Permanence et transformation du stye stravinskien dit neo-classique durant les annees francaises(1920-1940)
Institution:
Paris, EPHEDisciplines:
Directors:
Abstract EN:
The traditional western and russian art models used by stravinsky in the works of his french period (1920-40) are not merely elements enabling the composition of "music based on music", but are active stylistic features that enhance certain basic qualities of his music. Likewise, the subject of his operas, ballets and even of his sacred works have to suit certain demands of stravinsky's musical dramaturgy. He adopts neo-classical subjects in so far as they satisfy his theatrical requirements, i. E. Allegorical, antipathetical tableaux with non-continuous action, and texts that are adapted to his musical prosody. The enormous impact of stravinsky's art and musical style on artistes and critics sharing his neo-classical esthetic in music positioned him as the charismatic leader of this trend. His evolving musical poetic, as progressively outlined in articles and interviews during his french years, was consequently acknowledged as a manifesto of neoclassicism. However, one of the main reasons for its evolution was the necessity of defending the originality of stravinsky's art and esthetics against the ambiguities of a form of music criticism that confused his manner of stylising models with neo-classicism as "mere imitation of so-called classical language".
Abstract FR:
Les modeles de la tradition savante occidentale et russe que stravinsky utilise dans les oeuvres composees durant les annees francaises (1920-1940) ne sont pas de simples materiaux permettant d'ecrire de "la musique sur la musique", mais des "activateurs stylistiques" necessaires a mettre en valeur certains fondements de son style. Egalement, le choix des sujets de ses operas, de ses ballets et meme de ses oeuvres sacrees, doivent convenir a certaines exigeances de la dramaturgie sonore de stravinsky. Il donne son adhesion aux sujets "neo-classiques" dans la mesure ou ces sujets satisfont ses exigeances dramaturgiques : a savoir, des tableaux allegoriques anti-pathetiques ou l'action dramatique n'est pas developpee d'une maniere continuelle et des textes qui s'adaptent a sa versification musicale. L'enorme impact de l'art et du style musical de stravinsky sur les artistes et les critiques partageant les principes esthetiques du neo-classicisme musical ont place le compositeur dans le role de leader charismatique de ce courant. Sa poetique musicale en cours de definition se revelant progressivement a l'occasion d'articles et d'interviews au cours des annees francaises a, par consequent, ete recue comme un manifeste du neo-classicisme. Cependant, une des principales raisons de son elaboration fut la necessite de defendre l'originalite de l'art et de la pensee esthetique de stravinsky des equivoques d'une critique musicale confondant sa facon de styliser les modeles avec le neo-classicisme en tant que "simple imitation du langage soi-disant classique".