1983-1985 ; commande du Festival d’Helsinki ; gences d’une invention au fait des développements Kraft création : le 4 septembre 1985 à Helsinki par l’Ensemble Toimii récents de l’écriture savante : rythmique stravins- et l’Orchestre symphonique de la Radio finlandaise (dir. Esa- Pekka Salonen) ; œuvre primée par la Tribune des composi- kienne ; dodécaphonisme cependant jamais déta- teurs à l’Unesco en 1986 ; Prix de la musique du Conseil nordique ché, chez Bartók, de pôles privilégiés et d’un en 1988 ; solistes : clarinettes, 2 percussions, piano, violoncelle diatonisme dominant ; orchestration tranchante et et dispositif de spatialisation du son, les solistes et le chef jouent stratifiée ; traits expressionnistes. également de quelques percussions additionnelles (pour l’es- La pantomime s’ouvre dans le vacarme d’un tutti fondé sentiel, des objets métalliques de récupération) ; grand orchestre : 4 flûtes/piccolos, flûte alto, 3 hautbois, cor anglais, 3 clarinettes, sur une structure rythmique frénétique (6/8 avec accents clarinette basse, saxophone alto, 3 bassons, contrebasson, décalés et poussées fiévreuses des cuivres) qui carac- 4 cors, 4 trompettes, 4 trombones, tuba, 4 percussions, térisera globalement le monde des crapules dans toute piano/célesta, 2 harpes, 48 cordes ; éditeur : Wilhelm Hansen. l’œuvre. S’ensuivent les trois « jeux de séduction » de la jeune fille, annoncés par une clarinette aguicheuse Le caractère spectaculaire et impétueux de Kraft s’im- (phrases procédant par répétitions et expansions suc- pose d’emblée.
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