{"id":3030,"date":"2011-05-31T11:59:32","date_gmt":"2011-05-31T09:59:32","guid":{"rendered":"http:\/\/jameshorner-filmmusic.com\/fr\/?p=3030"},"modified":"2024-04-19T23:51:59","modified_gmt":"2024-04-19T21:51:59","slug":"star-trek-ii","status":"publish","type":"post","link":"http:\/\/jameshorner-filmmusic.com\/fr\/star-trek-ii\/","title":{"rendered":"STAR TREK II : LA GRANDE ENTREPRISE DE JAMES HORNER"},"content":{"rendered":"
\n\tPar David Hocquet.<\/span><\/span>\n<\/div>\n
\n\tAvec l'aimable autoristaion de son auteur. Texte paru à l'origine sur le site Underscores.fr.<\/a> Lien vers l'article original sur Underscores.fr<\/a><\/span><\/span><\/span>\n<\/div>\n
\n\t \n<\/div>\n

\n\tOu comment James Horner<\/span> s’est retrouvé propulsé à vingt-huit ans au firmament des compositeurs qui comptent… Après avoir côtoyé les partitions de Jerry Goldsmith et de John Williams, il lui revient, armé de ses diplômes du Royal College Of Music, de prouver qu’il est possible de poursuivre la tradition classique au cinéma, de succéder au choc du space opera<\/em> du grand Williams, de prendre le relais du Goldsmith de Star Trek : The Motion Picture<\/strong> (Star Trek : le Film). Rien que ça !<\/span><\/span>\n<\/p>\n

\n\tLa résurrection de la saga Star Trek<\/strong> au cinéma tient dans ce pari simple : faites nous un meilleur film pour un budget divisé par quatre…En phase de post-production, le jeune compositeur se doit donc de remplir son contrat en quatre semaines et demi, avec la bénédiction des producteurs, du cinéaste mélomane Nicholas Meyer<\/a>, et l’aide précieuse de l’orchestrateur vétéran Jack Hayes.<\/span><\/span>\n<\/p>\n

\n\tJames Horner<\/span> s’était déjà exercé sur les nanars de Roger Corman<\/a>, quelques films de genre en 1981 (The Hand<\/strong>, Deadly Blessing<\/strong> [La Ferme de la Terreur], The Pursuit Of DB Cooper<\/strong><\/a> et surtout Wolfen<\/strong><\/a>). Il y avait démontré assurance, sens du spectacle, intuition thématique, écriture fluide, maîtrise des styles néoclassiques d’après-guerre<\/A> et de l’avant-garde de l’Europe de l’est, opportunisme bien dosé (en imitant à la demande Goldsmith ou Williams) tout en distillant des touches académiques comme l’expression d’une boîte à malices intime (Chostakovitch, Prokofiev, Britten, Ligeti…). Star Trek II : The Wrath Of Khan<\/strong><\/a> (Star Trek II : la Colère de Khan) exhibe donc toutes les qualités d’un jeune compositeur talentueux aux dents longues…<\/span><\/span>\n<\/p>\n

\n\tLa grande réussite de cette partition est d’avoir pu capturer l’essence du spectacle habilement concocté par Meyer, avec une fraîcheur et une aisance que Jerry Goldsmith, qui avait selon ses propres termes sué sang et eau sur le premier film, n’a pas dû vivre tous les jours (produisant malgré tout, avec son professionnalisme coutumier, une œuvre monumentale). Les thèmes principaux incarnent parfaitement l’essence du récit : le thème de l’aventure nautique (Kirk et l’Enterprise), le thème exotique\/oriental de Spock, avec ses sonorités reproduite par le synthé de tubes de verre à la Poltergeist<\/strong>, le simple motif chromatique de la menace de Khan et la thématique ésotérique de Genesis.<\/span><\/span>\n<\/p>\n

\n\tIl fait appel au répertoire le plus efficace, avec l’impudence de la jeunesse : l’ombre des symphonies de Mahler dans l’orchestration, mais aussi la flamboyante virtuosité de Richard Strauss ou d’Erich Wolfgang Korngold (Main Title<\/em>), l’action trépidante du côté de Sergei Prokofiev (les pizzicati, les attaques des cuivres, la virtuosité des cordes de Surprise Attack<\/em>, de courtes et précises allusions à Alexandre Nevsky<\/strong> dans Battle In The Mutara Nebula<\/em> et Enterprise Attacks Reliant<\/em>) ou Be<\/span><\/span>njamin Britten (l’explosion finale de Kirk’s Explosive Reply<\/em>, non entendue dans le film et issue de Sinfonia da Requiem<\/strong>, et la reprise quasi littérale d’une phrase rythmique de cette même œuvre dans Genesis Countdown, <\/em>qu’on retrouvera également plus tard dans Cocoon<\/strong><\/a>), et Ligeti par intermittence pour les passages les plus abstraits du projet Genesis (Genesis Cave<\/em>, Genesis Countdown<\/em>). On y découvre aussi les longues dissonances qui envahiront quatre ans plus tard les sombres couloirs d’Aliens<\/strong><\/a> (Surprise On Celti Alpha V, Khan’s Pets, The Eels Of Ceti Alpha V<\/em>).<\/span><\/span>\n<\/p>\n

\n\t\"\"<\/span><\/span>Il est vrai que certaines séquences sont un ravissement pour l’œil et l’ouïe : Enterprise Clears Moorings<\/em> (le thème de l’aventure encore plus flamboyant et nautique) et toutes ces scènes évoquant une bataille de sous-marins sous l’Atlantique pendant la seconde guerre mondiale (Surprise Attack, Kirk’s Explosive Reply, Battle In The Mutara Nebula, Genesis Countdown<\/em>), ainsi qu’un générique final absolument extatique.<\/span><\/span>\n<\/p>\n

\n\tCaptain Terrell’s Death<\/em> et Buried Alive<\/em> sont l’occasion pour Horner de démontrer sa maîtrise de l’écriture à l’ancienne, plus proche du style de la série TV, évoquant surtout son goût pour la singularité de Bernard Herrmann, dont on retrouvera plus tard des traces dans Krull<\/strong><\/a> et The Rocketeer<\/strong><\/a>. Enfin, Spock Dies<\/em> est un grand moment d’intimité, le matériau de Spock et la fanfare d’Alexander Courage s’entremêlant pour le moment le plus déchirant du film (et quel choc ce fut à l’époque pour les fans !).<\/span><\/span>\n<\/p>\n

\n\tAmazing Grace<\/em> fait tâche : imposer les cornemuses écossaises en dissonance totale avec l’orchestre ! On comprend aisément pourquoi Horner trouvait cette demande absolument pénible. Voilà le morceau à zapper dans la continuité de l’écoute du disque… Treize ans plus tard, dans la saga écossaise de Braveheart<\/strong><\/a>, il préférera faire jouer la cornemuse irlandaise, dont la tonalité et la fluidité s’accordent bien mieux avec l’orchestre afin d’éviter le grotesque.<\/span><\/span>\n<\/p>\n

\n\tAu final, Horner réussit à poser les bases de son écriture symphonique (perfectionnée ensuite dans Krull<\/strong><\/a> et Brainstorm<\/strong><\/a>), de son style de musicien cinéaste, en démontrant la maîtrise d’une écriture dramatique, d’une musique que peut jouer un orchestre avec jubilation et certainement un sourire malicieux… Le jeune homme est doué, insolent, il dirige bien et se fait aimer des cinéastes et du public : il est parti pour la grande aventure !<\/span><\/span>\n<\/p>\n

\n\tL’édition proposée par FSM, réalisation d’un rêve de gosse pour Lukas Kendall (qui est devenu depuis un grand pourfendeur des nouvelles approches stylistiques de Horner), reprend les grandes séquences symphoniques présentées par l’édition précédente, et y rajoute de nombreuses pièces importantes qui témoignent du sens du détail du compositeur, de sa maîtrise des sonorités complexes, des ambiances angoissantes, afin d’équilibrer la présentation d’une partition majeure pour le cinéma de science-fiction et la carrière d’un compositeur talentueux.<\/span><\/span>\n<\/p>\n

Mencosilsilaw<\/A> . Linramblupala<\/A> .<\/p>\n","protected":false},"excerpt":{"rendered":"

Par David Hocquet. Avec l'aimable autoristaion de son auteur. Texte paru à l'origine sur le site Underscores.fr. Lien vers l'article […]<\/p>\n","protected":false},"author":4,"featured_media":3032,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[5,439],"tags":[99,188,257,338],"class_list":["post-3030","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analyses","category-articles-fr","tag-david-hocquet","tag-james-horner","tag-meyer","tag-star-trek-ii-2"],"yoast_head":"\nSTAR TREK II : LA GRANDE ENTREPRISE DE JAMES HORNER<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/jameshorner-filmmusic.com\/fr\/star-trek-ii\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"STAR TREK II : LA GRANDE ENTREPRISE DE JAMES HORNER\" \/>\n<meta property=\"og:description\" content=\"Par David Hocquet. 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