{"id":50,"date":"2017-10-18T15:27:23","date_gmt":"2017-10-18T13:27:23","guid":{"rendered":"https:\/\/confluences-melodie.com\/?page_id=50"},"modified":"2018-04-16T15:56:02","modified_gmt":"2018-04-16T13:56:02","slug":"projet-confluences","status":"publish","type":"page","link":"https:\/\/confluences-melodie.com\/index.php\/projet-confluences\/","title":{"rendered":"Confluence{s}"},"content":{"rendered":"

[et_pb_section fb_built=\u00a0\u00bb1″ disabled_on=\u00a0\u00bbon|on|\u00a0\u00bb _builder_version=\u00a0\u00bb3.0.82″ background_image=\u00a0\u00bbhttps:\/\/confluences-melodie.com\/wp-content\/uploads\/2017\/10\/Retouche\u0301-3-1-e1509969490262.jpg\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.0.82″][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb3.0.47″ parallax=\u00a0\u00bboff\u00a0\u00bb parallax_method=\u00a0\u00bbon\u00a0\u00bb][et_pb_divider height=\u00a0\u00bb100px\u00a0\u00bb _builder_version=\u00a0\u00bb3.0.82″][\/et_pb_divider][et_pb_divider height=\u00a0\u00bb100px\u00a0\u00bb _builder_version=\u00a0\u00bb3.0.82″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ fullwidth=\u00a0\u00bbon\u00a0\u00bb _builder_version=\u00a0\u00bb3.0.82″ background_image=\u00a0\u00bbhttps:\/\/confluences-melodie.com\/wp-content\/uploads\/2017\/10\/Retouche\u0301-3-1-e1509969490262.jpg\u00a0\u00bb background_size=\u00a0\u00bbcontain\u00a0\u00bb][et_pb_fullwidth_image src=\u00a0\u00bbhttps:\/\/confluences-melodie.com\/wp-content\/uploads\/2017\/10\/Retouche\u0301-3-1-e1509969490262.jpg\u00a0\u00bb disabled_on=\u00a0\u00bboff|off|on\u00a0\u00bb _builder_version=\u00a0\u00bb3.0.82″][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ _builder_version=\u00a0\u00bb3.0.82″ custom_padding=\u00a0\u00bb42px|0px|0px|0px\u00a0\u00bb][et_pb_row custom_padding=\u00a0\u00bb0px|0px|19px|0px\u00a0\u00bb _builder_version=\u00a0\u00bb3.0.47″ background_size=\u00a0\u00bbinitial\u00a0\u00bb background_position=\u00a0\u00bbtop_left\u00a0\u00bb background_repeat=\u00a0\u00bbrepeat\u00a0\u00bb _i=\u00a0\u00bb0″ _address=\u00a0\u00bb2.0″][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb3.0.47″ parallax=\u00a0\u00bboff\u00a0\u00bb parallax_method=\u00a0\u00bbon\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb3.0.82″ text_orientation=\u00a0\u00bbjustified\u00a0\u00bb max_width=\u00a0\u00bb93%\u00a0\u00bb module_alignment=\u00a0\u00bbcenter\u00a0\u00bb]<\/p>\n

Aux origines<\/span><\/h1>\n

\u00ab\u00a0<\/i><\/span>Deux fils rouges traversent cet enregistrement. Deux fils entrelac\u00e9s. L\u2019un de France, se m\u00eale \u00e0 l\u2019autre, juif, pour tisser une r\u00e9alit\u00e9 nouvelle, le chapitre chatoyant, aux multiples nuances, d\u2019un si\u00e8cle dont on pensait avoir entendu toutes les musiques.<\/span><\/p>\n

Au d\u00e9part il y a mon go\u00fbt pour le po\u00e8me mis en musique, l\u2019intimit\u00e9 de ce r\u00e9pertoire. Et, plus en profondeur, un int\u00e9r\u00eat latent pour une culture qui me fascine et m\u2019attire ; cette culture juive trop longtemps exil\u00e9e de moi \u2013\u00a0 <\/span>au loin. Et puis il y a Ravel, celui par qui ce projet arriva. Ses Deux M\u00e9lodies h\u00e9bra\u00efques<\/i> repr\u00e9sentent \u00e0 mes yeux le point de d\u00e9part de cette alliance entre la m\u00e9lodie fran\u00e7aise et les cultures juives au d\u00e9but du si\u00e8cle dernier. Cette \u0153uvre a nourri mon envie de constituer un programme musical autour de cette double culture. Juif, Ravel ne l\u2019\u00e9tait pas\u00a0: pourquoi avait-il choisi de composer un accompagnement instrumental pour le Kaddish, texte liturgique mill\u00e9naire hautement symbolique\u00a0? \u00c9tait-il le seul compositeur en son temps \u00e0 avoir puis\u00e9 son inspiration \u00e0 cette source\u00a0? C\u2019est \u00e0 partir de ces questions que j\u2019ai constitu\u00e9 mon corpus. Au fil de mes recherches, je me rendis compte que plusieurs \u0153uvres entre les compositeurs m\u00e9connus et les m\u00e9lodies in\u00e9dites, n\u2019avaient jamais fait l\u2019objet d\u2019un enregistrement. Il m\u2019apparaissait urgent de faire connaitre ce patrimoine musical<\/span>.\u00a0\u00bb<\/i><\/span><\/p>\n

\u00a0<\/h1>\n

De la red\u00e9couverte d\u2019un r\u00e9pertoire m\u00e9connu au projet Confluence{s}<\/span><\/h1>\n


Une des raisons de ce projet est de redonner \u00e0 entendre des \u0153uvres qui n\u2019ont peut-\u00eatre jamais \u00e9t\u00e9 interpr\u00e9t\u00e9es depuis leur cr\u00e9ation. Certaines m\u00e9lodies du programme sont de compositeurs connus, comme Maurice Ravel, dont le Kaddish est si \u00ab populaire \u00bb que cette \u0153uvre fait dor\u00e9navant partie de ce que l\u2019on appelle \u00able r\u00e9pertoire\u00bb. C\u2019est un texte de la liturgie juive, mis en musique par un compositeur non juif, qui d\u00e9passe le champ du religieux pour \u00eatre entendu dans les salles de concert.<\/span><\/p>\n

La plupart des \u0153uvres du programme sont m\u00e9connues ou in\u00e9dites. Pourtant, derri\u00e8re chacune d\u2019elle ou chaque auteur, il y a un moment de vie, un r\u00e9cit.<\/span><\/p>\n

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CONFLUENCE{S},
<\/strong>quand m\u00e9lodie fran\u00e7aise et cultures juives s\u2019embrassent,<\/em><\/strong><\/span>
un programme chant\u00e9 en quatre langues : fran\u00e7ais, h\u00e9breu, yiddish et aram\u00e9en.<\/span><\/h2>\n

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Confluence{s} prend pour objet la m\u00e9lodie de concert, non synagogal, inspir\u00e9e par les cultures juives. Lors de mes investigations, je me suis int\u00e9ress\u00e9 \u00e0 l\u2019\u0153uvre de Darius Milhaud, l\u2019un des compositeurs les plus prolifiques de sa g\u00e9n\u00e9ration \u2013 443 opus \u2013 qui resta toute sa vie fid\u00e8le \u00e0 ses racines juives, jusque dans son art. J\u2019ai r\u00e9pertori\u00e9 ses \u0153uvres en lien avec le juda\u00efsme \u2013 plus d\u2019une vingtaine \u2013 et effectu\u00e9 un choix susceptible d\u2019\u00eatre int\u00e9gr\u00e9 au programme. Son opus 179, Deux chants populaires palestiniens<\/i>, compos\u00e9 en 1937, a particuli\u00e8rement attir\u00e9 mon attention. Trouver la partition de cette \u0153uvre s\u2019est cependant av\u00e9r\u00e9 difficile : aucun des \u00e9diteurs de Milhaud n\u2019avait, a priori, publi\u00e9 ni m\u00eame conserv\u00e9 trace de ces chants. C\u2019est finalement aux Etats-Unis, aupr\u00e8s d\u2019un \u00e9diteur am\u00e9ricain, que je me suis procur\u00e9 ce recueil \u00e9dit\u00e9 et coordonn\u00e9 par le musicologue Hans Nathan. <\/span><\/p>\n

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\u00a0<\/h2>\n

Des histoires dans l’Histoire<\/span><\/h2>\n

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Maurice Ravel<\/em><\/p>\n

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Chaque \u0153uvre porte son propre cheminement, sa propre histoire. \u00c0 titre d\u2019exemple, en voici quelques-unes qui refl\u00e8tent l\u2019identit\u00e9 du projet.<\/p>\n

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Les cartes postales musicales<\/h3>\n

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Cartes postales, Gam Hayon<\/em><\/p>\n

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Cartes postales, Holem Tsa’adi<\/em><\/p>\n

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Cartes postales, Gam Hayon<\/em><\/p>\n

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Cartes postales, Holem Tsa’adi<\/em><\/p>\n

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Les recherches de Hans Nathan d\u00e9butent alors qu\u2019il \u00e9tait encore un jeune musicologue vivant dans la communaut\u00e9 juive de Berlin, avant l\u2019accession au pouvoir du parti nazi en 1933. \u00c0 cette \u00e9poque, le Keren Kayemeth avait distribu\u00e9 \u00e0 travers le monde des cartes postales sur lesquelles \u00e9taient inscrites des m\u00e9lodies folkloriques, afin de stimuler un projet de musique nationale. Hans Nathan \u00e9tait charg\u00e9 de coordonner cette mission. Il poursuivit le projet apr\u00e8s son \u00e9migration pour Boston, publiant certaines de ces chansons en 1938 et 1939 dans le recueil \u00ab\u00a0Chansons folkloriques de la nouvelle\u00a0Palestine\u00a0\u00bb. Apr\u00e8s une interruption de quarante-cinq ann\u00e9es, due \u00e0 une intense vie d\u2019enseignant, Hans Nathan retourna \u00e0 son projet durant sa retraite \u00e0 Boston. Gr\u00e2ce au musicologue Philip V. Bohlman de l\u2019Universit\u00e9 de Chicago, le recueil Israeli Folk Music a pu \u00eatre termin\u00e9 et \u00e9dit\u00e9 apr\u00e8s sa mort en 1989. <\/span><\/p>\n

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Darius Milhaud\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/i><\/span><\/p>\n

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Ces m\u00e9lodies sont issues d\u2019anciennes chansons folkloriques isra\u00e9liennes cr\u00e9\u00e9es par les Juifs de la diaspora de Russie et de Pologne. N\u00e9s dans les ann\u00e9es 1900, et de retour sur la terre de Palestine, Erezt-Isra\u00ebl, berceau de leur culture, ils sont port\u00e9s par un besoin de libert\u00e9. La plupart d\u2019entre eux vivaient dans les Kibboutzim en tant que travailleurs manuels. V\u00e9ritables pionniers d\u2019Isra\u00ebl, ils invent\u00e8rent des chansons pour stimuler leur vie et leur travail en insistant sur le sens nouvellement n\u00e9 de la Libert\u00e9. <\/span><\/p>\n

Dans le cadre de sa mission pour le Keren Kayemeth, Hans Nathan entreprit d\u2019inviter diff\u00e9rents compositeurs de musique savante \u2013 Kurt Weill, Stefan Wolpe, Aaron Copland et bien d\u2019autres \u2013 \u00e0 cr\u00e9er un accompagnement pour ces m\u00e9lodies. Outre Darius Milhaud, un autre grand compositeur francophone fut sollicit\u00e9 pour prendre part \u00e0 ce projet : Arthur Honegger, que l\u2019on retrouvera au programme.<\/span><\/p>\n

Deux chants populaires palestiniens<\/em> de Darius Milhaud et Ra\u2018inu Amalenu<\/em><\/span> d\u2019Arthur Honegger suivent un itin\u00e9raire insolite. Compos\u00e9s il y a plus d\u2019un si\u00e8cle par des travailleurs de Palestine, ils seront retranscrits sur des cartes postales et diffus\u00e9es \u00e0 travers l\u2019Europe, elles seront harmonis\u00e9es par de grands compositeurs du XX\u00e8me si\u00e8cle et sont pour la premi\u00e8re fois enregistr\u00e9es en version originale.<\/span><\/p>\n

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Un breton compositeur de \u00ab\u00a0musique\u00a0juive\u00a0\u00bb<\/h3>\n

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Paul Martineau na\u00eet \u00e0 Nantes en 1890, et meurt \u00e0 Igny en 1915, \u00ab\u00a0[\u2026] un musicien dont on a peu parl\u00e9, mais les quelques lignes qui lui furent consacr\u00e9es sont toutes extr\u00eamement \u00e9logieuses\u00a0; mort de phtisie \u00e0 25 ans, en pleine guerre, il fut vite oubli\u00e9. Paul Martineau, Breton de souche et de c\u0153ur [\u2026] ses deux passions, la Bretagne et la musique, il les v\u00e9cut intens\u00e9ment, comme s\u2019il savait qu\u2019il ne pourrait les vivre longtemps. Ces oeuvres sont toutes posthumes, \u00e9dit\u00e9es chez Ricordi. \u00ab\u00a0Il ne serait pas impossible, dit-il, que j\u2019\u00e9crive un jour une partition juive ou extr\u00eame-orientale, dans laquelle je me flatterais d\u2019\u00eatre rest\u00e9 breton\u00a0\u00bb\u00bb1<\/sup>.<\/span><\/p>\n

Dans les <\/span>Quatre M\u00e9lodies h\u00e9bra\u00efques<\/i><\/span> de Martineau, sans que l’un ait plagi\u00e9 l\u2019autre, on retrouve les deux m\u00e9lodies, presque \u00e0 l\u2019identique, utilis\u00e9es par Ravel pour ses <\/span>Deux M\u00e9lodies h\u00e9bra\u00efques<\/i><\/span>, et compos\u00e9es la m\u00eame ann\u00e9e que ce dernier \u2013 les deux compositeurs ayant sans doute eu acc\u00e8s \u00e0 la m\u00eame source synagogale.<\/span><\/p>\n

1<\/sup> Vefa de Bellaing, Dictionnaire des compositeurs de musique en Bretagne, Centre d’histoire de Bretagne, Kreizenn Istor Breizh, 1992<\/span><\/p>\n

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\u00c0 travers ces quelques exemples qui refl\u00e8tent l\u2019identit\u00e9 du programme, Confluence{s} <\/i>propose un itin\u00e9raire musical et linguistique, m\u00ealant m\u00e9lodies folkloriques, \u0153uvres du r\u00e9pertoire classique et musique contemporaine. S\u2019adressant \u00e0 chacun, ces m\u00e9lodies non synagogales \u2013 bien que l\u2019on y trouve deux \u00ab\u00a0Kaddish de concert\u00a0\u00bb \u2013 sont riches par leur m\u00e9tissage culturel et nous livrent un peu de notre Histoire. Certaine musiques toucheront tel ou tel par leurs inventions et les univers qu\u2019elles r\u00e9v\u00e8lent. Elles sont toutes reli\u00e9es entre elles par cette ligne qui rattache la France et son histoire aux cultures juives.<\/span><\/p>\n

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Partenaires<\/b><\/span><\/h3>\n

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Le projet Confluence{s} est une alliance entre culture juive et m\u00e9lodie fran\u00e7aise. Il est le fruit d\u2019une recherche autour d\u2019un r\u00e9pertoire m\u00e9connu ou in\u00e9dit.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-50","page","type-page","status-publish","hentry"],"yoast_head":"\nConfluence{s} - Des origines \u00e0 la cr\u00e9ation du projet<\/title>\n<meta name=\"description\" content=\"Le projet Confluence{s} est une alliance entre culture juive et m\u00e9lodie fran\u00e7aise. 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