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The two "Etudes de Concert" for guitar
In Comme une Danse it is "the dionysiac explosion of the primitive forces" which seems to blow along this brutal and refined allegro. One immediately recognizes there the "manner" of Jolivet, that of "Pégase" in "Mana" (1935) or of the Ritual Dances, which appears in the extraordinary skill to combine dynamics and agogics. After a vigorous introduction developed on a rhythmic formula of six sounds chords where one has all the brilliance of the flamenco rasgueados, the chains of sixteenths notes sing a small falseta which zigzags in arabesques. At measure 14 a cantabile sentence opens out in the third of the "Modes with limited transpositions " (third transposition) privileged by Messiaen
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The final is made of a single sentence, one of the longest in our literature (measure 23), developing into a climax, and which combines two melodic and rhythmic cells A and B See some examples of the transformations undergone by B during this development
If "guitaristic working" (what I will call put in tablature) of the text of the first Etude does not offer any difficulty, the same does not apply for the second from there where Jolivet poses to the guitarist more complex problems... It is that, technically speaking, the guitar rather badly adapts to processes familiar of the musical writing (transpositions and distortions sets of themes, combinations of several cells, symmetries various) to which the composers (good ones!) are accustomed to the orchestra or the piano. Just see in our traditional and romantic repertoire the poverty and/or the brevity of the themes and the developments to be convinced.(2)
The Suite "Tombeau de Robert de Visée"
One notices that the root-chord of this mode includes the six sounds of the mode and only intervals of fourths; for these two reasons, it is particularly adapted to the guitar. Jolivet uses a close chord of the same ambiance (with an added note: C) which one would believe, if one were not warned, dictated by the guitar itself, so well it sounds on the instrument:
This interrogative arpeggio is then abundantly taken up again and modified; it will give its conclusion to the Prelude. All the work teeming with musical ideas in perfect symbiosis with the instrument to which they are addressed. One is struck, in the profusion of the modes used in this Suite, by the frequent return of the notes E, G# and C#. These notes will be the "notes•pivots" of the Suite, the E being the fundamental bass [6] .
Also note the role of D # as leading note (Courante measures 10, Passacaille measures 33, 56, 87 etc).(4)
and a beautiful phrase in the second "Mode with limited transpositions" (measures 4 and 5). Also let us note the inverted dynamics compared to what is called the natural phrasing (measures 13, 43, 54). and ambiguous measure 6/4 3/2 characteristic of the former Courante Française where hemiolas were required. Even if there is not explicitly the typical bipartite form of the Baroque dances (double median bars with repeats), one can nevertheless easily find the caesura which corresponds to it in measures 10 11 with the notes•pivôts C #, G #, D #, taken here as "dominants". The clarity of the rhythms and the liveliness of the tempi given by Jolivet make these Courantes some of the most difficult pages of all his work for the guitar. But as he said himself: "it pays"! The alternative which appears in the edition for the delicate passage of measure 18 in the Courante is based on modifications which the author had tried to make this passage easier to play or more sounding. Idem in the Passacaille page 12. In the Saraband, the harmonic atmosphere suddenly changes and rather evokes Falla:
There too, the style is such that fits to the guitar. Nevertheless the melody material makes one think of the School of Vienna:
Note the odd division of the first sentence: 7 + 5 measures. As in Comme un Prélude, there is dissolution of the rhythms after the first "cadence" (measure 16), then appearance of a splendid phrase punctuated by an obstinato ornament on a high G whose gloomy effect is underlined by the use of low tambora. At the end, a da capo of 7 measures follows a line similar to the first 7 measures. The low Es , abundant in this Saraband, are used as pivot between the Courantes and Passacaille; For the Passacaille Jolivet borrows the same pattern as Visée and his contemporaries and fellow countrymen: refrain and verses, the refrain being defined above all by its harmonic "grid". Let us remember that Britten also finishes his Nocturnal by a Passacaglia but of a very different form: that of the ground or obstinate bass. That allow me to evoke a personal memory on this subject: Jolivet hated this piece!
The first verse, one of the sentences most sublime in all the music written for the guitar, is an amused wink towards the Forlane of the Tombeau de Couperin by Ravel, written for the piano. The parallel between baroque guitar -harpsichord and modern guitar-piano was too tempting for Jolivet not to evoke this other Tombeau thus paying homage to his elder. One also finds there the typical surpointé rhythm of baroque interpretation
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And also: "the music must be sound initially. And the musician, magus of the universal rhythm officiating music, must initially think sonority " (5) However precisely, if the guitar is generally admired as one of the most tempting instruments, it is well thanks to this kind of " magic of the sound" which is characteristic of it and which makes of any (good) guitarist a "researcher of sounds". One immediately sees all that the guitar can bring to these musics, the smoothness of its velvet, the glare of its metal, the canvas of silence and mystery that it can weave around the unutterable and which gives the instrument its irreplaceable magnetism. Undoubtedly, the guitar would not be completely what it is without the works of Jolivet; nevertheless the powerful work of Jolivet would not be fully completed without the small voice of the guitar. "... I like the guitar..." he had claimed. I believe that the guitar pays him back. R.A.
[1]
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A mode with limited transpositions is a scale of sounds which one can transpose only a number of times lower than twelve without falling back on the same sounds as the starting scale. For example the major or minor scales are not modes with limited transpositions because they must be transposed 12 times to transform back to their original selves.
[2] Turina was the first to have the wisdom to break in some of its works for guitar from the traditional forms and to invent the form which it called "in gust" (hence the title of his piece of music "Rafaga") which consists of non-developments, in juxtaposition of single cells. Thus he eluded the difficulty. [3]
The truth obliges to say that the lack of fingerings and a serious revision for the edition of the Etudes could be daunting. There is a posterior manuscript version corrected by the author which would be interesting to publish.
[4]
"After the dissociations of impressionism and the serial musics it is necessary to recover the meaning of melodic continuity firmly supported by clear rhythmic beats and clearly affirmed modulating pivots" (Jolivet). [5] Jolivet
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