%0 Journal Article
%T L¡¯ermite et le virtuose The hermit and the virtuosoGlenn Gould and Georges Cziffra figures of pianistic asceticism
%A Denis Laborde
%J Ateliers du LESC
%D 2011
%I 
%R 10.4000/ateliers.8841
%X Cette contribution est consacr¨¦e ¨¤ deux pianistes virtuoses de la seconde moiti¨¦ du XXe si¨¨cle : Glenn Gould (1932-1982) et Georges Cziffra (1921-1994). Glenn Gould v¨¦cut en asc¨¨te dans l¡¯Ontario, renon ant au concert, qu¡¯il assimilait ¨¤ la corrida, pour se consacrer ¨¤ l¡¯enregistrement. Georges Cziffra se retira ¨¤ Senlis, pr¨¨s de cette chapelle Saint-Frambourg dont il fit le si¨¨ge de sa fondation apr¨¨s avoir bati le c¨¦l¨¨bre festival de La Chaise-Dieu et avoir consacr¨¦ une vie de virtuose ¨¤ ces salles de concert et ces plateaux de t¨¦l¨¦vision qui l¡¯accueillirent dans le monde entier. Ces deux artistes incarn¨¨rent deux figures antagoniques du pianiste : l¡¯un, pour qui la pratique musicienne n¡¯¨¦tait   ni une d¨¦monstration de la virtus (virtuosit¨¦) du soliste, ni la complaisante exhibition d¡¯une pratique de soi   (Schneider, 1988 : 40), incarna la figure ¨¦r¨¦mitique de l¡¯artiste en prise sur   la musique   ; l¡¯autre,   le type qui peut jouer du piano plus vite que tous les autres   (B hm, 1995 : 88), incarna la figure mondaine du virtuose. Aucun ne fit l¡¯unanimit¨¦, aucun ne laissa indiff¨¦rent. Ainsi se construisirent, aux deux extr¨ºmes d¡¯une rh¨¦torique de la virtuosit¨¦, deux figures antagoniques de l¡¯asc¨¨se pianistique : Gould, absorb¨¦ par la technologie ; Cziffra, par la technique. This contribution is devoted to two pianists virtuoso of the second half of the XXe century: Glenn Gould (1932-1982) and Georges Cziffra (1921-1994). Glenn Gould lived as an ascetic in Ontario, giving up concerts, which he likened to bullfights, to devote himself to recording. Georges Cziffra withdrew to Senlis, near the chapel of St. Frambourg which he turned into his foundation after having built the famous Festival de La Chaise-Dieu and having devoted a virtuoso lifetime to these concert halls and television studios that welcomed him worldwide. These two artists incarnated two conflicting pianist figures: one, for whom music practice was "not a demonstration of the soloist¡¯s virtues (virtuosity) nor a complacent exhibition of self practice" (Schneider, 1988: 40), embodied the figure of the hermit artist in tune with "music", the other, "the guy who can play the piano faster than all others" (B hm, 1995: 88), embodied the worldly face of the virtuoso. Neither was unanimously beloved nor did they leave anyone indifferent. Thus at the two extreme of this rhetoric of virtuosity, two conflicting faces of pianistic asceticism were constructed: Gould, absorbed by technology; Cziffra, by technique.
%K music
%K Cziffra
%K Gould
%K pianist
%K virtuoso
%K musique
%K Cziffra
%K Gould
%K pianiste
%K virtuose
%U http://ateliers.revues.org/8841