{"id":10383,"date":"2020-02-13T22:03:55","date_gmt":"2020-02-13T21:03:55","guid":{"rendered":"https:\/\/culturesco.com\/?p=10383"},"modified":"2020-02-13T22:59:02","modified_gmt":"2020-02-13T21:59:02","slug":"concerto-pour-rock-et-orchestre-de-musique-classique","status":"publish","type":"post","link":"https:\/\/culturesco.com\/index.php\/2020\/02\/13\/concerto-pour-rock-et-orchestre-de-musique-classique\/","title":{"rendered":"Concerto Pour Rock et Orchestre"},"content":{"rendered":"<p style=\"text-align: justify;\"><em>En pr\u00e9lude \u00e0 la sortie d\u2019un ouvrage supervis\u00e9 par notre ex collaborateur sur Cultures Co, Daniel Lesueur, auteur et directeur de collection aux <a href=\"http:\/\/www.camionblanc.com\/\" target=\"_blank\" rel=\"noopener noreferrer\">\u00e9ditions du Camion Blanc<\/a>, permettez cet extrait revu pour les besoins du \u00ab format \u00bb. Ce futur ouvrage devrait sortir courant 2020 et traiter des instruments de musique incongrus ou inhabituels utilis\u00e9s dans le rock.<\/em><\/p>\n<h2>Concerto pour Rock &amp; Orchestre<\/h2>\n<figure id=\"attachment_10384\" aria-describedby=\"caption-attachment-10384\" style=\"width: 450px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2020\/02\/Rock-Orchestra-Front.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-10384 size-full\" src=\"https:\/\/i0.wp.com\/culturesco.com\/wp-content\/uploads\/2020\/02\/Rock-Orchestra-Front-e1581630428752.jpg?resize=450%2C251&#038;ssl=1\" alt=\"Concerto pour rock et orchestre\" width=\"450\" height=\"251\" \/><\/a><figcaption id=\"caption-attachment-10384\" class=\"wp-caption-text\">Concerto pour rock et orchestre<\/figcaption><\/figure>\n<p style=\"text-align: justify;\"><strong>Rock et musique classique,<\/strong> non conciliables ? Il semble que ce ne soit pas ce que pensent et\/ou ressentent un nombre cons\u00e9quent d\u2019artistes et groupes engag\u00e9s dans la voie musicale de la pop ou du rock. Mais avant d\u2019en disserter, une <strong>mise au point<\/strong> s\u2019impose.<\/p>\n<h3>Ce que \u00e7a n\u2019est pas<\/h3>\n<p style=\"text-align: justify;\">Cette chronique ne traite <strong>pas de la r\u00e9interpr\u00e9tation de titres originaux<\/strong> par un orchestre symphonique. Metallica, Scorpions, beaucoup ont succomb\u00e9 au proc\u00e9d\u00e9. S\u2019il permet une approche diff\u00e9rente des \u0153uvres revisit\u00e9es, il <strong>ne rel\u00e8ve pas d\u2019une \u00ab cr\u00e9ation \u00bb.<\/strong> Il s\u2019agit d\u2019avantage d\u2019une performance\u2026 \u00e9ventuellement.<\/p>\n<h3>METALLICA &#8211; Enter sandman with symphonic orchestra<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"qrWYWCBFKKI\"><iframe loading=\"lazy\" title=\"Enter Sandman - Metallica &amp; San Francisco Symphonic Orchestra\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/qrWYWCBFKKI\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Cette chronique n\u2019aborde pas <strong>non plus la r\u00e9interpr\u00e9tation de morceaux de musique classique<\/strong> par une formation de rock. Ils sont \u00e9norm\u00e9ment \u00e0 l\u2019avoir fait, rendant hommage, la plupart du temps, \u00e0 un de leurs compositeurs classiques favoris.<\/p>\n<h3>Tony MacALPINE &#8211; Fr\u00e9d\u00e9ric CHOPIN : Etude n\u00b04 &#8211; Opus 10<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"rUYBV4vbyrw\"><iframe loading=\"lazy\" title=\"Tony MacAlpine  Chopin Etude No. 4, Op. 10\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/rUYBV4vbyrw\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Cette chronique <strong>\u00e9carte les incursions classicisantes<\/strong> de musiciens \u00e9lev\u00e9s \u00e0 la rh\u00e9torique symphonique. On trouve un bon exemple du genre chez Muse. Ce groupe, via Matthew Bellamy, son leader, a d\u00e9j\u00e0 inclus Rachmaninov, Chopin et Saint-Sa\u00ebns (\u2026) \u00e0 son r\u00e9pertoire. Si le rendu est saisissant, encore une fois, <strong>il ne s\u2019agit que d\u2019une r\u00e9interpr\u00e9tation<\/strong>, m\u00eame \u00e9lectrifi\u00e9e.<\/p>\n<h3>MUSE &#8211; United States of Eurasia &#8230; Concerto pour rock et orchestre<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"-5-K51jHQ6k\"><iframe loading=\"lazy\" title=\"Muse - United States of Eurasia (+Collateral Damage) [HD]\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/-5-K51jHQ6k\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Enfin, cette chronique <strong>ne fait pas cas du Metal Symphonique<\/strong>, sous-ensemble de la musique <a href=\"https:\/\/www.youtube.com\/watch?v=qhUWYOnTV3c\" target=\"_blank\" rel=\"noopener noreferrer\">rock versus \u00ab bodybuild\u00e9e \u00bb.<\/a><\/p>\n<p><strong>Alors ?<\/strong><\/p>\n<h3>Pop-music et orchestre classique<\/h3>\n<p style=\"text-align: justify;\">L\u2019artiste tend ses cordes vocales autour d\u2019un refrain lorsque : \u00ab Paf ! \u00bb, un quatuor, <strong>un<\/strong> <strong>orchestre<\/strong> de chambre ou <strong>symphonique envoie les cordes, les cuivres<\/strong> et les percussions. Si, au bout du compte, <strong>l\u2019\u00e9lectricit\u00e9 reprend ses droits,<\/strong> le passage orchestr\u00e9 reste imprim\u00e9 qui un court instant, qui toute une vie dans la psych\u00e9 de l\u2019auditeur. <strong>La musique<\/strong>, \u00e7a n\u2019est pas que des notes rassembl\u00e9es sur une partition. Que ce soit dans le rock, la pop ou ailleurs, elle <strong>g\u00e9n\u00e8re des sensations<\/strong>. Alors, lorsque les \u00ab genres \u00bb s\u2019entrecroisent, tout est possible, de la triste avanie \u00e0 l\u2019inqualifiable g\u00e9nie.<\/p>\n<h3>The BOOMTOWN RATS &#8211; I don&rsquo;t like monday<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"-Kobdb37Cwc\"><iframe loading=\"lazy\" title=\"The Boomtown Rats - I Don&#039;t Like Mondays (Official Video)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/-Kobdb37Cwc\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<h3>Morceaux choisis<\/h3>\n<p style=\"text-align: justify;\">A tout seigneur, tout honneur, commen\u00e7ons par un v\u00e9ritable concerto pop pour groupe et orchestre philharmonique. Imaginons la sc\u00e8ne. <strong>Deep Purple<\/strong> vient de recruter Ian Gillan et Roger Glover, un hurleur immod\u00e9r\u00e9 et un bassiste futur m\u00e9daill\u00e9 es production : \u00ab Love is all \u00bb (1974), c\u2019est lui ! Pour les accueillir, Jon Lord leur sert <strong><em>Concerto for group and orchestra<\/em><\/strong> (1969), rien que \u00e7a, un <strong>crossover classique\/pop<\/strong> discutable mais qui a le m\u00e9rite d\u2019avoir \u00e9t\u00e9 jou\u00e9. Pour le coup, ce sont les <strong>musiciens rock<\/strong> qui s\u2019invitent dans <strong>un<\/strong> <strong>ensemble de concertistes<\/strong>. On ne pouvait pas faire moins qu\u2019inaugurer ce chapitre par un <strong>hommage \u00e0 Mr Lord<\/strong> (1941\/2012), co-responsable du succ\u00e8s de Deep Purple, talentueux clavi\u00e9riste ayant <strong>popularis\u00e9 le son inimitable de l\u2019orgue Hammond.<\/strong><\/p>\n<h3>DEEP PURPLE &#8211; Concerto for Group and Orchestra<\/h3>\n<p>https:\/\/www.youtube.com\/watch?v=dt-CX3k0PYw<\/p>\n<p style=\"text-align: justify;\">Sans chronologie, envoyons les \u00ab chevaux \u00bb, laissons-les s\u2019emballer, ferrage de plomb sous les sabots, <strong>galops boost\u00e9 \u00e0 l\u2019\u00e9lectricit\u00e9.<\/strong> Le thrash m\u00e9talleux <strong>Megadeth<\/strong> a sorti deux Lps hautement recommandables : <em>Rust in peace<\/em> (1990) et <strong><em>Countdown to extinction<\/em><\/strong> (1992). Le titre qui nous int\u00e9resse : \u00ab <strong>Symphony of destruction<\/strong> \u00bb, provient de ce dernier. Cette chanson b\u00e9n\u00e9ficie d\u2019une courte <strong>introduction avec orchestre et ch\u0153urs symphoniques.<\/strong> Est-ce pour justifier son titre ? Toujours est-il qu\u2019une envie d\u2019h\u00e9ro\u00efsme na\u00eet chez celles et ceux qui s\u2019en gobergent. Le d\u00e9sir d\u2019en savoir plus, un pousse au crime, enjoint \u00e0 farfouiller le sillon des deux Faces ou comment populariser le c\u00f4t\u00e9 m\u00e9tallique du rock. <strong>La musique classique au chevet de ses coll\u00e8gues ostracis\u00e9s<\/strong> ? CQFD.<\/p>\n<h3 style=\"text-align: left;\">MEGADETH &#8211; Symphony of destruction<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"K5jvUXij7nU\"><iframe loading=\"lazy\" title=\"Megadeth - Symphony of Destruction (Studio Version)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/K5jvUXij7nU\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Dans <strong>Electric Light Orchestra,<\/strong> ELO pour les initi\u00e9s, il y a \u00ab orchestre \u00bb. On pourrait donc envisager que le groupe soit constitu\u00e9 d\u2019un nombre cons\u00e9quent de musiciens, bien que \u00ab light \u00bb, pour \u00ab l\u00e9ger \u00bb, puisse \u00eatre vecteur de mod\u00e9ration en la mati\u00e8re. En 1977, l\u2019engouement punk battant son plein, ELO livre <a href=\"https:\/\/www.youtube.com\/watch?v=lVIxDpvjJr0\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Out of blue<\/em> <\/a>\u00e0 la vindicte populaire. Pourquoi vindicte ? Mais parce que la 3\u00e8me Face de ce double album regroupe quatre chansons sous l\u2019intitul\u00e9es : \u00ab <strong>Concerto for a rainy day<\/strong> \u00bb ; appellation \u00ab concerto \u00bb honteusement d\u00e9tourn\u00e9e. En effet, malgr\u00e9 un violoniste et un violoncelliste \u00e0 demeure, cette remarquable <strong>pi\u00e8ce de musique n\u2019a rien de \u00ab classique \u00bb<\/strong>.<\/p>\n<p style=\"text-align: justify;\">Par contre, l\u2019album pr\u00e9c\u00e9dent, <strong><em>A new world record<\/em><\/strong> (1976), contient une perle que l\u2019on pourrait qualifier d\u2019op\u00e9ratique, la bien titr\u00e9e \u00ab <strong>Rockaria !<\/strong> \u00bb. Une chanteuse apparent\u00e9e au s\u00e9rail y livre quelques \u00ab <strong>\u00e9poumonades<\/strong> \u00bb du plus bel effet sur un <strong>lit d\u2019instruments \u00e0 cordes.<\/strong> Jeff Lynne, ma\u00eetre du jeu, semble impr\u00e9gn\u00e9 d\u2019une culture symphonique qui le ram\u00e8ne in\u00e9luctablement vers ces \u00ab pompeuses \u00bb orchestrations. Pompeuses pour celles et ceux qui l\u2019ex\u00e8crent,<strong> formidables<\/strong> pour les autres.<\/p>\n<h3 style=\"text-align: left;\">ELECTRIC LIGHT ORCHESTRA &#8211; Rockaria !<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"kL2EW-qXcuo\"><iframe loading=\"lazy\" title=\"Electric Light Orchestra - Rockaria! (Audio)\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/kL2EW-qXcuo\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">A l\u2019issue de l\u2019aventure <strong>Ziggy Stardust,<\/strong> avant de conceptualiser <a href=\"https:\/\/www.youtube.com\/watch?v=36lWAcY9IXE\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Diamond dogs<\/em><\/a> (1974), <strong>David Bowie<\/strong> s\u2019installe en France, dans les studios de Ch\u00e2teau d\u2019H\u00e9rouville, pour enregistrer une douzaine de <strong>reprises<\/strong> qui, \u00e0 l\u2019usage, s\u2019av\u00e8rent \u00eatre d\u2019<strong>excellentes r\u00e9interpr\u00e9tations.<\/strong> Sont ainsi revisit\u00e9es, entre autres, des morceaux de Them, <a href=\"https:\/\/www.youtube.com\/watch?v=qN5zw04WxCc\" target=\"_blank\" rel=\"noopener noreferrer\">The Who<\/a>, The Yardbirds, The Pretty Things ou <a href=\"https:\/\/www.youtube.com\/watch?v=fTTsY-oz6Go\" target=\"_blank\" rel=\"noopener noreferrer\">The Kinks<\/a>, des <strong>\u00e9talons du Swinging London.<\/strong><\/p>\n<p style=\"text-align: justify;\">A l\u2019instar, <strong><em>Pin ups<\/em><\/strong> (1973) parait sous les meilleurs auspices. Sur sa quatri\u00e8me plage, on trouve un titre de <a href=\"https:\/\/www.youtube.com\/watch?v=IXdNnw99-Ic\" target=\"_blank\" rel=\"noopener noreferrer\">Pink Floyd<\/a>, un \u00e9chafaudage de pop psychotique sign\u00e9 Syd Barrett : \u00ab <strong>See Emily play<\/strong> \u00bb. Bien que la ligne musicale respecte l\u2019originale, le ravalement impos\u00e9 par Bowie <strong>rafra\u00eechie la chanson<\/strong>, il est vrai originellement enregistr\u00e9e en 1967. Ce qui la diff\u00e9rencie vraiment, c\u2019est le final. <strong>Un orchestre de chambre y est convi\u00e9<\/strong>, virevoltant tel un papillon autour du th\u00e8me principal. N\u2019en d\u00e9plaise aux fans du Floyd, il se pourrait bien que cette <strong>version supplante celle qui l\u2019a pr\u00e9c\u00e9d\u00e9e<\/strong>.<\/p>\n<h3 style=\"text-align: left;\">David BOWIE &#8211; See Emily play<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"G6WQv9GwwbM\"><iframe loading=\"lazy\" title=\"David Bowie - See Emily Play\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/G6WQv9GwwbM\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Le heavy metal, dans son ensemble, aime \u00e0 pratiquer un climat d\u00e9tonnant, cr\u00e9er une exaltation. Quoi de mieux que \u00ab <strong>O Fortuna<\/strong> \u00bb, extrait de <strong>Carmina Burana<\/strong> (1936), Cantate sc\u00e9nique de Carl Orff, pour cr\u00e9er une explosion propice au headbanging ? <strong>Pretty Maids,<\/strong> groupe danois, l\u2019a bien compris qui introduit le premier titre de son second ouvrage discographique : <strong><em>Red, hot and heavy<\/em><\/strong> (1984), par ce ch\u0153ur cataclysmique. \u00ab <strong>Back to back<\/strong> \u00bb, qui lui fait suite, cogne aux tympans comme une <strong>v\u00e9ritable temp\u00eate<\/strong>, <strong>l\u2019association des deux<\/strong> g\u00e9n\u00e9rant, sans coup f\u00e9rir, l\u2019exacte effet recherch\u00e9 : une <strong>\u00e9l\u00e9vation de la temp\u00e9rature ambiante<\/strong>. Le heavy metal, co responsable du <strong>r\u00e9chauffement de la plan\u00e8te<\/strong> ? Hypoth\u00e8se de recherche \u00e0 v\u00e9rifier \u2026<\/p>\n<h3 style=\"text-align: left;\">PRETTY MAIDS &#8211; (Fortuna) Back to back &#8230; Concerto pour rock et orchestre<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"Ne0BEFXUFYc\"><iframe loading=\"lazy\" title=\"Pretty Maids - Back to back (Intro O Fortuna)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/Ne0BEFXUFYc\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\"><strong>Extreme<\/strong>, connu pour sa balade aux voix harmonis\u00e9es : \u00ab More than words \u00bb, ou sa fusion d\u00e9velopp\u00e9e sur <a href=\"https:\/\/www.youtube.com\/watch?v=IqP76XWHQI0\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Pornograffitti<\/em><\/a> (1990), option funk m\u00e9tallisant, est un <strong>groupe sous-\u00e9valu\u00e9<\/strong>. Il n\u2019est qu\u2019\u00e0 voir-\u00e9couter son passage sur la sc\u00e8ne du stade de Wembley \u00e0 l\u2019occasion du <strong>Freddie Mercury Tribute<\/strong> (1992) pour s\u2019en convaincre. Les musiciens y interpr\u00e8tent un <a href=\"https:\/\/www.youtube.com\/watch?v=SHlAjWtGFjU\" target=\"_blank\" rel=\"noopener noreferrer\">medley<\/a> des <strong>chansons<\/strong> de Queen. A part Queen lui-m\u00eame, <strong>personne n\u2019a jamais sonn\u00e9 aussi juste sur ce r\u00e9pertoire<\/strong>. Pour les fans de la Reine, l\u2019hommage tr\u00f4ne au c\u00f4t\u00e9 du fruit de leur passion tel un <strong>v\u00e9ritable soleil<\/strong>.<\/p>\n<p style=\"text-align: justify;\">A partir de ses propres compositions, le groupe expose tout son talent sur son 3\u00e8me album : <strong><em>III sides to every story<\/em><\/strong> (1992). Outre l\u2019\u00e9clectisme ambiant, le disque se termine par une plage conceptuelle en trois parties : \u00ab <strong>Everything under the sun<\/strong> \u00bb. Chaque mouvement occupe un tiers de l\u2019ensemble sur une dur\u00e9e totale d\u00e9passant les vingt minutes. Modifiant sa teneur au fil du r\u00e9cit, le troisi\u00e8me sous-ensemble d\u00e9marre par un piano nostalgique ouvrant droit \u00e0 <strong>tout un orchestre<\/strong>. Bien que les cordes semblent \u00eatre jou\u00e9es au synth\u00e9tiseur, l\u2019interpr\u00e9tation offre l\u2019\u00e9quivalent d\u2019<strong>un corps symphonique \u00e0 l\u2019ouvrage.<\/strong> Les amateurs de heavy rock n\u2019y trouvant pas leur compte, ce chef-d\u2019\u0153uvre d\u2019Extreme signe \u00e9galement sa disgr\u00e2ce. Par chance, d\u2019autres, dont nous sommes, veillent \u00e0 <strong>entretenir la flamme<\/strong>.<\/p>\n<h3 style=\"text-align: left;\">EXTREME &#8211; Everything under the sun<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"tuKMj2buOts\"><iframe loading=\"lazy\" title=\"Everything Under The Sun: Rise &#039;N Shine \/ Am I Ever Gonna Change \/ Who Cares?\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/tuKMj2buOts\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Quoi de mieux qu\u2019un hymne m\u00e9morisable pour populariser un film ? S\u2019il s\u2019agit d\u2019un des nombreux \u00e9pisodes de la <strong>saga James Bond,<\/strong> alors, l\u2019hymne en question devient un tube plan\u00e9taire. Dans ce cas, hors de question de se rater. A qui faire appel pour composer une chanson digne du r\u00f4le ? Un ex Beatles \u00e0 pr\u00e9sent Wings peut-\u00eatre ? Ainsi nait \u00ab <strong>Live and let die<\/strong> \u00bb (1973), <strong>compos\u00e9 par Paul et Linda McCartney<\/strong>. Ce single ravageur mixant <strong>pop\/rock et orchestre<\/strong> ne figure dans aucun Lp du groupe, un peu \u00e0 l\u2019image du 45 tours \u00ab <a href=\"https:\/\/www.youtube.com\/watch?v=S-rB0pHI9fU\" target=\"_blank\" rel=\"noopener noreferrer\">Penny lane<\/a> \u00bb \/ \u00ab <a href=\"https:\/\/www.youtube.com\/watch?v=HtUH9z_Oey8\" target=\"_blank\" rel=\"noopener noreferrer\">Strawberry field forever<\/a> \u00bb absent de <em>Sgt. Pepper\u2019s lonely hearts club band<\/em> (1967).<\/p>\n<p style=\"text-align: justify;\">La <strong>partie orchestr\u00e9e<\/strong> de \u00ab Live and let die \u00bb porte la signature de <strong>George Martin,<\/strong> producteur attitr\u00e9 des Fab Four. Elle est intimement <strong>mix\u00e9e aux autres instruments<\/strong>, des habitu\u00e9s du rock : guitares, claviers et batterie. S\u2019il fallait <strong>prouver l\u2019int\u00e9r\u00eat<\/strong> d\u2019assembler l\u2019un a l\u2019autre, <strong>ce<\/strong> <strong>morceau scellerait le pacte.<\/strong><\/p>\n<h3 style=\"text-align: left;\">WINGS &#8211; Live and let die<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"ScK2n7F4gFo\"><iframe loading=\"lazy\" title=\"Live And Let Die (Remastered 1993)\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/ScK2n7F4gFo\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">L\u2019id\u00e9e d\u2019emm\u00ealer des genres musicaux originellement oppos\u00e9s : g<strong>roupe de rock et orchestre classique,<\/strong> plut\u00f4t que d\u2019aligner \u00e0 la suite leurs partitions respectives, fait son chemin. De l\u00e0 \u00e0 penser qu\u2019un groupe de hard rock cradingue s\u2019en saisirait \u2026 Pourtant, les bostoniens d\u2019<strong>Aerosmith<\/strong> adoptent cette solution pour clore <strong><em>Toys in the Attic<\/em> <\/strong>(1975), leur troisi\u00e8me production. A nouveau, <strong>orchestre symphonique,<\/strong> hautbois et violons, et <strong>groupe de rock jouent de concert<\/strong>, \u00e9levant l\u2019association au rang d\u2019entit\u00e9 unique. Le r\u00e9sultat expose une power balade \u00e0 la m\u00e9lodie imparable : \u00ab <strong>You see me crying<\/strong> \u00bb. Sign\u00e9e par Steven Tyler, tout autant soul-man, bluesman que hard rock singer, la chanson \u00e9treint la voix du chat enrou\u00e9 pour la magnifier. <strong>Une r\u00e9ussite<\/strong>.<\/p>\n<h3 style=\"text-align: left;\">AEROSMITH &#8211; You see me crying &#8230; Concerto pour rock et orchestre<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"szWVgukqi78\"><iframe loading=\"lazy\" title=\"Aerosmith - You See Me Crying\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/szWVgukqi78\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Via McCartney, The Beatles apparait dans un paragraphe pr\u00e9c\u00e9dent. Mais quid de <strong>The Rolling Stones,<\/strong> l\u2019\u00e9ternel rival, autour de la th\u00e9matique choisie ? Pour le savoir, il faut faire tourner cette plaque de vinyle noir surmont\u00e9e d\u2019un g\u00e2teau cr\u00e8me au beure\/fruits confis : <strong><em>Let it bleed<\/em> <\/strong>(1969).<\/p>\n<p style=\"text-align: justify;\">Longuement introduit par un <strong>ch\u0153ur de chorale quasi liturgique<\/strong>, \u00ab <strong>You can\u2019t always get what you want<\/strong> \u00bb fait figure d\u2019anachronisme dans la discographie des Stones. De fait, <strong>l\u2019espoir teint\u00e9 d\u2019ang\u00e9lisme<\/strong> que promeut son \u00e9coute s\u2019oppose \u00e0 la fameuse formule de l\u2019ex manager des Cailloux, Andrew Loog Oldham : \u00ab <em>Laisseriez-vous votre fille sortir avec un Rolling Stones ?<\/em> \u00bb. Quoi que Serge Gainsbourg puisse chanter \u00e0 propos de 1969, aucune m\u00e9nag\u00e8re de plus de cinquante ans n\u2019aurait os\u00e9 r\u00e9pondre \u00ab <em>oui !<\/em> \u00bb cette ann\u00e9e-l\u00e0. En effet, la r\u00e9putation de bad boys des cinq musiciens s\u2019accordait mal \u00e0 la douceur de la chanson en question. Pourtant, personne n\u2019aurait certainement pu proposer autre chose que ce qu\u2019ils en ont fait : <strong>une pure merveille<\/strong>.<\/p>\n<h3>The ROLLING STONES &#8211; You can&rsquo;t always get what you want<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"krxU5Y9lCS8\"><iframe loading=\"lazy\" title=\"The Rolling Stones - You Can\u2019t Always Get What You Want (Official Lyric Video)\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/krxU5Y9lCS8\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">Avant de refermer ce chapitre, interrogeons-nous sur l\u2019opportunit\u00e9 d\u2019y faire figurer une faramineuse chanson ainsi qu\u2019un album tout entier, qualifiable \u00ab d\u2019hors r\u00e9pertoire \u00bb au regard du profil musical de son interpr\u00e8te.<\/p>\n<p style=\"text-align: justify;\">La chanson ? \u00ab <strong>Bohemian rhapsody<\/strong> \u00bb (1975). Peut-on qualifier \u00ab <strong>d\u2019op\u00e9ratique<\/strong> \u00bb le <strong>pont central<\/strong> de cet incontournable de Queen et, ainsi, <strong>l\u2019inclure au sujet ?<\/strong> Pour la construction, les ch\u0153urs, le texte, le sens de la m\u00e9lodie et l\u2019interpr\u00e9tation : oui. Non : o\u00f9 sont les instruments de musiques caract\u00e9risant un orchestre symphonique ? S\u2019agissant de musique, affaire d\u2019<strong>appr\u00e9ciation et de jugement bas\u00e9s sur le go\u00fbt,<\/strong> il est difficile de prendre parti. L\u2019expression : \u00ab <em>Tous les go\u00fbts sont dans la nature<\/em> \u00bb, <strong>ouvrant \u00e0 tous les possibles \u2026<\/strong><\/p>\n<h3 style=\"text-align: left;\">QUEEN &#8211; Bohemian Rhapsody : Concerto pour rock et orchestre ?<\/h3>\n<p>https:\/\/www.youtube.com\/watch?v=Vt4CEfMTLJc<\/p>\n<p style=\"text-align: justify;\">Pour l\u2019album \u2026 <strong><em>Hamlet Hallyday<\/em> <\/strong>(1976) \u2026 Oh, que voil\u00e0 une affaire d\u00e9licate ! La <strong>partition, telle celle d\u2019un op\u00e9ra,<\/strong> propose des cordes et des cuivres additionn\u00e9s de ch\u0153urs. Certes, mais son compositeur n\u2019est autre que <strong>Pierre Groscolas,<\/strong> interpr\u00e8te du c\u00e9l\u00e8bre \u00ab Lady lay \u00bb, pure vari\u00e9t\u00e9 s\u2019il en est ! Le rapporteur de Shakespeare, quant \u00e0 lui, n\u2019est autre que le faramineux <strong>Johnny Hallyday<\/strong>, une institution ! Nouvelles interrogations : \u00e9tait-il un <strong>chanteur de rock ou de vari\u00e9t\u00e9<\/strong> <strong>?<\/strong> La d\u00e9licatesse du propos doit-elle nous conduire \u00e0 jeter l\u2019\u00e9ponge ?<\/p>\n<h3 style=\"text-align: left;\">Johnny HALLYDAY &#8211; La mort d&rsquo;Oph\u00e9lie<\/h3>\n<div class=\"youtube-embed\" data-video_id=\"uCVuhf5Gjc4\"><iframe loading=\"lazy\" title=\"johnny hallyday - la mort d&#039;oph\u00e9lie\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/uCVuhf5Gjc4\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\">A d\u00e9faut, rien ne nous emp\u00eache d\u2019\u00e9crire que <strong>ce disque pr\u00e9sente bien des attraits.<\/strong> A une \u00e9poque o\u00f9 les <strong>com\u00e9dies musicales<\/strong> sont l\u00e9gions, il ne manquerait pas d\u2019int\u00e9r\u00eat qu\u2019<strong>un producteur cesse de l\u2019ignorer.<\/strong><\/p>\n<p>Thierry Dauge<\/p>\n","protected":false},"excerpt":{"rendered":"<p>En pr\u00e9lude \u00e0 la sortie d\u2019un ouvrage supervis\u00e9 par notre ex collaborateur sur Cultures Co, Daniel Lesueur, auteur et directeur de collection aux \u00e9ditions du Camion Blanc, permettez cet extrait revu pour les besoins du \u00ab format \u00bb. Ce futur ouvrage devrait sortir courant 2020 et traiter des instruments de musique incongrus ou inhabituels utilis\u00e9s [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":10384,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"image","meta":{"jetpack_post_was_ever_published":false,"tdm_status":"","tdm_grid_status":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17,11066],"tags":[58],"class_list":{"0":"post-10383","1":"post","2":"type-post","3":"status-publish","4":"format-image","5":"has-post-thumbnail","7":"category-carotte-rock-cultures","8":"category-short-stories","9":"tag-histoire-du-rock","10":"post_format-post-format-image"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Concerto Pour Rock et Orchestre - 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