{"id":23137,"date":"2017-02-27T00:00:00","date_gmt":"2017-02-26T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2017\/02\/27\/mysterieuse-sympathie-des-arts\/"},"modified":"2024-08-16T11:52:06","modified_gmt":"2024-08-16T09:52:06","slug":"mysterieuse-sympathie-des-arts","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/critiques\/livres-et-partitions\/2017\/02\/mysterieuse-sympathie-des-arts","title":{"rendered":"Mysterious sympathy of the arts"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Papiers_Ausschnitt.jpg\" alt=\"\" width=\"554\" height=\"380\" \/><figcaption class=\"wp-caption-text\">Cover detail<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Rather than a theoretical essay, the book <em>Sound papers<\/em> plunges us straight into the practice of reading Jean-No\u00ebl von der Weid's diverse texts, sometimes visionary, sometimes quieter, sometimes breathless, by turns phantasmagorical, facetious, narrative or epic, but always concise, in parallel with the pieces they counterpoint. The experience can be enjoyed aloud or quietly, even in silent reading, and everyone will experience, if not synesthesia, at least a different, particular listening experience, thanks to the very fact that words also have their own rhythms and timbre, sentences their own tempo, climax and breathing. In themselves, these texts possess an intrinsic value, shimmering in a luxuriant vocabulary, capable even of suggesting new sound spaces or inspiring new music. From free description to atmospheric painting, from illustration to pure poetry, sometimes close to gongorism or Lautr\u00e9amont, the author diversifies approaches, sometimes following the writing process of the chosen composers, playing with styles and their figures, alliterating or assonating, contracting or stretching sentences to the extreme, skilfully slipping in a few authorial quotations (from Rabelais to Artaud). Exceptionally, writings by the composers themselves are used, such as fragments by Jan\u00e1\u010dek or extracts from letters by Lassus. We also discover, for Couperin, the post-mortem inventory of his possessions.<\/p>\n<p>Each of the 49 composers selected is also the subject of a presentation, less biographical than based on the compositional act itself, revealing an intimate understanding of their contribution and specificities. The eclectic selection includes an organum by P\u00e9rotin, harpsichord pieces by Couperin or Pancrace Royer, as well as <em>The Waltz<\/em> by Ravel or <em>Wiener Blut <\/em>by Johann Strauss Jr., excerpts from <em>Ges\u00e4nge der Fr\u00fche<\/em> by Schumann or <em>Children's Corner <\/em>by Debussy, <em>Arcana <\/em>by Var\u00e8se or <em>Black Angels<\/em> or Gombert, Gesualdo, Beethoven, Liszt, Scriabin, Bart\u00f3k, Revueltas, Ellington, Scelsi, Ligeti, Kagel, Donatoni or Neuwirth.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/Papiers_Ganz.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Jean-No\u00ebl von der Weid: Papiers sonores, 180 p., \u20ac 25.00, \u00c9ditions Aedam Musicae, Ch\u00e2teau-Gontier 2016, ISBN 978-2-919046-38-6<\/em><\/p>\n<p><em>Links to recordings of the selected works can be found on the publisher's website:<br \/>\n<\/em><a href=\"http:\/\/www.musicae.fr\/livre-Papiers-sonores-de-Jean-Noel-von-der-Weid-166-165.html\"><em>www.musicae.fr\/livre-Papiers-sonores-de-Jean-Noel-von-der-Weid-166-165<\/em><\/a><em><br \/>\n<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>How can we express the inexpressible? Could we use words to bring out the feelings contained in a musical work? To put it plainly, to signify through the written word the signifier of the sound work. <\/strong><\/p>","protected":false},"author":1,"featured_media":23138,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23137","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Myst\u00e9rieuse sympathie des arts - Revue Musicale Suisse<\/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.revuemusicale.ch\/en\/critiques\/livres-et-partitions\/2017\/02\/mysterieuse-sympathie-des-arts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Myst\u00e9rieuse sympathie des arts - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"Comment exprimer l\u2019inexprimable ? 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