Every morning in the world represents the fundamental shock of my childhood, but also of my life as a musician. When I was four years old, I discovered the soundtrack of the film – and around seven years old, it still has some pretty impressive scenes for toddlers!
But from that first contact with the music alone, everything was played. Of course, I owe it to my father, guitarist, and to my mother, a passionate music lover, to have made me hear it, but there was no pedagogical discourse on their part. The encounter was purely sensitive, with the timbre of the viola da gamba, which I immediately asked to learn. I had already heard the instrument on the disc, used for the continuous bass. Never his voice alone, whose colors and inflections fascinated me much more than the orchestral ranges of the disc, which one could imagine easier to access.
Over the years, I naturally immersed myself in the narration of Alain Corneau’s film, then immersed myself in Pascal Quignard’s novel. I was measuring, comparing the performance of Jordi Savall in the soundtrack and that of the same works during his concerts, how much he put himself with the premiere in the shoes of the characters of Sainte-Colombe and Marin Marais, infusing every accent of their psychology, even if it means taking an antihistorical approach that he obviously did not retain by playing the spare parts of this context. The desire also to abstain from the musicological constraints imposed on me by my teachers, most often rightly, and also to indulge in this theatrical exercise with my own intuitions and my own sensibility then became irresistible.
Several bets, rules and assumptions have guided me in this pascalien game that is a reconstruction for our use of Tous les matins du monde.
The first will be to give all the music of the film, in the order in which the audience discovers it by seeing it. This obviously excludes to stick to one or two viols, and asks the question of the numbers for vocal and orchestral pieces! Hence the presence of the two singers for the Third Lesson of Darkness by Couperin, and the consort that allows us to produce an effective reduction of the extracts of the Bourgeois Gentilhomme by Lully. I thank the faithful musicians of the Harmonic Chapel for agreeing to take part in this adventure for sometimes very short interventions! For these contrasts are indispensable to recollection, to the introspection of Sainte-Colombe in Le Retour or Les Regrets.
The relationship to the text and the stage will be other issues in this journey in which we want to train the spectators. Very quickly, we gave up the idea of projecting images of the film, which would appear redundant. On the other hand, a work of staging will avoid the prosaic character of a simple concert, creating between the musicians and the actor an atmosphere that would free the dramatic power of words and notes. Given the important differences between Pascal Quignard’s novel and the dialogues he signed with Alain Corneau for the film, we opted for the seconds, directly linked to the musical choices. Amazed by the voice of Hervé Pierre in La Conférence des oiseaux à l’Athénée, I dared to approach him, and to my great happiness, he agreed to accompany us. Not being free for the creation, he put me in touch with some of his colleagues at the Comédie-Française. Hence the incredible luxury of being able to give this project in alternation with major actors!
Paris, November 2018
Alice Duport-Percier and Axelle Verner, soprano
or Lise Viricel and Lina Marcela-López, soprano
Evgeny Sviridov or Alix Boivert, violin
Jean-Christophe Dijoux or Camille Ravot, harpsichord
Eric Bellocq ou Albane Imbs, theorbo
Natalia Timofeeva, viola da gamba & cello
Valentin Tournet, viola da gamba & conductor
Saturday August 10th, 2019, 9 p.m.
Church of Ahun
Wednesday August 14th 2019, 6 p.m.
Festival du Périgord Noir
Thursday august 22nd 2019, 8:30 p.m.
Festival des Lumières, Montmorillon
Friday October 11th, 2019, 8 p.m.
Auditorium du Louvre, Paris
Thursday January 9th, 2020
La Guérétoise de spectacle
Saturday January 11th, 2020, 8:30 p.m.
Musique Baroque en Avignon
Monday January 20th, 2020
Festival de Musique de Toulon et sa Région