{"id":1070,"date":"1990-09-10T10:20:26","date_gmt":"1990-09-10T08:20:26","guid":{"rendered":"http:\/\/davidpilette.com\/FD2\/?p=1070"},"modified":"2022-01-14T10:53:11","modified_gmt":"2022-01-14T09:53:11","slug":"marges-iii","status":"publish","type":"post","link":"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/","title":{"rendered":" Marges III
(1989-1990) pour hautbois et ensemble instrumental<\/span><\/i><\/br>"},"content":{"rendered":"\n

(1-0-2-0 \/ 0-0-0-0 \/ celesta-harpe-vibraphone-marimba \/ 2-0-2-2-0)
Cr\u00e9ation par J.-P. Arnaud et l\u2019Ensemble 2E2M, dir. P. M\u00e9fano au Centre Georges Pompidou, Paris mai 1990
Commande de l\u2019Ensemble 2E2M
Dur\u00e9e : 15 min.
Editions Jobert<\/a> (Paris) \u2013 anciennement \u00e9ditions Henry Lemoine<\/em>
in CD Pr\u00e9sences \u201892 festival de Radio France, Ad\u00e8s-MFA; J.-P. Arnaud, Ensemble Alternance, Dir. F. Bollon<\/em><\/p>\n\n\n\n

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<\/p>\n\n\n\n

La s\u00e9rie de mes partitions intitul\u00e9es Marges d\u00e9veloppe, d’une pi\u00e8ce \u00e0 l’autre, plusieurs caract\u00e9ristiques commune s: un instrument soliste, une forme et une dur\u00e9e volontairement resserr\u00e9e, enfin l’\u00e9tude de techniques d’\u00e9criture d\u00e9termin\u00e9es.<\/p>\n\n\n\n

Marges I (pour clavecin amplifi\u00e9 et un percussionniste) est directement issue d’une organisation harmonique d\u00e9j\u00e0 pr\u00e9sente dans Seuil D\u00e9ploy\u00e9 (cr\u00e9e par l’Ensemble 2E2M en mars 1989) : les cordes pinc\u00e9es provoquaient une \u00e9criture furtive et rapide \u00e0 laquelle r\u00e9pondait les \u00e9claboussures des r\u00e9sonances du vibraphone et des gongs ou la s\u00e9cheresse des bongos et temple-blocks.<\/p>\n\n\n\n

Marges II (pour piano et 9 instrumentalistes) prolonge certaines orientations de Marges I tant en se souvenant d’autres aspects de Seuil D\u00e9ploy\u00e9 : l’\u00e9criture pianistique engendre les m\u00eames \u00e9claboussures mais aussi des complexes de timbres directement d\u00e9duits de la partie soliste.<\/p>\n\n\n\n

Marges III poursuit donc des enjeux similaires du cycle tout en les d\u00e9veloppant : un instrument solo (le hautbois), un effectif retreint (13 musiciens) et une dur\u00e9e compacte (15 minutes). L’\u0153uvre ne doit cependant rien \u00e0 un mat\u00e9riau pr\u00e9existant tout en poursuivant une organisation formelle que j’avais explor\u00e9e dans L\u00e0 (pour clarinette solo) : des sections s’encha\u00eenaient soit par contraste ou compl\u00e9mentarit\u00e9 mais restaient autonomes et \u00e9tanches. Pour Marges III, l’agencement est plus mobile et multiple : il n’y a plus stricte ad\u00e9quation entre les blocs harmoniques, les figurations et les tempi : chaque composante de l’\u00e9criture peut d\u00e9river, d’une structure \u00e0 l’autre, et imprime de ce fait une nouvelle orientation au mat\u00e9riau initial. Tout ceci affecte non seulement la partie de hautbois solo, mais \u00e9galement l’\u00e9criture de l’ensemble instrumental dont les \u00e9chos et d\u00e9rives au soliste sont d\u00e9duits. Il n’y a donc pas a proprement parler dialogue mais prolongement vertical et\/ou diagonal, la forme concertante est \u00e0 la fois phonique et structurelle : l’ensemble instrumental est en d\u00e9finitive, trait\u00e9 \u00e0 la mani\u00e8re d’un double du hautbois.<\/p>\n\n\n\n

Si je devrais comparer Marges III \u00e0 une \u0153uvre picturale, je songerais au tableau de Paul Klee Hauptweg und Nebentwege dont le projet – je ne parle pas de la r\u00e9alisation – me semble similaire : un chemin principal \u2013 qui serait dans ma partition le soliste – et les routes secondaires et d\u00e9riv\u00e9es, multiples du trajet premier \u2013 que formerait les r\u00e9ponses au soliste de l’ensemble instrumental. Je citerai \u00e9galement Roland Barthes : \u00ab Cela vacille encore, j’achoppe, j’embrouille. De toute mani\u00e8re il y aura toujours une marge d’ind\u00e9cision la distinction ne sera pas s\u00fbre, le paradigme grincera, le sens sera pr\u00e9caire, r\u00e9vocable, r\u00e9versible, le discours sera incomplet \u00bb.<\/p>\n\n\n\n

Marges III a \u00e9t\u00e9 compos\u00e9 en collaboration avec Jean-Pierre Arnaud que je tiens \u00e0 remercier chaleureusement pour sa patience et sa comp\u00e9tence. Ses encouragements m’ont permis de d\u00e9passer les limites et les craintes que je m’imposais lorsque j’\u00e9crivais pour un instrument que je croyais plus fragile qu’il ne l’est en r\u00e9alit\u00e9.<\/p>\n\n\n\n

Fr\u00e9d\u00e9ric Durieux<\/p>\n\n\n\n

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<\/p>\n\n\n\n

\"\"
Hauptweg und Nebentwege<\/em> – Paul Klee<\/figcaption><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"

(1-0-2-0 \/ 0-0-0-0 \/ celesta-harpe-vibraphone-marimba \/ 2-0-2-2-0)Cr\u00e9ation par J.-P. Arnaud et l\u2019Ensemble 2E2M, dir. P. M\u00e9fano au Centre Georges Pompidou, Paris mai 1990Commande de l\u2019Ensemble 2E2MDur\u00e9e : 15 min.Editions Jobert (Paris) \u2013 anciennement \u00e9ditions Henry Lemoinein CD Pr\u00e9sences \u201892 festival de Radio France, Ad\u00e8s-MFA; J.-P. Arnaud, Ensemble Alternance, Dir. F. Bollon La s\u00e9rie de mes partitions […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"off","_et_pb_old_content":"\n

(1989-1990) pour hautbois et ensemble instrumental<\/em><\/h4>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

(1-0-2-0 \/ 0-0-0-0 \/ celesta-harpe-vibraphone-marimba \/ 2-0-2-2-0)<\/p>\n\n\n\n

Cr\u00e9ation par J.-P. Arnaud et l\u2019Ensemble 2E2M, dir. P. M\u00e9fano au Centre Georges Pompidou, Paris mai 1990<\/p>\n\n\n\n

Commande de l\u2019Ensemble 2E2M<\/p>\n\n\n\n

Dur\u00e9e : 15 min.<\/p>\n\n\n\n

Editions Jobert<\/a> (Paris) \u2013 anciennement \u00e9ditions Henry Lemoine<\/em><\/p>\n\n\n\n

in CD Pr\u00e9sences \u201892 festival de Radio France, Ad\u00e8s-MFA; J.-P. Arnaud, Ensemble Alternance, Dir. F. Bollon<\/em><\/p>\n","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[23,13],"tags":[],"acf":[],"yoast_head":"\nMarges III - Fr\u00e9d\u00e9ric Durieux<\/title>\n<meta name=\"description\" content=\"Bienvenue sur le site de Fr\u00e9d\u00e9ric Durieux, compositeur\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Marges III Fr\u00e9d\u00e9ric Durieux - Composer\" \/>\n<meta property=\"og:description\" content=\"Bienvenue sur le site de Fr\u00e9d\u00e9ric Durieux, compositeur\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/\" \/>\n<meta property=\"og:site_name\" content=\"Fr\u00e9d\u00e9ric Durieux\" \/>\n<meta property=\"article:published_time\" content=\"1990-09-10T08:20:26+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-01-14T09:53:11+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.fredericdurieux.com\/wp-content\/uploads\/2021\/09\/Klein-1.jpg\" \/>\n<meta name=\"author\" content=\"Fr\u00e9d\u00e9ric Durieux\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"Fr\u00e9d\u00e9ric Durieux\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/\"},\"author\":{\"name\":\"Fr\u00e9d\u00e9ric Durieux\",\"@id\":\"https:\/\/www.fredericdurieux.com\/#\/schema\/person\/a33962bb2a339dd50976b2e193f30b79\"},\"headline\":\"Marges III (1989-1990) pour hautbois et ensemble instrumental\",\"datePublished\":\"1990-09-10T08:20:26+00:00\",\"dateModified\":\"2022-01-14T09:53:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/\"},\"wordCount\":598,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.fredericdurieux.com\/#\/schema\/person\/a33962bb2a339dd50976b2e193f30b79\"},\"articleSection\":[\"Instruments Solistes\",\"oeuvres chronologiques\"],\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/\",\"url\":\"https:\/\/www.fredericdurieux.com\/index.php\/1990\/09\/10\/marges-iii\/\",\"name\":\"Marges III - 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