Bruno Lussato

Chronique

On trouvera en cliquant sur l'index ►♦♦♦ un billet très spécialisé et que je ne destine qu'à ceux qui s'interessent de très près à la genèse de l'Entretien. Contenant des références personnelles il n'a pas sa place dans le flux normal du blog, qui interdit toute manifestation d'ego et toute allusion à la personnalité du blogueur.

Queue de festival

Je suis arrivé à Deauville le dernier jour du Festival du cinéma américain. C’est une tentative méritoire de madame d’Ornano pour donner un nouvel éclat à ce XXIe arrondissement de Paris. Au crédit : une activité sympathique pour les résidents, beaucoup d’animation, une ambiance internationale, une touche de show biz et de people, et, justifiant ce festival un magnifique ensemble à demi enterré et d’une envergure disproportionnée par rapport à l’événement. Car, il ne faut pas nous dissimuler, que ce festival n’est que l’ombre des « vrais » : Hollywood, Venise, Cannes où l’on donne en première vision des films que l’on va récompenser par des oscars, des lions d’or, par des césars… A Deauville on en fait qu’assister à la première vision … française de films que les vrais people ont vu ailleurs. Il ,ne s’agit donc de nouveautés que pour les franchouillards, les snobs au petit pied, et les estivants de Deauville dont la distinction n’est pas le caractère dominant.

THE CHRONICLE
The aims of the first foundation

The Lussato Fedier Foundation
Le Centre Interculturel d’UCCLE
Belgique

WHY ?
The ultimate goal of the Foundation.
Our aim is to open the mind of ordinary people, as well as experts, to deep understanding between people and civilizations. We believe than all beliefs and religions could be accepted and understood when they are not distorted by superficiality and fanatism. To possess a spirituality oriented mind is a benediction, but when this mind is highly cultured and sophisticated, it has greater powers, and a larger vision. It’s why an initiation to great cultural masterpieces is paramount to our organization.

We certainly wouldn’t go as far as believing that our center could compete with great cultural organizations as the Getty Foundation. But our experience shows that small cultural sites like Uccle Foundation, could attracted people living all around, in Belgium as in Europe, provided that the fire of passion would ever burn in these places of knowledge.

To make a long story short, let us say that the Foundation tries to put people in close contact with the different civilizations of different epochs. Such immersion would enhance deep empathy between the participants, through seminars, dialogs, and decoding the symbols and the products that derive from their basic values.

See above, the fountain pen of the third mellenium.It is a master piece and a tour de force : 24 facets incrusted by albalone inserts.

A cultural center for the third millenium
Our millenium debutes by a triple crisis :
- financial and economy crisis
- geopolitical
- crisis of sense accompanying the disappearance of the religion and the family.

According to Jean-François Six, the France national mediator, the sense emerges from the equilibrium of material, relational and ideological-spiritual values. But nowadays the first prevails and suppress the others. The result which ensue is the dangerous vacuity of our society which we must fight. It is precisely the ultimate goal of our center.

To meet this challenge we must get back to the world richness, from its mythical past up to a contemporary vision, yet utopian but rich of potentialities. We must struggle against the monotony of globalization and fight for a new variety of behaviors. Variety of the cultural roots, variety of our personal needs.

The sections of our cultural center.
We must distinguish :

A site for discussions and debates about the change of paradigms, in the field of geopolitics, of the globalization, of the economy and finance field, of the durable development, and, last but not least, the harmonious synergy of all the new paradigms.

A cultural heritage comprising objects of museal quality which could be of use as a pedagogic tool for searchers, sponsors, and civil servants. It would provide a concrete support to our cultural and spiritual concepts.
HOW?
The philosoph Bridgman used to say that the HOW is the WHY of modern man. We must confess that this ironical motto is fully realized nowadays, where bankers, economists, searchers and experts, civil servants, computer men, and even social workers are more interested by what they are doing, and how to do it whith efficiency rather to think to the outcomes and the real usefulness of what they do.

The how? is a necessary support of action but ought be subordinate to the why. Therefore we are very task and method oriented, but having always in our mind, and at each moment, the ultimate goal of the center.


THE DEBATES
They cover, some of the following subjects:

Consequences of structural changes in the geopolitic theater.

Outcomes of the outcomes of the globalization

Crisis of the economy and final dead end

The alliance of the new paradigm around the truly human values.

Culture and spirituality

The hope that durable development will give rise to a better new world.

Initiation to great masterpieces : for exemple decoding of Guernica (Picasso) , The Art of The Fugue (J.S.Bach) the david of Michelangelo and its model, of the second Faust (Goethe) , of Eugen Oneguine (Poutchkine - Tchaikovsky) etc.

THE COLLECTIONS
The Uccle's Center is not limited to organize conferences and intellectual debates. We believe that in our era, which claims impudently the monopole of communication, of which Internet is the symbol, is an era of truncated information, without contact with physical reality. Our century is one of abstraction, quantitative kills the qualitative, virtual images conceal their source, computerization blurs reality. It's why our center owns important collections of objets so that people can see, hear and touch objects and take roots in the physical, concrete reality.

The great Korzybski;,the founder of general semantics, repeated many times, pointing to an object with his finger, if you want to grasp the meaning of this thing, don't name it, point to it.

We know that an object has a inequal power of suggestion. We like some things which are simply pretty and dislike other we judge harsh and brutal. People of the end of XIX century admired Bouguereau and Jerome, and ignore Cezanne and Manet. It is not a simple question of personal taste. If Cezanne killed Bouguereau after decades, it was because non educated people needed a decoding. Bouguereau needed no dexplanation, none effort to be appreciated. After one century of familiarity with the modern works as impressionnists or fauves, we can understand it, but don't forget than in 1976, french people didn't accept Picasso. They believe his art being a farce. They used to say "c'est du Picasso" (it's Picasso-like) to mean that it was a huge con! Indeed it was not so neither in the States, not in Russia prior Lenine. The collections of the Ermitage prove the openness of taste and spirit of the ols aristocracy.

The items we will present meet severe demands, in order to avoid deception among visitors.One of these demands are a quality of conception, conservation and historical importance equal to mueum pieces. These pieces are organized along concepts which aims to enhance interest for art to average visitors

The patrimony of the foudation is organized along such concepts and we call lines the link which unifies the pieces. If such lines were missing, the gathering of even masterpieces, would result in bad taste eclectism or a cultural mess.

THE LINES
Every object of the line must be of a museum quality. Marina Fedier divided the lines in five sections :
1- Works of art centered on spirituality and beliefs such as a Medieval virgin, russian ikons, tankas, primitive idols.
2- Masterpieces of ancient and modern craftmanship of different civilizations. For example music instruments, persian pottery, glass from Murano.
3- Library China and Japan centered. (Scroll and paintings).

- Important books on contemporary Art (Klee, Schwitters, Russian avant-garde).
4- Wagnerian and musical library
5-Video collection on art and on ecology.
All these cultural and educational objects are necessary for our lectures, conferences and seminars. They are open to amateurs, students and searchers.

Scientific and technologic collection. (writing tools; photographic cameras, astrolabes etc).

THE POLES
The word Pole stand for "ATTRACTION POLE". It is a specialized gathering of objects which can be competitive in the ever growing world of the museums and even such prestigious foundation as the Getty's in Malibu, U.S.A.

Their aim is to attract people even from distant locations (all Europe and not only Belgium) and to help students and searchers. They are the main vehicle for the Lussato Fedier foundation, toward medias and official scientific or artistic organizations.

► See below a list of some poles.

The scores collection. It is one of the more important collection on private hands. Many exemplars of our collection as the complete versions of Mozart Zauberflôte, or the complete versions of the commercial copies of well tempered clavier , are missing even in the great musical libraries. The ordinary man can see how is the magnificient engraved edition ov Nine Symphony of Beethoven, or the first edition of Vivaldi's Four Seasons (the only surviving in private hands, out of four copies in great public libraries).

The Wagnerian collection. After Christus, Wagner is the man the more published since more than a century. He made revolutionary works which changed radically all the music and theatre conceptions. He invented and realized the more advanced theatre in the world, in Bayreuth (Germany), which is devoted ti the sole wagner's musical dramas. Most of the documents about " the master" are gathered in Bayreuther museum. The second collection after Bayreuth, is the Lussato Fedier foundation thanks the permanent loan of Bruno Lussato, one of the most important manuscripts of The Ring. The Ring is the larger drama ever conceived. It lasts 15 hours of concentrate music, and it took 27 years to accomplish it.

The japanese Mingei collection. Mingei is a popular sort of art. The word popular can be misunderstood because it indicated the use of the pieces : daily life of ordinary people. But that don't means that the objects are rough and not refinated, but that they seem unsophisticated and contrary to vulgarity of mass production, as sophistication of luxurius products. If the Mingei school claims purity and function oriented productions, it's a reaction toward the excess of the industrialization which product without soul and love because they were done without neither soul nor love. 

Mingei is the ancestor of design because design aims a very Spartan surrounding and claims a similar function oriented of objects. It's why in Paris, the design was exhibited as a continuation of Mingei. But there are considerable differences that opposes design and genuine Mingei thinking. The design is cold, formal, intellectual, elegant and trendy, industrially produced and dependent on image, the Mingei is the opposite. It want reactivate the manual craftsmanship, and although it insists on simplicity and bareness, most of the objects are subtle and sophisticated.

A characteristic of traditional Mingei product, is that they let speak the matter and its texture. The wood, the textiles, the bronze, the Bamboo and the pottery, express their soul. No one piece is equal to the others, each one express its personality, and its fantastic imagination.

In 2000 there was in Marseille a splendid exhibition of true Mingei, very complète. The catalog shows an ideal collection and will serve us linke a guide to build our Mingei department. When it will be mature, in few month, our foudation will be the only place in Europe where to see a comprehensible set of this fascinating approach, between art and craftmanship.

The Shamanism collection. As the Mingei, shamanism is very trendy and many exhibitions can be admired in Paris. Moreover, magnificent example can be admired in Musée du Quai Branly.  The most celebrated merchant in Paris, is Gallery Flack. They have a wide choice of historical and impressive masteroieces from Canada,and Alaska. Unfortunately, their prices are prohibitive and you need 200 000 000 € to gather a collection who could be compared to the great non specialized foundations.  But there is a niche who is very interesting : Nepalese  shamanic  Art. Under the roof of Himalaya shamans are  always operationals and you can find very good pieces, some of them very close of modern occidental art. But although thr shamans of Alaska are civilized and well known, up to captain Cook travels, the nepal protected its frontiers until the fifties and it's now only, that scholars, ethnologists begin to develop their knowledge and seek more information. This is missing unfortunally for the reasons already mentionned. It's why it is  impossible to give a precise date to a given specimen. Another result of this bacward state of the Nepal civilization, the pieces have not market, not quotation, no merchant with the exception of some rather confidential.  We decided to enter in this niche, fascinating and where it's possible to build a comprehensive collection with reduced amount of money. The Nepal pieces can be completed bay masks and statues of the field, when they don't belong to shamanism but are related by magic practice, to protect the peasants from bad weather and from illness.

It would prove useful too, to mix the shamanic art of Nepal with the celebrated art from Alaska and the Great North. We can find pieces from 1000 years BC  ant others with illustrious prevenances as André Breton one. But we most remember that with a Flak single famous mask price, you can buy a comprehensive collection of himalayan shamanic objects !

The Nepal Shamanic Art can and ought be developped with the cooperation with the merchant and scholars. Our foundation aims to create an institute of the new himalayan treasures and to be situated at the very center of the related studies.

The case of medieval christian art . Our overall view of the situation shows that a strong deflation shall legitimate whose who say : we must delay of three to six month the decision to buy works of art. But I demonstrates that such a jugdment is 95% right but no for a small subcategory of works of art, I name ii. ii is the irremplaceable indicator. It qualifies works of art, flats, houses or other goods, which when sold desappear were they are bought by public libraries, museum, or other rich people and institutions. Try to buy a flat in Feaubourg St Honoré, in front of the gardens, between Japan Embassy and USA Embassy ! It's impossible whatever the world situation would be. Such goods are out of the market. Another consideration is mode. Many decades ago Art Deco was not fashionable, now it's the trendiest of the furniture anbd the prices climb to stars. It is a rule to buy against the mode, but we lust not forget that before a neglected great artistic piece find a plain recognition you must wait many years or even decades!

The christian art of middle ages never has been appreciated because it is too religious. But nevertheless, it belongs to our civilization, our roots, our sensitivity, even if the anticlericalism is an occidental illness. Nowadays men have no eyes to see a great medieval virgin. To day it is possible to buy a major work of the XIIe century for the price of a Peter Doig, not to quote Damien Hirst and Jeff Koons objects. To acquire a great medieval "chef d'oeuvre" is an unique experience which could change your mind and it is a honour to possess it.  Therefore I am not neutral about this chapter of the foundation. I would be very uneasy to fix a finite price to the infinite spirituality.  I believe that when people will awake, as they have done so lately with Vermeer  or Van Gogh a century ago, to buy such a genial works will prove to be an utopia.

To possess christian art is nevertherless a must, as a point of the trajectory of soul and belief. If we cannot gather it in a pole it is necessary to put it in the line of inspired works. It would paradoxical to possess primitive fetish, often frightening, and to neglect objects of love and goodness. 

The Bournet collection. It is a group of 27 great totemic shields  which were never separated since their entrance in the Bournet family, one century ago. The result of anks to the Bournet Foundation, they shall have all the medical care, a nice small flat, a park, and a lot of distractions. the purchase is used to benefit of wold and lonely peopla who wait death. But we need a financial help to another organization, since the price of the collection is too high. The statues are fascinating and typical of the best of oceanic art. They werer very appreciated by Emil Nolde during his trip in New Guinea, and Salomon Islands, where he bought two of these pieces. Nolde preferred the deep spirituality of these humans, to sophisticated and fashionable behavior of the snobs.

The Paper museum and the Hiroko Noguchi legacy. The paper museum is a gift of the Paper museum in Tokyio and of more than one hundred in artistic paper. It's difficult for us to imagine that art making is more than craftmanship for japanese. This art has it's national living treasures . The "washi" is a luxurious paper made sometimes of gampi. This plant is as vicunas. It is impossible to be cultivated.

Around the paper collection, we are proud to show related masrrpieces. There is a marvelous origami by Jun Yoshida, at the Bruno Lussato and Marina Fedier Center (les Capucins) destroyed by a great cosmetic company. But the highest point of the paper museum is the collection of objects of all kind in Kozo paper tinted  in brown by kaki dye, by Hiroko Noguchi who spent manay visits in Bruno Lussato Center ; "Les Capucins".

Last but no least, the calligraphies of Claude Mediavilla, one of the major calligrapher of our time, the inscription on stone, of his friend Moisan who engraved the tombs of Louis XVI and Marie-Antoinette, in Saint Denis, and a very important set of chinese calligraphy by Tad Chen.

Défense et illustration du snobisme

Suite du journal du 9 septembre 2007

Me trouvant avec Marina Fédier dans le hall du Royal, je tombai sur la queue de la comète, le sillage des people, ceux qui s’attardent encore alors que les vedettes sont parties. Vous avez deviné : ce sont les snobinards et les poseurs. Nous en avons détecté trois beaux spécimens particulièrement antipathiques : un homme jeune, deux femmes presque jeunes. J’ai demandé à Marina, à partir de ces trois créatures, d’essayer de formaliser ce qui la poussait à les qualifier de snobs puants.

Elle fut embarrassée car ce ne sont que des constellations de traits distinctifs, en eux-mêmes inoffensifs, mais qui intégrés en une structure mimétique, donnent le bobo parfait (au Normandy) ou le Jet Set People idéal, (au Royal.) Mais ce qui est décourageant dans cette onde de forme qu’est le snobisme, est qu’elle est partout à la fois, et ceux qu’elle investit peuvent être, riches et pas riches, élégants et miteux, classe et malotrus, nobles et pas nobles, (car on a beau dire que snob, dérive étymologiquement de sans noblesse, les aristocrates sont bien pourvus de cet attribut), .Devant tant de confusion je suggérai alors à Marina de réduire par l’observation le paquet d’ondes du snobisme, pour le concentrer dans une particule dense et concrète : le snob en chair et en os. Et il y en avait précisément trois devant nous. Voici une idée de notre dialogue.

Marina F.

- Je ne peux définir pourquoi ils sont snobs, ça ce sent, ça vous frappe !

Bruno L.- Commençons par le premier spécimen. Décrivez-le.
M.F. - C’est un beau garçon, grand, sûr de lui, l’air sportif, les cheveux blond foncé ondulés.
B.L. - Sa tenue peut-être ?
M.F. - Lunettes noires…
B.L. – Dans un hall sombre…
M.F. – Un chandail bleu ciel, un jean de bonne qualité, des joggings, rien de spécial.
B.L. – Et les autres ?

THE CHRONICLE

The second foundation

THE ULTIMATE GOAL, THE WHY

The scope of the second foundation is to enhance the creativity and cultural level of the ordinary, and to gain the respect and recognition by  great experts.

The scope of the foundation is also to infuse enthusiasm and a deep understanding of arts, science and history to people of all conditions and level. It is to say to those who possess  the genuine will to progress in the knowledge of human thinking at its highest level. Such will is rare, because most of humans in our consumable and distraction era are passive. It's why we must severely limit the number of visitors, accordingly with the restricted space of the second foundation. On the other hand, they can see and appreciate in a very intimate and convivial way, the exhibited items. 

THE ULTIMATE GOAL, THE HOW

The structure of the second foundation is similar to that  of the Uccle foundation in Belgium. (Fondation Lussato - Fédier).  It consists in a network  rather labyrinthic comprising two kind of elements : the lines (or strings) and the nodes. 

THE LINES

The items are distributed in sequential paths. For exemple in the Second Foundation, all the coins belong to different epochs and geographic areas, when in most the collections they are gathered in specialities such as greek or byzantine pieces. This is necessary as we do not have the funds to encompass the whole range of the matrix time-space of the monetary production. Keeping this exemple in mind, we could consider the diachronic order who distributes coins from 550 BC to the Euro, like a convénient time scale. All the historical and artistic-scientific events can be illustrated by a corresponding coin emission. But there is another way to decode the coin diachronic line, which is much more interesting. It can perfectly explain the terrific crisis which is at his beginning. It is more than a metaphora : it represents directly, without any cosmetic artifice to cover the financial civil servant tracks. 

In the second foundation the lines are complementary to those of the Uccle foundation. They are brain-oriented, i:e they deal with evolution of thinking in art, science, philosophy and history. The paper and the ink are the major vehicles to convey communications. We will collect all which is related to the writing, personal and collective. These lines are : calligraphy, paper museum of Tokyo, manuscript books, first incunables and first editions of the major events, evolution of binding from the middle age to modern artists. 

THE NODES

A node is a concentration of items of a single specialty, which aims to completeness. The scope of the node, is to gain reputation to both experts and scholars and to laymen. A node must rivalise with the most prestigious institutions and to encourage men of even remote countries to visit the foundation. An exemple of node in the first foundation, is the Mingei, popular craftmanship ancient and modern. Now we assist in Paris to a plethora of exhibitions on Mingei. But these pieces come from Japan and The States. When these interesting exhibitions will come to an end, there will be no one single place to admire masterpieces and litterature about Mingei ... except in the Uccle Foundation. It is what marketing people calls a niche. Such niches will permit the foundation to developp nodes, which otherwise would be too expensive.

At the present time it is yet difficult to fix our nodes without the cooperation and support of our sponsors. Nevertheless we can make suggestions, after an extensive view on the market. Even though Marina Fedier is in charge of the selection and purchases of works of arts, in the second foundation Bruno Lussato will be incharge of this function. His knowledge justify this responsability and he must have carte blanche in the limits of a declared program. The nodes could be :

- Bindings from middle ages to modern epoch.

- Masterpieces of monetary historical and aesthetic value

- First editions, from Copernicus to Einstein, from Dante to Pouchkine. They cover the following sections :

- Science and mathematics

- Discoveries and travels

- Medecine

- Philosophy

- Litterature and poetry.

Bruno Lussato began three nodes :

- Grolier, Mayeu and two other very rare and important books. (Binding)

- Divina commedia (litterature)

- Evainetos decadrachm of Syracuse. (Numismatics).

The items acquired are for the most rarity and reputation among experts. The ordinary people is amazed to see such masterpieces. T.M. of the first foundation wanted to seize one of the books of hours for her foundation although it fits better in the second.

SOME IMAGES

See above one of the first purchases, one of the most celebrated books since five hundred years and a honour to possess one for a public library. To get three Grolier, is an exceptionnal challenge.

An exemple of book of hours. Our is considerably older and better.

Our specimen of the most beautiful coin in the world. It is not rare but most of the experts declare than they never have seen a coin with so large a "flan" and absolutely complete. The speculators neglected it because it was not rare.

THE COST SIDE

The main working tool of the second foundation is the collection of objects.

The "small foundation"  will cost about the same price than the UCCLE Foundation, but the maintenance costs are like these seismic building conceived to resist to the earthquakes. The second foundation is built schock -proof thanks its very low salaries and no staff. Only an animator is necessary and there is no use to get an expert. If there is a war or some disaster, the foundation can enkyst and sleep like a kind of hibernation. These features are very important for a foundation who must live for centuries. All the dividend shares from the capital bequeathed by the founder, can vanish suddenly. It is not the place in such an introduction to detail the organization planned by Bruno Lussato. It is rather complex but don't forget that his job is professor of efficiency work and oriented toward the drastic cut of the non-necessary costs.

The foundation owns the property on its patrimony and it is not entitled to lend items from other institutions and/or private collectors. As opposed to this rule, it is permitted to lend its isolated items, and even a large part of the collections to other institutions, but on three essential conditions :

- the safety of collections are controlled and ensured ,

- the borrower is a public or a wellknown institution, prestigious and of international fame,

- in return, the borrower should mention the provenance of the items and make the promotion of the association.

An increasing success of the works of art, contradict those who wait that a collapse will permit them to pay considerably less the masterpieces. The contradiction comes from the fact that the Art market is very different of the other good capital. But we must take care, because a lot of investors want only make good benefits and could be disappointed when value drops. They would sell their collections and destabilize the whole market. An other trap is to trust experts, who  makes their own interest.

Bruno Lussato made an intensive study about the choice either to wait or to buy very quickly a piece of art. He discovered a main factor : the irreplaceability indicator, ii. It is based on a very simple observation : when an item is unique, it has no sense to wait that its price drops! It simply desappear from the market in case of crisis. On the contrary, when you have many exchangeable items for sale, you can always negociate. What we call exchangeable is about a trap. It is possible in fact that a piece would have many variations, and one of them could be "unique". But you are not entitled to declare it RRRR  even if it is alone of its kind in the market, since it is exchangeable with other variations.

A very brilliant demonstration is the next sale in Zürich, where russian buyers have automatically sélected the true ii. avoiding the trap.

Of course the ii indicator is not the unique criterion.  All the other demands must be fulfilled: the condition, the historical importance, the beauty.  Here is an exemple of the coins selected by the buyers.

The best gold coin with the celebrated Athena owl FS 400 000. 3 EX. (museums) + 1 (this one, the very best). RRRR

Two of these pieces are genuine ii  and  meet all the other demands : the Titus and the Athena owl in gold. 

THE COMPARATIVE COST OF THE NODES

A la suite de Wozzeck

Un apprentissage dans le sillage de Wozzeck d'Alban Berg.

Emmanuel est un de mes apprentis. Ses grands yeux bleus limpides, sont tout le temps en quête d'aliments culturels, la curiosité jamais prise en défaut, touchant à la fois à la manière la plus rapide de s'enrichir, d'atteindre la perfection dans son métier : la création des logiciels les plus sophistiqués, et n'en sachant pas davantage au point de vue culturel que bien des snobs pommadés qui nous entourent et qui assistent aux premières et aux vernissages.

J'ai voulu avec lui pousser mon apprentissage de Wozzeck avec Darek C, qui ne connaissait assez bien que le répertoire classique et Wagnérien. Wozzeck, 'était du bruit. J'en ai parcouru en détail que quelques scènes courtes et impressionnantes, mais nous étions tous deux à la surface des choses, et ce n'est pas possible dans l'opéra de Berg, oeuvre de la plus haute technologie.

Or Emmanuel lui, ne sait rien, absolument rien sur la musique, même pas une symphonie romantique ni un opéra comme Othello. Rien, ce qui s'appelle rien. Et pourtant, attendre des années pour le faire accéder à un chef d'oeuvre de ce niveau, quel gâchis ! J'avais remarqué aussi que Darek était plus impressionné par Berg que par - disons Kurt Weil. Il était sensible à la mystérieuse aura qui se dégage du drame majeur du siècle passé.

Et moi donc? Comment analyser le texte à partir de notations illisibles de brieveté autant de pattes de mouches qui s'opposent au déchiffrage.

J'ai décidé de faire le retour vers le passé. J'ai dans ma collection de partitions, l'originale de Berg, qui a appartenu à Karl Böhm, mais allez la déclasser dans les coffres de la Nationale ! Je vais donc acheter la version à quatre mains. Les notes et les réseaux complexes comme du Richter, apparaissent avec une clarté aveuglante, bien mieux qu'à l'oreille et guident celle-ci.

Ce soir, j'ai d'abord fait entendre les huit premières minutes à Emmanuel Dyan, qui avait du mal à lire le texte français, dérangé par les perturbations de la musique qui en troublaient le sens. J'ai repassé plusieurs fois le texte jusqu'à complète assimilation et il a décodé les hurlements hystériques du Capitaine, de cette bonne conscience stupide et satisfaite. Alors, au piano, j'ai du lui expliquer la différence entre le système modal et toanl et le système dodécaphonique. On a analysé minutieusement des bribes de leitmotive et il a fini par en saisir le sens et la mélodie, grâce à une organisation formelle puissante due à la pratique et l'innovation en logiciels de pointe. En moins d'une heure les motifs chantaient dans sa tête, il comprenait le sens du triton si-fa , son origine sulfureuse, et de là il fut saisi par l'onde hurlante sur SI. Il venait de découvrir un univers tellement nouveau, que le système tonal ne parraissait plus aussi nécessaire.

En trois quarts d'heure il a retenu et assimilé quelques minutes de texture et il les a fusionnées au texte. Qu'eût pu-t-on faire en déroulant toutes la partition? Impossible de résister à la densité du flux informationnel.

J'espère un de ces jours de me mettre à la partition. S'il le faut on ne passera pas une scène de cinq minutes avant d'avoir repassé jusqu'à redondance complète ce qui précède, jusqu'à mémorisation et assimilation complète des composants formels. Au moins, cela me fera rejouer la partition trop longtemps délaissée.

Dyan me posa les questions : mais pourquoi cette complexité que nul ne pourra décoder? Je répondis : pourquoi le dernier théorème de Format excita pendans deux siècle l'imagination d'une poignée de mathématiciens? Et a qui était destiné réellement l'Art de la Fugue de J.S.Bach? D'où la nécessité des oeuvres destinées à la délectation et à la consommation, quelle que soit leur splendeur, et l'apparence de tours de force destinés à une force transcendante. Il s'agit alors de l'édification d'une cathédrale culturelle.

De la superficialité des critiques et des mélomanes

Dialogue à trois, Valery Gergiev, Bill Viola, Bruno Lussato

Se reporter au billet suivant :►♦♦♦

Je ferais certainement un mauvais journaliste. Au lieu de saisir, crayon à la main les moindres propos des deux illustres artistes, le chef d'orchestre et le vidéaste, l

j'ai été happé par l'échange passionné entre Valery et Bill. Devenu protagoniste, bien modeste, je ne pouvais être à la fois dedans et dehors. Il ne me reste à l'état de souvenir que des lambeaux d'assertions, de réfutations, de rectifications, de références croisées. Je vais essayer de restituer quelques pièces d'un puzzle incomplet en priant le internautes de pallier à ma négligence, en réorganisant à leur manière, ces phrases éparses.

Un point de départ a été le commentaire prétentieux et imbécile qu'Herbe m'a communiqué et dont les nobles incompétences ont vu dans la transfiguration du corps de Tristan, un rappel d'une publicité pour aqua selzer. ►♦♦♦ Ce n'est pas aussi raffiné que l'interprétation à partir de la métaphore quantique, mais on fait ce qu'on peut même et surtout si on peut peu. Gergiev et Viola insistent beaucoup sur l'incroyable raffinement de la partition de Tristan, il n'est pas une note, une nuance, un mot, qui ne soient pas à leur place. Ce qui étonnerait bien des spectateurs qui interpretent la musique comme un magma informel, jouant sur les instincts et plongeant l'esprit dans une sorte de torpeur dissolvante.