{"id":2454,"date":"2015-10-14T04:14:38","date_gmt":"2015-10-14T04:14:38","guid":{"rendered":"http:\/\/www.harpblog.info\/?p=2454"},"modified":"2017-06-29T07:14:35","modified_gmt":"2017-06-29T07:14:35","slug":"en-attendant-le-festival-camac-j-2-2","status":"publish","type":"post","link":"https:\/\/www.camac-harps.com\/blog\/fr\/non-classifiee\/en-attendant-le-festival-camac-j-2-2\/","title":{"rendered":"En attendant le Festival Camac : J-2 !"},"content":{"rendered":"

\"Countdown<\/p>\n

Le Festival Camac<\/a>\u00a0ne\u00a0commence qu’apr\u00e8s-demain \u00e0 Nancy, mais nous sommes d\u00e9j\u00e0 sur place, et les r\u00e9p\u00e9titions pour la grande soir\u00e9e de vendredi autour des plus beaux concertos ont d\u00e9but\u00e9. Aujourd’hui, nous vous proposons un enregistrement r\u00e9alis\u00e9 par\u00a0Elinor Bennett<\/a>\u00a0sur harpe triple galloise. Elinor jouera samedi apr\u00e8s-midi dans le cadre du Festival, pour un concert sur instruments historiques (dont la harpe triple que Jakez a mis si longtemps \u00e0 trouver !).<\/p>\n

\"Jakez<\/a>

Jakez, heureux d’avoir enfin trouv\u00e9 sa harpe triple, en prend possession au Festival de Harpe d\u2019\u00c9dimbourg en 2012. Vous pouvez constater sur cette photo que c’est un instrument de grande taille !<\/p><\/div>\n

Au cinqui\u00e8me jour de notre d\u00e9compte, nous avons eu la chance d’entendre le concerto de Haendel interpr\u00e9t\u00e9 par\u00a0Val\u00e9rie Milot sur son\u00a0Atlantide<\/a>. La harpe triple \u00e9tait en r\u00e9alit\u00e9 le seul type de harpe que Haendel ait jamais connu et, \u00e0 l’origine, le Concerto en Si b\u00e9mol a \u00e9t\u00e9 compos\u00e9 pour cet instrument. Nous savons que le virtuose aveugle John Parry a interpr\u00e9t\u00e9 le Concerto de Haendel sur harpe triple (il existe des textes le confirmant, d\u00e9crivant le harpiste par exemple \u00e0 Londres en 1741), et il a probablement jou\u00e9 aussi pour Haendel \u00e0 diverses occasions, \u00e9tant souvent \u00e0 Londres avec son protecteur,\u00a0Sir Watkin Williams Wynn. Sir Watkin \u00e9tait un parlementaire influent, qui poss\u00e9dait des propri\u00e9t\u00e9s \u00e0\u00a0Ruabon et \u00e0 Londres, et\u00a0\u00ab\u00a0le Harpiste Aveugle\u00a0\u00bb a pu b\u00e9n\u00e9ficier d’une notori\u00e9t\u00e9 plus importante et plus cosmopolite que la plupart de ses contemporains, \u00e0 une \u00e9poque o\u00f9 de nombreux harpistes menaient une existence pauvre.\u00a0Sa c\u00e9cit\u00e9 a eu peu d’incidence sur sa carri\u00e8re musicale : il voyagea beaucoup et donna des concerts \u00e0 de nombreuses reprises \u00e0 Londres, Cambridge, Oxford, Leeds et m\u00eame Dublin.<\/p>\n

John Parry est \u00e9galement\u00a0consid\u00e9r\u00e9 comme un pionnier en mati\u00e8re d’\u00e9dition de musique galloise.\u00a0L’enregistrement qu’Elinor a r\u00e9alis\u00e9 et que nous vous offrons aujourd’hui est une pi\u00e8ce intitul\u00e9e\u00a0\u00ab\u00a0Nos Galan\u00a0\u00bb (\u00ab\u00a0R\u00e9veillon du Nouvel An\u00a0\u00bb), extraite de l’important recueil\u00a0British Harmony<\/em>\u00a0(1781) de John Parry. Cet ouvrage\u00a0comporte 42 ballades, chants de No\u00ebl, m\u00e9lodies populaires galloises et\u00a0pi\u00e8ces pour harpe, dont 33 \u00e9taient jusqu’alors in\u00e9dits.\u00a0D’autres recueils, comme\u00a0le\u00a0Welsh, English, Scotch Airs with variations<\/em>\u00a0de 1761, \u00e9taient plus proches du style musical de l’\u00e9poque que de la musique traditionnelle galloise.<\/p>\n

\"John<\/a>

\u00ab\u00a0John Parry the\u00a0Blind Harpist, With an Assistant\u00a0\u00bb (William Parry. Sir Watkin Williams-Wynn Collection, Mus\u00e9e National du pays de Galles)<\/p><\/div>\n

John Parry a compos\u00e9 et interpr\u00e9t\u00e9 \u00e0 la fois de la musique \u00ab\u00a0savante\u00a0\u00bb et de la musique traditionnelle. De m\u00eame, la Harpe Triple est largement consid\u00e9r\u00e9e comme \u00e9tant un instrument gallois, mais cela est d\u00fb plus \u00e0 une adoption culturelle d\u00e9lib\u00e9r\u00e9e, qu’\u00e0 une tradition ancienne.\u00a0Cela rappelle quelque peu le renouveau celtique en Bretagne, qui a en fait d\u00e9but\u00e9 dans le milieu intellectuel parisien dans les ann\u00e9es 1950. La harpe triple fit d’abord son apparition en Italie \u00e0 la fin du XVIe si\u00e8cle. Elle succ\u00e9da \u00e0 la\u00a0\u00ab\u00a0Arpa Doppia\u00a0\u00bb \u00e0 deux rang\u00e9es de cordes, et devint pr\u00e9pond\u00e9rante dans les milieux musicaux fran\u00e7ais et italiens.\u00a0Cet instrument n’\u00e9tait certainement jou\u00e9 que dans le monde aristocratique:\u00a0Martin Mersenne \u00e9crit dans son\u00a0\u00ab\u00a0Harmonie Universale\u00a0\u00bb de 1636\u00a0que c’\u00e9tait la harpe de l’\u00e9lite intellectuelle.<\/p>\n

C’est le harpiste fran\u00e7ais Jean Le Flesle qui a introduit la harpe triple \u00e0 la cour de Charles Ier d’Angleterre (1629 – 1641), et quand Charles II (1649 – 1685) monta sur le tr\u00f4ne, l’instrument \u00e9tait devenu incontournable \u00e0 Londres.\u00a0Il fut rapidement adopt\u00e9 par les harpistes gallois \u00e0 Londres \u00e0 la fin du XVIIe si\u00e8cle – d\u00e9but du XVIIIe si\u00e8cle, et rapport\u00e9 au pays de Galles : ce n’est qu’\u00e0 cette \u00e9poque que cet instrument vint \u00e0 \u00eatre consid\u00e9r\u00e9 comme la \u00ab\u00a0harpe galloise\u00a0\u00bb.\u00a0Un si\u00e8cle plus tard, la soci\u00e9t\u00e9 galloise marginalisa cet instrument : les fanatiques religieux \u00e9taient alors en croisade contre tout ce qu’ils consid\u00e9raient comme des vestiges du diable, et comme la harpe \u00e9tait \u00e0 ce moment-l\u00e0 associ\u00e9e aux pubs, \u00e0 la\u00a0f\u00eate, \u00e0 la danse et aux chansons paillardes, un grand nombre de harpes triples furent br\u00fbl\u00e9es.\u00a0La harpe triple fut conserv\u00e9e par des harpistes gitans avant d’\u00eatre \u00e0 nouveau adopt\u00e9e plus tard par des membres de la haute soci\u00e9t\u00e9, dont Lady Llanover au XIXe si\u00e8cle. Apr\u00e8s le d\u00e9c\u00e8s de\u00a0Lady Llanofer en 1896, plus aucune harpe triple ne fut fabriqu\u00e9e au pays de Galles jusqu’\u00e0 la fin du XXe si\u00e8cle, les harpistes gallois leur pr\u00e9f\u00e9rant\u00a0des harpes double-mouvement.<\/p>\n

\"Elinor<\/a>Malgr\u00e9 tout cela, la harpe est toujours rest\u00e9e l’embl\u00e8me national du pays de Galles.\u00a0\u00ab\u00a0La harpe, sous toutes ses formes, est notre instrument national\u00a0\u00bb, dit Elinor. \u00ab\u00a0Au pays de Galles, quand j’\u00e9tais petite, je me souviens qu’on ne faisait aucune distinction entre les diff\u00e9rents styles\u00a0de musique. Je pouvais encha\u00eener un air traditionnel et une pi\u00e8ce de Mozart, jouer une chanson galloise arrang\u00e9e par John Parry ou John Thomas puis interpr\u00e9ter une oeuvre de Scarlatti ou de Dussek.\u00a0\u00bb<\/p>\n","protected":false},"excerpt":{"rendered":"

Notre cadeau aujourd’hui est un enregistrement d’Elinor Bennett \u00e0 la harpe triple galloise. Elinor jouera dans le cadre du Festival Camac samedi apr\u00e8s-midi, pour un concert sur instruments historiques (dont la harpe triple que Jakez a mis si longtemps \u00e0 trouver !).<\/p>\n","protected":false},"author":3,"featured_media":2424,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-2454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classifiee"],"acf":[],"yoast_head":"En attendant le Festival Camac : J-2 ! - 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\/non-classifiee\/en-attendant-le-festival-camac-j-2-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"En attendant le Festival Camac : J-2 ! - Camac Harps\" \/>\n<meta property=\"og:description\" content=\"Notre cadeau aujourd'hui est un enregistrement d'Elinor Bennett \u00e0 la harpe triple galloise. 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