Le Danemark semble avoir, aujourd'hui, trouvé en Per Nørgård (1932) la personnalité la plus puissante de son histoire, la seule du moins qui permette de penser que Carl Nielsen ne fut pas un phénomène isolé. Per Nørgård a su créer un langage extrêmement original, qui utilise une technique de séries infinies au service d'une expression très forte. L'éclatement des styles permet de découvrir parmi ses condisciples des compositeurs également intéressants tels, surtout, Gunnar Berg (1909-1989), Ib Nørholm (1931), Bernhard Lewkovitch (1927), et les dodécaphonistes Poul Rosving Olsen (1922-1982) et Jan Maegaard (1926). À leurs côtés, une riche floraison de compositeurs, d'écoles et de styles divers, s'épanouit dans le pays, avec notamment Axel Borup Jørgensen (1924), Pelle Gudmundsen-Holmgreen (1932), Finn Savery (1933), Bent Lorentzen (1935), Mogens Winkel Holm et Erik Norby (1936), Svend Nielsen (1937), Jens Wilhelm Pedersen (1939), Ingolf Gabold (1942), Ole Buck (1945), Nils Holger Pedersen (1946), Karl-Aage Rasmussen (1947), Svend Aaquist Johansen (1948) et Poul Ruders (1949), tandis qu'Else Marie Pade (1924) et Jørgen Plaetner (1930) se sont spécialisés dans la musique électronique.
La vie musicale
Il y a au Danemark 5 orchestres régionaux et 2 autres à Copenhague (Det kunglige Kapel, « la chapelle royale », qui peut s'enorgueillir de ses cinq siècles d'histoire, et le Radiosymfoniorkestret). À côté de l'opéra de Copenhague, vieux de près de deux siècles et demi, existe, depuis 1940, Den jyske Opera d'Århus. L'enseignement spécialisé est assuré par deux conservatoires nationaux à Copenhague (fondé en 1867) et à Århus (créé en 1927) ; il existe, en outre, 3 conservatoires régionaux et 20 écoles de musique. Le Danemark est représenté dans tous les organismes internationaux (Jeunesses musicales, SIMC, SIEM, Unesco, etc.) et internordiques.
Daniel-Lesur (Daniel Jean Yves Lesur, dit Jean-Yves)
Compositeur français (Paris 1908 – id. 2002).
Sa mère, musicienne accomplie, lui fait prendre ses premières leçons d'orgue et de composition avec Charles Tournemire. En 1919, il entre au Conservatoire ; Olivier Messiaen est son condisciple dans les classes d'harmonie et de fugue. En 1927, il devient le suppléant de Charles Tournemire à l'orgue de Sainte-Clotilde. Sa Suite française est créée par Pierre Monteux à l'O. S. P. en 1935. La même année, il est nommé professeur de contrepoint à la Schola cantorum, et, l'année suivante, il fonde, avec Yves Baudrier, André Jolivet et Olivier Messiaen, le groupe « Jeune France ». Entré dans les services artistiques de la Radiodiffusion nationale au début de 1939, Daniel-Lesur est mobilisé en septembre ; il revient à la vie civile au mois d'août 1940 et rejoint la radio en zone libre. En 1942, il revient à Paris. De 1945 à 1957, il compose de nombreuses œuvres de musique de chambre et de musique vocale (parmi lesquelles la Suite médiévale [1946] et le Cantique des cantiques [1953]). Déjà un thème s'impose à lui, celui d'Andrea del Sarto, qu'il aborde en 1947 par une musique de scène, suivie, en 1949, d'un poème symphonique. La pièce d'Alfred de Musset lui inspire enfin un opéra, créé à l'opéra de Marseille en 1969.
Parallèlement à son activité de compositeur, Daniel-Lesur a assumé des tâches importantes à la radio, à la télévision et au ministère des Affaires culturelles, où lui a été confiée, en 1971-72, la direction de l'Opéra. De 1957 à 1961, il a été directeur de la Schola cantorum. Attaché aux traditions de la musique française, mais refusant le néoclassicisme, qu'il considère comme une « commodité mécanique pire encore que celles de la musique systématique », esprit logique et sensible, épris de clarté, Daniel-Lesur a réussi d'une manière assez exceptionnelle à allier dans son œuvre rigueur et sensualisme. Il fait revivre des formes anciennes comme le ricercare et la passacaille ; sa liberté de musicien est fondée sur des choix, des contraintes volontaires. Son Cantique des colonnes, sur le poème de Valéry, sa Symphonie d'ombre et de lumière témoignent autant de la hauteur de sa pensée que de la perfection de son art. Et son chef-d'œuvre, Andrea del Sarto, recrée avec bonheur le climat de la Renaissance italienne. En 1982 a été créé l'opéra Ondine, d'après Giraudoux.
Daniel (John) ou John Danyel
Compositeur et luthiste anglais ( ? v. 1565 – ? v. 1630).
Son père était musicien, et son frère Samuel (1562-1619), poète. Les deux frères occupèrent, l'un après l'autre, le poste de « Inspector of the Children of the Queen's Revels ». L'université d'Oxford honora John Daniel du titre de « Batchelor in Musicke » (1604). En 1606, celui-ci publia un recueil de 20 Songs for the Lute, Viol and Voice, augmenté d'une pièce pour luth seul (éd. moderne : The English School of Lutenist Song Writers 1/12, Londres, 1959). En 1625, il devint membre de la Royal Company of Musicians for the Lute and Voices.
Après la mort de Samuel, John publia une édition des œuvres du poète dédiée au prince Charles (1623).
Daniélou (Alain) , dit Shiva Sharan
Ethnomusicologue francais (Neuilly-sur-Seine 1907 – Lonay, près de Lausanne, 1994).
Après avoir travaillé le chant avec Charles Panzéra et la composition avec Max d'Ollone, il s'est fixé en Inde et s'est consacré à l'étude de la musique et de la religion hindoues. Élève de l'université de Santiniketan au Bengale, puis directeur de l'école de musique de cet établissement, il s'est installé en 1935 à Bénarès, où il a été nommé directeur de l'Institut de musicologie (1949), puis, en 1954, à Madras. Membre de l'École française d'Extrême-Orient (1959) et du Conseil international de musique à l'Unesco (l960), il a été nommé, en 1963, directeur de l'Institut de musique comparée de Berlin. Sa connaissance exceptionnelle de la musique de l'Inde et ses travaux de sémantique musicale lui ont conféré un renom mondial. Principaux écrits : Introduction to the Studies of Musical Scales (1943) ; Catalogue de musique classique de l'Inde (1952) ; Northern Indian Music (2 vol., 1949-1954) ; Musique de l'Inde (1966) ; Sémantique musicale (1967) ; The Ragas of Northern Indian Music (1968) ; Situation de la musique et des musiciens dans les pays d'Orient (1971).
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