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Henri Dutilleux Et Les Autres Arts, Quelles Correspondances ? Coralie Finiel

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Henri Dutilleux Et Les Autres Arts, Quelles Correspondances ? Coralie Finiel Henri Dutilleux et les autres arts, quelles correspondances ? Coralie Finiel To cite this version: Coralie Finiel. Henri Dutilleux et les autres arts, quelles correspondances ?. Art et histoire de l'art. 2014. <dumas-01144603> HAL Id: dumas-01144603 https://dumas.ccsd.cnrs.fr/dumas-01144603 Submitted on 22 Apr 2015 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. Coralie FINIEL Henri Dutilleux et les autres arts, quelles correspondances ? Mémoire de Master 2 « Sciences humaines et sociales » Mention : Histoire et Histoire de l'art Spécialité : Histoire de l'art et Musicologie Option : Genèse des langages et des formes, contexte, réception Sous la direction de M. Patrick REVOL Année universitaire 2013-2014 Avertissement Cet ouvrage présente des partitions qui permettent d'illustrer les analyses musicales abordées. Afin d'alléger le texte, les extraits les plus longs sont relégués en annexe. Remerciements Bien qu'il ne soit plus parmi nous aujourd'hui, je voudrais remercier Henri Dutilleux pour sa musique. Mes recherches m'ont conduite à tenter de comprendre sa pensée créatrice et j'espère avoir saisi quelques clés de son écriture, même s'il reste tant à dire et à observer au vu de la richesse de ses œuvres. Je tiens à remercier tout particulièrement M. Patrick Revol, mon directeur de recherche, pour ses relectures, ses conseils avisés et sa compréhension face à mes difficultés. Merci à Yoann pour son soutien tant physique que moral, son écoute, son optimisme et sa présence tout au long de ce travail. Merci enfin à ma famille et à mes proches pour leur attention, leurs questions et propositions qui m'ont permis de progresser dans ma réflexion et ma méthodologie de projet. Préambule Cet ouvrage vient se placer à la suite d'un précédent mémoire écrit sur la dimension spirituelle dans la musique d'Henri Dutilleux. L'étude visait à montrer que, s'il n'a écrit aucune œuvre sacrée, nombre de ses pièces portent en elles une trace ou une atmosphère qui évoquent la spiritualité. Nos recherches nous ont conduit à lire des interviews, des analyses, des textes dont s'est inspiré le compositeur. Nous avons alors mesuré l'ampleur de l'influence des arts, en particulier la littérature et la peinture, dans la conception de ses œuvres. Si certains livres ou tableaux portent en eux un certain mysticisme qui intéresse Dutilleux, les correspondances vont bien plus loin que ce seul rapprochement. Il nous a donc semblé important de détacher cet aspect pour produire un nouvel ouvrage qui s'y consacrerait entièrement. Certains extraits musicaux nous ont semblé intéressants tant du point de vue du sacré que du lien avec un autre art. Afin d'éviter de répéter ce qui a déjà été analysé, nous invitons le lecteur se référer au mémoire « Henri Dutilleux, compositeur d'une musique spirituelle » pour compléter les informations qui pourraient lui manquer. Sommaire PARTIE 1 - ANALOGIES ENTRE PEINTURE ET MUSIQUE : TIMBRES , E SPACE , M OUVEMENT .........................................................18 CHAPITRE 1 : H ENRI D UTILLEUX ET LA PEINTURE .............................................................................................19 1) Correspondances entre musique et peinture.....................................................................................................19 2) Genèse de l'œuvre.............................................................................................................................................24 CHAPITRE 2 : A NALYSE DE L'ŒUVRE ...............................................................................................................29 1) Les timbres comme des touches de couleur......................................................................................................29 a) Combinaisons de timbres.............................................................................................................................30 b) La couleur orchestrale pour suggérer une ambiance...................................................................................35 c) Association d'un timbre à un thème.............................................................................................................39 2) L'espace sonore pour symboliser l'immensité...................................................................................................45 a) Opposition entre grave et aigu pour exprimer le vide.................................................................................46 b) Comparaison des deux débuts : opposition entre ciel et terre.....................................................................49 c) Le silence, acteur de la dimension sonore...................................................................................................57 3) Le mouvement pour exprimer la vie qui habite La nuit étoilée........................................................................ 61 a) Le mouvement donné par les modes de jeu.................................................................................................61 b) Le mouvement donné par l'harmonie..........................................................................................................65 c) Le mouvement dans la structure : des changements brusques de caractère................................................69 4) Symbolisme de quelques éléments spécifiques................................................................................................71 a) Évocation de la grande nébuleuse................................................................................................................71 b) Les notes pôles pour symboliser la fascination...........................................................................................74 P ARTIE 2 - CORRESPONDANCES ENTRE MUSIQUE ET LITTÉRATURE : TOUT UN MONDE LOINTAIN ... .............................................77 CHAPITRE 3 – H ENRI D UTILLEUX , MUSICIEN SYMBOLISTE ?................................................................................78 1) Un attrait pour Baudelaire et pour le symbolisme............................................................................................78 2) Genèse de l'œuvre.............................................................................................................................................81 CHAPITRE 4 – A NALYSE DE L'ŒUVRE ..............................................................................................................85 1) « Énigme », ou comment suggérer le mystère..................................................................................................85 a) Les modes de jeu pour exprimer le caractère énigmatique..........................................................................86 b) Une fin qui conduit au mystère...................................................................................................................91 2) « Regard », une vision introspective.................................................................................................................94 a) Les miroirs pour symboliser le reflet...........................................................................................................95 b) L'évocation du poison..................................................................................................................................99 3) « Houles », la puissance orchestrale pour évoquer la puissance de la mer.....................................................103 a) Le discours houleux du violoncelle soliste................................................................................................105 b) Évocation de la mer par l'orchestre...........................................................................................................107 4) « Miroirs », ou comment traduire le reflet en musique..................................................................................111 a) Une couleur homogène par l'accord de six sons........................................................................................112 b) Des miroirs jusque dans les moindres détails............................................................................................113 5) « Hymne », une fin en apothéose pour symboliser la folie.............................................................................114 a) Un début qui manifeste le délire................................................................................................................115 b) Un ostinato -pédale pour évoquer l'omniprésence de la voix....................................................................117 c) La fin : une ouverture vers l'imaginaire.....................................................................................................120 6) Des correspondances à l'intérieur de l'œuvre..................................................................................................122 P ARTIE 3 - QUAND PEINTURE ET LITTÉRATURE SONT MÊLÉES : CORRESPONDANCES ............................................................... .125
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