Guillaume Bouzignac et son siècle
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Abstract EN:
In spite of its perfect organization at the french royal court and in the ecclesiastical choirs, the music, compared to the others arts of the seventeenth century, plays only a functional part (royal huntings, embellishments of sacred offices, recreations for laymen). Music is never treated as an esthetic print, able to resist to the ages, like the plastic arts. For this reason, the musician, does not obtain socially the artiststatute, after the manner of a sculptor, a painter or an architect. However guillaume bouzignac adopts the specifications of an authentic artist. This choir master, native of languedoc, being fond of travels, crosses france, in search of new appointments. Contemporaneous with a ginators of the transformation which leads the arts of the renaissance to the baroque era. In turn with an antiquated appearance or resolutely turned towards the future, bouzignac is under the influence of his prestigious predecessors, before to accept responsibility for foreign inclinations (italy - spain), which aim at making a representative or evocative music. In his sacred work, our composer, by adding original texts to words extracted from holy scripture, makes up a literary world which forms a pretext to accompany the musical action. In the beginning of the oratorio, bouzignac has been perhaps one of the organizers of this new tendency. When he lets the foreign ideas enter in france, he plays a great part to extract the national music from traditionalism. When he becomes ready for his work, bouzignac fabricates his own style which created emulators in france (forme, charpentier) and in foreign countries. Is the sharing of influences not the characteristic of an artist?
Abstract FR:
Malgre sa parfaite organisation a la cour francaise et au sein des maitrises ecclesiatiques, la musique, comparee aux autres arts du xviieme siecle, joue un role essentiellement fonctionnel (parties de chasse, ornements des offices religieux, divertissements des laics). Jamais, la musique n'est consideree comme une empreinte esthetique capable de resister au temps, a l'image des arts plastiques. A ce titre, le musicien, socialement, n'acquiert pas le statut d'artiste, a l'instar du sculpteur, du peintre ou de l'architecte. Guillaume bouzignac epouse pourtant les caracteristiques d'un authentique artiste. Homme de voyage, ce maitre de chapelle languedocien traverse la france a la recherche de postes nouveaux. Contemporain d'un changement syntaxique de l'ecriture musicale, bouzignac est l'un des promoteurs de la metamorphose qui conduit les arts de la renaissance a l'ere baroque. Tour a tour archaique et tourne vers l'avenir, il subit les influences de ses prestigieux predecesseurs, avant de s'impregner des tendances etrangeres (italie - espagne) qui visent a rendre la musique representa- tive ou suggestive. Dans ses oeuvres religieuses, notre compositeur, en greffant des textes originaux sur des paroles tirees des ecritures, s'in- vente un monde litteraire, pretexte a soutenir une action decrite par la musique. A l'origine de l'oratorio, bouzignac a peut-etre ete l'un des organisateurs de ce nouveau mouvement. En laissant penetrer les idees etrangeres sur le sol francais, il devait contribuer a sortir la musique nationale de ses gonds traditionnels. Arrive a maturite creatrice, bouzignac se forge un style propre qui trou- vera des emules en france (forme, charpentier) et a l'etranger. Le partage des influences n'est-il pas le propre de l'artiste?