A Fresco

Musicologue de rputation internationale connu pour ses ditions critiques de Girolamo Frescobaldi, Etienne Darbellay est aussi un homme de got pour qui la peinture compte autant que la musique. Notre page de titre en rend compte. A fresco dsigne une technique de peinture murale, et fait aussi allusion Frescobaldi. Les contributions que lon trouvera dans nos mlanges touchent de nombreux domaines, en partant de lauteur de prdilection de Darbellay : notation et dition musicales, organologie et histoire de linterprtation, esthtique, rhtorique et perception. Cette diversit tait ncessaire car la philologie constitue chez Darbellay le centre dune uvre foisonnante, guide par une conception exigeante de lacte critique. Selon celle-ci, la forme musicale, en tant quincarnation dune pense qui engage lhomme tout entier, est un vecteur de connaissance. Une rflexion musicologique complte se doit donc de conjuguer raison et sensation, examen scrupuleux des textes (voire des tableaux) et coute attentive de leurs ralisations. Lhommage adress Darbellay par ses collgues et disciples prend donc la forme dune fresque collective o lon retrouvera en bien des endroits la prsence de celui quelle honore. Ce livre contient des articles en allemand, franais, anglais et italien. As an internationally renowned musicologist well-known for his critical editions of Girolamo Frescobaldi, Etienne Darbellay is also a man arbiter of taste who appreciates painting as much as he does music. This is reflected in our title page. A fresco is a mural painting technique but is also an allusion to Frescobaldi. The contributions we find in this collection of essays touch on a wide range of disciplines, beginning with Darbellays favourite composer: music notation and editions, organology and history of music performance practice, aesthetics, rhetoric and perception. Such diversity in the essays was important, since for Darbellay, philology is at the heart of a vast range of works guided by a highly rigorous approach to the critical act. This approach sees a musical work, the embodiment of thought that engages Man in his entirety, as a vector of knowledge. Advanced musicological thinking must encompass reason and perception, an in-depth analysis of the texts (or of the paintings) and careful attention to the resulting works. The present publication realised in honour of Darbellay by his colleagues and followers takes the form of a collective fresco in which his presence may be felt throughout. This book contains essays in German, French, English and Italian.