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Beethoven Et La Grande-Bretagne Du Vivant Du Compositeur : Une Fascination Réciproque Aux Multiples Facettes Nicolas Molle

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Beethoven Et La Grande-Bretagne Du Vivant Du Compositeur : Une Fascination Réciproque Aux Multiples Facettes Nicolas Molle Beethoven et la Grande-Bretagne du vivant du compositeur : une fascination réciproque aux multiples facettes Nicolas Molle To cite this version: Nicolas Molle. Beethoven et la Grande-Bretagne du vivant du compositeur : une fascination ré- ciproque aux multiples facettes. Musique, musicologie et arts de la scène. Université de Lorraine, 2016. Français. NNT : 2016LORR0221. tel-01752390 HAL Id: tel-01752390 https://hal.univ-lorraine.fr/tel-01752390 Submitted on 19 Dec 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. AVERTISSEMENT Ce document est le fruit d'un long travail approuvé par le jury de soutenance et mis à disposition de l'ensemble de la communauté universitaire élargie. Il est soumis à la propriété intellectuelle de l'auteur. Ceci implique une obligation de citation et de référencement lors de l’utilisation de ce document. D'autre part, toute contrefaçon, plagiat, reproduction illicite encourt une poursuite pénale. Contact : [email protected] LIENS Code de la Propriété Intellectuelle. articles L 122. 4 Code de la Propriété Intellectuelle. articles L 335.2- L 335.10 http://www.cfcopies.com/V2/leg/leg_droi.php http://www.culture.gouv.fr/culture/infos-pratiques/droits/protection.htm Université de Lorraine – École Doctorale Stanislas Interdisciplinarité Dans les Études Anglophones BEETHOVEN ET LA GRANDE-BRETAGNE DU VIVANT DU COMPOSITEUR : UNE FASCINATION RECIPROQUE AUX MULTIPLES FACETTES THÈSE pour obtenir le grade de docteur de l’Université de Lorraine Présentée et soutenue publiquement le 18 novembre 2016 par Nicolas MOLLE Sous la direction de M. Le Professeur Jean-Philippe Heberlé Jury M. Le Professeur Xavier Cervantes Université Jean Jaurès -Toulouse (Rapporteur) M. Le Professeur Jean-Jacques Chardin Université de Strasbourg (Rapporteur) M. Le Professeur Pierre Degott Université de Lorraine M. Bernard Fournier Musicologue, Docteur d’État (Invité) M. Le Professeur Jean-Philippe Heberlé Université de Lorraine Mme Hélène Ibata Ma ître de Conférence (HDR),Université de Strasbourg REMERCIEMENTS ___________________________________________________________________________ En premier lieu, je souhaite remercier mon directeur de thèse, M. Le Professeur Jean- Philippe Heberlé, qui dirige mes recherches depuis mon Master 2. Je le remercie pour ses conseils, pour ses relectures ainsi que sa disponibilité. Ces années furent enrichissantes à ses côtés. Je remercie également mes collègues du Département du P.E.A.R.L de l’Université de Lorraine qui m’ont toujours encouragé et soutenu dans ma démarche. Je remercie les membres du laboratoire IDEA, en particulier son directeur, John Bak. Je tenais également à remercier les conservateurs de la Beethoven Haus qui ont facilité mes recherches au sein des archives ainsi que les Professeurs Rupert Ridgwell, de la British Library, Nicholas Temperley, Simon McVeigh et Barry Cooper pour leurs précieuses orientations prodiguées en début de travail. Enfin, je remercie vivement Justine, mon épouse, pour ses conseils, sa disponibilité et ses relectures. Un grand merci également à Eléonore et Jean-Baptiste qui ont souvent vu leur papa « trop travailler » au lieu de jouer avec eux. À tous mes amis pour leur présence et leur intérêt porté à mon travail en dépit de leur préoccupation lointaine sur le sujet ! 1 SOMMAIRE __________________________________________________________________________________ REMERCIEMENTS .............................................................................................................................1 SOMMAIRE .........................................................................................................................................2 INTRODUCTION GENERALE ........................................................................................................6 PARTIE I. L'ADMIRATION QUE PORTE BEETHOVEN À LA GRANDE-BRETAGNE Introduction partie I .............................................................................................................................16 Préambule : Beethoven et la langue anglaise ...................................................................................19 Chapitre I. L’Angleterre, une rencontre par procuration ................................................................22 I. George Cressener, Ambassadeur anglais à la Cour de l’Électeur de Bonn, l’origine de la rencontre : un impact psychologique fort ..........................................22 II. Johann Peter Salomon : l’intermédiaire Bonn-Londres ............................................23 III. La rencontre décisive avec Haydn, un contact indirect avec l’Angleterre .............24 IV. Conclusion : les premières rencontres, vers une idéalisation de l’Angleterre ........30 Chapitre II. La fascination pour la Grande-Bretagne, politique et nation ....................................31 I. Beethoven et l’admiration politique .............................................................................31 II. Beethoven et l’admiration de la nation britannique ...................................................37 III. Les témoignages de respect dans les œuvres ..............................................................39 IV. Une autre manifestation concrète de la fascination de Beethoven : les projets d’immigration, réalités ou paris du compositeur ? .....................................................56 V. Conclusion .......................................................................................................................59 Chapitre III. Beethoven et la littérature britannique .......................................................................61 I. Beethoven et la littérature : généralités........................................................................61 II. Beethoven et la littérature britannique : les poètes anglais, une source constante d’inspiration.....................................................................................................................64 III. Un écrivain à part : William Shakespeare ...................................................................72 IV. Conclusion .......................................................................................................................82 Chapitre IV. Beethoven et la musique britannique .........................................................................84 I. Beethoven et sa connaissance de la musique britannique .........................................84 II. The London Pianoforte School .....................................................................................87 2 III. Le cas de Handel .............................................................................................................99 IV. Conclusion .....................................................................................................................110 Conclusion partie I. Beethoven et son admiration pour la Grande-Bretagne ............................112 PARTIE II. ADMIRATION DES BRITANNIQUES POUR BEETHOVEN Introduction partie II .........................................................................................................................118 Chapitre I. L’admiration de la Grande-Bretagne pour Beethoven, une programmation hors du commun ...............................................................................................................................................121 I. Des premières œuvres confidentielles .......................................................................121 II. Aux premières des grandes œuvres à Londres..........................................................125 III. La programmation de Beethoven à Londres .............................................................133 IV. Une programmation dans toute la Grande-Bretagne ................................................143 V. Conclusion : une programmation hors-pair ...............................................................152 Chapitre II. La percée beethovénienne, les lobbies de promotion ..............................................155 I. Les origines de la promotion de Beethoven : le réseau étranger ............................156 II. Le réseau anglais beethovénien : les pionniers .........................................................180 III. Le rôle de la Philharmonic Society dans la promotion de Beethoven ...................198 IV. Une envie mutuelle de rencontre, les projets de visites : historiques et raisons des échecs .............................................................................................................................217 Chapitre III. Les relations commerciales et amicales ...................................................................238 I. Les relations commerciales : le monde de l’édition britannique ............................238 II. George Thomson et les « Folksongs » : une amitié épistolaire et une collaboration commerciale difficile ...................................................................................................239 III. La collaboration avec Robert Birchall .......................................................................258
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