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Tota Pulchra Es, Amica Mea Tota pulchra es, amica mea 24 This page glued on digipak 01 In Assumptione Beatae Mariae Virginis • Ad I Vesperas First Vespers of the Assumption (of the Blessed Virgin) Production : Paraty 02’11 01• Appel des cloches et / Klokkenspel en / organum : Deus in adjutorium 03’43 02• Antiphona : Tota pulchra es, amica mea – Ps.112 Directeur / Producer : Bruno Procopio 02’59 03• Ant. : Odor tuus – Ps.116 Ingénieur de son / sound engineer : Acoustic Recordings, Jarek Frankowski 05’24 04• Ant. : Virgo Dei genitrix – Ps.145 Création graphique / Graphic design : Leo Caldi 06’27 05• Ant. : Sancta Maria, succerre miseris – Ps.146 Textes / Liner notes : Jean-Pierre Deleuze 05’29 06• Ant. : Beata Dei genetrix Maria – Ps. 147 Traductions / Translation : Ivan Ilic (English) ; Jan Stacino & Cecile Maene (Dutch) 03’21 07• Responsorium : Felix namque es 01’02 08• Vers. : Exaltata est sancta Photographes / Photography : DRAC Centre, Conservation régionale des monuments histo- riques (Vitrail de Chartres, 2002), Isabelle Françaix (JP Deleuze), Marcel Van Coilie (Psallen- 02’08 09• Antiphona ad Magnificat :Paradisi porta tes), Tommy Moriau (A. Van de Cauter), Jean Deflandre (E. Godard), Christine Van Hauwaert (Orgue Jacques). Magnificat 02’08 10• Magnificat anima mea Paraty Productions Voce et Organo 01’03 11• Et exultavit spiritus meus email : [email protected] email : [email protected] 00’38 12• Quia respexit humilitatem www.paraty.fr www.voceorgano.be 03’49 13• Quia fecit mihi magna Réalisé avec l’aide de la Fédération Wallonie-Bruxelles, Direction générale de la Culture, 00’52 14• Et misericordia eius Service de la Musique 01’22 15• Fecit potentiam 02’35 16• Deposuit potentes 02’08 17• Esurientes implevit bonis 02’28 18• Suscepit Israel 00’57 19• Sicut locutus est Remerciements à / Onze bijzondere dank gaat naar: 00’55 20• Gloria Patri • Claire Timmermans et l’abbé / en de eerwaarde / Jean-Luc Blanpain qui sont à l’initiative gram de ce projet / de initiatiefpersonen van dit project Péroraison / Peroratie / Peroration • o Caridad Galindo Rueda, Aïda Kazarian, Hanna Laskowska, Cecile Maene, Lidia Martins, 00’51 21• Interlude / Interludium Marie-Josée Massala, Katerina Papavassiliou, Zahava Seewald, Annette Vande Gorne, Clara 01’41 22• Nigra sum I Villoresi, pour leur précieuse interprétation des fragments du Cantique des Cantiques / voor 02’42 23• Nigra sum II hun precieuze vertolking van de fragmenten van het Hooglied. 05’26 24• Tour de Babel / Toren van Babel • Yvette Vanden Bemden pour sa contribution à la recherche de l’illustration de la page de 05’46 couverture / voor de illustratie van de cover. Pr 25• Procession / Processie 02 23 03. Quia respexit humilitatem ancillae suae : ecce enim ex hoc beatam me dicent omnes generationes. Tota pulchra es, amica mea 04. Quia fecit mihi magna qui potens est : et sanctum nomen eius. Dès les premières étapes du projet de cette œuvre, dont la destination initiale était de célébrer le 05. Et misericordia eius a progenie in progenies timentibus eum. huit-centième anniversaire de la Paroisse Notre-Dame de la Chapelle, remontant ainsi aux prémices de 06. Fecit potentiam in brachio suo : dispersit superbos mente cordis sui. l’histoire d’une des plus importantes églises gothiques de Bruxelles, il nous est d’emblée apparu essen- 07. Deposuit potentes de sede, et exaltavit humiles. tiel d’évoquer musicalement l’époque concernée et de la confronter sur le plan des pratiques musicales à la nôtre. C’est pourquoi nous nous sommes mis à la recherche de manuscrits grégoriens pouvant nous 08. Esurientes implevit bonis : et divites dimisit inanes. transmettre les sources musicales de liturgies qui auraient pu être chantées au début du XIIIe siècle dans 09. Suscepit Israël puerum suum, recordatus misericordiae suae. ce lieu précis, l’église Notre-Dame de la Chapelle. Puisque celle-ci était rattachée au diocèse de Cambrai, 10. Sicut locutus est ad patres nostros, Abraham et semini eius in saecula. nos recherches nous ont naturellement conduits à la bibliothèque municipale de cette ville. Notre choix 11. Gloria Patri et Filio, et spiritui Sancto. s’est fixé sur les Premières Vêpres de l’Assomption, telles qu’elles se trouvent dans l’Antiphonarium ad 12. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen. usum Cameracensis ecclesiae (1235-1245). Le titre, Tota pulchra es, amica mea1, est tiré de la première antienne de cet office, dont le texte provient d’un fragment du Cantique des Cantiques (4,7). La suite du manuscrit nous transmet la série complète des antiennes et hymnes prévus pour cet office et indique les références des psaumes asso- Orgue / Organ / Orgel ciés à ces antiennes. Toutes ces pièces de plain-chant ont été utilisées dans la version particulière de ce document ancien pour constituer la première partie du concert. Composition / Samenstelling / Specification Mais ce matériel musical ne pouvait pas être utilisé sans trouver une solution pour l’intégrer à l’en- semble. Pour répondre à cette nécessité, deux opérations ont été effectuées. La première a consisté en Principal (B/D) 8 l’ajout d’une seconde voix pour les psaumes et le répons à la manière de polyphonies « historiques », évo- Gedackt (B/D) 8 quant les pratiques de l’organa et du déchant. Mais c’est surtout l’intercalation de brèves pièces électro- Prestant 4 niques, basées sur le son de la cloche principale de l’église de la Chapelle, qui donne un lien perceptible Roerfluijt 4 à travers toute l’œuvre. Commençant par un appel naturaliste qui s’enchaîne à un premier organum, ces Nazard (B/D) 2 2/3 préludes électroniques évoluent sensiblement sur une sorte de développement spectral du son de cette Octav 2 cloche tout en introduisant ou commentant les textes chantés. Sexquialtera (B/D) II La confrontation évoquée ci-dessous devient explicite avec le Magnificat, qui marque la deuxième par- Mixtuur III tie de cette célébration imaginaire. Dès le premier verset, l’orgue et le cornet à bouquin entrent en scène et font entendre avec les chanteurs, tous devenus solistes dans une partition polyphonique à six voix, Tremblant, Cimbelstern, Vogel une fusion entre les sons du mode du Magnificat grégorien et ceux du spectre de la cloche. Ce point Tempérament mésotonique / Middentoonstemming / Mean-tone tuning d’ancrage a permis d’assurer la continuité à travers toute la « composition », en comprenant ce terme a = 465 Hertz (23°C) d’après son étymologie2. Les versets successifs, généralement introduits par des interludes électroniques Tessiture / Manuaalomvang / keyboard: C-D-E-c’’’ Pédalier accroché / Pedaalomvang (aangehangen) / Pulldown Pedal: C-D-d’ 1 « Tu es toute belle, mon amie ». 2 Deux termes latins semblent être à l’origine du terme « composition » : d’une part, compositio signifiant « arrangement », « disposition » ; d’autre part le verbe componere, se traduisant par « mettre ensemble ». 22 03 ou instrumentaux, sont présentés avec des procédés d’écritures contrastés dans l’intention de servir le sens du texte. Ps. 116 La dernière partie de l’œuvre, synthèse et conclusion à la fois, s’ouvre librement sur une autre antienne dont le texte provient du Cantique des Cantiques : Nigra sum, sed formosa3 (Cant 1,5), dont l’utilisation Ant. Virgo Dei Genetrix et quam lux oriri dignata est aeterna, intende supplicum tuorum preces nous a été judicieusement suggérée par l’Abbé Jean-Luc Blanpain. Bien que cette antienne n’apparaisse servorum, ut per tua sancta suffragia mereamur possidere regna celestia. pas dans le manuscrit cambrésien, elle est assez généralement utilisée dans les offices dédiés à la Vierge Ps. 145 et est, à ce titre, incluse dans l’antiphonaire actuel édité par l’Abbaye de Solesmes. Par ailleurs, Claudio Monteverdi, dans ses Vespro Delle Beata Vergine, en a mis le texte en musique dans un style très personnel Ant. Sancta Maria, succerre miseris, iuva pusillanimes, refove flebiles, ora pro populo, interveni et en a fait une aria pour ténor solo et basse continue. À l’instar de la forme globale que revêt le Cantique pro clero, intercede pro devoto, femineo sexu. Alleluia. des Cantiques, c’est-à-dire un dialogue (sous forme de poèmes, de chants d’amour alternés) entre une Ps. 146 femme et un homme, Monteverdi fait suivre le fragment Nigra sum, dit par la femme, d’un autre, dit par l’homme : Surge, amica mea, et veni4 (Cant 2,11). Pour faire la liaison entre ces différents fragments du Ant. Beata Dei genetrix Maria, Virgo perpetua, templum Domini, sacrarium Spiritus Sancti, sola texte original, Monteverdi introduit ces mots : Et dixit mihi5. Nous avons pris ce procédé en exemple en sine exemplo placuisti femina Jesu Christo, ora pro populo, interveni pro clero, intercede pro enchaînant le fragment Nigra sum à celui qui est emprunté par la première antienne de l’office grégorien devoto femineo sexu. Alleluia. que nous avons élu, Tota pulchra es. Ps. 147 L’utilisation de ces textes est valorisée par la présence remarquable des voix de dix récitantes faisant en- tendre, chacune dans leur langue, les deux fragments tirés du Cantique des Cantiques. Présentés d’abord Responsorium : en hébreu, langue originale de ce texte sublime, puis en grec et en arménien, ils seront entendus ensuite Felix namque es, sacra virgo Maria, et omni laude dignissima quia ex te ortus est sol justitie dans la plupart des langues des différentes communautés qui vivent dans les quartiers environnant Christus Deus noster. Ora pro populo, interveni pro clero, intercede pro devoto femineo sexu ; l’église de la Chapelle. Au-delà de l’opposition de langue, toutes ces récitations apportent chacune leur sentiant omnes tuum juvanem, quicumque celebrant tuam assumptionem. interprétation personnelle, puis rentrent dans une sorte de tour de Babel imaginaire. Ces voix parlées Vers. Exalta est sancta Dei Genetrix super choros angelorum ad celestia regna.
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