{"id":43,"date":"2024-12-17T07:07:00","date_gmt":"2024-12-17T07:07:00","guid":{"rendered":"https:\/\/www.contrepointmarcassins.fr\/?p=43"},"modified":"2025-02-03T12:38:36","modified_gmt":"2025-02-03T11:38:36","slug":"polyphonie-du-xvie-siecle-se-defaire-de-la-capella","status":"publish","type":"post","link":"https:\/\/www.contrepointmarcassins.fr\/?p=43","title":{"rendered":"Polyphonie du XVIe si\u00e8cle: se d\u00e9faire de l\u2019a capella"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Au XVIe si\u00e8cle, en plein milieu de la Renaissance, la grande majorit\u00e9 de la musique \u00e9crite est vocale et plus sp\u00e9cifiquement polyphonique (= qui combine plusieurs voix). Chansons et madrigaux pour la cour, motets et messes pour l\u2019\u00e9glise, ces \u00e9l\u00e9ments constituent ce que l\u2019on pourrait grossi\u00e8rement appeler: la Polyphonie Renaissance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En \u00e9pluchant la discographie de quelques ensembles vocaux sp\u00e9cialis\u00e9s dans la Polyphonie Renaissance (The Cardinall\u2019s Musick, Ensemble Gilles Binchois, The Tallis Scholars ou encore Huelgas Ensemble), nous faisons le constat suivant: les artistes interpr\u00e8tes de notre temps ont tendance \u00e0 jouer ce r\u00e9pertoire <strong><em>a capella<\/em><\/strong><em>, <\/em>c\u2019est-\u00e0-dire avec voix seules, sans instruments.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Lassus_-Surge-propera-amica-mea.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Lassus- <em>Surge propera amica mea &#8211; <\/em>The Cardinall&rsquo;s Musick<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Certon-Que-nest-elle-aupres-de-moy.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Certon &#8211; <em>Que n&rsquo;est-elle aupr\u00e9s de moy<\/em> &#8211; Ensemble Gilles Binchois<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Byrd_-Infelix-Ego-3.-Ad-Te-Igitur.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Byrd &#8211;<em>Ad te igitur<\/em> &#8211; The Tallis Scholars<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Manchicourt-O-cruaulte.mp3\"><\/audio><figcaption class=\"wp-element-caption\">Manchicourt &#8211; <em>O cruault\u00e9<\/em> <em>&#8211; <\/em>Huelgas Ensemble<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Ainsi, l\u2019on pourrait croire qu\u2019il n\u2019existe aucun autre moyen de jouer le r\u00e9pertoire vocal polyphonique du XVIe si\u00e8cle. Lisons maintenant ce que le musicologue Manfred Bukofzer en dit dans son ouvrage <em>La Musique baroque<\/em> (sic):<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201c<em>A la Renaissance, la structure musicale s\u2019appuie [&#8230;] sur une \u00e9criture horizontale. Par sa nature m\u00eame, cette conception ne met pas en \u00e9vidence le langage propre \u00e0 tel instrument, si bien que les diff\u00e9rentes parties vocales peuvent \u00eatre ex\u00e9cut\u00e9es par la voix comme par l\u2019instrument. [&#8230;] La voix et l\u2019instrument \u00e9tant interchangeables, ce qui comptait, c\u2019\u00e9tait la r\u00e9alisation des parties, et non les moyens de cette r\u00e9alisation. [&#8230;] il n\u2019est donc pas possible de consid\u00e9rer la Renaissance comme l\u2019\u00e9poque du style a capella, contrairement \u00e0 l\u2019opinion couramment r\u00e9pandue<\/em>.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Que dire donc ? Que l\u2019a capella reste un choix interpr\u00e9tatif valide bien que non absolu. Il est tout \u00e0 fait possible d&rsquo;int\u00e9grer des instruments pour qu&rsquo;ils se substituent aux voix, ou encore pour qu&rsquo;ils les doublent. C&rsquo;est le principe du <strong>colla parte<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Voyez ce manuscrit de William Byrd \u00e0 6 parties.<\/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_4nXcYBvKzeL8YUTDCLJ2CWy5NEVR2-oq-0G3xKcVvTDjpm3WVWsJuIkeRElvFRnIghvS14e1v9HtO5lq0qq05csh_cYYXmX96r_OazgepMvKutiu9YO_l62EebXzQpV47ifOHqwIhgA?key=K8ps4yLytIU4RnwK8KWbicnd\" alt=\"\" style=\"width:330px;height:auto\"\/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\"> Selon les choix interpr\u00e9tatifs, voici quelques propositions de distribution:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<figure class=\"wp-block-table alignfull\"><table class=\"has-fixed-layout\"><tbody><tr><td><strong>A capella<\/strong><\/td><td><strong>sur instruments anciens<\/strong><\/td><td><strong>mixte 1<\/strong><\/td><td><strong>mixte 2<\/strong><\/td><td><strong>mixte 3<\/strong><\/td><td><strong>mixte 4<\/strong><\/td><\/tr><tr><td>Soprano 1<\/td><td>Violino da braccio<\/td><td>Soprano 1<\/td><td>Soprano 1<\/td><td>Soprano 1<\/td><td>Soprano 1 + Fl\u00fbte \u00e0 bec<\/td><\/tr><tr><td>Soprano 2<\/td><td>Fl\u00fbte \u00e0 bec<\/td><td>Bombarde<\/td><td>Soprano 2<\/td><td>Soprano 2<\/td><td>Soprano 2 + Chalemie + Violon<\/td><\/tr><tr><td>Alto 1<\/td><td>Viola da gamba<\/td><td>Viola da gamba<\/td><td rowspan=\"4\">Orgue<\/td><td>Cornet \u00e0 bouquin<\/td><td>Alto 1 + Cornet \u00e0 bouquin<\/td><\/tr><tr><td>Alto 2<\/td><td>Cornet \u00e0 bouquin<\/td><td>Viola da gamba<\/td><td>Cornet \u00e0 bouquin<\/td><td>Alto 2 + Cornet \u00e0 bouquin + Viola da gamba<\/td><\/tr><tr><td>T\u00e9nor<\/td><td>Sacqueboute<\/td><td>T\u00e9nor<\/td><td>Viola da gamba<\/td><td>T\u00e9nor + Viola da gamba<\/td><\/tr><tr><td>Basse<\/td><td>Serpent<\/td><td>Violoncelle<\/td><td>Basse<\/td><td>Basse + Violoncelle + Serpent + Basson<\/td><\/tr><\/tbody><\/table><\/figure>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"636\" src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Borcken-Consort-1024x636.jpg\" alt=\"\" class=\"wp-image-124\" style=\"width:712px;height:auto\" srcset=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Borcken-Consort-1024x636.jpg 1024w, https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Borcken-Consort-300x186.jpg 300w, https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Borcken-Consort-768x477.jpg 768w, https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Borcken-Consort.jpg 1100w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Pour vous donner une id\u00e9e d\u2019une distribution mixte (instruments seuls puis voix + instruments), nous vous proposons d\u2019\u00e9couter la <em>Missa Hercules Dux Ferrarie<\/em>&#8211; <strong>Sanctus<\/strong> de Josquin Desprez (ca.1450-1521), avec l\u2019ensemble <span style=\"text-decoration: underline;\">A Sei Voci<\/span> (voix), et <span style=\"text-decoration: underline;\">Les Sacqueboutiers<\/span> (instruments)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.contrepointmarcassins.fr\/wp-content\/uploads\/2024\/12\/Josquin-Missa-Hercules-Dux-Ferrariae_-V.-Sanctus-Benedictus.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Au XVIe si\u00e8cle, en plein milieu de la Renaissance, la grande majorit\u00e9 de la musique \u00e9crite est vocale et plus sp\u00e9cifiquement polyphonique (= qui combine plusieurs voix). Chansons et madrigaux&hellip;<\/p>\n","protected":false},"author":1,"featured_media":44,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,17],"tags":[],"class_list":["post-43","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-renaissance","category-voix"],"_links":{"self":[{"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/posts\/43","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=43"}],"version-history":[{"count":8,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/posts\/43\/revisions"}],"predecessor-version":[{"id":269,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/posts\/43\/revisions\/269"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=\/wp\/v2\/media\/44"}],"wp:attachment":[{"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=43"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=43"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.contrepointmarcassins.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=43"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}