{"id":8533,"date":"2026-05-05T09:00:00","date_gmt":"2026-05-05T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/the-sound-of-silence-simon-garfunkel-2\/"},"modified":"2026-09-19T23:59:08","modified_gmt":"2026-09-19T21:59:08","slug":"the-sound-of-silence-simon-garfunkel-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/the-sound-of-silence-simon-garfunkel-2\/","title":{"rendered":"The Sound of Silence – Simon & Garfunkel"},"content":{"rendered":"

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Un hymne \u00e9crit pr\u00e8s d’un robinet ouvert<\/h3>\n

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Deux voix entrent presque sans accompagnement, assez proches pour n’\u00eatre qu’un instrument, et la premi\u00e8re ligne salue l’obscurit\u00e9 comme une personne qui attendait.<\/p>\n

Paul Simon \u00e9crit The Sound of Silence<\/em> dans la salle de bains de la maison de ses parents, \u00e0 Flushing, dans le Queens, lumi\u00e8res \u00e9teintes, robinet ouvert, parce que le carrelage lui donnait un peu d’\u00e9cho et que l’eau faisait un bruit blanc qu’il aimait. Il a vingt et un ans. La chanson met des mois \u00e0 se finir. Elle para\u00eet, acoustique et retenue, sur Wednesday Morning, 3 A.M.<\/em> en 1964, produite par Tom Wilson pour Columbia, et l’album \u00e9choue. L’ann\u00e9e suivante, Wilson, sans le duo dans la pi\u00e8ce, ajoute guitare \u00e9lectrique, basse et batterie au Studio A de Columbia, \u00e0 New York, et sort la nouvelle version en single. En janvier 1966 elle est num\u00e9ro un en Am\u00e9rique, et l’album Sounds of Silence<\/em> suit. Simon et Garfunkel entendent leur avenir \u00e0 la radio, arrang\u00e9 par un producteur qui n’a pas demand\u00e9.<\/p>\n

Art Garfunkel, en la pr\u00e9sentant sur sc\u00e8ne, a d\u00e9crit le texte comme l’incapacit\u00e9 des gens \u00e0 communiquer, pas seulement entre nations, mais \u00e0 travers une table. Les mots traversent une vision de n\u00e9on et de silence, de gens qui parlent sans parler. La couche \u00e9lectrique donne \u00e0 la vision une pulsation que la version de la salle de bains ne faisait qu’impliquer. En concert, ils sont souvent revenus \u00e0 l’harmonie nue, deux voix et une guitare, l\u00e0 o\u00f9 la chanson est n\u00e9e et o\u00f9 elle coupe encore. Le public folk qui aimait le disque calme a d\u00fb accepter la batterie. Le public pop n’a jamais entendu la salle de bains.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

\n

J’avais l’habitude de m’isoler dans la salle de bains, parce qu’elle \u00e9tait carrel\u00e9e, donc c’\u00e9tait une petite chambre d’\u00e9cho. J’ouvrais le robinet pour que l’eau coule, et je jouais. Dans le noir.<\/p>\n<\/blockquote>\n

(Paul Simon, Playboy, 1984)<\/em><\/p>\n

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On a voulu que la chanson parle de l’assassinat de Kennedy, de l’engourdissement d’une d\u00e9cennie, du noir priv\u00e9 d’un jeune auteur. Simon s’est m\u00e9fi\u00e9 des grandes lectures. Ce qu’il a confirm\u00e9, c’est la pi\u00e8ce, le robinet, le plaisir de jouer seul. Le t\u00e9nor de Garfunkel \u00e9l\u00e8ve la m\u00e9lodie jusqu’\u00e0 quelque chose comme un hymne, et c’est pourquoi les foules la traitent ainsi. \u00c0 Central Park en 1981, et sur d’innombrables sc\u00e8nes depuis, la premi\u00e8re ligne fait encore taire un champ. Bonjour, obscurit\u00e9. La salutation ne s’est pas us\u00e9e.<\/p>\n

Ce qui reste, c’est le calme \u00e9trange d’une protestation qui n’\u00e9l\u00e8ve jamais la voix. Le single \u00e9lectrique est un compromis devenu classique, une chanson folk \u00e0 qui des musiciens de studio ont donn\u00e9 un temps, et qu’on a laiss\u00e9e trouver son public. Dessous, on peut encore entendre la pi\u00e8ce carrel\u00e9e si on le veut. Un jeune homme dans le Queens, l’eau qui coule, parlant au noir parce que le noir r\u00e9pondait. Le silence du titre n’est pas vide. C’est le son de gens qui n’arrivent pas \u00e0 se rejoindre, pos\u00e9 sur un air qu’on ne d\u00e9loge pas.<\/p>\n

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Deux voix entrent presque sans accompagnement, assez proches pour n’\u00eatre qu’un instrument, et la premi\u00e8re ligne salue l’obscurit\u00e9 comme une personne qui attendait.<\/p>\n","protected":false},"author":1,"featured_media":8529,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[825],"class_list":["post-8533","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-simon-garfunkel"],"yoast_head":"\nThe Sound of Silence - Simon & Garfunkel - 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\/chronicles\/the-sound-of-silence-simon-garfunkel-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Sound of Silence - 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