Maurice Emmanuel : un regard impartial sur Debussy
Identifieur interne : 000088 ( Hal/Corpus ); précédent : 000087; suivant : 000089Maurice Emmanuel : un regard impartial sur Debussy
Auteurs : Denis HerlinSource :
Descripteurs français
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Abstract
When Maurice Emmanuel published his analysis of Pelléas et Mélisande in 1926, he provided the public with the first serious study of this work, the premiere of which, in 1902, had had a lasting impact on an entire generation. As he himself admitted, he never was close to Debussy; yet, in his youth, he had had contacts with him at the Conservatoire. A meticulous observer, he kept from that period a set of detailed notes on the ideas and viewpoints of the "troublemaker" who, had the time, called himself Achille Debussy. Emmanuel's analysis is essentially based on the theory of a dualism between Debussy's command, from his earliest years, of a new musical language, as he had witnessed at the time when he improvised, and the less audacious works that preceded Pelléas, notably his Rome cantata, L'Enfant prodigue. Challenged first by Saint-Saëns, who questioned his taste for Debussy's art, then by Paul Landormy, Emmanuel justified his testimony by his own modal experiments as a composer, which caused him to be expelled from the Conservatoire and to become acquainted with Debussy, then auditing Ernest Guiraud's class. Beside his historical and musicological approach, Emmanuel examines dispassionately Debussy's oeuvre through the difficult, painful history of the failures of his early career as a composer. This article is completed by two appendiced: the first gathers three documents on the polemical exchange between Camille Saint-Saëns and Emmanuel; the second contains three letters between Emmanuel and Charles Koechlin concerning his theories on Debussy's early works.
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published his analysis of Pelléas et Mélisande in 1926, he provided the public with the first serious study of this work, the premiere of which, in 1902, had had a lasting impact on an entire generation. As he himself admitted, he never was close to Debussy; yet, in his youth, he had had contacts with him at the Conservatoire. A meticulous observer, he kept from that period a set of detailed notes on the ideas and viewpoints of the "troublemaker" who, had the time, called himself Achille Debussy. Emmanuel's analysis is essentially based on the theory of a dualism between Debussy's command, from his earliest years, of a new musical language, as he had witnessed at the time when he improvised, and the less audacious works that preceded Pelléas, notably his Rome cantata, L'Enfant prodigue. Challenged first by Saint-Saëns, who questioned his taste for Debussy's art, then by Paul Landormy, Emmanuel justified his testimony by his own modal experiments as a composer, which caused him to be expelled from the Conservatoire and to become acquainted with Debussy, then auditing Ernest Guiraud's class. Beside his historical and musicological approach, Emmanuel examines dispassionately Debussy's oeuvre through the difficult, painful history of the failures of his early career as a composer. This article is completed by two appendiced: the first gathers three documents on the polemical exchange between Camille Saint-Saëns and Emmanuel; the second contains three letters between Emmanuel and Charles Koechlin concerning his theories on Debussy's early works.</div></front></TEI><hal api="V3"> <titleStmt> <title xml:lang="fr">Maurice Emmanuel : un regard impartial sur Debussy</title> <author role="aut"> <persName> <forename type="first">Denis</forename> <surname>Herlin</surname> </persName> <email type="md5">e4f6906955efa597f8fb63de3c80bf78</email> <email type="domain">wanadoo.fr</email> <idno type="halauthorid">78218</idno> <affiliation ref="#struct-512"></affiliation> </author> <editor role="depositor"> <persName> <forename>Denis</forename> <surname>Herlin</surname> </persName> <email type="md5">4c37ed3becf25d881db1cb9eb99500d8</email> <email type="domain">orange.fr</email> </editor> </titleStmt> <editionStmt> <edition n="v1" type="current"> <date type="whenSubmitted">2008-01-30 10:58:23</date> <date type="whenModified">2018-09-14 09:56:02</date> <date type="whenReleased">2008-01-30 10:58:23</date> <date type="whenProduced">2007</date> </edition> <respStmt> <resp>contributor</resp> <name key="108592"> <persName> <forename>Denis</forename> <surname>Herlin</surname> </persName> <email type="md5">4c37ed3becf25d881db1cb9eb99500d8</email> <email type="domain">orange.fr</email> </name> </respStmt> </editionStmt> <publicationStmt> <distributor>CCSD</distributor> <idno type="halId">halshs-00224988</idno> <idno type="halUri">https://halshs.archives-ouvertes.fr/halshs-00224988</idno> <idno type="halBibtex">herlin:halshs-00224988</idno> <idno type="halRefHtml">Maurice Emmanuel Compositeur français, Bärenreiter, pp.49-80, 2007</idno> <idno type="halRef">Maurice Emmanuel Compositeur français, Bärenreiter, pp.49-80, 2007</idno> </publicationStmt> <seriesStmt> <idno type="stamp" n="IRPMF">IRPMF</idno> <idno type="stamp" n="CNRS">CNRS</idno> <idno type="stamp" n="SHS">SHS</idno> <idno type="stamp" n="AO-MUSICOLOGIE" p="SHS">AO-MUSICOLOGIE</idno> <idno type="stamp" n="BNF">BNF</idno> <idno type="stamp" n="BNF_IRPMF" p="BNF">BNF_IRPMF</idno> </seriesStmt> <notesStmt> <note type="audience" n="1">Not set</note> <note type="popular" n="0">No</note> </notesStmt> <sourceDesc> <biblStruct> <analytic> <title xml:lang="fr">Maurice Emmanuel : un regard impartial sur Debussy</title> <author role="aut"> <persName> <forename type="first">Denis</forename> <surname>Herlin</surname> </persName> <email type="md5">e4f6906955efa597f8fb63de3c80bf78</email> <email type="domain">wanadoo.fr</email> <idno type="halauthorid">78218</idno> <affiliation ref="#struct-512"></affiliation> </author> </analytic> <monogr> <title level="m">Maurice Emmanuel Compositeur français</title> <imprint> <publisher>Bärenreiter</publisher> <biblScope unit="pp">49-80</biblScope> <date type="datePub">2007</date> </imprint> </monogr> </biblStruct> </sourceDesc> <profileDesc> <langUsage> <language ident="fr">French</language> </langUsage> <textClass> <keywords scheme="author"> <term xml:lang="fr">Debussy</term> <term xml:lang="fr">Maurice Emmanuel</term> <term xml:lang="fr">Charles Koechlin</term> <term xml:lang="fr">Camille Saint-Saëns</term> <term xml:lang="fr">Pelleas et Mélisande</term> <term xml:lang="fr">esthétique musicale</term> </keywords> <classCode scheme="halDomain" n="shs.musiq">Humanities and Social Sciences/Musicology and performing arts</classCode> <classCode scheme="halTypology" n="COUV">Book sections</classCode> </textClass> <abstract xml:lang="en">When Maurice Emmanuel published his analysis of Pelléas et Mélisande in 1926, he provided the public with the first serious study of this work, the premiere of which, in 1902, had had a lasting impact on an entire generation. As he himself admitted, he never was close to Debussy; yet, in his youth, he had had contacts with him at the Conservatoire. A meticulous observer, he kept from that period a set of detailed notes on the ideas and viewpoints of the "troublemaker" who, had the time, called himself Achille Debussy. Emmanuel's analysis is essentially based on the theory of a dualism between Debussy's command, from his earliest years, of a new musical language, as he had witnessed at the time when he improvised, and the less audacious works that preceded Pelléas, notably his Rome cantata, L'Enfant prodigue. Challenged first by Saint-Saëns, who questioned his taste for Debussy's art, then by Paul Landormy, Emmanuel justified his testimony by his own modal experiments as a composer, which caused him to be expelled from the Conservatoire and to become acquainted with Debussy, then auditing Ernest Guiraud's class. Beside his historical and musicological approach, Emmanuel examines dispassionately Debussy's oeuvre through the difficult, painful history of the failures of his early career as a composer. This article is completed by two appendiced: the first gathers three documents on the polemical exchange between Camille Saint-Saëns and Emmanuel; the second contains three letters between Emmanuel and Charles Koechlin concerning his theories on Debussy's early works.</abstract> <abstract xml:lang="fr">Quand Maurice Emmanuel publia son analyse de Pelléas et Mélisande en 1926, il offrit au public la première étude sérieuse sur cette oeuvre, dont la création, qui avait eu lieu en 1902, avait marqué toute une génération. Comme il admit lui-même, il n'a jamais été un intime de Debussy, bien que l'ayant côtoyé dans sa jeunesse au Conservatoire. Observateur scrupuleux, il conserva de cette période une série de notes détaillées sur les idées et les points de vue de ce fauteur de troubles qui s'appelait encore à cette époque Achille Debussy. L'analyse d'Emmanuel est essentiellement basée sur une théorie du dualisme entre la maîtrise d'un nouveau langage musical, dont fut témoin Emmanuel lorsque dans sa jeunesse Debussy improvisait, et la composition d'œuvres moins audacieuses qui précédèrent Pelléas, notamment sa cantate de Rome, L'Enfant prodigue. Interrogé par Camille Saint-Saëns sur son goût pour l'art de Debussy, puis par Paul Landormy, Emmanuel justifia son témoignage par ses propres expériences de jeune compositeur sur la modalité, lesquelles provoquèrent son exclusion du Conservatoire. Emmanuel examine l'œuvre de Debussy à travers sa difficile et douloureuse histoire de son échec comme jeune compositeur. L'article est complété par deux appendices : le premier réunit trois documents sur la polémique entre Camille Saint-Saëns et Emmanuel ; le second rassemble trois lettres de Charles Koechlin et d'Emmanuel à propos des théories de ce dernier sur les œuvres de jeunesse de Debussy.</abstract> </profileDesc> </hal></record>Pour manipuler ce document sous Unix (Dilib)
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