{"id":22122,"date":"2018-02-01T20:46:42","date_gmt":"2018-02-01T20:46:42","guid":{"rendered":"https:\/\/www.camac-harps.com\/blog\/?p=22122"},"modified":"2018-03-09T12:27:37","modified_gmt":"2018-03-09T12:27:37","slug":"madame-scotia-madam-scrap","status":"publish","type":"post","link":"https:\/\/www.camac-harps.com\/blog\/fr\/actualites\/madame-scotia-madam-scrap\/","title":{"rendered":"\u00ab\u00a0Madame Scotia, Madam Scrap\u00a0\u00bb"},"content":{"rendered":"

\"Madame<\/a>H\u00e9l\u00e8ne Witcher a \u00e9crit un livre relatant la vie de sa tante, H\u00e9lo\u00efse Russell-Fergusson : \u00ab\u00a0Madame Scotia, Madam Scrap\u00a0\u00bb (The Islands Book Trust, 2017). Russell-Fergusson\u00a0(1896-1970) \u00e9tait une repr\u00e9sentante reconnue de la \u00ab\u00a0clarsach\u00a0\u00bb \u00e9cossaise \u00e0 l’\u00e9poque du premier renouveau celtique, \u00e0 la fin du XIXe – d\u00e9but du XXe si\u00e8cle. Sa personnalit\u00e9 publique \u00e9tait celle d’une celte romantique, v\u00eatue de longues robes blanches, chantant des airs des Iles H\u00e9brides et s’accompagnant \u00e0 la harpe. Cela lui a permis de rencontrer un large succ\u00e8s et elle a m\u00eame \u00e9t\u00e9 nomm\u00e9e Bardesse Druidique lors du Congr\u00e8s Celtique en Bretagne organis\u00e9e par\u00a0Fran\u00e7ois Jaffrennou<\/a>.\u00a0<\/p>\n

Bien loin de ces r\u00e9f\u00e9rences druidiques, Russell-Fergusson avait d\u00e9couvert la harpe dans la vitrine d’un magasin du centre-ville de Washington DC o\u00f9 elle donnait des cours de piano suite \u00e0 ses \u00e9tudes classiques \u00e0 la Royal Academy of Music de Londres. Bien qu’originaire d’Ecosse, elle n’\u00e9tait pas dans cette mouvance celtique : ces parents ne parlaient pas le ga\u00e9lique et faisaient partie de la bourgeoisie citadine de Glasgow. Son contact avec le ga\u00e9lique pendant son enfance s’est fait par le biais de sa nourrice et de la femme de chambre. Cependant, elle s’est imm\u00e9diatement sentie attir\u00e9e par cette harpe, d\u00e9cor\u00e9e avec des symboles celtiques :\u00a0<\/p>\n

\u00ab\u00a0J’ai \u00e9t\u00e9 transport\u00e9e \u00e0 des centaines de kilom\u00e8tres d’ici, l\u00e0 o\u00f9 les oiseaux marins lancent leurs cris per\u00e7ants \u00e0 travers le vent comme ils le faisaient il y a des si\u00e8cles. Les chansons du peuple des H\u00e9brides ! J’ai perdu toute notion du temps. Je filais la laine avec eux, je trayais les vaches. Je foulais le tissu alors que JE N’AVAIS JAMAIS VU FAIRE CELA.\u00a0Je chantais tragiquement des lamentes sur le rivage lorsque les marins ne revenaient pas. Cela m’est arriv\u00e9 si souvent. Ces \u00eeles m’\u00e9taient tellement famili\u00e8res alors que JE N’AVAIS JAMAIS ETE LA-BAS !\u00a0\u00bb (p. 40).\u00a0<\/p>\n

\"Irish<\/a>

Instrument de la Collection Camac de harpes historiques : harpe irlandaise \u00ab\u00a0mod\u00e8le junior\u00a0\u00bb, n\u00b0 645 jr (Syracuse, New York, 1920-1930).<\/p><\/div>\n

Cet imaginaire est typique du premier renouveau celtique. Les revivalistes \u00e9taient principalement des intellectuels de la classe moyenne : des r\u00e9actionnaires politiques ou des spiritualistes plut\u00f4t romantiques comme l’\u00e9tait la fervente scientiste chr\u00e9tienne Russell-Fergusson. En tout cas, ils ne s’embarrassaient pas de notions contemporaines comme l’exactitude historique. C’est le breton Th\u00e9odore de la Villemarqu\u00e9, s’int\u00e9ressant \u00e0 la litt\u00e9rature orale en Bretagne, qui avait vu ladite harpe. Il en avait conclu, de fa\u00e7on tr\u00e8s optimiste, qu’elle avait appartenu aux anciens bardes bretons, ou m\u00eame \u00e0 des pr\u00eatres. Sans surprise, aucun document ne venait \u00e9tayer cette th\u00e8se, l’\u00e9crit \u00e9tant formellement interdit dans la religion celtique. Il n’y avait pas non plus un type bien d\u00e9fini de harpe celtique, et les harpes \u00e0 cette \u00e9poque du renouveau celtique ont \u00e9t\u00e9 construites en s’inspirant des harpes de luthiers de l’\u00e9poque : l’une des harpes de Russell-Fergusson portait l’inscription \u00ab\u00a0cette harpe, la premi\u00e8re en son genre, a \u00e9t\u00e9 r\u00e9alis\u00e9e \u00e0 Haslemere en juillet 1932 pour Heloise Russell-Fergusson par Arnold Dolmetsch\u00a0\u00bb.\u00a0Russell-Fergusson ne donnait pas de repr\u00e9sentations historiques. Elle a continu\u00e9 \u00e0 jouer en tant que pianiste classique, tout en donnant des concerts de chants des H\u00e9brides avec sa harpe Syracuse (probablement une Clark, nous en avons une semblable dans notre\u00a0collection Camac<\/a>). Elle a aussi donn\u00e9 divers concerts avec des harpistes classiques comme\u00a0Mildred Dilling<\/a> et\u00a0Maria Korchinska<\/a>.\u00a0<\/p>\n

Malgr\u00e9 ce melting-pot, il est int\u00e9ressant de noter que plus tard dans sa vie, Russell-Fergusson s’est donn\u00e9 beaucoup de mal pour enregistrer ses chansons ainsi que le bruit de la mer d’Ecosse, des mouettes et du vent. Les revivalistes avaient tous en commun ce d\u00e9sir de rendre un r\u00e9cit culturel satisfaisant, souvent diff\u00e9rent ce ceux avec lesquels ils avaient grandi. Souvent d\u00e9crit comme un retour romantique au pouvoir de la nature dans une \u00e9poque autrement plus moderne et industrielle, ils cherchaient aussi souvent \u00e0 pr\u00e9server leurs r\u00e9cits pour les autres.\u00a0<\/p>\n

De nos jours, la vision romantique des cultures celtiques est devenue tout aussi d\u00e9mod\u00e9e que la Science Chr\u00e9tienne. M\u00eame du temps de Russell-Fergusson, des critiques n’avaient de cesse de la remettre en question. Mais pour tout musicien qui s’int\u00e9resse \u00e0 l’histoire, il est tout aussi important d’\u00e9tudier des id\u00e9es qui ne sont plus dans l’air du temps que celles qui sont \u00e0 la mode actuellement. Si vous ne questionnez pas vos perspectives, en particulier en les comparant \u00e0 celles des autres, vous ne portez pas une vision critique et il devient difficile de se d\u00e9velopper en tant qu’artiste. Plus vous vous int\u00e9ressez aux courants musicaux et culturels \u00e0 travers le temps, plus il vous appara\u00eet clairement que les notions d’authenticit\u00e9 sont flexibles, et ce, sans perdre en sinc\u00e9rit\u00e9.\u00a0Le renouveau celtique a accapar\u00e9 l’imagination d’un grand nombre de personnes, et c’est toujours le cas aujourd’hui dans ses formes contemporaines. La musique traditionnelle de nos jours est l’une des esth\u00e9tiques musicales les plus ouvertes, m\u00ealant ais\u00e9ment les racines celtiques avec du jazz, du rock, de l’avant-garde.\u00a0Par le plaisir et la satisfaction que cela procure \u00e0 tous, bon nombre d’entre nous avec un bagage musical classique pouvons r\u00e9fl\u00e9chir au fait que tout ne doit pas forc\u00e9ment \u00eatre fig\u00e9 pour avoir de la signification ou de la valeur.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

La biographie de H\u00e9lo\u00efse Russell-Fergusson, harpiste \u00e0 l’\u00e9poque du renouveau celtique, apporte des pistes de r\u00e9flexion concernant l’authenticit\u00e9 en musique.<\/p>\n","protected":false},"author":3,"featured_media":22095,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[533],"tags":[],"class_list":["post-22122","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualites"],"acf":[],"yoast_head":""Madame Scotia, Madam Scrap" - Camac Harps<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.camac-harps.com\/blog\/fr\/actualites\/madame-scotia-madam-scrap\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""Madame Scotia, Madam Scrap" - 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