Serge Gainsbourg en dix leçons by Bertrand Dicale

By Bertrand Dicale

Génie ? Caméléon ? Opportuniste ? Dandy ? Précurseur ? Touche-à-tout ? Imposteur ? Révolutionnaire ? On n’a pas fini de s’interroger sur Serge Gainsbourg, sur son extraordinaire trajectoire d’artiste et sur los angeles position singulière qu’il occupe dans l’histoire de los angeles chanson française – l’auteur-compositeur nourri de musique classique qui écrit los angeles Javanaise est aussi le provocateur mal rasé qui aligne des tubes funk salaces…

A l’occasion d’une série de cours à l. a. Cité de los angeles Musique, en parallèle à l’exposition Gainsbourg 2008, Bertrand Dicale a porté un regard neuf et sans complexes sur l. a. carrière et sur l’œuvre du plus actuel des grands maîtres de notre musique populaire. Il fallait essayer de comprendre remark cet ancien pianiste de bar sans envergure a lentement mûri puis imposé son écriture, remark il s’est autant imprégné de l’actualité de l. a. musique que de son histoire pour édifier une œuvre résolument hors normes, remark il a oscillé entre intransigeance artistique et ambition commerciale, remark il a concilié exigences d’avant-garde et séduction populaire

On a oublié que l. a. plupart des chansons de Gainsbourg qui sont aujourd’hui considérées comme des classiques ont d’abord été des bides (La Javanaise, Sous le soleil exactement, L’Anamour…) et qu’il n’a longtemps connu le succès que par procuration (Les Sucettes, remark te dire adieu, Harley Davidson). On a aussi oublié qu’après l’énorme succès de scandale de Je t’aime moi non plus, il n’a vraiment connu le succès qu’à plus de cinquante ans, avec Aux armes et caetara qui séduit les teenagers de 1979.

En dix leçons, donc, voici remark Serge Gainsbourg s’est imposé comme une référence majeure de l. a. tradition européenne contemporaine. Dix leçons qui replacent l’homme, los angeles carrière et l’œuvre dans leur époque, dans leur logique secrète, dans leur flamboyance designated. Dix leçons titrées «Différer», «Décevoir», «Echouer , «Vendre», «Choquer», «Persévérer», «Triompher», «S’éparpiller», «Durer» et «Mourir».

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Like her first episode, the second one began with headaches and fits of confusion. It then progressed to overwhelming guilt over her father’s death. Her agitation grew, and her family moved her back to the country to calm her. The move did not help. She resisted her three nurses, whom she considered evil, and attempted suicide by jumping from an open window. Luckily, the window was too close to the ground for a fatal effect, and she was not seriously injured. The madness passed slowly with the help of her close friend Violet Dickinson, with whom Virginia had very likely fallen in love.

The curiosity is only legitimate when the house of a great writer or the country in which it is set adds something to our understanding of his books. This justification you have for a pilgrimage to the home and country of Charlotte Bronte and her sisters. . The house . . is precisely the same as it was in Charlotte’s day, save that one new wing has been added. It is easy to shut the eye to this, and then you have the square, boxlike parsonage, built of the ugly yellow-brown stone which they quarry from the moors behind, precisely as it was when Charlotte lived and died there.

Like her first episode, the second one began with headaches and fits of confusion. It then progressed to overwhelming guilt over her father’s death. Her agitation grew, and her family moved her back to the country to calm her. The move did not help. She resisted her three nurses, whom she considered evil, and attempted suicide by jumping from an open window. Luckily, the window was too close to the ground for a fatal effect, and she was not seriously injured. The madness passed slowly with the help of her close friend Violet Dickinson, with whom Virginia had very likely fallen in love.

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