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Classique / Opéra - Gros Plan
Biennale de quatuors à cordes
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Forme reine de la musique de chambre, le quatuor à cordes, établi immuable depuis Haydn, n’en finit pas de susciter l’intérêt des compositeurs, qui y trouvent une richesse expressive inégalée et l’occasion de se confronter aux modèles classiques. La biennale de quatuor à cordes, qui se réinstalle à la Cité de la musique du 14 au 22 janvier, en retrace l’évolution du xviiie au xxie siècle. Les chefs-d’œuvre fondateurs sont bien entendu présents (Quatuor op. 77 n° 1 de Haydn, Quatuors « Les Dissonances » et « La Chasse » de Mozart), de même que les premières réinterprétations du genre (notamment les derniers quatuors composés par Beethoven : ses quatorzième et quinzième en particulier) ou ses développements romantiques (Schubert, Schumann, Brahms, Mendelssohn, Tchaïkovski).
De Haydn à Rihm
Au xxe siècle, le quatuor à cordes est tantôt fidèle hommage au classicisme réinventé (Zemlinsky, Chostakovitch), tantôt formidable vecteur des nouvelles voies de la musique. C’est déjà sensible chez Ravel (1903) ou Bartók (Troisième Quatuor 1927) et bien évidemment chez Steve Reich, revenu à cette forme avec WTC 9/11 (le 18 janvier en création française), plus de vingt ans après le remarquable Different Trains : le quatuor, ici démultiplié par l’électronique, y sert l’exploration des valeurs expressives de la pulsation, chères au compositeur américain. La fine fleur du quatuor à cordes est ici réunie : quatuors Borodine, Hagen, Prazák, Ysaÿe, Takács ou Quatuor de Tokyo, pour les plus polyvalents, Arditti, Diotima et Kronos, plus axés sur le répertoire contemporain. La biennale laisse aussi une large place aux jeunes formations au cours du premier week-end (Thymos, Voce, Modigliani, Zemlinsky, Tetraktys). Enfin, tous ces ensembles participent à l’exécution intégrale des quatuors de Wolfgang Rihm (né en 1952), considéré, dans ce genre, comme le génial héritier du dernier Beethoven.
Jean-Guillaume Lebrun
Du 14 au 22 janvier à la Cité de la musique. Tél. 01 44 84 44 84. Places : 18 à 32 €.
A propos de l'événement
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A lire aussi sur La Terrasse
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- Critique
En attendant Godot : Alain Françon dirige, en grand horloger, des comédiens éblouissants
Enfermés dans le lendemain de la veille, [...]
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- Critique
Alain Françon met en scène « Le Moment psychologique » de Nicolas Doutey : une partition qui enchante
Alain Françon met en scène Le Moment [...]
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- Critique
TRAIT(s) : un cirque graphique intelligent et sensible composé par Coline Garcia
Rendre l'art accessible au jeune public sans [...]
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