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Le rôle du folklore dans les quatuors à cordes français composés à la charnière des XIXe et XXe siècles : une quête d’identité ?

Abstract : At the turn of the nineteenth and twentieth centuries, String Quartets thrived in France. More than the result of real and inner need, the looking for recognition and the desire to forge a French repertoire of the highest quality, appear to be the main targets for many composers, obsessed for most of them by the Germanic tradition, in particular the Quartets of Beethoven. In this context, the use of popular elements – or popular inspiration - in their compositions can then be seen as an alternative, a means to escape and to distance themselves from Austro-German models. The paper seeks first to clarify which aspects are hidden under the term "popular" and what is the position of the composers on this question in their string quartet: between citation and evocation, between regionalism and nationalism, approaches and distinct issues are revealed. The role and impact of the "popular" in the works are then analyzed in two ways: compositional parameters touched and used, on the one hand, place and operating of the "popular" within different movements on the other. If the study shows significant differences in the treatment of certain parameters (harmony, in particular), it also highlights constants in the use of the "popular": Apart from a few special cases (including quartets of Cras and Magnard which are presented in a separate paragraph), the popular elements - or popular inspiration - seem added, adapted in a fixed frame, always the same from a quartet to another. Thus, these popular elements are employed for the most part, only occasionally in movements that lend themselves best (that is to say the most danceable : scherzo and finale), and serve to color differently certain passages with their lesser-used melodic turns, rhythmic, harmonics. They offer a very nice time but are not really integrated as in the quartets of Smetana and Dvorak, for example. Folklore cited or mentioned thus acquires a superficial role in the majority of cases and is ultimately not the starting point for a profound renewal that might have created a real specificity for french string quartets of this time, and thereby a real identity.
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Contributor : Florence Doé de Maindreville Connect in order to contact the contributor
Submitted on : Thursday, November 12, 2020 - 10:44:29 PM
Last modification on : Saturday, January 8, 2022 - 12:20:05 PM


  • HAL Id : hal-03002766, version 1



Florence Doé de Maindreville. Le rôle du folklore dans les quatuors à cordes français composés à la charnière des XIXe et XXe siècles : une quête d’identité ?. Buscando Identidades: Música de cámara en los países mediterráneos durante el tardío siglo XIX y temprano siglo XX, Doble, p. 223-249, 2015. ⟨hal-03002766⟩



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