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Musique

Prochainement (8 nov.) / Concert de géants

L'art de la musique Romantique

L’Orchestre National de Lille est venu à Soissons en juin dernier sous le nouveau directeur Alexandre Bloch. Il revient avec son ancien chef d’orchestre Jean-Claude Casadesus, bien connu des mélomanes soissonnais : comment oublier ses concerts à la cathédrale, lieu habituel des concerts symphoniques, où la musique sonnait et résonnait parmi les piliers de la nef, jusqu’à l’ouverture de la Cité de la Musique et de la Danse en 2015 ?

Ce concert promet un régal pour ceux que comble la musique Romantique avec ses richesses harmoniques, ses thèmes voluptueux. Des œuvres de trois géants, Berlioz, Mendelssohn et Chostakovitch, seront au programme.

Jean-Claude Casadesus à la cathédrale en 2006.

Après l’échec de son opéra Benvenuto Cellini, Hector Berlioz en a extrait deux de ses thèmes pour en faire une grande ouverture concert, Carnaval Romain. En le composant, il connaissait son affaire : il venait de publier son étude théorique Traité d’instrumentation et d’orchestration – qui pour la première fois détaillait les responsabilités d’un chef d’orchestre.

Tedi Papavrami, violoniste d’origine albanaise dont l’histoire est elle-même pleinement romantique, sera soliste du Concerto n°2 pour violon de Felix Mendelssohn, une des œuvres iconiques du Romantisme. Son début est électrifiant : le compositeur innove en abandonnant la traditionnelle introduction orchestrale en faveur du violon solo, qu’accompagnent les autres instruments.

Trois mouvements et leurs trois thèmes sublimes feront pâmer les susceptibles dans la salle.

Dimitri Chostakovitch peut se rattacher au mouvement Romantique par son utilisation de l’orchestre symphonique. La première Symphonie date de 1926. Reconnue comme sa première grande œuvre, elle l’a rendu célèbre, en Russie et dans le monde. Elle ne dure que trente minutes, mais contient le germe de tout ce qui suivra dans sa carrière. Le contenu est sardonique, spirituel, innovant ; le 3e mouvement, Adagio, qui ferait penser à une marche funèbre, laisse sentir le fond de tristesse et de douleur qui a sous-tendu la vie de ce compositeur, soviétique malgré lui.

Le concert de l’orchestre de Lille finira avec le dernier mouvement, mélange de grâce et de violence, reprenant le thème funèbre.

Ceux qui n’apprécient guère le style Romantique peuvent le critiquer pour son côté populiste, sentimental, son appel aux émotions sans en mesurer les conséquences. Ses défenseurs y verront un moyen d’approfondir ces émotions en gardant toujours la distance qui vient de leur traduction en formes musicales.

Orchestre National de Lille, 8 novembre à 20h à la CMD.

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Exposition

Nampteuil-sous-Muret : L’art éphémère qui perdure

L'art de l'éphémère

Wast ed Dar de Salim Le Kouaghet (2012)

En 2008, un sentier qui s’étend entre les marais et les coteaux de la vallée de la Crise en boucle entre Nampteuil-sous-Muret et Muret-et-Crouttes, est devenu un lieu d’exposition de « land art » ou arts en nature. Chaque année, l’association du Sentier de la Crise invite des artistes à contribuer des œuvres « éphémères ». Comme certaines résistent pendant des années, l’exposition s’enrichit progressivement. L’édition 2019 vient d’être inaugurée à la ferme de la Berque à Nampteuil. De nombreuses nouvelles œuvres ont été ajoutées, généralement en matières naturelles qui dureront seulement le temps que les éléments les épargneront.

Chaque septembre l’association du Sentier d’art en Vallée de la Crise organise une visite le long de ses 5 km, pour inaugurer les nouvelles installations ajoutées à la collection.

Quoi ma gueule ? de Monique Picavet

Une évolution se fait remarquer, entre les premières années du projet, quand des artistes professionnels se chargeaient de produire des œuvres plus abstraites, et le présent, avec des artistes amateurs qui ont davantage recours aux trouvailles et à l’humour. Quoi ma gueule ? de Monique Picavet se moque gentiment des masques de l’art premier.

En contraste, Wast ed Dar, de Salim Le Kouaghet, datant de 2014, est un exemple de sa série d’évocations de l’âtre central d’une maison arabe. La construction commence à dégringoler doucement, les couleurs perdent de leur brillance, sans rien enlever à la puissance de l’image de ce qui fait un foyer.

D’autres œuvres précédemment installées sont devenues de simples accumulations de branchages ou des tas de rochers – sur un de ces tas des taches rouges subsistent, de la peinture sûrement, mais qui font penser à un autel de sacrifices peut-être humains.

Arbrabesque de J-L Sendron

Ce bouillonnement d’idées ne fait pas ignorer le paysage de la vallée, ses champs et ses bois, ni l’église de Muret s’érigeant en haut au loin, qui n’attendent que le pinceau d’un peintre paysagiste pour passer de la nature à l’art.

En 2016 Jean-Luc Sendron avait installé son Arbrabesque, triangle rempli de coupes en section d’un tronc d’arbre d’aspect rococo. Avec le temps et la météorologie, il prend un air de remplage de pierre pour une église. L’artiste, commentant l’avis selon lequel le caractère éphémère de l’art dans la nature serait en contradiction avec la vocation de l’art à conférer quelque chose d’éternel sur ses sujets, avait rappelé que « l’éternité est une succession d’éphémères ».

Association du Sentier d’art en Vallée de la Crise

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Musique

Prochainement / La guitare à Soissons depuis trente ans

L'art d'enseigner la guitare

Yves Clément au travail [photo CMD]

L’officiel et le personnel sont au diapason pour les événements organisés à la Cité de la Musique et de la Danse du Grand Soissons afin de célébrer la création, il y a trente ans, de la classe guitare au Conservatoire de la ville.

En 1969, il y a cinquante ans, le guitariste Alexandre Lagoya a crée une classe pour son instrument au grand Conservatoire de Paris.

Vingt ans plus tard, en 1989, son élève Yves Clément y a reçu son diplôme et est devenu professeur au Conservatoire de Soissons, où il a créé la première classe de guitare. Il y avait à l’époque des confrontations assez virulentes entre les différentes approches d’apprentissage, les écoles espagnole, française, même uruguayennes, explique-t-il. « Je voulais éviter tous ces conflits, et la création d’une nouvelle classe à Soissons, où j’ai été recruté, m’a donné la possibilité de le faire. J’envisageais un enseignement centré sur l’élève, ses besoins, son parcours particulier. » Il admet que par certains aspects il appartient à l’école française de guitare, mais veut donner à chaque élève la possibilité de développer sa propre approche.

2019 marque les trente ans de la classe et de son enseignement, et il a été décidé, entre Yves Clément et Benoît Wiart, directeur de la CMD, de célébrer l’anniversaire à la rentrée de la trente-et-unième promotion de jeunes guitaristes.

Le samedi 14 septembre, donc, une centaine de guitaristes venus des écoles de musique de Lille, Reims, Epernay, Meaux, Saint Quentin, la Vallée de l’Ailette, du Val de l’Aisne, de Mercin-et-Vaux et, bien sûr, de la CMD. Notamment, des élèves du Ecole Supérieure de Musique et Danse de Lille, ceux de la section qui forme de futurs professeurs de musique, joueront dans les différents ensembles (pour certains de plus de 50 guitares).

Toute la journée les guitaristes prendront part à des répétitions avant le concert public du soir – qui sera donné dans le grand auditorium de la CMD, preuve du prestige accordé à cet événement.

Le programme, composé de pièce courtes, et surtout festif, est établi à l’intention d’un public varié. Il est centré autour d’un invité de renom, soliste international, Florian Larousse – qui a la gentillesse d’avoir pour l’occasion trente (-et-un) ans ! Il a commencé à étudier la guitare classique à 8 ans, a été élève au Conservatoire de Paris de Pedro Ibañez. En 2009, il remporte le concours international de la Guitar Foundation of America ainsi que le concours Hubert Kappel à Koblenz. Il commence alors une tournée de concerts aux Etats-Unis, au Canada, au Brésil, au Mexique et en Allemagne. Il est devenu concertiste, parallèlement à une activité d’enseignant.

Le programme, où figureront des compositeurs tels Villa-Lobos, Barrios, Piazzolla, Ravel, alternera des pièces pour solo, duos et quatuors, pour soliste et ensemble de guitares. Trois compositeurs dirigeront des ensembles mixtes qui joueront leurs œuvres : Raphaël Godeau, Thierry Arnould et Franck Ladouce.

Thierry Arnould créera Les Flèches de Saint-Jean et Le Poète au bord de l’Aisne pour un ensemble de violons, altos et guitares.

Le concert, qui durera deux heures avec entracte, se terminera par Le Tour du Monde en quatre-vingt notes (ou presque) de Franck Ladouce, dans une version inédite pour soliste – Florian Larousse – et un Grand Ensemble de guitares et autres instruments.

Cette journée met à l’honneur la guitare, enseignée au Conservatoire de Soissons depuis trente ans, en même temps les trente ans de carrière de professeur d’Yves Clément. Pourtant, il est catégorique : « Il ne s’agit pas de tirer un bilan, mais de regarder vers l’avenir. »


Concert samedi 14 septembre 2019 à 17h00, grand auditorium de la CMD.

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P U B L I C I T É
LA MARMITE D’EDDIE – Corporate – 09-2018

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