{"id":976098,"date":"2020-11-14T12:14:11","date_gmt":"2020-11-14T17:14:11","guid":{"rendered":"https:\/\/myscena.org\/?p=976098"},"modified":"2020-11-14T12:16:36","modified_gmt":"2020-11-14T17:16:36","slug":"critique-de-disque-britten-sinfonia-da-requiem","status":"publish","type":"post","link":"https:\/\/aap5.myscena.org\/fr\/norman-lebrecht\/critique-de-disque-britten-sinfonia-da-requiem\/","title":{"rendered":"Critique de disque. Britten\u00a0: Sinfonia da Requiem."},"content":{"rendered":"<p><strong>Britten\u00a0: <em>Sinfonia da Requiem<\/em>. <\/strong><br \/>\n<strong>(\u201cThe British Project.\u201d)<\/strong><\/p>\n<p><strong>City of Birmingham SO\/Mirga Gra\u017einyt\u0117-Tyla<\/strong><\/p>\n<p><strong>DG 4839072<\/strong><\/p>\n<p><strong>Dur\u00e9e : 20 min 9 sec<\/strong><\/p>\n<p><a href=\"https:\/\/myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-976117\" src=\"https:\/\/myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-300x300.jpg 300w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-100x100.jpg 100w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-600x600.jpg 600w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-150x150.jpg 150w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-768x768.jpg 768w, https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom.jpg 1000w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<p>Comme <em>La Messe en ut majeur <\/em>de Beethoven qui est \u00e9clips\u00e9e par sa puissante <em>Messe solennelle en r\u00e9 majeur<\/em>, la <em>Sinfonia da Requiem<\/em> de Benjamin Britten est parfois confondue avec le <em>War Requiem<\/em>, m\u00eame si les deux \u0153uvres n\u2019ont rien en commun. <em>La Sinfonia<\/em>, \u0153uvre pour orchestre uniquement, ne dure que 20 minutes et est parcourue d\u2019ambivalence personnelle.<\/p>\n<p>Britten a re\u00e7u la commande en 1939, s\u2019\u00e9tant r\u00e9cemment install\u00e9 \u00e0 New York et ayant \u00e9t\u00e9 expos\u00e9 \u00e0 son mode de vie cosmopolite, beaucoup plus color\u00e9 que les grisailles de Londres. La commande est venue du gouvernement japonais, pour marquer le 2600<sup>e<\/sup>\u00a0anniversaire de la dynastie au pouvoir. Le Japon avait brutalement envahi la Chine. Britten \u00e9tait un pacifiste. Il a d\u00e9clar\u00e9 \u00e0 un journaliste\u00a0: \u00ab\u00a0J\u2019en fais quelque chose d\u2019aussi antiguerre que possible.\u00a0\u00bb Mais il a accept\u00e9 l\u2019argent. L\u2019ann\u00e9e suivante, il \u00e9tait convoqu\u00e9 au consulat japonais pour \u00eatre accus\u00e9 d\u2019insulte \u00e0 la nation (on ne lui a pas demand\u00e9 de remboursement).<\/p>\n<p>L\u2019\u0153uvre a \u00e9t\u00e9 pr\u00e9sent\u00e9e en premi\u00e8re au Carnegie Hall le 29 mars 1941 par l\u2019Orchestre philharmonique de New York et son chef John Barbirolli. La seconde pr\u00e9sentation, \u00e0 Boston, a \u00e9t\u00e9 plus cons\u00e9quente. Le chef Serge Koussevitsky l\u2019a tellement aim\u00e9e qu\u2019il a charg\u00e9 Britten d\u2019\u00e9crire son premier op\u00e9ra majeur, <em>Peter Grimes<\/em>. Entre l\u2019entr\u00e9e du Japon dans la Seconde Guerre mondiale et sa nouvelle pr\u00e9occupation pour l\u2019op\u00e9ra, la <em>Sinfonia da Requiem<\/em> a \u00e9t\u00e9 mise de c\u00f4t\u00e9. \u00c0 ce jour, elle occupe rarement le devant de la sc\u00e8ne en tant qu\u2019\u0153uvre formatrice d\u2019un brillant compositeur dans la vingtaine.<\/p>\n<p>Form\u00e9e de deux mouvements ext\u00e9rieurs sombres et d\u2019un mouvement central agit\u00e9, tous portant des titres catholiques romains, la <em>Sinfonia<\/em> couvre toute une gamme d\u2019humeurs, de la piti\u00e9 \u00e0 la passion. Mahler est une influence incontournable, notamment sa <em>Symphonie no\u00a09<\/em>, tandis que les \u00e9ruptions de cuivres et de percussions appartiennent \u00e0 Igor Stravinski et l\u2019atmosph\u00e8re \u00e0 la fragilit\u00e9 de la guerre et au malaise moral du compositeur. Britten vivait dans le confort des \u00c9tats-Unis tandis que sa patrie \u00e9tait bombard\u00e9e par les Allemands.<\/p>\n<p>Ces conflits sont puissamment projet\u00e9s dans un nouvel enregistrement hypertendu de l\u2019Orchestre symphonique de Birmingham et de sa directrice musicale lituanienne Mirga Gra\u017einyt\u0117-Tyla. Contrairement \u00e0 beaucoup d\u2019interpr\u00e9tations anglaises respectueuses que j\u2019ai entendues, celle-ci refl\u00e8te la vie sur la corde raide, sa continuit\u00e9 incertaine, sa foi vacillante jusqu\u2019\u00e0 l\u2019extinction. On sent l\u2019incertitude, d\u2019une mesure \u00e0 l\u2019autre, de la direction que prendra le monde. C\u2019est l\u2019interpr\u00e9tation la moins anglaise que j\u2019aie entendue, et c\u2019est tant mieux. Gra\u017einyt\u0117-Tyla \u00e9tire le rubato jusqu\u2019\u00e0 la transparence et admet des notes d\u2019atonalit\u00e9. Ressent-elle les sentiments contradictoires du compositeur ? C\u2019est un r\u00e9cit tout \u00e0 fait captivant, offert en t\u00e9l\u00e9chargement chez DG.<\/p>\n<p>Traduction par Jacqueline Vanasse<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Britten\u00a0: Sinfonia da Requiem. (\u201cThe British Project.\u201d) City of Birmingham SO\/Mirga Gra\u017einyt\u0117-Tyla DG 4839072 Dur\u00e9e : 20 min 9 sec Comme La Messe en ut majeur de Beethoven qui est \u00e9clips\u00e9e par sa puissante Messe solennelle en r\u00e9 majeur, la Sinfonia da Requiem de Benjamin Britten est parfois confondue avec le War Requiem, m\u00eame si<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/aap5.myscena.org\/fr\/norman-lebrecht\/critique-de-disque-britten-sinfonia-da-requiem\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2760,"featured_media":976119,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17038],"tags":[],"class_list":{"0":"post-976098","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-critiques-de-disques-et-livres","8":"type-critique-de-disque","9":"volume-volume-26","10":"issue-vol-26-issue-34-fr","11":"section-critiques"},"featured_image_src":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-1-e1605374037176.jpg","blog_images":{"medium":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-1-e1605374037176-300x166.jpg","large":"https:\/\/aap5.myscena.org\/wp-content\/uploads\/2020\/11\/00028948390731-cover-zoom-1-e1605374037176.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","value":[]},{"key":"source_url","label":"Source URL","value":""},{"key":"author_name","label":"Author","value":""},{"key":"editchoice","label":"Edit Choice","value":[]},{"key":"is_cover_story","label":"Is Cover Story","value":[]},{"key":"performer_1","label":"Performer 1","value":""},{"key":"performer_2","label":"Performer 2","value":""},{"key":"other_info","label":"Other info","value":""},{"key":"ink_amazon","label":"Ink Amazon","value":""},{"key":"archambault","label":"archambault link","value":""},{"key":"price","label":"Price","value":""}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/976098"}],"collection":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/users\/2760"}],"replies":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=976098"}],"version-history":[{"count":0,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/posts\/976098\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media\/976119"}],"wp:attachment":[{"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=976098"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=976098"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aap5.myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=976098"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}