{"id":7773,"date":"2025-12-12T10:05:16","date_gmt":"2025-12-12T09:05:16","guid":{"rendered":"https:\/\/pigyki.fr\/?p=7773"},"modified":"2025-12-26T19:11:06","modified_gmt":"2025-12-26T18:11:06","slug":"ecoute-musicale-n-77-rebecca-clarke","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/2025\/12\/12\/ecoute-musicale-n-77-rebecca-clarke\/","title":{"rendered":"\u00c9coute musicale n\u00b0 77 Rebecca Clarke"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Rebecca Clarke (1886-1979)<\/h1>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-image-fill-element\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"559\" height=\"1024\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-1.png\" alt=\"\" class=\"wp-image-7775 size-full\" style=\"object-position:50% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-1.png 559w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-1-164x300.png 164w\" sizes=\"auto, (max-width: 559px) 100vw, 559px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Rebecca_Clarke\" target=\"_blank\" rel=\"noreferrer noopener\">Rebecca Clarke<\/a><\/em><\/strong> (1886-1979) est une compositrice et altiste britannique, l\u2019une des pionni\u00e8res parmi les femmes musiciennes professionnelles du XX\u1d49 si\u00e8cle. Form\u00e9e au Royal College of Music, elle m\u00e8ne une carri\u00e8re d\u2019interpr\u00e8te tout en \u00e9crivant une musique de chambre d\u2019une grande intensit\u00e9. Sa <em>Sonata for Viola and Piano<\/em> (1919) devient son \u0153uvre embl\u00e9matique, admir\u00e9e pour sa richesse expressive et son style m\u00ealant impressionnisme et lyrisme britannique. <\/p>\n\n\n\n<p>Parmi la centaine d&rsquo;\u0153uvres qu&rsquo;elle a compos\u00e9es figurent \u00e9galement des lieder raffin\u00e9s, des pi\u00e8ces de musique de chambre et quelques \u0153uvres orchestrales. Ses influences m\u00ealent impressionnisme fran\u00e7ais, lyrisme britannique et une sensibilit\u00e9 personnelle tr\u00e8s nuanc\u00e9e.<\/p>\n\n\n\n<p>Malgr\u00e9 un succ\u00e8s initial, Clarke tombe dans l\u2019oubli durant plusieurs d\u00e9cennies, contrainte un moment de travailler comme gouvernante aux \u00c9tats-Unis.<\/p>\n\n\n\n<p>Aujourd\u2019hui, elle est red\u00e9couverte comme une figure essentielle du r\u00e9pertoire pour alto et de la musique moderne.<\/p>\n\n\n\n<p>Longtemps sous-estim\u00e9e et partiellement oubli\u00e9e, elle est aujourd\u2019hui c\u00e9l\u00e9br\u00e9e comme l\u2019une des compositrices les plus importantes de sa g\u00e9n\u00e9ration, r\u00e9guli\u00e8rement jou\u00e9e et enregistr\u00e9e.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile is-image-fill-element\"><div class=\"wp-block-media-text__content\">\n<h5 class=\"wp-block-heading\">Sonate pour Alto et Piano (1919)<\/h5>\n\n\n\n<p>Antoine Tamestit, Alto &#8211; Ying-Chien Lin, Piano<br><a href=\"https:\/\/www.youtube.com\/watch?v=kyhWWyDHIfM&amp;list=RD0dHsbQMxfzk&amp;index=2\" target=\"_blank\" rel=\"noreferrer noopener\">00:00<\/a> \u2013 I. Impetuoso <br><a href=\"https:\/\/www.youtube.com\/watch?v=kyhWWyDHIfM&amp;list=RD0dHsbQMxfzk&amp;index=2&amp;t=440s\" target=\"_blank\" rel=\"noreferrer noopener\">07:20<\/a> \u2013 II. Vivace <br><a href=\"https:\/\/www.youtube.com\/watch?v=kyhWWyDHIfM&amp;list=RD0dHsbQMxfzk&amp;index=2&amp;t=669s\" target=\"_blank\" rel=\"noreferrer noopener\">11:09<\/a> \u2013 III. Adagio<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Viola-Sonata-With-score.mp3\"><\/audio><\/figure>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"707\" height=\"724\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-2.png\" alt=\"\" class=\"wp-image-7776 size-full\" style=\"object-position:50% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-2.png 707w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-2-293x300.png 293w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-2-281x288.png 281w\" sizes=\"auto, (max-width: 707px) 100vw, 707px\" \/><\/figure><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">\u00c9coutes courtes<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\">Compilation p\u00e9riode 1912\/1926<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Compilation-courte-1.mp3\"><\/audio><\/figure>\n\n\n\n<p>\u0152uvres assembl\u00e9es dans cette compilation :<\/p>\n\n\n\n<h6 class=\"wp-block-heading\"><strong><em><a href=\"#shy\">Shy One *<\/a><\/em><\/strong> (<strong>1912<\/strong>)<\/h6>\n\n\n\n<p>Catrin Woodruff, Soprano &amp; Duncan Williams, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Shy-One-Rebecca-Clarke.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Morpheus<\/em> (1917)<\/h6>\n\n\n\n<p>Alyssa Bell Jackson, Alto &#8211; Bridget O&rsquo;Leary, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Morpheus.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Poem for String Quartet<\/em> &#8211; Adagio (1926)<\/h6>\n\n\n\n<p>Quatuor Sine Qua Non (2020)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Poem-for-String-Quartet-Adagio.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\">Compilation p\u00e9riode 1922\/1941<\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Compilation-courte-2.mp3\"><\/audio><\/figure>\n\n\n\n<p>\u0152uvres assembl\u00e9es dans cette compilation :<\/p>\n\n\n\n<h6 class=\"wp-block-heading\"><strong><em><a href=\"#Cloths\">The Cloths of Heaven *<\/a><\/em><\/strong> (<strong>1922<\/strong>)<\/h6>\n\n\n\n<p>Emily D&rsquo;Angelo, Mezzo-Soprano \u00b7 Sophia Mu\u00f1oz, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/R.-Clarke-The-Cloths-of-Heaven.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Passacaglia on an Old English Tune <\/em>(<strong>1941<\/strong>)<\/h6>\n\n\n\n<p>Amber Archibald, viola &amp; Jamie Namkung, piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Passacaglia-on-an-Old-English-Tune.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Dumka<\/em> &#8211; Duo Concertant pour Violon et Alto (1941)<\/h6>\n\n\n\n<p>Elisabeth Small, Violon &#8211; Eric Koontz, Alto &#8211; Bair Shagdaron, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Dumka-Duo-Concertante.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">\u0152uvres pour ch\u0153ur <em>a cappella<\/em><\/h4>\n\n\n\n<p>Voici une compilation pr\u00e9sentant cinq pi\u00e8ces <em>a cappella<\/em>, d\u00e9taill\u00e9es au-dessous :<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Compilation-vocale-a-cappella.mp3\"><\/audio><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\"><strong><em><a href=\"#Philomela\">Philomela *<\/a> <\/em><\/strong>(1914) <\/h6>\n\n\n\n<p>L&rsquo;ensemble Ahjo &#8211; Dirig\u00e9e par Julia Lainema (2022).<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Ahjo-Ensemble-live-Philomela-Rebecca-Clarke.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Music, When Soft Voices Die<\/em><\/h6>\n\n\n\n<p>The Sonare vocal quartet. (2024)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Music-When-Soft-Voices-Die-Sonare.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\"><em>There Is No Rose<\/em>, pour ch\u0153ur d&rsquo;hommes <em>a cappella<\/em><\/h6>\n\n\n\n<p>Chapel Choir of the Royal Hospital Chelsea<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/There-Is-No-Rose.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Ave Maria<\/em>, pour ch\u0153ur de femmes <em>a cappella<\/em><\/h6>\n\n\n\n<p>Chapel Choir of the Royal Hospital Chelsea<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Ave-Maria.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h6 class=\"wp-block-heading has-text-align-center\"><em>Psalm 91 : He That Dwelleth in the Secret Place of the Most<\/em><\/h6>\n\n\n\n<p class=\"has-text-align-center\">L&rsquo;ensemble vocal professionnel Sirventes Berlin &#8211; Stefan Schuck, direction. (2025)<\/p>\n\n\n\n<figure class=\"wp-block-audio aligncenter\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Psalm-91-Rebecca-Clarke-1886-1979-He-That-Dwelleth-in-the-Secret-Place-of-the-Most.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">\u00c9coutes longues&#8230; d\u00e9taill\u00e9es en br\u00e8ves<\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>La voix<\/strong><\/h4>\n\n\n\n<p>Le sens m\u00e9lodique et la sensibilit\u00e9 de Rebecca Clarke sont doubl\u00e9s d&rsquo;un sens de l&rsquo;harmonie subtil qui contribue \u00e0 mettre en sc\u00e8ne chaque texte comme dans les lieder de Schubert, n&rsquo;h\u00e9sitant pas \u00e0 troquer le piano pour un violon solo accompagnateur.<br>Vous trouverez chaque pi\u00e8ce s\u00e9par\u00e9ment sous la compilation propos\u00e9e.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Compilation-vocale-1.mp3\"><\/audio><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\">1. <em><strong><a href=\"#seal\">The Seal Man *<\/a><\/strong><\/em> (1922)<\/h6>\n\n\n\n<p>Emily D&rsquo;Angelo, Soprano &amp; Sophia Mu\u00f1oz, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-The-Seal-ManEmily-DAngelo-Sophia-Munoz.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><strong>2. <\/strong><em>Tears<\/em><\/h6>\n\n\n\n<p>Natasha Page, Soprano &amp; Ella O&rsquo;Neill, Piano.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Tears.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">3. <em>It was a Lover and his Lass<\/em> (1912)<\/h6>\n\n\n\n<p>Heather Gallagher, Mezzo-Soprano &amp; Julia Connor, Violon (Boston, 2022)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/\u2018Twas-a-lover-and-his-lass\u2026From-3-English-Songs-by-Rebecca-Clarke.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">4. <em>The Cherry-Blossom Wand<\/em> (1929)<\/h6>\n\n\n\n<p>Kristine Nowlain, Soprano &amp; Annika Bjelk, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/The-Cherry-Blossom-Wand-by-Rebecca-Clarke.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\">5. <em>I Know Where I\u2019m Going<\/em><br>Extrait de <em>Three Irish Country Songs<\/em> (1925)<\/h6>\n\n\n\n<p>Patricia Wright, Soprano &amp; Jonathan Rees, Violon<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Three-Irish-Country-Songs-I-Know-Where-Im-Going.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><strong>6. <em><a href=\"#Binnorie\">Binnorie *<\/a><\/em><\/strong><\/h6>\n\n\n\n<p>Kitty Whately, Mezzo-Soprano &amp; Simon Lepper, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-\u2013-Binnorie-Kitty-Whately-Soprano-Simon-Lepper-Piano.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">7. <em>Lethe<\/em> (1930)<\/h6>\n\n\n\n<p>Patricia Wright, Soprano &amp; Kathron Sturrock, Piano (2000)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Lethe.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">8. <em>Come, O Come, My Life\u2019s Delight <\/em>(1921)<\/h6>\n\n\n\n<p>Patricia Wright, Soprano &amp; Kathron Sturrock, Piano (2000)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Come-oh-Come-my-Lifes-Delight.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h6 class=\"wp-block-heading has-text-align-center\">9. <strong><em><a href=\"#dream\">A dream *<\/a><\/em><\/strong><\/h6>\n\n\n\n<p class=\"has-text-align-center\">Dorota Szczepa\u0144ska, Soprano &amp;Maria Yulin, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio aligncenter\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-A-dream.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">La voix et l\u2019alto<\/h4>\n\n\n\n<p>Je vous propose une autre compilation dans laquelle la voix et l\u2019alto dialoguent, parfois directement, parfois en miroir via des \u0153uvres instrumentales qui prolongent l\u2019univers vocal. Vous trouverez chaque pi\u00e8ce s\u00e9par\u00e9ment au-dessous.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Playlist-Voix-Alto.mp3\"><\/audio><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\">1. <a href=\"#shy\"><em>Shy One<\/em> *<\/a> (Voix + Piano, 1912)<\/h6>\n\n\n\n<p>Catrin Woodruff, Soprano &amp; Duncan Williams, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Shy-One.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">2. <em>Morpheus<\/em> (Alto + Piano, 1917)<\/h6>\n\n\n\n<p>Alyssa Bell Jackson, Alto &amp; Bridget O&rsquo;Leary, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Morpheus-1.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">3. <a href=\"#Cloths\"><em>The Cloths of Heaven<\/em> *<\/a> (Voix + Piano, 1912)<\/h6>\n\n\n\n<p>Emily D&rsquo;Angelo , Mezzo-Soprano &amp; Sophia Mu\u00f1oz, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-The-Cloths-of-Heaven.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">4. <em>Sonate pour Alto et Piano<\/em>, 2\u1d49 mvt \u2014 Vivace (1919)<\/h6>\n\n\n\n<p>Tabea Zimmermann, Alto &amp; Kirill Gerstein, Piano (2010)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Viola-Sonata-II.-Vivace.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">5. <em>Down by the Salley Gardens <\/em>(Voix + Piano, 1919)<\/h6>\n\n\n\n<p>Patricia Wright, Soprano &amp; Kathron Sturrock, Piano (2000)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Down-by-the-Salley-Gardens.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\">6. <em>Pr\u00e9lude, Allegro et Pastorale<\/em> (Clarinette + Alto, 1941)<\/h6>\n\n\n\n<p>Nikita Vaganov, Clarinette &amp; Olga Vaganova, Alto (Moscou 2025)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Prelude-Allegro-and-Pastorale.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">7. <a href=\"#tiger\"><em>Tiger, Tiger *<\/em> <\/a>(Voix + Piano, 1927)<\/h6>\n\n\n\n<p>Po\u00e8me de William Blake<br>Anna Herbst, Soprano &amp; Dorothy Gemmeke, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Tiger-Tiger-Anna-Herbst-Soprano-Dorothy-Gemmeke-Piano.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">8. <em>Passacaglia on an Old English Tune<\/em> (Alto + Piano, 1941)<\/h6>\n\n\n\n<p>Amber Archibald &amp; Jamie Namkung<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Passacaglia-on-an-Old-English-Tune-Amber-Archibald-and-Jamie-Namkung.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">9. <em>June Twilight<\/em> (Voix + Piano, 1924)<\/h6>\n\n\n\n<p>Patricia Wright, Soprano &amp; Kathron Sturrock, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-June-Twilight.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">10. <em>Midsummer Moon <\/em>(Violon + Piano, 1926)<\/h6>\n\n\n\n<p>Alexi Kenney, violon &amp; Anna Polonsky, piano (Philadelphie 2021)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Midsummer-Moon-Alexi-Kenney-Anna-Polonsky.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">La musique de chambre instrumentale<\/h4>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Compilation-musique-de-chambre.mp3\"><\/audio><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\"><em>Grotesque<\/em>, pour Alto et Violoncelle<\/h6>\n\n\n\n<p><em>Duo Chordata<\/em> : Cindy Folly, Alto &amp; Larissa Mattos, Violoncelle. Belo Horizonte\/Brasil &#8211; 2016<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Grotesque-for-viola-and-cello.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Combined <em>Carols<\/em>, pour quatuor \u00e0 cordes<\/h6>\n\n\n\n<p>Pour illustrer ses talents d&rsquo;harmonisatrice&#8230;<br>Quatuor Modigliani : Amaury Coeytaux &amp; Loic Rio, violons &#8211; Laurent Marfaing, alto &#8211; Fran\u00e7ois Kieffer, violoncelle<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Combined-Carols-Quatuor-Modigliani-4-1.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h6 class=\"wp-block-heading\"><em>Comodo et amabile<\/em>, pour Quatuor \u00e0 cordes<\/h6>\n\n\n\n<p>Julstrom String Quartet (2007)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Comodo-et-amabile.mp3\"><\/audio><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\"><em>Piano Trio<\/em> (1921)<\/h6>\n\n\n\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=zfC_tEif-Ds&amp;list=RDzfC_tEif-Ds&amp;index=1\" target=\"_blank\" rel=\"noreferrer noopener\">00:00<\/a> I. Moderato ma appassionato <a href=\"https:\/\/www.youtube.com\/watch?v=zfC_tEif-Ds&amp;list=RDzfC_tEif-Ds&amp;index=1&amp;t=605s\" target=\"_blank\" rel=\"noreferrer noopener\">10:05<\/a> II. Andante molto semplice <a href=\"https:\/\/www.youtube.com\/watch?v=zfC_tEif-Ds&amp;list=RDzfC_tEif-Ds&amp;index=1&amp;t=967s\" target=\"_blank\" rel=\"noreferrer noopener\">16:07<\/a> III. Allegro vigoroso<br>Lincoln Trio : <a href=\"https:\/\/www.cedillerecords.org\/artists\/marta-aznavoorian\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Marta Aznavoorian<\/em><\/a>,&nbsp;Piano &#8211; <a href=\"https:\/\/www.cedillerecords.org\/artists\/desiree-ruhstrat\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Desir\u00e9e Ruhstrat<\/em><\/a>, Violon &#8211; <a href=\"https:\/\/www.cedillerecords.org\/artists\/david-cunliffe\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>David Cunliffe<\/em><\/a>,&nbsp;Violoncelle<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/Rebecca-Clarke-Piano-Trio-1921-w-score.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">* Pour en savoir plus&#8230;<\/h3>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"Cloths\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The Cloths of Heaven \u2014<\/strong> <strong>1912<\/strong><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Had I the heavens&rsquo; embroidered cloths, <br>Enwrought with golden and silver light, <br>The blue and the dim and the dark cloths <br>Of night and light and the half-light, <br>I would spread the cloths under your feet: <br>But I, being poor, have only my dreams; <br>I have spread my dreams under your feet; <br>Tread softly because you tread on my dreams.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Si j&rsquo;avais les tissus brod\u00e9s des cieux,<br>Tiss\u00e9s de lumi\u00e8re dor\u00e9e et argent\u00e9e,<br>Les tissus bleus, sombres et obscurs<br>De la nuit, de la lumi\u00e8re et de la p\u00e9nombre,<br>Je les \u00e9tendrais sous tes pieds :<br>Mais moi, pauvre, je n&rsquo;ai que mes r\u00eaves ;<br>J&rsquo;ai \u00e9tendu mes r\u00eaves sous tes pieds ;<br>Marche doucement, car tu marches sur mes r\u00eaves.<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"shy\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Shy One<\/strong> \u2014 1912<\/h2>\n\n\n\n<p>Adaptation d&rsquo;un po\u00e8me de William Butler Yeats. On pense que Yeats aurait \u00e9crit ce po\u00e8me apr\u00e8s avoir observ\u00e9 des pr\u00eatresses pa\u00efennes accomplir leurs rituels. L&rsquo;utilisation par Clarke de mesures complexes et de m\u00e9lodies pentatoniques donne vie \u00e0 cette histoire mystique !<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Shy one, shy one, <br>Shy one of my heart, <br>She moves in the firelight <br>Pensively apart. <\/p>\n\n\n\n<p>She carries in the dishes <br>And lays them in a row. <br>To an isle in the water <br>With her would I go. <\/p>\n\n\n\n<p>She carries in the candles, <br>And lights the curtained room, <br>Shy in the doorway <br>And shy in the gloom; <\/p>\n\n\n\n<p>And shy as a rabbit, <br>Helpful and shy. <br>To an isle in the water <br>With her would I fly.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Timide, timide,<br>Timide de mon c\u0153ur,<br>Elle se d\u00e9place \u00e0 la lueur du feu,<br>Pensivement \u00e0 l&rsquo;\u00e9cart.<\/p>\n\n\n\n<p>Elle apporte les plats<br>Et les dispose en rang.<br>Sur une \u00eele au milieu de l&rsquo;eau,<br>Avec elle, je voudrais aller.<\/p>\n\n\n\n<p>Elle apporte les bougies,<br>Et \u00e9claire la pi\u00e8ce aux rideaux tir\u00e9s,<br>Timide dans l&#8217;embrasure de la porte,<br>Et timide dans la p\u00e9nombre ;<\/p>\n\n\n\n<p>Et timide comme un lapin,<br>Serviable et timide.<br>Sur une \u00eele au milieu de l&rsquo;eau,<br>Avec elle, je voudrais m&rsquo;envoler.<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"dream\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>A dream<\/em><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>I dreamed that one had died in a strange place<br>Near no accustomed hand<br>And they had nailed the boards above her face<br>The peasants of that land<br>And, wond&rsquo;ring, planted by her solitude<br>A cypress and a yewl came, <br>And wrote upon a cross of wood <br>Man had no more to do<br>\u00ab\u00a0She was more beautiful than thy first love<br>This lady by the trees.\u00a0\u00bb<br>And gazed upon the mournful stars above<br>And heard the mournful breeze<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>J&rsquo;ai r\u00eav\u00e9 qu&rsquo;une personne \u00e9tait morte dans un endroit \u00e9trange<br>Loin de toute main famili\u00e8re<br>Et qu&rsquo;ils avaient clou\u00e9 des planches sur son visage<br>Les paysans de cette contr\u00e9e<br>Et, \u00e9merveill\u00e9s, plant\u00e9s pr\u00e8s de sa solitude<br>Un cypr\u00e8s et un if sont venus, <br>Et ont \u00e9crit sur une croix de bois<br>L&rsquo;homme n&rsquo;avait plus rien \u00e0 faire<br>\u00ab Elle \u00e9tait plus belle que ton premier amour<br>Cette dame pr\u00e8s des arbres. \u00bb<br>Et contemplait les \u00e9toiles tristes au-dessus<br>Et entendait la brise triste<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"tiger\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">Tiger, Tiger \u2014 1927<\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Tyger Tyger, burning bright, <br>In the forests of the night; <br>What immortal hand or eye, <br>Could frame thy fearful symmetry? <\/p>\n\n\n\n<p>In what distant deeps or skies <br>Burnt the fire of thine eyes? <br>On what wings dare he aspire? <br>What the hand, dare sieze the fire? <\/p>\n\n\n\n<p>And what shoulder, &amp; what art, <br>Could twist the sinews of thy heart? <br>And when thy heart began to beat, <br>What dread hand? &amp; what dread feet? <\/p>\n\n\n\n<p>What the hammer? What the chain, <br>In what furnace was thy brain? <br>What the anvil? what dread grasp, <br>Dare its deadly terrors clasp! <\/p>\n\n\n\n<p>When the stars threw down their spears <br>And water&rsquo;d heaven with their tears: <br>Did he smile his work to see? <br>Did he who made the Lamb make thee?<\/p>\n\n\n\n<p>Tyger Tyger burning bright, <br>In the forests of the night: <br>What immortal hand or eye, <br>Dare frame thy fearful symmetry?<a href=\"https:\/\/www.youtube.com\/@nataliesherer879\"><\/a><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Tigre, tigre, br\u00fblant de mille feux,<br>Dans les for\u00eats de la nuit ;<br>Quelle main ou quel \u0153il immortel<br>A pu fa\u00e7onner ta redoutable sym\u00e9trie ?<\/p>\n\n\n\n<p>Dans quelles profondeurs ou quels cieux lointains<br>A br\u00fbl\u00e9 le feu de tes yeux ?<br>Sur quelles ailes a-t-il os\u00e9 s&rsquo;\u00e9lever ?<br>Quelle main a os\u00e9 saisir le feu ?<\/p>\n\n\n\n<p>Et quelle \u00e9paule, et quel art,<br>Ont pu tordre les tendons de ton c\u0153ur ?<br>Et quand ton c\u0153ur a commenc\u00e9 \u00e0 battre,<br>Quelle main redoutable ? Et quels pieds redoutables ?<\/p>\n\n\n\n<p>Quel marteau ? Quelle cha\u00eene,<br>Dans quel fourneau ton cerveau a-t-il \u00e9t\u00e9 forg\u00e9 ?<br>Quelle enclume ? Quelle poigne redoutable,<br>Ose saisir ses terreurs mortelles !<\/p>\n\n\n\n<p>Quand les \u00e9toiles ont jet\u00e9 leurs lances<br>Et arros\u00e9 le ciel de leurs larmes :<br>A-t-il souri en voyant son \u0153uvre ?<br>Celui qui a cr\u00e9\u00e9 l&rsquo;Agneau t&rsquo;a-t-il cr\u00e9\u00e9 ?<\/p>\n\n\n\n<p>Tigre, tigre, br\u00fblant de mille feux,<br>Dans les for\u00eats de la nuit :<br>Quelle main ou quel \u0153il immortel,<br>Ose fa\u00e7onner ta redoutable sym\u00e9trie ?<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"Philomela\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Philomela <\/em>(1914)<\/h5>\n\n\n\n<p>Extrait du blog de Julia Lainema (traduit du finnois) : <em>\u00ab Philomela de Rebecca Clarke pr\u00e9sente de nombreuses caract\u00e9ristiques typiques du style compositionnel de Clarke, telles que le chromatisme et les progressions harmoniques qui \u00e9voluent de mani\u00e8re organique. La suite chorale en quatre parties r\u00e9sonne de mani\u00e8re riche et expressive. Les triolets se balancent sur un rythme r\u00e9gulier, ajoutant de la vivacit\u00e9 \u00e0 la texture. Clarke a su capturer la douleur et la d\u00e9tresse d\u00e9crites dans ses m\u00e9lodies. La pi\u00e8ce est \u00e9mouvante et suscite la r\u00e9flexion, elle est pleine de contenu \u00e9motionnel \u00bb.<\/em><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>The nightingale, as soon as April bringeth <br>Unto her rested sense a perfect waking, <br>While late bare earth, proud of new clothing, springeth, <br>Sings out her woes, a thorn her song-book making, <\/p>\n\n\n\n<p>And mournfully bewailing, <br>Her throat in tunes expresseth <br>What grief her breast oppresseth <br>For Tereus\u2019 force on her chaste will prevailing. <\/p>\n\n\n\n<p>O Philomela fair, O take some gladness, <br>That here is juster cause of plaintful sadness: <br>Thine earth now springs, mine fadeth; <br>Thy thorn without, my thorn my heart invadeth. <\/p>\n\n\n\n<p>Alas, she hath no other cause of anguish <br>But Tereus\u2019 love, on her by strong hand wroken, <br>Wherein she suffering, all her spirits languish; <br>Full womanlike complains her will was broken. <\/p>\n\n\n\n<p>But I, who daily craving, <br>Cannot have to content me, <br>Have more cause to lament me, <br>Since wanting is more woe than too much having. <\/p>\n\n\n\n<p>O Philomela fair, O take some gladness, <br>That here is juster cause of plaintful sadness: <br>Thine earth now springs, mine fadeth; <br>Thy thorn without, my thorn my heart invadeth. <\/p>\n\n\n\n<p>Texte de <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Philip_Sidney\" target=\"_blank\" rel=\"noreferrer noopener\">Sir Philip Sidney<\/a><\/em><\/strong> (1554-1586)<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Le rossignol, d\u00e8s qu&rsquo;avril apporte<br>\u00c0 ses sens repos\u00e9s un r\u00e9veil parfait,<br>Tandis que la terre nue, fi\u00e8re de ses nouveaux atours, rena\u00eet,<br>Chante ses malheurs, faisant de ses \u00e9pines son livre de chants,<\/p>\n\n\n\n<p>Et se lamentant tristement,<br>Sa gorge exprime en m\u00e9lodies<br>La douleur qui oppresse sa poitrine<br>Pour la force de Tereus qui l&#8217;emporte sur sa volont\u00e9 chaste.<\/p>\n\n\n\n<p>\u00d4 belle Philom\u00e8le, \u00f4, prends un peu de joie,<br>Car voici une cause plus juste de tristesse plaintive :<br>Ta terre rena\u00eet, la mienne se fane ;<br>Ton \u00e9pine est \u00e0 l&rsquo;ext\u00e9rieur, la mienne envahit mon c\u0153ur.<\/p>\n\n\n\n<p>H\u00e9las, elle n&rsquo;a pas d&rsquo;autre cause d&rsquo;angoisse<br>Que l&rsquo;amour de Tereus, qui s&rsquo;est abattu sur elle de sa main forte, Et dans lequel elle souffre, tout son esprit languit ;<br>Comme toute femme, elle se plaint que sa volont\u00e9 a \u00e9t\u00e9 bris\u00e9e.<\/p>\n\n\n\n<p>Mais moi, qui chaque jour,<br>Ne peux avoir de quoi me satisfaire,<br>J&rsquo;ai plus de raisons de me lamenter,<br>Car le manque est plus douloureux que l&rsquo;exc\u00e8s.<\/p>\n\n\n\n<p>\u00d4 belle Philom\u00e8le, \u00f4, prends un peu de joie,<br>Car voici une cause plus juste de tristesse plaintive :<br>Ta terre maintenant fleurit, la mienne se fane ;<br>Ton \u00e9pine est \u00e0 l&rsquo;ext\u00e9rieur, la mienne envahit mon c\u0153ur.<\/p>\n\n\n\n<p>Texte de <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Philip_Sidney\" target=\"_blank\" rel=\"noreferrer noopener\">Sir Philip Sidney<\/a><\/em><\/strong> (1554-1586)<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"seal\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>The Seal Man<\/em> \u2014 1922<\/h5>\n\n\n\n<p><em>Inspir\u00e9 d\u2019un conte \u00e9cossais. <\/em><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>The Seal Man, text by John Masefield, extracted from \u00ab\u00a0A Main Sail Haul.\u00a0\u00bb (this phrase from the story is printed in the music, but not set: \u00ab\u00a0Them that live in the water, they have ways of calling people.\u00a0\u00bb) <\/p>\n\n\n\n<p>And he came by her cabin to the west of the road, calling. There was a strong love came up in her at that, and she put down her sewing on the table, and &lsquo;Mother,&rsquo; she says, &lsquo;there&rsquo;s no lock, and no key, and no bolt, and no door. There&rsquo;s no iron, nor no stone, nor anything at all will keep me this night from the man I love.&rsquo; And she went out into the moonlight to him, there by the bush where the flowers is pretty, beyond the river. And he says to her: &lsquo;You are all of the beauty of the world, will you come where I go, over the waves of the sea?&rsquo; And she says to him: &lsquo;My treasure and my strength,&rsquo; she says, &lsquo;I would follow you on the frozen hills, my feet bleeding.&rsquo; Then they went down into the sea together, and the moon made a track upon the sea, and they walked down it; it was like a flame before them. There was no fear at all on her; only a great love like the love of the Old Ones, that was stronger than the touch of the fool. She had a little white throat, and little cheeks like flowers, and she went down into the sea with her man, who wasn&rsquo;t a man at all. She was drowned, of course. It&rsquo;s like he never thought that she wouldn&rsquo;t bear the sea like himself. She was drowned, drowned.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>The Seal Man, texte de John Masefield, extrait de \u00ab A Main Sail Haul \u00bb. (Cette phrase tir\u00e9e de l&rsquo;histoire est imprim\u00e9e dans la partition, mais n&rsquo;est pas mise en musique : \u00ab Ceux qui vivent dans l&rsquo;eau ont leur fa\u00e7on d&rsquo;appeler les gens. \u00bb)<\/p>\n\n\n\n<p>Et il vint pr\u00e8s de sa cabane, \u00e0 l&rsquo;ouest de la route, en l&rsquo;appelant. Un amour intense s&rsquo;\u00e9veilla alors en elle, et elle posa sa couture sur la table et dit : \u00ab M\u00e8re, il n&rsquo;y a ni serrure, ni cl\u00e9, ni verrou, ni porte. Il n&rsquo;y a ni fer, ni pierre, ni quoi que ce soit qui puisse m&#8217;emp\u00eacher cette nuit de rejoindre l&rsquo;homme que j&rsquo;aime. \u00bb Et elle sortit au clair de lune pour le rejoindre, l\u00e0-bas, pr\u00e8s du buisson o\u00f9 les fleurs sont jolies, au-del\u00e0 de la rivi\u00e8re. Et il lui dit : \u00ab Tu es toute la beaut\u00e9 du monde, viendras-tu l\u00e0 o\u00f9 je vais, au-del\u00e0 des vagues de la mer ? \u00bb Et elle lui r\u00e9pondit : \u00ab Mon tr\u00e9sor et ma force, dit-elle, je te suivrais sur les collines gel\u00e9es, m\u00eame si mes pieds saignaient. \u00bb<br>Puis ils descendirent ensemble dans la mer, et la lune tra\u00e7a une piste sur la mer, et ils la suivirent ; c&rsquo;\u00e9tait comme une flamme devant eux. Elle n&rsquo;\u00e9prouvait aucune crainte, seulement un grand amour, comme celui des Anciens, plus fort que le toucher de l&rsquo;imb\u00e9cile. Elle avait une petite gorge blanche et de petites joues comme des fleurs, et elle s&rsquo;enfon\u00e7a dans la mer avec son homme, qui n&rsquo;\u00e9tait pas un homme du tout. Elle se noya, bien s\u00fbr. C&rsquo;est comme s&rsquo;il n&rsquo;avait jamais pens\u00e9 qu&rsquo;elle ne supporterait pas la mer comme lui. Elle se noya, se noya.<\/p>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"Binnorie\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>Binnorie<\/em><\/h5>\n\n\n\n<p><em>Binnorie<\/em>, un chant de douze minutes fond\u00e9 sur le folklore&nbsp;celte, est d\u00e9couvert en 1997 et n&rsquo;est cr\u00e9\u00e9 qu&rsquo;en 2001.&nbsp;<\/p>\n\n\n\n<p>Inspir\u00e9 d&rsquo;une ballade \u00e9cossaise effrayante, \u00ab <em>Binnorie<\/em> \u00bb raconte l&rsquo;histoire tragique de deux s\u0153urs et d&rsquo;un destin obs\u00e9dant au bord de l&rsquo;eau. La mise en sc\u00e8ne de Rebecca Clarke capture l&rsquo;intensit\u00e9 \u00e9motionnelle du r\u00e9cit avec une beaut\u00e9 lyrique et une puissance sombre, un m\u00e9lange parfait entre narration, m\u00e9lodie et atmosph\u00e8re.<\/p>\n\n\n\n<p><em>Voici la l\u00e9gende qui inspira le texte de Rebecca Clarke&#8230;<\/em><\/p>\n\n\n\n<p>Il \u00e9tait une fois deux filles de roi qui vivaient dans une tonnelle pr\u00e8s des jolis barrages de Binnorie. Sir William vint courtiser l&rsquo;a\u00een\u00e9e et gagna son amour, et lui fit la promesse de l&rsquo;\u00e9pouser avec un gant et une bague. Mais apr\u00e8s quelque temps, il posa les yeux sur la cadette, avec ses joues roses et ses cheveux dor\u00e9s, et son amour se porta sur elle jusqu&rsquo;\u00e0 ce qu&rsquo;il ne se soucie plus de l&rsquo;a\u00een\u00e9e. Elle en vint \u00e0 d\u00e9tester sa s\u0153ur pour lui avoir vol\u00e9 l&rsquo;amour de Sir William, et jour apr\u00e8s jour, sa haine grandissait et elle complotait et planifiait comment se d\u00e9barrasser d&rsquo;elle.<\/p>\n\n\n\n<p>Un beau matin, clair et ensoleill\u00e9, elle dit \u00e0 sa s\u0153ur :<br>\u00ab Allons voir les bateaux de notre p\u00e8re arriver au joli moulin de Binnorie. \u00bb <br>Elles s&rsquo;y rendirent donc main dans la main. Et lorsqu&rsquo;elles arriv\u00e8rent au bord de la rivi\u00e8re, la plus jeune monta sur une pierre pour regarder les bateaux accoster. Sa s\u0153ur, qui la suivait, l&rsquo;attrapa par la taille et la jeta dans le torrent imp\u00e9tueux de Binnorie.<br>\u00ab Oh, ma s\u0153ur, ma s\u0153ur, tends-moi la main ! \u00bb cria-t-elle en s&rsquo;\u00e9loignant, \u00ab et tu auras la moiti\u00e9 de tout ce que j&rsquo;ai ou que j&rsquo;aurai. <br><strong>\u2014<\/strong> Non, ma s\u0153ur, je ne te tendrai pas la main, car je suis l&rsquo;h\u00e9riti\u00e8re de toutes tes terres. Honte \u00e0 moi si je touche la main qui s&rsquo;est interpos\u00e9e entre moi et l&rsquo;amour de mon c\u0153ur. <br><strong>\u2014<\/strong> Oh, ma s\u0153ur, oh, ma s\u0153ur, alors tends-moi ton gant ! \u00bb cria-t-elle en s&rsquo;\u00e9loignant, \u00ab et tu retrouveras ton William. \u00bb<br><strong>\u2014<\/strong> Coule \u00bb, cria la cruelle princesse, \u00ab tu ne toucheras ni ma main ni mon gant. Le doux William sera tout \u00e0 moi quand tu auras coul\u00e9 sous le joli ruisseau du moulin de Binnorie. \u00bb Et elle se retourna et rentra chez elle, au ch\u00e2teau du roi.<\/p>\n\n\n\n<p>Et la princesse d\u00e9riva sur le ruisseau du moulin, tant\u00f4t nageant, tant\u00f4t coulant, jusqu&rsquo;\u00e0 ce qu&rsquo;elle arrive pr\u00e8s du moulin. Ce jour-l\u00e0, la fille du meunier faisait la cuisine et avait besoin d&rsquo;eau. Alors qu&rsquo;elle allait en puiser dans le ruisseau, elle vit quelque chose flotter vers le barrage du moulin et elle cria : \u00ab P\u00e8re ! P\u00e8re ! Fermez le barrage. Il y a quelque chose de blanc, une sir\u00e8ne ou un cygne blanc comme le lait, qui descend le ruisseau. \u00bb Le meunier se pr\u00e9cipita donc vers le barrage et arr\u00eata les lourdes et cruelles roues du moulin. Puis ils sortirent la princesse de l&rsquo;eau et la d\u00e9pos\u00e8rent sur la berge.<\/p>\n\n\n\n<p>Elle \u00e9tait belle et gracieuse, allong\u00e9e l\u00e0. Ses cheveux dor\u00e9s \u00e9taient parsem\u00e9s de perles et de pierres pr\u00e9cieuses ; on ne voyait pas sa taille \u00e0 cause de sa ceinture dor\u00e9e, et la frange dor\u00e9e de sa robe blanche tombait sur ses pieds blancs comme des lys. Mais elle \u00e9tait noy\u00e9e, noy\u00e9e !<\/p>\n\n\n\n<p>Alors qu&rsquo;elle gisait l\u00e0, dans toute sa beaut\u00e9, un c\u00e9l\u00e8bre harpiste passa pr\u00e8s du barrage du moulin de Binnorie et vit son doux visage p\u00e2le. Bien qu&rsquo;il poursuivit son chemin loin de l\u00e0, il n&rsquo;oublia jamais ce visage, et apr\u00e8s plusieurs jours, il revint au joli ruisseau du moulin de Binnorie. Mais tout ce qu&rsquo;il trouva de son corps l\u00e0 o\u00f9 on l&rsquo;avait d\u00e9pos\u00e9e, ce n&rsquo;\u00e9taient que ses os et ses cheveux dor\u00e9s. Il fabriqua donc une harpe avec son sternum et ses cheveux, et gravit la colline depuis le barrage du moulin de Binnorie jusqu&rsquo;\u00e0 ce qu&rsquo;il arrive au ch\u00e2teau du roi, son p\u00e8re.<\/p>\n\n\n\n<p>Cette nuit-l\u00e0, ils \u00e9taient tous r\u00e9unis dans la salle du ch\u00e2teau pour \u00e9couter le grand harpiste : le roi et la reine, leur fille et leur fils, Sir William et toute leur cour. Le harpiste commen\u00e7a par chanter avec sa vieille harpe, les rendant joyeux et heureux, ou tristes et en larmes, selon son bon vouloir. Mais pendant qu&rsquo;il chantait, il posa la harpe qu&rsquo;il avait fabriqu\u00e9e ce jour-l\u00e0 sur une pierre dans la salle. Et bient\u00f4t, elle se mit \u00e0 chanter d&rsquo;elle-m\u00eame, d&rsquo;une voix grave et claire, et le harpiste s&rsquo;arr\u00eata et tous se turent.<\/p>\n\n\n\n<p>Et voici ce que chantait la harpe :<\/p>\n\n\n\n<p>\u00ab L\u00e0-bas est assis mon p\u00e8re, le roi,<br>Binnorie, \u00f4 Binnorie ;<br>Et l\u00e0-bas est assise ma m\u00e8re, la reine ;<br>Pr\u00e8s des jolis moulins de Binnorie.<br>Et l\u00e0-bas se tient mon fr\u00e8re Hugh,<br>Binnorie, \u00f4 Binnone ;<br>Et pr\u00e8s de lui mon William, faux et vrai ;<br>Pr\u00e8s des jolis moulins de Binnorie. \u00bb<\/p>\n\n\n\n<p>Alors tous s&rsquo;\u00e9tonn\u00e8rent, et le harpiste leur raconta comment il avait vu la princesse gisant noy\u00e9e sur la rive pr\u00e8s des beaux moulins de Binnorie, et comment il avait ensuite fabriqu\u00e9 sa harpe \u00e0 partir de ses cheveux et de son sternum. \u00c0 ce moment-l\u00e0, la harpe se remit \u00e0 chanter, et voici ce qu&rsquo;elle chanta haut et fort :<\/p>\n\n\n\n<p>\u00ab Et l\u00e0 est assise ma s\u0153ur qui m&rsquo;a noy\u00e9e<br>Pr\u00e8s des beaux barrages de Binnorie. \u00bb<\/p>\n\n\n\n<p>Et la harpe se brisa et ne chanta plus jamais.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"640\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-3.png\" alt=\"\" class=\"wp-image-7777\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-3.png 640w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-3-300x300.png 300w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-3-150x150.png 150w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/12\/image-3-281x281.png 281w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Rebecca Clarke (1886-1979) est une compositrice et altiste britannique, l\u2019une des pionni\u00e8res parmi les femmes musiciennes professionnelles du XX\u1d49 si\u00e8cle. <\/p>\n","protected":false},"author":1,"featured_media":7778,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"yes","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[99,17],"tags":[],"class_list":["post-7773","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr","category-ecoutes-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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