%0 Journal Article
%T Aussi vite que possible¡­ As fast as possible¡­Virtuosity, a truth of musical performance?
%A Antoine Hennion
%J Ateliers du LESC
%D 2011
%I 
%R 10.4000/ateliers.8764
%X La virtuosit¨¦ est au c ur de l¡¯interpr¨¦tation musicale, mais elle a un statut ambivalent. Elle est ¨¤ la fois le comble de l¡¯art, et une tentation dangereuse. En m¡¯appuyant sur la comparaison entre des genres diff¨¦rents, je voudrais sugg¨¦rer qu¡¯au del¨¤ de l¡¯opposition classique entre les musiques du corps, du spectacle, du collectif en transe, et les musiques de l¡¯¨¦crit, centr¨¦es sur la composition d¡¯une  uvre et dans une large mesure ¨¦labor¨¦es en s¡¯opposant ¨¤ la s¨¦duction virtuose, il est possible de redonner ¨¤ la virtuosit¨¦ sa capacit¨¦ d¡¯exprimer une v¨¦rit¨¦ de la musique, en faisant d¡¯elle une esth¨¦tique de la performance : moins une prouesse technique qu¡¯une inscription n¨¦cessaire de l¡¯ uvre dans la fragilit¨¦ d¡¯un pr¨¦sent qu¡¯il faut toujours reconqu¨¦rir. Virtuosity is at the heart of musical performance, but it has an ambivalent status. It is both the acme of art, and a dangerous temptation. Drawing on a comparison between different genres, I would like to suggest that beyond the classical opposition between body, entertainment, collective trance music, on a side, and written music that focuses on the composition of a work and is largely developed by opposing virtuoso seduction, on the other, it is possible to give virtuosity its ability to express a musical truth by turning it into an aesthetic of performance: less a technical feat than a  necessary positioning of the work in the fragility of a present that is always to be recovered.
%K music
%K performance
%K technique
%K body
%K artwork
%K public
%K musique
%K performance
%K technique
%K corps
%K uvre
%K public
%U http://ateliers.revues.org/8764