{"id":158,"date":"2025-01-14T07:05:00","date_gmt":"2025-01-14T07:05:00","guid":{"rendered":"https:\/\/www.contrepointmarcassins.fr\/?p=158"},"modified":"2025-01-14T10:12:30","modified_gmt":"2025-01-14T09:12:30","slug":"sonate-en-trio-233","status":"publish","type":"post","link":"https:\/\/www.contrepointmarcassins.fr\/?p=158","title":{"rendered":"Sonate en trio, 2+3=3"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Au XVIIe si\u00e8cle, la musique purement instrumentale, aussi appel\u00e9e musique instrumentale idiomatique, est en plein essor. Il \u00e9tait question de repr\u00e9senter les passions humaines sans le secours des mots. A la m\u00eame \u00e9poque, vont \u00e9galement se fixer des genres musicaux (=cat\u00e9gories conventionnelles). A chaque genre musical son effectif, son lieu de diffusion et sa fonction.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans cette cat\u00e9gorie, la <strong>Sonate en trio<\/strong>, ou sonate \u00e0 3 parties, jou\u00e9e comme interm\u00e8de \u00e0 l\u2019\u00e9glise ou comme divertissement \u00e0 la cour. Les deux parties du haut sont confi\u00e9es \u00e0 des instruments monodiques \u00e0 la tessiture (plus ou moins) aig\u00fce, tel le hautbois, le violon, la fl\u00fbte ou le dessus de viole de gambe. La partie du bas, la 3e, \u00e9tait celle de la section d\u2019accompagnement, aussi appel\u00e9e <strong>basse continue <\/strong>ou <strong>continuo<\/strong>. Le continuo peut comprendre:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>d&rsquo;une part, des instruments monodique \u00e0 tessiture grave, comme la basse de viole de gambe, le violoncelle ou le basson<\/li>\n\n\n\n<li>d&rsquo;autre part, des instruments polyphoniques (jouant plusieurs sons), comme l\u2019orgue, le th\u00e9orbe (famille du luth) ou le clavecin.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXdE9C7RmeR3ojiyY5kJqlp0U-PanQF6YizKndpRK5rKgSrlsWyucgXZfgs78rpQizz_wVJ7WV5pVnvq0ELz09uDS2LLT1apO7wvaXq1kXeJCrjjP27dOMis-RPYsTy0OGD-XG6x0A?key=n9FjP1vvt9U31xx_u59FOpw0\" alt=\"\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Parenth\u00e8se: la basse continue fonctionne selon un principe de semi-improvisation. Les instruments monodiques graves (basson, violoncelle, basse de viole de gambe) jouent les notes \u00e9crites dans la port\u00e9e du bas (voir la ligne<em> Violone e organo<\/em>). Les instruments polyphoniques (luth, clavecin, orgue, th\u00e9orbe) <strong>agr\u00e9mentent<\/strong> le tout selon leur compr\u00e9hension, concert\u00e9e, de la progression harmonique, souvent indiqu\u00e9e \u00e0 l\u2019aide de chiffrages. Ces chiffrages constituent un <strong>code<\/strong> explicitant la <strong>nature de l\u2019accord<\/strong> \u00e0 jouer, en plus de la ligne de basse. Les instruments polyphoniques disposent d\u2019une <strong>relative libert\u00e9<\/strong> rythmique: ils peuvent en effet choisir de jouer des notes tenues ou d&rsquo;\u00e9grener les accords sur des valeurs plus courtes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pour en revenir \u00e0 notre sujet, eu \u00e9gard \u00e0 la possibilit\u00e9 dans la basse continue de combiner diff\u00e9rents instruments, si nous choisissons de confier cette partie \u00e0 un orgue, \u00e0 un basson et \u00e0 un th\u00e9orbe en m\u00eame temps, il en r\u00e9sulte que pour ex\u00e9cuter une sonate dite <strong>en trio<\/strong>, nous mobilisons 5 instruments. Deux instruments monodiques aig\u00fces (par exemple deux fl\u00fbtes) et trois instruments pour la basse continue (orgue+basson+th\u00e9orbe). Si bien que nous pourrions r\u00e9sumer cet article par l\u2019affirmation suivante: 2+3=3<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter is-resized\"><img decoding=\"async\" src=\"https:\/\/lh7-rt.googleusercontent.com\/docsz\/AD_4nXedNT9s4xN-TE9EDiAHGS9yht0S6oT6HDh0v0-EBrgYkM4geX3Md7Wj4I9m7xno2ra9z9UHIDoUkMw1_aeiXmsFahAwUsck4dMEmsZ7PNjpmJIIV-1KLYrWNK1OkSZ6e67-opY_bQ?key=n9FjP1vvt9U31xx_u59FOpw0\" alt=\"\" style=\"width:526px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Nous terminons en vous proposant d&rsquo;\u00e9couter quelques enregistrements de sonates en trio:<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2025\/01\/Vitali-Trio-Sonata-in-C-Major-Op.-1-No.-2_-I.-Grave.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Tomaso Antonio Vitali &#8211; <em>Sonate en Do, Op.1 No.2<\/em> (1667) &#8211; Semperconsort<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2025\/01\/Krieger-Sonata-No.-11-for-2-Violins-in-A-Major.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Johann Philipp Krieger &#8211; <em>Sonate No.11 pour 2 violons en La<\/em> (1693) &#8211; Parnassi Musici<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2025\/01\/Legrenzi-18-Sonatas-Op.-2_-No.-14-La-querini.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Giovanni Legrenzi- <em>Sonate Op.2 No.14, La querini<\/em> (1655)- Insieme Strumentale di Roma<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2025\/01\/Buxtehude-Trio-sonata-BuxWV-263.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Dietrich Buxtehude- <em>Sonate en La BuxWV263<\/em> (1696)- Ton Koopman, Paolo Pandolfo, Mike Fentross, Catherine Manson<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Au XVIIe si\u00e8cle, la musique purement instrumentale, aussi appel\u00e9e musique instrumentale idiomatique, est en plein essor. Il \u00e9tait question de repr\u00e9senter les passions humaines sans le secours des mots. A&hellip;<\/p>\n","protected":false},"author":1,"featured_media":161,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-158","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-baroque"],"_links":{"self":[{"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/posts\/158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=158"}],"version-history":[{"count":7,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/posts\/158\/revisions"}],"predecessor-version":[{"id":259,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/posts\/158\/revisions\/259"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/media\/161"}],"wp:attachment":[{"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}