{"id":1656,"date":"2007-03-19T13:14:37","date_gmt":"2007-03-19T12:14:37","guid":{"rendered":"http:\/\/davidpilette.com\/FD2\/?p=1656"},"modified":"2022-01-19T13:23:30","modified_gmt":"2022-01-19T12:23:30","slug":"here-not-there-a-tribute-to-barnett-newman-quatuor-i","status":"publish","type":"post","link":"https:\/\/www.fredericdurieux.com\/index.php\/2007\/03\/19\/here-not-there-a-tribute-to-barnett-newman-quatuor-i\/","title":{"rendered":" Here, not there \u2013 a tribute to Barnett Newman (Quatuor I) <br><i><span style='color:#999999;font-size:18px;'>(2006-2009) pour quatuor \u00e0 cordes et \u00e9lectronique<\/span><\/i><\/br>"},"content":{"rendered":"\n<p class=\"has-normal-font-size\">Commande de l\u2019IRCAM et du printemps des Arts de Monaco pour le quatuor Diotima<br>Cr\u00e9ation le 31 mars 2007, Festival le Printemps des Arts, Monaco.<br>Quatuor Diotima, technique IRCAM, R\u00e9alisation informatique Serge Lemouton.<br>Cr\u00e9ation de la version 2\u00a0: IRCAM, 5 f\u00e9vrier 2009<br>D\u00e9dicace\u00a0: Au Quatuor Diotima<br>Dur\u00e9e\u00a0: 14 minutes<br>Edizioni Musicali RAI Com (Roma, Milano)<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>La question qui demeure lorsque je travaille avec les sons \u00e9lectroniques est&nbsp;: pourquoi tel traitement plut\u00f4t que tel autre&nbsp;? Plus que pour les \u0153uvres purement instrumentales c\u2019est par les refus que je d\u00e9finis le projet de ma partition. D\u2019abord j\u2019\u00e9limine tous les potentiels pour me concentrer sur certains objectifs pr\u00e9cis. En fait, plus le son est au centre des objectifs \u2013 le son davantage que les notes \u2013 et plus il&nbsp; m\u2019importe de d\u00e9finir les enjeux. Plus les sonorit\u00e9s sont complexes, c\u2019est-\u00e0-dire difficiles \u00e0 hi\u00e9rarchiser, plus je concentre mon discours sur ce que j\u2019appellerai des <em>allures<\/em> propres \u00e0 la partition.<\/p>\n\n\n\n<p>Bien s\u00fbr, on pourra m\u2019objecter qu\u2019apr\u00e8s tout, toute nouvelle partition pour un effectif particulier demande un traitement sp\u00e9cifique. Certes, mais il me semble qu\u2019avec les sons \u00e9lectroniques, il faut aller au-del\u00e0 des habitudes culturelles qu\u2019implique tel instrument ou tel groupe instrumental. Avec l\u2019\u00e9lectronique, les interrogations deviennent plus imp\u00e9rieuses, l\u2019outil \u00e9tant plus ouvert et plus limit\u00e9 tout \u00e0 la fois. C\u2019est \u00e0 travers ces contradictions qu\u2019il faut se frayer un chemin. Lors de l\u2019\u00e9laboration d\u2019une \u0153uvre avec \u00e9lectronique, j\u2019ai l\u2019impression de devenir un compos\u00e9 de Robinson Cruso\u00e9 (pour la reconstruction de l\u2019environnement), du capitaine Achab (pour la recherche acharn\u00e9e d\u2019un vieux compte \u00e0 r\u00e9gler) et de Monsieur Palomar (parce que personne n\u2019est \u00e0 l\u2019abri du comique voire du ridicule).<\/p>\n\n\n\n<p>Pour cette \u0153uvre, j\u2019ai prolong\u00e9 les sonorit\u00e9s du quatuor \u00e0 cordes par les sons \u00e9lectroniques qui, tous, ont \u00e9t\u00e9 \u00e9labor\u00e9s \u00e0 partir d\u2019\u00e9chantillons sonores de violon, d\u2019alto et de violoncelle. Au cours de l\u2019ex\u00e9cution, les sons \u00e9lectroniques \u00e9tendent et amplifient ce qui est jou\u00e9 par les instrumentistes. Le quatuor \u00e0 cordes devient alors un espace sonore \u00e0 la fois d\u00e9multipli\u00e9, lorsque diff\u00e9rents modes de jeu se superposent, et \u00e9tendu par des sonorit\u00e9s que seule l\u2019\u00e9lectronique permet. Il est int\u00e9ressant de souligner la formidable capacit\u00e9 d\u2019adaptation du quatuor \u00e0 cordes, un des rares effectifs instrumentaux qui passe avec aisance de la musique du XVIIIe si\u00e8cle au r\u00e9pertoire le plus contemporain. Le quatuor \u00e0 cordes repr\u00e9sente pour moi&nbsp; avec le piano une sorte d\u2019absolu qui permet d\u2019aller, pour paraphraser Debussy, jusqu\u2019\u00e0 la chair nue de l\u2019\u00e9coute.<\/p>\n\n\n\n<p>C\u2019est en me posant les questions&nbsp;de <em>pourquoi ceci, pourquoi pas cela&nbsp;?<\/em> que m\u2019est revenu \u00e0 l\u2019esprit le titre d\u2019une s\u00e9rie d\u2019\u0153uvres de Barnett Newman&nbsp;(<em>Not There-Here<\/em>). En quelques couleurs parcimonieusement diss\u00e9min\u00e9es et associ\u00e9es \u00e0 un titre, les tableaux de Newman ouvrent des perspectives qui restent pertinentes 50 ans plus tard. C\u2019est \u00e0 cette reprise en main radicale de l\u2019espace visuel et spirituel que j\u2019ai voulu rendre hommage. Reprise en main qui ne m\u2019appara\u00eet pas autoritaire, je m\u2019empresse de le souligner. La remise \u00e0 plat de l\u2019espace visuel associ\u00e9 \u00e0 des interrogations d\u2019ordre philosophique voire mystique a pour but, chez Newman, d\u2019ouvrir notre perception de l\u2019image sur des espaces insoup\u00e7onn\u00e9s sans cette radicalit\u00e9. \u00c0 l\u2019oppos\u00e9 du flux continu d\u2019images, Barnett Newman choisit ses formes et d\u00e9limite son espace visuel pour concentrer son discours&nbsp;; attitude qui reste pour moi un mod\u00e8le.<\/p>\n\n\n\n<p>Avec cette partition pour quatuor et \u00e9lectronique \u2013 sp\u00e9cifiquement compos\u00e9e pour le Quatuor Diotima &#8211; , j\u2019ai souhait\u00e9 amener ma musique vers d\u2019autres territoires, poursuivant en cela la remise en cause des pr\u00e9dicats de mes choix esth\u00e9tiques&nbsp;; remise en cause que je poursuis depuis quelques ann\u00e9es maintenant. C\u2019est \u00e9galement pour cette raison que le titre a \u00e9t\u00e9 choisi&nbsp;: prendre telle voie et non pas telle autre.<\/p>\n\n\n\n<p>Fr\u00e9d\u00e9ric Durieux<\/p>\n\n\n\n<p>PS\u00a0: Je tiens \u00e0 remercier Serge Lemouton, pour la r\u00e9alisation musicale informatique de ma partition. Outre sa patience et sa comp\u00e9tence, il a su me faire entendre et \u00e9couter plus profond\u00e9ment les objets sonores que je voulais mettre en jeu. S\u2019il y a une qualit\u00e9 dans le rapport entre les sons \u00e9lectroniques et la partie instrumentale, c\u2019est gr\u00e2ce \u00e0 lui que ce projet a pu venir \u00e0 terme.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"290\" height=\"600\" src=\"https:\/\/www.fredericdurieux.com\/wp-content\/uploads\/2022\/01\/Fre\u0301de\u0301ric-Durieux-12.jpg\" alt=\"\" class=\"wp-image-1659\" srcset=\"https:\/\/www.fredericdurieux.com\/wp-content\/uploads\/2022\/01\/Fre\u0301de\u0301ric-Durieux-12.jpg 290w, https:\/\/www.fredericdurieux.com\/wp-content\/uploads\/2022\/01\/Fre\u0301de\u0301ric-Durieux-12-145x300.jpg 145w\" sizes=\"(max-width: 290px) 100vw, 290px\" \/><\/figure>\n\n\n\n<p>\u00a9 Barnett NEWMAN, <em>Not There-Here<\/em> (1962)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Commande de l\u2019IRCAM et du printemps des Arts de Monaco pour le quatuor DiotimaCr\u00e9ation le 31 mars 2007, Festival le Printemps des Arts, Monaco.Quatuor Diotima, technique IRCAM, R\u00e9alisation informatique Serge Lemouton.Cr\u00e9ation de la version 2\u00a0: IRCAM, 5 f\u00e9vrier 2009D\u00e9dicace\u00a0: Au Quatuor DiotimaDur\u00e9e\u00a0: 14 minutesEdizioni Musicali RAI Com (Roma, Milano) La question qui demeure lorsque je [&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":[22,13],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v17.9 (Yoast SEO v19.13) - 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