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ROMAIN ROLLAND ET L’HÉROISME: UNE PERSPECTIVE MUSICALE ROMAIN ROLLAND AND HEROI

ROMAIN ROLLAND ET L’HÉROISME: UNE PERSPECTIVE MUSICALE ROMAIN ROLLAND AND HEROISM: A MUSICAL PERSPECTIVE BY ROSEMARY HAMILTON YEOLAND Ph.C., B.Sc., A.Mus.A., B.A. Honours submitted in fulfilment of the requirements for the degree of Master of Arts University of Tasmania December, 2001 Declaration of originality This thesis contains no material that has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief, no material previously published or written by another person, except where due acknowledgement is made in the text of the thesis. Statement of authority of access This thesis may be made available for loan. Copying of any part of the thesis within two years of submission is allowable only with the written permission of the author. Limited copying after this date is permissible in accordance with the Copyright Act, 1968. Table des Matieres Reproduction d'une photo de Romain Rolland dans L 'idbalisme de Romain Rolland Arthur Levy, (A.G.Nizet, Paris, 1946). RksumC (fiaqais) (English) Synopsis (English) Introduction Chapitre 1 La formation musicale de Romain Rolland L7influence de ses parents Les trois Eclairs La recherche d7un mod&le hero'ique L'influence de Malwida von Meysenbug Rolland, historien et musicologue I Chapitre 2 Beethoven Les qualitks de Beethoven Beethoven: le compagnon quotidien Vie de Beethoven Le culte de 17hCro'isme 1 Le heros rollandien Chapitre 3 D'autres musiciens hiiroi'ques Haendel Le Weltburger La libertk d ' h e La musique franqaise La musique allemande Le heros vainqueur Le heros vaincu i Chapitre 4 Jean-Christophe Un Bildungsroman? Jean-Christophe La sagesse d'oncle Gottfiied Hassler: hkros vainqueur ou vaincu? Le mensonge allemand Christophe a Paris Olivier Les caracteristiques morales du heros Page ... Xlll Chapitre 5 La mauvaise foi chez les musiciens Les grands makes de la musique La mauvaise foi chez les musiciens allemands Mozart, Haendel et Haydn "Le genie du mauvais gofit" Le mensonge fiangais Le renouveau de la musique frangaise Les critiques musicaux La musique europdenne Chapitre 6 La symphonic hkroiique de Rolland Rolland, le musicien La structure de Jean-Christophe Prdludes et postludes La musique ou la poQie? Les citations musicales dans Jean-Christophe La creation musicale de Christophe Chapitre 7 Romain Rolland, le heros-prophMe Un missionnaire? "L'art doit servir le peuple" Une vie exemplaire Le sacrifice et la soufiance Les qualites "beethoveniennes" "Un citoyen du monde" Conclusion Bibliographie i Maîtrise en français Rosemary Yeoland Résumé Romain Rolland et l’héroïsme: une perspective musicale Le nom de Romain Rolland, écrivain, historien et musicologue français, est étroitement lié à l’héroïsme. Plusieurs auteurs ont déjà examiné l’importance de l’héroïsme dans la vie de l’écrivain. Son intérêt pour la musique a fait l’objet de nombreuses études. Le penchant de Rolland pour les compositeurs qu’il décrit héroïques tels que Beethoven et Hændel nous a mené à postuler qu’il existe un lien entre la musique et la formulation rollandienne de l’héroïsme. Le but de cette thèse est de montrer que les influences musicales et la vie de certains compositeurs jouent un rôle central dans la conception du héros rollandien. Dans le premier chapitre, La formation musicale de Rolland, nous nous concentrons sur la formation de Romain Rolland soulignant le développement de son goût pour la musique et pour l’héroïsme. Nous examinons, dans ces domaines, l’influence de son mentor Malwida von Meysenbug ainsi que sa quête pour un modèle héroïque à émuler. Le deuxième chapitre traite l’influence de Beethoven dans la vie de Rolland. Nous étudions ses qualités héroïques qu’adapte l’écrivain pour la formulation de son héros. De plus, nous examinons la biographie intitulée Vie de Beethoven. Dans le troisième chapitre, D’autres musiciens héroïques, nous étudions les ouvrages rollandiens de musicologie afin de dégager les qualités des autres musiciens qu’il admire. Rolland crée son propre héros basé sur les caractéristiques héroïques qu’il a glanées de son étude des musiciens. Son roman Jean-Christophe est son ouvrage le plus célèbre et nous examinons en détail le caractère du protagoniste dans le quatrième chapitre Jean-Christophe. Selon Rolland, un grand nombre de compositeurs ne sont pas héroïques. Afin de mettre en contraste les qualités héroïques du héros rollandien, nous étudions les traits de ces “non-héros” dans le cinquième chapitre La mauvaise foi chez les musiciens. L’écrivain est tellement inspiré par Beethoven qu’il compose sa propre “symphonie héroïque” sous forme d’une symphonie littéraire. Le sixième chapitre, La symphonie héroïque de Rolland révèle comment Rolland construit son roman selon des lois musicales. Après avoir étudié les qualités héroïques de certains musiciens, Rolland est empreint de ces traits. Dans le dernier chapitre, Romain Rolland, héros-prophète, nous montrons qu’il se donne pour mission d’une part, d’être lui-même un héros et d’autre part de créer une œuvre capable d’inspirer ses lecteurs. ii Masters in French Rosemary Yeoland Abstract Romain Rolland and heroism: a musical perspective The importance of heroism in the life of Romain Rolland, French author, historian and musicologist has previously been investigated as has been his love of music. The fact that Rolland preferred composers he considered heroic such as Beethoven and Handel led the author of this thesis to believe that there may be a link, as yet unexplored, between Rolland’s formulation of heroism and music. The aim of this thesis is to demonstrate that musical influences and the life of certain composers played a central role in the fashioning of Rolland’s concept of heroism. The first chapter, Rolland’s musical formation covers the formative years of Rolland’s life, outlining the development of his musical taste and also his interest in heroism. The influence of his mentor, Malwida von Meysenbug is examined, as is his search for a role model heroic figure. Beethoven, the second chapter, discusses the influence of this composer in Rolland’s life and enumerates the musician’s heroic qualities which Rolland adapts for the formulation of his own fictional hero. The biography The Life of Beethoven written by the author is also examined. The third chapter, Other heroic musicians investigates Rolland’s musicological works in order to highlight heroic qualities found in other composers admired by Rolland. In his most famous work Jean-Christophe, Rolland creates his own heroic figure based on characteristics gleaned from his study of musicians. The character of his protagonist is examined in detail in the fourth chapter, Jean-Christophe. Many composers are criticised by the author for lacking an heroic nature. In order to develop fully the concept of Rolland’s hero, a close examination of these “non-heroic” composers is made in the fifth chapter, The insincerity of musicians. So inspired was Rolland by Beethoven that in writing Jean-Christophe, the author endeavoured to write his own literary “Heroic Symphony”. The sixth chapter, Rolland’s heroic symphony investigates how the author “musically” structured his novel. The final chapter, Romain Rolland, the hero-prophet discusses how Rolland absorbed many of the heroic qualities that he read about, believing that it was his mission to lead an heroic life and to write inspirational works for his readers. iii Synopsis Romain Rolland and heroism: a musical perspective. This thesis contains an introduction, seven chapters, conclusion and bibliography. The chapter titles are Rolland’s musical formation, Beethoven, Other musical heroes, Jean-Christophe, The insincerity of musicians, Rolland’s Heroic Symphony, and Romain Rolland, the hero-prophet? The first chapter investigates the development of Rolland’s musical taste during his younger years. This approach has been chosen because the heroes admired by Rolland and those he creates himself have an intrinsic link to music. A solitary child, born in the French province of Nièvre, Rolland spent much of his childhood, cloistered in his grandfather’s library familiarising himself with the heroes of Shakespeare. From the age of five, he learnt the piano, his mother being his first teacher. Works of Mozart, Weber, Haydn and Beethoven filled his repertoire. His adolescence was spent in Paris where he prepared for entry into the Ecole Normale in 1886. He did not adapt easily to Parisian life as he was horrified by the shallowness and artificiality of his peers. Seeking refuge in music, he became a regular concertgoer. The music of Wagner and Berlioz were a source of inspiration to him at this stage. Having rejected formal religion, he saw music as his “real religious cult”. Always searching to make contact with heroic figures, Rolland corresponded with Léon Tolstoï, amongst others. He adopted the Russian author’s belief that art must not be solely an amusement for the elite; art must serve the people. At this stage of his life, Rolland also developed a Credo quia verum in an attempt to explain man’s role in the universe. In this, he compared life to a musical work or “universal symphony”. After completion of his Agrégation d’histoire, Rolland gained a scholarship to study in Rome where he met an elderly German aristocrat, Malwida von Meysenbug, who had been the friend of such celebrities as Nietzche, Ibsen, Liszt and Wagner. Because of their common love of music, a deep friendship arose between iv Malwida and the young Frenchman. Acting as his mentor, Malwida helped him understand more clearly the germanic soul of Beethoven, and uploads/s3/ romain-rolland-et-l-x27-heroisme.pdf