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Classique / Opéra - Entretien
Frédéric Vaysse-Knitter
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« Une sonorité parfois presque sensuelle mais avec toujours, de manière sous-jacente, une certaine forme de violence. »
Comment avez-vous été conduit à vous intéresser à la musique de Szymanowski ?
Frédéric Vaysse-Knitter : De par ma double culture franco-polonaise, j’ai toujours entendu la musique de ce compositeur. Je me souviens notamment des interprétations de Krystian Zimerman ou de Piotr Anderszewski. Mais j’ai eu besoin de temps avant de ressentir le désir d’aborder moi-même son œuvre, particulièrement complexe. Ce disque se limite aux premières partitions de Szymanowski. Par la suite, j’aurais envie de poursuivre ce travail et d’explorer chronologiquement son œuvre pour piano, sans pour autant forcément imaginer une intégrale discographique.
Quelle est la particularité de l’écriture pianistique de Szymanowski ?
F.V.-K. : Je le rapprocherais peut-être de Janacek. On retrouve chez ces deux compositeurs les racines dans lesquelles ils ont puisé, mais au final leur écriture se révèle inclassable, et cela dès le premier opus. On remarque chez Szymanowski une certaine ambivalence du rythme et une polyphonie où les voix sont toutes très imbriquées. Et surtout, il se dégage de son œuvre une sonorité parfois presque sensuelle mais avec toujours, de manière sous-jacente, une certaine forme de violence.
Pourquoi confrontez-vous, dans votre concert à l’Athénée, Szymanowski à Chopin et à Liszt ?
F.V.-K. : Szymanowski, Chopin et Liszt ont écrit des études, des variations et des fantaisies. Il est intéressant de confronter leurs visions respectives de ces genres musicaux. Chez Chopin et Szymanowski, il y a un même souci de développer l’écriture de la main gauche. Par ailleurs, on sait que la famille Szymanowski avait assisté à un concert donné par Liszt. Et chez Liszt et Szymanowski, on retrouve une même difficulté technique, parfois extrême !
Propos recueillis par Antoine Pecqueur
Dimanche 27 mars à 16h au Théâtre de l’Athénée. Tél. 01 53 05 19 19. Places : 20 à 25 €.
A propos de l'événement
Piano de traverse
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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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