{"id":1581,"date":"1992-01-14T10:38:34","date_gmt":"1992-01-14T09:38:34","guid":{"rendered":"http:\/\/davidpilette.com\/FD2\/?p=1581"},"modified":"2022-01-14T10:51:51","modified_gmt":"2022-01-14T09:51:51","slug":"la-au-dela","status":"publish","type":"post","link":"https:\/\/www.fredericdurieux.com\/index.php\/1992\/01\/14\/la-au-dela\/","title":{"rendered":" L\u00e0, Au-del\u00e0 <br><i><span style='color:#999999;font-size:18px;'>(1990-1991\/1992) pour 26 instrumentistes<\/span><\/i><\/br>"},"content":{"rendered":"\n<p class=\"has-normal-font-size\">(2-2-2-2 \/ 0-2-2-0 \/ 3 percussionnistes-harpe-piano-synth\u00e9tiseur \/ 3-0-2-2-1)<br>Commande de l\u2019Ensemble InterContemporain et de la Fondation Cr\u00e9dit Lyonnais<br>Cr\u00e9ation par l\u2019Ensemble InterContemporain, dir. P. Boulez au Th\u00e9\u00e2tre du Ch\u00e2telet, Paris avril 1991<br>Cr\u00e9ation de la version d\u00e9finitive\u00a0par l\u2019Ensemble InterContemporain, dir. D. Robertson \u00e0 l\u2019IRCAM\/Centre Georges Pompidou, Paris d\u00e9cembre 1993<br>D\u00e9dicace : \u00e0 Andr\u00e9 Boucourechliev<br>Dur\u00e9e\u00a0: 23 min.<br><a rel=\"noreferrer noopener\" href=\"https:\/\/www.jobert.fr\/\" target=\"_blank\">Editions Jobert<\/a> (Paris) <em>\u2013 anciennement \u00e9ditions Henry Lemoine<\/em><br><em>in CD monographique IRCAM\/Ad\u00e8s-MFA; Ensemble InterContemporain, dir. D. Robertson<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p style=\"font-size:14px\">La perception dans le langage musical d&rsquo;aujourd&rsquo;hui est certainement l&rsquo;un des enjeux primordiaux qui se pose \u00e0 ma g\u00e9n\u00e9ration de compositeur. Quelles que soient nos esth\u00e9tiques, il me semble que nous nous situons tous en fonction de cette probl\u00e9matique : soit l&rsquo;on consid\u00e8re l&rsquo;\u00e9criture comme moyen de perception, soit cette derni\u00e8re d\u00e9coule de l&rsquo;\u00e9crit. Cette simple alternative peut para\u00eetre bien triviale ou simpliste puisque le compositeur est sens\u00e9 \u00e9crire ce qu&rsquo;il entend <em>int\u00e9rieurement <\/em>(et chacun de se rem\u00e9morer Beethoven, cr\u00e9ateur d&rsquo;inou\u00efs dans la surdit\u00e9) l&rsquo;\u0153uvre est-elle une transcription d&rsquo;un \u00e9tat quasi id\u00e9al que l&rsquo;on <em>(re)d\u00e9couvre <\/em>ou l&rsquo;\u00e9crit est-il le support par lequel se r\u00e9v\u00e8le un \u00e9tat <em>invent\u00e9<\/em> ? Quelle est la part d&rsquo;une intuition qui nous impose ses exigences et celle d&rsquo;un processus qui dicte ses n\u00e9cessit\u00e9s absolues ? Je pense que l&rsquo;\u0153uvre est un d\u00e9dale dont l&rsquo;\u00e9crit est le fils d&rsquo;Ariane fragile, un \u00e9quilibre pr\u00e9caire entre une s\u00e9rie d&rsquo;intuitions qui peuvent conduire \u00e0 l&rsquo;entropie et des processus qui n&rsquo;ont que faire de l&rsquo;\u00e9coute.<\/p>\n\n\n\n<p style=\"font-size:14px\">Lors de la composition de <em>L\u00e0, Au-del\u00e0<\/em>, toutes ces questions se sont pos\u00e9es avec plus d&rsquo;urgence qu&rsquo;a l&rsquo;accoutum\u00e9e. D&rsquo;une part, parce que j&rsquo;avais eu l&rsquo;intuition de la forme globale et qu&rsquo;il me fallait la red\u00e9couvrir et la reconstituer, d&rsquo;autre part parce que mon travail m&rsquo;a amen\u00e9 au fil des ans \u00e0 rechercher une dialectique des d\u00e9veloppements qui tienne compte de l&rsquo;instant et de l&rsquo;ensemble. Aussi ai-je divis\u00e9 l&rsquo;\u00e9laboration en deux temps, dont le premier a \u00e9t\u00e9 la composition d&rsquo;une pi\u00e8ce restreinte dans la dur\u00e9e et les proportions (<em>Marges III<\/em>, pour hautbois solo et treize instrumentistes), le second, une fois le potentiel du mat\u00e9riau mieux cern\u00e9, \u00e9tant la composition de <em>L\u00e0, Au-del\u00e0<\/em>. Il m&rsquo;a \u00e9t\u00e9 ainsi plus ais\u00e9 de me concentrer sur les questions de formes et d&rsquo;articulations. La partition se divise en panneaux de dur\u00e9es in\u00e9gales qui apparaissent et reviennent sans cesse, ces portions de temps ont chacune un profil qui les caract\u00e9rise comme un code g\u00e9n\u00e9tique. Par exemple, une section \u00e9crite dans un tempo vif sera reconnaissable par ses figures rythmiques et son organisation harmonique et une autre, de tempo lent, lent sera une h\u00e9t\u00e9rophonie d\u00e9duite d&rsquo;une ligne principale, etc &#8230; Chaque panneau a donc ses propres structures harmoniques, rythmiques, de timbre et de figuration, qui ne sont ni statiques ni imperm\u00e9ables, car tous les param\u00e8tres d&rsquo;\u00e9criture peuvent passer d&rsquo;un segment \u00e0 l&rsquo;autre et \u00eatre transform\u00e9s selon les n\u00e9cessit\u00e9s. Ces <em>structures th\u00e9matiques<\/em> sont un ensemble d&rsquo;\u00e9tat soumis \u00e0 une conduite discontinue, d&rsquo;apparitions tant\u00f4t fugaces, tant\u00f4t insistantes, autant de visions sonores, de traits sugg\u00e9r\u00e9s ou marqu\u00e9s qui se forment, se d\u00e9forment et se reforment \u00e0 nouveau, frappent notre m\u00e9moire et aussit\u00f4t la brouillent. Ces cristallisations d&rsquo;id\u00e9es insistantes et non lin\u00e9aires sont un ensemble de m\u00e9tamorphoses et d&rsquo;obsessions toujours renouvel\u00e9es il n&rsquo;y a ni \u00e9tat initial ni d\u00e9veloppement puisque le r\u00e9seau des sch\u00e8mes constituants est dans la forme et hors d&rsquo;elle. Ces donn\u00e9es expliquent le titre : <em>L\u00e0<\/em> symbolise la pr\u00e9sence de l&rsquo;\u00e9v\u00e9nement local et le temps \u00e9ph\u00e9m\u00e8re qui se d\u00e9roule inexorablement, <em>Au-del\u00e0<\/em> la perception globale et m\u00e9morielle qui, hors-temps, essaie de retracer et reconstituer le chemin parcouru. De m\u00eame, <em>L\u00e0<\/em> correspond \u00e0 l&rsquo;\u00e9coute analytique qui dissocie les \u00e9l\u00e9ments, <em>Au-del\u00e0<\/em> \u00e9tant li\u00e9 \u00e0 une pr\u00e9hension de textures sonores complexes non indivisibles. L&rsquo;\u0153uvre, musicale ou autre, est pour moi cet aller-retour du discernable et de son contraire, ce labyrinthe qui nous conduit tout en nous perdant et nous am\u00e8ne finalement, entre d\u00e9sir et plaisir, \u00e0 prendre conscience de la multiplicit\u00e9. Le but n&rsquo;est pas l&rsquo;objet fini, mais un potentiel d&rsquo;\u00e9merveillements pleins et \u00e9nigmatiques qu&rsquo;une seule lecture\/\u00e9coute ne peut \u00e9puiser. Relire l&rsquo;\u0153uvre, la r\u00e9\u00e9couter, c&rsquo;est, en d\u00e9finitive, nous d\u00e9chiffrer \u00e0 nouveau pour un \u00e9largissement de notre entendement sensible et mental. C&rsquo;est pourquoi je conclurai par cette phrase de Roland Barthes: \u00ab\u00a0(l&rsquo;\u00e9coute) <em>est finalement un petit th\u00e9\u00e2tre o\u00f9 s&rsquo;affrontent ces deux d\u00e9it\u00e9s modernes l&rsquo;une mauvaise et l&rsquo;autre bonne: le pouvoir et le d\u00e9sir<\/em>.\u00a0\u00bb<\/p>\n\n\n\n<p style=\"font-size:14px\"><em>L\u00e0, Au-del\u00e0<\/em> \u00e9tait d\u00e9di\u00e9e \u00e0 Andr\u00e9 Boucourechliev ce qui explique les nombreux si b\u00e9mol (B, en allemand) qui reviennent inlassablement. Tout le mat\u00e9riau harmonique a \u00e9t\u00e9 d\u00e9duit des lettres de ses nom et pr\u00e9nom. Cette d\u00e9dicace que je rends publique est un hommage \u00e0 l&rsquo;une des sentinelles les plus vigilantes du monde musical.<\/p>\n\n\n\n<p style=\"font-size:14px\"><strong>Fr\u00e9d\u00e9ric Durieux<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(2-2-2-2 \/ 0-2-2-0 \/ 3 percussionnistes-harpe-piano-synth\u00e9tiseur \/ 3-0-2-2-1)Commande de l\u2019Ensemble InterContemporain et de la Fondation Cr\u00e9dit LyonnaisCr\u00e9ation par l\u2019Ensemble InterContemporain, dir. P. Boulez au Th\u00e9\u00e2tre du Ch\u00e2telet, Paris avril 1991Cr\u00e9ation de la version d\u00e9finitive\u00a0par l\u2019Ensemble InterContemporain, dir. D. Robertson \u00e0 l\u2019IRCAM\/Centre Georges Pompidou, Paris d\u00e9cembre 1993D\u00e9dicace : \u00e0 Andr\u00e9 BoucourechlievDur\u00e9e\u00a0: 23 min.Editions Jobert (Paris) \u2013 [&hellip;]<\/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":"","_et_gb_content_width":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[15,13],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v17.9 (Yoast SEO v19.13) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>L\u00e0, Au-del\u00e0 - 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\/1992\/01\/14\/la-au-dela\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u00e0, Au-del\u00e0 Fr\u00e9d\u00e9ric Durieux - 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