{"id":19164,"date":"2007-09-07T19:00:00","date_gmt":"2007-09-07T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/us-and-them-pink-floyd-antonioni-called-the-piano-too-sad\/"},"modified":"2026-09-26T23:58:28","modified_gmt":"2026-09-26T21:58:28","slug":"us-and-them-pink-floyd-antonioni-called-the-piano-too-sad","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/us-and-them-pink-floyd-antonioni-called-the-piano-too-sad\/","title":{"rendered":"Us and Them – Pink Floyd : Antonioni trouvait le piano trop triste"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Un th\u00e8me de film qu’Antonioni a renvoy\u00e9<\/h3>\n

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Us and Them<\/em> a commenc\u00e9 comme la pi\u00e8ce de piano de Rick Wright, The Violent Sequence<\/em>, \u00e9crite pour Zabriskie Point<\/em> de Michelangelo Antonioni et refus\u00e9e \u00e0 Rome en 1969. Le r\u00e9alisateur l’a entendue et l’a renvoy\u00e9e. Roger Waters a souvent redit la raison dans l’anglais cass\u00e9 d’Antonioni : c’\u00e9tait beau, mais trop triste, et \u00e7a lui faisait penser \u00e0 l’\u00e9glise. Le th\u00e8me est rest\u00e9 au groupe. Trois ans plus tard, Waters a mis des paroles dessus pour The Dark Side of the Moon<\/em>.<\/p>\n

Le texte a \u00e9t\u00e9 \u00e9crit pendant les s\u00e9ances d’Abbey Road, de juin 1972 \u00e0 janvier 1973. Waters a d\u00e9crit les trois couplets sans d\u00e9tour. Le premier parle de partir \u00e0 la guerre. Le deuxi\u00e8me parle des libert\u00e9s civiles, du racisme et du pr\u00e9jug\u00e9 de couleur. Le troisi\u00e8me parle de croiser un clochard et de ne pas l’aider. David Gilmour chante le lead. Sa voix est pos\u00e9e dans un \u00e9cho long. Wright chante l’harmonie au-dessus. La figure de piano en dessous est la pi\u00e8ce qu’Antonioni a refus\u00e9e.<\/p>\n

Dick Parry joue du saxophone t\u00e9nor, le m\u00eame musicien que sur Money<\/em>. Doris Troy, Lesley Duncan, Liza Strike et Barry St. John chantent les ch\u0153urs, le quatuor utilis\u00e9 sur l’album. \u00c0 7 minutes 49, c’est le morceau le plus long du disque. Pink Floyd l’a produit. Alan Parsons l’a enregistr\u00e9. Harvest a sorti l’album aux \u00c9tats-Unis le 1er mars 1973 et en Grande-Bretagne le 16 mars. Sur les versions live de la suite, d\u00e9but 1972, il n’y avait pas de saxophone, et Waters et Wright chantaient. Le disque, c’est la voix de Gilmour et le cuivre de Parry.<\/p>\n

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\n

C’est beau, mais c’est trop triste, vous savez ? \u00c7a me fait penser \u00e0 l’\u00e9glise.<\/p>\n<\/blockquote>\n

(Michelangelo Antonioni, \u00e0 propos de The Violent Sequence, selon Roger Waters)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb19160″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1700019160{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Le single am\u00e9ricain est sorti le 4 f\u00e9vrier 1974, avec Time<\/em> en face B. Ce n’\u00e9tait pas un single britannique \u00e0 l’\u00e9poque. Le solo de saxo est la partie que la version de sc\u00e8ne de 1972 n’avait pas. Parry a \u00e9t\u00e9 appel\u00e9 pour l’album, comme pour Money<\/em>, et les deux solos sont les seuls cuivres du disque. Les choristes entrent sur les refrains. Elles ne chantent pas sous la premi\u00e8re ligne du couplet. L’harmonie de Wright est le second lead, pas une partie de ch\u0153ur.<\/p>\n

Ce qu’Antonioni a entendu \u00e0 Rome, c’\u00e9tait le piano seul, assez lent pour qu’il y entende une \u00e9glise. Le morceau de l’album garde ce tempo et ajoute le texte, l’\u00e9cho sur Gilmour, et Parry. Le remaster 2011 est le m\u00eame enregistrement de 1973, pas une nouvelle prise. La pi\u00e8ce que le r\u00e9alisateur a renvoy\u00e9e est toujours celle du milieu de la face B. La face B de l’album s’ouvre sur Money, et ce morceau vient ensuite. Le piano que Wright a jou\u00e9 pour Antonioni \u00e0 Rome a \u00e9t\u00e9 laiss\u00e9 hors de la bande originale de Zabriskie Point, sortie en 1970. Le groupe a gard\u00e9 la figure et l’a finie lui-m\u00eame.<\/p>\n

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Us and Them a commenc\u00e9 comme la pi\u00e8ce de piano de Rick Wright, The Violent Sequence, \u00e9crite pour Zabriskie Point de Michelangelo Antonioni et refus\u00e9e \u00e0 Rome en 1969.<\/p>\n","protected":false},"author":1,"featured_media":19157,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,293],"tags":[482,514],"class_list":["post-19164","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-titres","tag-classic-rock-fr","tag-pink-floyd-fr"],"yoast_head":"\nUs and Them - Pink Floyd : Antonioni trouvait le piano trop triste - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/us-and-them-pink-floyd-antonioni-called-the-piano-too-sad\/\" \/>\n<meta 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