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Cité De La M Usique Président du Conseil d’administration Jean-Philippe Billarant Directeur général Laurent Bayle Cité de la musique PURCELL/GARDINER Les fastes de l’Angleterre baroque Du vendredi 5 au dimanche 7 novembre 2004 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert : www.cite-musique.fr Portraits en miroir SOMMAIRE En dépit des trois siècles qui les séparent, plus d’une affinité semblent lier Henry Purcell et John Eliot Gardiner : ces deux sujets du royaume d’Albion surent s’imprégner 5 VENDREDI 5 NOVEMBRE - 20H des styles musicaux des autres nations pour mieux affirmer Musiques pour la Chapelle royale une identité singulière. Né dans le Dorset le 20 avril 1943, disciple du musicologue Thurston Dart et de Nadia Boulanger, John Eliot Gardiner manifesta très tôt sa 9 SAMEDI 6 NOVEMBRE - 20H prédilection pour deux répertoires : la musique italienne Musiques de cour du baroque naissant, en particulier celle de Claudio Monteverdi, et la musique française classique et romantique. 13 DIMANCHE 7 NOVEMBRE - 16H30 Musiques de théâtre Afin de servir dignement la première, il fonda son fameux Monteverdi Choir en 1964, puis le Monteverdi Orchestra 3 2 (sur instruments modernes) en 1968. La seconde devint l’un des chevaux de bataille des English Baroque Soloists, l’éminent ensemble d’instruments anciens qu’il créa en 1977. À la tête de ces différentes formations, il révéla vant-propos notamment les beautés oubliées des opéras de Rameau, A recréant Les Boréades à Londres en 1975, puis à Aix-en- Purcell/Gardiner Provence en 1982. De 1983 à 1988, il assura la direction de l’Opéra de Lyon, où il s’attacha à la redécouverte de chefs-d’œuvre français trop souvent négligés (Scylla et Glaucus de Leclair, L’ Étoile de Chabrier…) et à la relecture de monuments, tels le Pelléas de Debussy ou encore les tragédies de Gluck. La fondation de l’Orchestre Révolutionnaire et Romantique, en 1990, lui permit d’élargir sa démarche philologique aux compositeurs du XIXe siècle, Berlioz entre autres. Une semblable fascination pour les goûts français et italiens transparaît dans les œuvres de Henry Purcell (1659-1695). La restauration de la dynastie des Stuart, après la république régicide de Cromwell, favorisa l’instauration d’une nouvelle forme d’art de cour largement inspirée des pratiques versaillaises. Depuis la Renaissance, les musiciens italiens étaient appréciés, diffusés et souvent même invités à s’installer à la cour d’Angleterre. Par ailleurs, la tradition autochtone, revivifiée par la Réforme anglicane, demeurait vivace, en particulier dans les compositions liturgiques et dramatiques. Purcell fusionna tous ces héritages nationaux et influences étrangères pour Vendredi 5 novembre - 20h créer un style puissant et original. Salle des concerts John Eliot Gardiner a choisi d’illustrer en trois soirées les trois répertoires pratiqués par l’« English Orpheus ». Les programmes proposés évoquent également l’affinité qui lie de longue date le chef et le compositeur. En 1976 déjà, il livrait l’un de ses enregistrements les plus Musiques pour la Chapelle royale marquants, réunissant les Funeral Music for Queen Mary et l’ode « Come, ye Sons of Art, away ». De même, il offrit en 1979 la première gravure des masques (intermèdes) Henry Purcell (1659-1695) composés pour The Tempest (adaptation de Dryden de la My beloved spake – symphony anthem pièce éponyme de Shakespeare). (Andrew Busher, alto, Andrew Tortise, ténor, Samuel Evans, basse 1, Michael Bundy, basse 2) Ainsi, en trois concerts, un même hommage sera rendu 11’ à deux figures parmi les plus éminentes de la musica 5 4 britannica. Save me, O God – full/verse anthem (Andrew Tortise, alto, Simon Wall, ténor, Julian Clarkson, basse/Elin Denis Morrier Manahan Thomas, soprano 1, Charlotte Mobbs, soprano 2, Andrew Busher, alto) 4’ Programme Lord, how long wilt thou be angry? – full anthem Purcell/Gardiner (Andrew Tortise, alto, Simon Wall, ténor, Julian Clarkson, basse) 4’ endredi 5 novembre - 20h 5 novembre endredi Lord, what is man, lost man? – divine hymn V (Katharine Fuge, soprano) 5’ O, I am sick of life – trio (Andrew Tortise, ténor 1, Simon Wall, ténor 2, Michael Bundy, basse) 5’ My heart is fixed, O God – symphony anthem (Iestyn Davies, alto, Andrew Busher, ténor, Julian Clarkson, basse) 10’ entracte Who hath believed our report? – verse anthem (Mark Chambers, alto, Andrew Tortise, ténor 1, Andrew Busher, ténor 2, Michael Bundy, basse) 7’ In guilty night (extrait de Saul and the witch of Endor) – scena (Elin Manahan Thomas, soprano, Andrew Tortise, alto, Julian Clarkson, basse) 10’ Funeral Music for Queen Mary Musiques pour la Chapelle royale March Man that is born of a woman La carrière de Henry Purcell fut étroitement liée à celle Canzona In the midst of life we are in death de l’institution musicale la plus renommée d’Angleterre : Canzona la Chapelle royale. Son père, Henry, et son oncle, Thomas, Thou knowest, Lord étaient tous deux Gentlemen de cette vénérable institution, March qui avait été réorganisée en 1660 avec le retour au pouvoir 18’ de la dynastie des Stuart. À l’âge de dix ans, le jeune Henry O sing unto the Lord – verse anthem fut admis dans le chœur de la chapelle comme enfant (Charlotte Mobbs, soprano, Iestyn Davies, alto, Simon Wall, ténor, soprano. Il le quitta après sa mue, vers sa quatorzième Samuel Evans, basse 1, Michael Bundy, basse 2) année, et continua son éducation musicale auprès de John 12’ Hingeston. De 1673 à 1682, il occupa plusieurs charges officielles subalternes avant de devenir l’organiste de Solistes du Monteverdi Choir l’Abbaye de Westminster, et finalement celui de la Monteverdi Choir Chapelle royale. 7 6 The English Baroque Soloists C’est sous le règne de Charles II Stuart (1660-1685) que Sir John Eliot Gardiner, direction Purcell composa la majeure partie de sa production liturgique : entre 1679 et 1685, soixante-quatorze œuvres virent le jour, pour cent quinze sur l’ensemble de sa carrière. Conjointement à sa restauration politique, Commentaires Charles II s’était engagé dans une vaste entreprise de Purcell/Gardiner restauration religieuse, incitant à la constitution d’un répertoire moderne pour l’Église anglicane. Cette dernière a toujours entretenu une attitude ambiguë vis-à-vis de la musique. En 1533, le roi Henry VIII décida du schisme, entériné en 1534 par l’Acte de Suprématie, déniant toute autorité tant séculière que spirituelle au Pape et faisant du souverain anglais le « Chef suprême de l’Église d’Angleterre ». La musique religieuse se plia alors à de nouveaux canons esthétiques largement inspirés des pratiques musicales des églises réformées, en particulier calvinistes. Une partie de la liturgie latine fut préservée pour certaines solennités (ce qui explique que Purcell put mettre en polyphonie, vers 1680, le psaume latin « Jehova quam multi sunt »). Mais les mélodies grégoriennes firent place à de nouveaux chants de dévotion populaire en langue anglaise, tels ceux du Common Book of prayer, auxquels Purcell se réfère souvent dans ses compositions Durée du concert (entracte compris) : 2h anglicanes. L’ exil à la cour de France avait fait naître chez les Stuart Samedi 6 novembre - 20h le désir d’instaurer de nouvelles formes musicales Salle des concerts appropriées à cette liturgie, à l’imitation des motets français qui étaient aussi propices à la célébration de la divinité qu’à celle de la monarchie. Les anthems de Purcell évoquent parfaitement cette ambiguïté associant tradition anglaise et modernité française. Ainsi, les full anthems sont-ils principalement destinés au chœur polyphonique, Musiques de cour avec parfois des solistes et accompagnement d’orgue, tels « Lord, how long wilt thou be angry » pour trois solistes masculins et chœur à six voix (ca. 1680), ou « Save me O God » (six voix). Ce type de composition renvoie en grande Henry Purcell (1659-1695) partie à la tradition polyphonique anglaise de la Hail, bright Cecilia (ode pour la Sainte-Cécile, 1692) Renaissance. Symphony En revanche, les verse anthems évoquent les grand motets Hail! bright Cecilia (Katharine Fuge, soprano, Jeremy Budd, alto, Andrew Tortise, ténor, Michael Bundy, basse) 9 8 versaillais, puisqu’ils font dialoguer des solistes vocaux et Hark each Tree (Iestyn Davies, alto, Ben Davies, basse) des chœurs, le plus souvent avec des instruments Tis Nature’s voice (Jeremy Budd, alto) concertants et basse continue : « My heart is fixed » et « My Soul of the world beloved spake » (composé avant 1678) associent quatre Thou tun’st this world (Katharine Fuge, soprano) parties de cordes, trois chanteurs solistes et grand chœur à With that sublime celestial lay (Iestyn Davies, alto 1, Andrew Tortise, alto 2, Programme Michael Bundy, basse) quatre voix. Par ailleurs, Purcell composa plusieurs petits Purcell/Gardiner Wondrous machine (Michael Bundy, basse) motets de solistes avec basse continue, tel « Close thine The airy Violin (Jeremy Budd, alto) eyes », pour soprano, basse et basse continue. In vain of the am’rous Flute (Iestyn Davies, alto, Andrew Busher, ténor) L’œuvre sacrée la plus célèbre de Purcell est sans conteste The fife and all the harmony of war (Jeremy Budd, alto) Samedi 6 novembre - 20h Samedi 6 novembre la musique des funérailles de la reine Mary, comprenant Let these amongst themselves contest (Ben Davies, basse 1, Michael Bundy, basse 2) une marche et une canzone instrumentales, ainsi que des Hail! bright Cecilia (Iestyn Davies, alto 1, Jeremy Budd, alto 2, Andrew hymnes polyphoniques en style ancien, emplies de Tortise, ténor, Ben
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  • ALWYN for the Rain’S Green Turmoil
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