Evangelion : suite pour violoncelle de Bach, par Shinji


Dans le 15ème épisode de Neon Genesis Evangelion, Shinji joue le prélude de la 1ère suite pour violoncelle de Bach, tandis qu’Asuka entre dans la pièce et l’écoute. Commence le dialogue :
[Asuka] Hé, tu joues drôlement bien!
[Shinji] J’ai commencé à l’âge de cinq ans, alors je me débrouille un peu. Je ne suis pas particulièrement doué.
[Asuka] C’est de la persévérance alors. Tu remontes dans mon estime.
[Shinji] La musique c’est une idée de mon tuteur au départ. Puis j’ai continué.
[Asuka] C’est parce que ça t’a plu.
[Shinji] C’est surtout que personne ne m’a demandé d’arrêter.

Par la suite, on entendra encore cette musique dans les épisodes spéciaux Death & Rebirth.

pour écouter le morceau, cliquez le lien :
durée : 2mn32s

(L’interpète est ici Paul Tortelier, un grand violoncelliste français, et l’interpétation est proche de celle de la b.o. – ce lien est du domaine public, donc légal)


Le prélude de la 1ère suite pour violoncelle de Bach
est un « tube » du violoncelle. C’est une des oeuvres les plus connues et les plus jouées en concert par les violoncellistes, et elle est fréquemment entendue dans des films, des émissions, etc. Comme ici dans Evangelion. Il faut dire qu’elle sied particulièrement à ce moment, où Shinji recherche un moment de paix au milieu des évènements de plus en dramatiques qu’il vit, et que sa spiritualité correspond bien à l’esprit mystique qui se dégage de la série en général.

Pourtant, à la base, cette oeuvre n’est pas religieuse. C’est même une… danse. Et oui, quand elle est composée, par Jean Sébastien Bach, il s’agit bien d’une des six suites de danses qu’il compose pour le violoncelle solo vers 1720. Destinées à être jouées par un musicien seul, il s’agit d’une musique d’agrément, dont l’air ici interprété n’est que le prélude, soit le premier des « morceaux » de chaque suite, dont il expose la tonalité principale. C’est l’habitude d’entendre Bach joué dans un contexte religieux (dans des églises), le fait que la majorité de son oeuvre (notamment les cantates et les chorals pour orgue) est souvent tournée vers Dieu, qui nous fait trouver ce prélude pour violoncelle aussi spirituel. Ce sont aussi les qualités intrinsèques de l’oeuvre : sa simplicité, sa pureté, sa sérénité et sa lumière, qui en font un morceau aussi magique, aussi beau.


Dans la bande originale officielle de Neon Genesis Evangelion, le prélude de la 1ère suite pour violoncelle de Bach est indiqué comme étant interprété par André Navarra. C’est possible pour le disque, mais je suis moins sûr pour l’extrait effectivement joué dans la série, qui est écourté. André Navarra (mort en 1988) était un des plus grands violoncellistes français du XXe siècle.


Il existe de très nombreux enregistrements
des six suites pour violoncelle de Bach, dont beaucoup de très belles, souvent différentes par l’esprit, l’inspiration, et la manière de jouer de l’interprète. Autrefois, jusque dans les années 60/70, il était d’usage de les jouer de façon concentrée, religieuse, épurée, plutôt lente ; depuis les années 80, les jeunes musiciens ont tendance à redonner aux six suites le caractère de la danse, en accentuant le côté mélodique et chantant de l’oeuvre. Personnellement, je possède plusieurs versions des suites, qui sont parmi mes oeuvres préférées de toute la musique classique. Pour ceux qui souhaiteraient découvrir ces oeuvres en intégralité (et ça vaut VRAIMENT le coup), je conseillerai les versions des violoncellistes suivants :
- Pablo « Pau » Casals
- André Navarra
- Pierre Fournier
- Paul Tortelier
- Mstislav « Slava » Rostropovitch
- Anner Bylsma
- Hidemi Suzuki

Bien que j’aime toutes ces interprétations ci-dessus, j’ai un faible pour la plus ancienne, la version de Pau Casals. J’aime sa simplicité, sa chaleur, son humilité, son humanité. Et, coup de chance, j’en ai trouvé une version vidéo, enregistrée dans l’église du village de Prades, Pyrénées-Orientales, où Pau Casals (catalan de naissance) avait fini par s’installer, loin des médias et de l’agitation. C’est absolument sublime. Regardez, et écoutez.

Pour écouter Casals lors de son enregistrement studio de l’oeuvre (disque de 1938, libre de droits – attention : c’est une qualité sonore d’époque, donc même restaurée, elle reste précaire), c’est ici :

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165 Responses to Evangelion : suite pour violoncelle de Bach, par Shinji

  1. Ion Négatif says:

    Intéressante cette analyse, un peu de culture fait toujours du bien ! :)

    • Mackie says:

      La culture est le résultat de la curiosité. C’est la curiosité qui m’a poussé vers le manga et l’anime, et grâce à des gens comme toi, par exemple sur le forum de Negenerv, ou ici dans les commentaires de mes articles, je me sens encouragé à être curieux. Alors j’essaie d’encourager, à mon tour, à ma petite échelle, la curiosité de mes lecteurs.

      Et si tu me permets cette comparaison, j’étais beaucoup plus intimidé par la complexité du monde du manga et de l’anime, que par celle de la musique classique… on est toujours le newbie de quelqu’un, en quelque chose.

  2. Plumy says:

    Ah, ce passage… Le « Personne ne m’a jamais demandé d’arrêter » de Shini est tellement pathetique quelque part…

    Merci beaucoup pour ce petit article très interessant. J’ai adoré la version de Pau Casals, très « chaude » effectivement.

    J’aime beaucoup tes articles qui ont la même tonalité que les articles de la « vieille époque » que l’on trouvait sur des sites perso, avec des analyses, des recherches et des reflexions. Ah, je me sent bien ici

    • Mackie says:

      Je pense que Shinji se ment volontairement à lui-même lorsqu’il dit cela. Lui qui a tant de mal à communiquer, il refuse d’admettre que ce moment où il jouait, avec Asuka l’écoutant dans son dos, créait une vraie connection entre elle et lui. Asuka lui fait des compliments, de façon un peu directe mais sincère, et aussitôt il se réfugie dans une modestie forcée, prétend ne pas bien jouer, et même ne pas aimer ça. Une fois de plus, il coupe les ponts, et c’est une nouvelle occasion perdue…

      Dans un monde sans anges ni evas, comme on l’entrevoit dans Rebirth, Shinji ne serait pas pilote bien sûr, mais peut-être violoncelliste reconnu.

    • Plumy says:

      Ergh, je viens de voir que mon commentaire a été coupé, je disais ensuite  » (Merci pour le lien, fallait pas te sentir obligé de me linker si mon blog ne t’interpellais pas spécialement hein ‘_’; Je n’en serais pas gênée.).  »

      Par rapport à Shinji… J’avoue, je n’ai jamais perçu les choses comme ça. Ca fait longtemps que j’ai vu cette série, donc mes souvenirs doivent être un peu faussés, mais je me souviens bien de cette scène, et il ne m’était jamais venue à l’idée de remettre en question les propos de Shinji. Je trouvais que ça lui ressemblait bien, en fait, de faire ce qu’on lui avait demandé, tout simplement.

  3. Mim says:

    Article sympathique où j’ai (encore) appris des choses. Jamais je n’aurais imaginé que ce morceau fut à l’origine une danse.
    Le lien du morceau de Shinji n’a pas fonctionné pour moi. Sinon, c’est toujours aussi plaisant à lire. Vivement d’autres sujets sur le classique dans Evangelion !

    • Mackie says:

      merci, tu peux y compter, j’ai déjà des articles en attente sur ce sujet.
      oui j’ai vu, il y a une erreur 401 hélas… l’autorisation a été retirée semble-t-il… bon, j’ai remplacé le lien, par un extrait tout aussi beau et légal (domaine public).

  4. hikaru-san says:

    Merci mackie pour ce moment culturel , surtout que c’est un passage assez marquant de l’animé dans lequel on en apprend un peu plus sur le caractère de Shinji.
    J’ai gros doute, mais dans le film death and rebirth il n’y a pas une scène dans laquelle Shinji, Rei et Asuka reprenne ce morceau tous ensemble.
    Pour finir, même si j’aime beaucoup ce passage et cette musique, j’ai un gros faible pour « l’hymme à la joie » de Beethoven qui donne une incroyable impression de puissance et de grandeur à la deuxième partie du 24éme épisode, et au  » Canon en D majeur  » de Johann pachelbel qui conclue à merveille le film death and rebith . Ces musiques me donnent des frissons à chaque fois que je les écoute.
    Si tu apprécies la musique classique, peut-être devrais-tu regarder Nodame Cantabile ? la musique est l’un des thèmes principales.

    • Mackie says:

      Content que ça te plaise. Comme toi, beaucoup de fans apprécient les extraits de musique classique dans Evangelion. J’essaie dans mes articles d’aller plus loin sur ce sujet et de donner quelques infos et références.

      J’ai revu la scène, et en fait ça se passe comme cela : d’abord, Shinji joue seul le prélude de Bach. Arrive Asuka, elle accorde son violon. Enfin Rei et Kaworu arrivent l’un après l’autre, accordent leurs instruments, et ensemble tous les quatre, ils jouent le canon de Pachelbel en version pour quatuor à cordes.

      • hikaru-san says:

        Voila c’est tout à fait cela, même si j’ai vu ce film une ou deux fois, je me souviens encore de ce moment. Merci pour les précisions, ca me donne envie de revoir et surtout de ré-écouter ce passage.

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  12. Bonjour,
    Merci pour cette belle découverte de l’enregistrement de Pau Casals.
    Je vous contacte pour savoir s’il est possible d’utiliser le lien vers cet enregistrement de 1938 libre de droits pour accompagner une vidéo faisant découvrir un travail artisanal ?
    Merci pour votre information.
    Bien cordialement,

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