{"id":2685,"date":"2024-06-21T11:23:47","date_gmt":"2024-06-21T09:23:47","guid":{"rendered":"https:\/\/pulsations.art\/?p=2685"},"modified":"2024-07-03T18:51:22","modified_gmt":"2024-07-03T16:51:22","slug":"bruckner-8-manfred-honeck-rco-het-concertgebouw-amsterdam-20-juin-2024","status":"publish","type":"post","link":"https:\/\/pulsations.art\/en\/bruckner-8-manfred-honeck-rco-het-concertgebouw-amsterdam-20-juin-2024\/","title":{"rendered":"Bruckner 8, Manfred Honeck, RCO, Het Concertgebouw, Amsterdam, June 20th"},"content":{"rendered":"\t\t
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Une 8e de Bruckner palpitante, \u00e0 la fois intime et universelle<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Une magistrale interpr\u00e9tation de ce sommet de l’art symphonique, par un Manfred Honeck habit\u00e9, un RCO en l\u00e9vitation et un public impressionnant de concentration.<\/i><\/p>

Cr\u00e9dits photographiques :\u00a0<\/p>

Eduardus Lee<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Date et lieu : 20 juin 2024, Het Concertgebouw d’Amsterdam
Chef d\u2019orchestre : Manfred Honeck<\/p>

Orchestre : Orchestre Royal du Concertgebouw d’Amsterdam<\/p>

Programme :<\/span><\/strong><\/p>

Anton BRUCKNER, Symphonie n\u00b08 en ut<\/em> mineur<\/p>

\u00a0<\/p>

Le 2 octobre 1920, l\u2019Orchestre du Concertgebouw donna la premi\u00e8re n\u00e9erlandaise de la Huiti\u00e8me symphonie de Bruckner. Dans l\u2019un des journaux, la performance fut qualifi\u00e9e de \u00ab splendide \u00bb ; dans un autre, le critique nota que \u00ab\u00a0 de nombreux spectateurs quitt\u00e8rent la salle avant le finale \u00bb. Le temps n\u2019\u00e9tait pas encore venu pour Bruckner. Ce n\u2019est que dans les ann\u00e9es 1950 que le Ma\u00eetre de Saint Florian devint le fer de lance de la prestigieuse phalange amstellodamoise et que tous ses chefs titulaires se firent un devoir d\u2019inscrire Bruckner \u00e0 leur r\u00e9pertoire. En cette ann\u00e9e du bicentenaire de la naissance du compositeur autrichien, chacune des 9 symphonies (on pourra regretter l\u2019absence des symphonies 0 et 00)\u00a0 <\/span>est confi\u00e9e \u00e0 un chef diff\u00e9rent. Et pour ce premier jour d\u2019\u00e9t\u00e9, c\u2019est Christian Thielemann – malheureusement souffrant – qui devait s\u2019illustrer dans la Huiti\u00e8me. C\u2019est Manfred Honeck qui dut le remplacer au pied lev\u00e9. Le chef autrichien a d\u00e9j\u00e0 grav\u00e9 deux tr\u00e8s belles interpr\u00e9tations salu\u00e9es par la critique des Quatri\u00e8me<\/em> et Neuvi\u00e8me symphonies<\/em> avec son orchestre de Pittsburgh. <\/span><\/p>

La Huiti\u00e8me symphonie<\/em>, en ut<\/em> mineur, compos\u00e9e entre 1884 et 1892, derni\u00e8re \u0153uvre d\u2019envergure achev\u00e9e par Bruckner, est l\u2019une des partitions les plus importantes du r\u00e9pertoire symphonique. Ce chef-d\u2019\u0153uvre, souvent d\u00e9crit comme une \u00ab\u00a0cath\u00e9drale musicale\u00a0\u00bb, est cens\u00e9 incarner la profondeur religieuse et la complexit\u00e9 \u00e9motionnelle du compositeur. Manfred Honeck propose ce soir une magistrale interpr\u00e9tation de cette symphonie superlative, sorte d\u2019apoth\u00e9ose de l\u2019art symphonique europ\u00e9en de la fin du XIXe si\u00e8cle. <\/span><\/p>

D\u00e8s les premi\u00e8res notes, le son plein et chaleureux si caract\u00e9ristique du RCO enveloppe la salle. La symphonie s\u2019ouvre sur le drame de doute, mais rapidement, la sensualit\u00e9 impr\u00e8gne l\u2019\u0153uvre avec des r\u00e9miniscences de berceuse. Manfred Honeck choisit un tempo ample, permettant au th\u00e8me au hautbois, qui annonce d\u00e9j\u00e0 le premier mouvement de la Neuvi\u00e8me symphonie<\/em>, de se d\u00e9velopper pleinement. Les cordes, d\u2019une tenue exceptionnelle, du d\u00e9but \u00e0 la fin du concert, offrent des pianissimi d\u2019une rare finesse, alternant entre doutes et affirmations toujours dans une clart\u00e9 \u00e9poustouflante.<\/span><\/p>

La suspension du temps dans le solo du cor, auquel r\u00e9pond le hautbois, est magistrale. Honeck sait \u00e9tirer les moments sans lourdeur, laissant les questions de Bruckner r\u00e9sonner avec une clart\u00e9 inou\u00efe, dans des plans sonores finement expos\u00e9s. Il r\u00e9v\u00e8le l\u2019\u00e9tagement des th\u00e8mes, jouant sur les contrastes, adret et ubac en ce jour de solstice d\u2019\u00e9t\u00e9, cultivant un h\u00e9donisme sonore rendu possible par son prodigieux orchestre. Mais ce n\u2019est jamais gratuit : la main gauche de Honeck, douce et expressive, nous offre une vision autant biographique (les atermoiements de la foi de Bruckner) qu\u2019historique (le ciel de l\u2019Europe qui s\u2019obscurcit).<\/span><\/p>

La fin du premier mouvement est particuli\u00e8rement saisissante : proprement inou\u00ef, il est jou\u00e9 comme un c\u0153ur qui cesse de battre peu \u00e0 peu jusqu\u2019\u00e0 l\u2019extinction. Le silence et la concentration du public sont d\u2019une intensit\u00e9 rare.<\/span><\/p>

Le deuxi\u00e8me mouvement prend une tournure diff\u00e9rente avec un scherzo d\u00e9dramatis\u00e9, contenant n\u00e9anmoins quelques \u00e9l\u00e9ments d\u2019inqui\u00e9tude. Honeck ralentit soudainement le tempo, prenant le temps de sonder, de sculpter, et d\u2019ausculter les palpitations et les intermittences du c\u0153ur. Puis, un nouveau th\u00e8me appara\u00eet : presque une valse, avec des harpes aux sonorit\u00e9s de c\u00e9lesta, suivies par le silence et le retour au questionnement, toujours avec ce m\u00eame sens du ralentissement sensuel. On a rarement entendu quelque chose d\u2019aussi \u00ab\u00a0viennois\u00a0\u00bb dans ce scherzo, loin des L\u00e4ndler<\/em> mahl\u00e9riens de la Troisi\u00e8me symphonie<\/em>. Honeck sait tout ce que Bruckner doit \u00e0 Schubert : c\u2019est une interpr\u00e9tation g\u00e9n\u00e9reuse, le c\u0153ur sur la main, intime dans son gigantisme, g\u00e9ante dans son intimit\u00e9, touchant ainsi \u00e0 l\u2019universel.<\/span><\/p>

La r\u00e9exposition du motif A proc\u00e8de par vagues sonores, dans ce scherzo plus \u00e9l\u00e9gant et apais\u00e9 que sardonique. L\u2019orchestre se distingue par l\u2019excellence des cuivres, le fr\u00e9missement des cordes, et l\u2019usage de rallentendos d\u2019une grande justesse, qui ont un sens profond et parfaitement int\u00e9gr\u00e9 \u00e0 l\u2019interpr\u00e9tation.<\/span><\/p>

Avant de commencer l\u2019adagio, en r\u00e9<\/em> b\u00e9mol majeur, Manfred Honeck attend de longues secondes, comme si, pour paraphraser une c\u00e9l\u00e8bre boutade, le silence qui pr\u00e9c\u00e8de Bruckner \u00e9tait d\u00e9j\u00e0 du Bruckner. L\u2019adagio vibre subrepticement avec l\u2019\u00e9motion retenue du Quintette<\/em> en ut<\/em> de Schubert, dont il est ici le descendant, imposant une gravit\u00e9 tendre et des moments de pure \u00e9motion. Honeck sait faire respirer l\u2019orchestre, laissant parler l\u2019\u00e9vidence de la musique. Il fut l\u2019assistant du regrett\u00e9 Claudio Abbado, on sent son influence dans cette interpr\u00e9tation : l\u2019attention aux pupitres, au service de la seule musique.<\/span><\/p>

C\u2019est le temps des regrets cr\u00e9pusculaires, aussi, dans cet adagio aussi grave que r\u00e9confortant, tendre, jamais path\u00e9tique, tr\u00e8s noble et toujours humble. Honeck incarne cette musique avec une hauteur de vue impressionnante, creusant le silence d\u2019une mani\u00e8re qui rappelle autant Abbado que Celibidache. Le violon solo par lequel se termine le mouvement se distingue de mani\u00e8re tr\u00e8s audible, et Honeck maintient l\u2019int\u00e9r\u00eat tout au long de ce mouvement de pr\u00e8s d\u2019une demi-heure, consid\u00e9r\u00e9 comme l\u2019un des plus beaux adagios de l\u2019histoire. Des moments d\u2019hypnotisante transcendance jalonnent ce passage, faisant de la Huiti\u00e8me<\/em> une symphonie du temps, et sur le temps. Il faut entendre ces pizzicati qui \u00e9gr\u00e8nent les secondes et qui r\u00e9v\u00e8lent un Bruckner humain, jamais bruyant ou trop mystique. <\/span><\/p>

En ma\u00eetre du temps, pr\u00e9cis\u00e9ment, Honeck propose une synth\u00e8se humaniste, chaleureuse, humble, spirituelle et r\u00e9fl\u00e9chie de l\u2019\u0153uvre : tout y est ! La fin, wagn\u00e9rienne (les tubas !) aux accents de l\u2019Or du Rhin<\/em>, donne une cl\u00e9 de compr\u00e9hension : comme Alberich, Bruckner a renonc\u00e9 \u00e0 l\u2019amour pour forger un autre anneau, celui de la musique et de l\u2019art, sublimant les turpitudes de la chair : \u00ab\u00a0tu m\u2019as donn\u00e9 de la boue et j\u2019en ai fait de l\u2019or\u00a0\u00bb, alchimiste des notes.<\/span><\/p>

Le dernier mouvement, souvent attendu comme un climax triomphal, ou une \u00ab\u00a0bataille des d\u00e9mons\u00a0\u00bb, ne verse jamais dans le spectacle de la grande cavalcade. Honeck, usant d\u2019un tempo soutenu, en fait une continuit\u00e9 avec le mouvement pr\u00e9c\u00e9dent. \u00c0 la fois chthonien, aquatique et a\u00e9rien, ce mouvement repr\u00e9sente une symphonie \u00e9l\u00e9mentaire, parsem\u00e9e de quelques ultimes embrasements cr\u00e9pusculaires.<\/span><\/p>

Cet ultime soubresaut concentre les effets, c\u2019est le moment des r\u00e9solutions, tout en laissant parfois entendre encore quelques \u00e9chos de l\u2019Or du Rhin<\/em>. La coda arrive, conforme aux attentes de Bruckner, avec un mouvement impressionnant de calme grandiose qui n\u2019est pas sans rappeler l\u2019Inachev\u00e9e<\/em> de Schubert. C\u2019est l\u2019acceptation m\u00e9lancolique mais rass\u00e9r\u00e9n\u00e9e de la vie telle qu\u2019elle est, les portes grandes ouvertes sur l\u2019\u00e9ternit\u00e9. Standing ovation imm\u00e9diate et m\u00e9rit\u00e9e !<\/span><\/p>

Au cours de ce parcours symphonique, acm\u00e9 de la symphonie europ\u00e9enne du XIXe si\u00e8cle, on est ainsi pass\u00e9 des gouffres aux cimes, des blessures hercul\u00e9ennes aux gu\u00e9risons chironiennes, dans un cheminement labyrinthique dont Honeck dessine les contours cathartiques. Ce portrait d\u2019un homme humble et d\u2019une Europe qui peut basculer et chavirer \u00e0 tout instant rappelle Stefan Zweig. La Vienne insouciante s\u2019appr\u00eate \u00e0 \u00eatre boulevers\u00e9e et psychanalys\u00e9e. La coda r\u00e9g\u00e9n\u00e9ratrice et doucement r\u00e9sign\u00e9e permet n\u00e9anmoins de faire triompher les lumi\u00e8res de l\u2019esp\u00e9rance.<\/span><\/p>

\u00a0<\/p>

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ENCOUNTERS AT THE EDGE OF THE NORTH – SIBELIUS FESTIVAL 2025 LAHTI<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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LUCERNE FESTIVAL ORCHESTRA – BOULEZ \/ MAHLER – RICCARDO CHAILLY : MIRROR OF THE WORLDS<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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LUCERNE FESTIVAL ORCHESTRA – BOULEZ \/ MAHLER – RICCARDO CHAILLY : LE MIROIR DES MONDES<\/a><\/h3><\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\tPierre Boulez (1925-2016) \u00a9 DR Sous la baguette de Riccardo Chailly, le concert d\u2019ouverture du...\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t
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Inscrivez-vous \u00e0 notre newsletter et tenez vous inform\u00e9 des derni\u00e8res actualit\u00e9s classique : concerts, sortie d'albums, interviews exclusives... <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    Une 8e de Bruckner palpitante, \u00e0 la fois intime et universelle Une magistrale interpr\u00e9tation de ce sommet de l’art symphonique, par un Manfred Honeck habit\u00e9, un RCO en l\u00e9vitation et un public impressionnant de concentration. Cr\u00e9dits photographiques :\u00a0 Eduardus Lee Date et lieu : 20 juin 2024, Het Concertgebouw d’AmsterdamChef d\u2019orchestre : Manfred Honeck Orchestre […]<\/p>\n","protected":false},"author":3,"featured_media":2707,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center 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