{"id":8587,"date":"2026-04-07T09:00:00","date_gmt":"2026-04-07T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/vienna-ultravox-2\/"},"modified":"2026-09-19T23:59:11","modified_gmt":"2026-09-19T21:59:11","slug":"vienna-ultravox-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/vienna-ultravox-2\/","title":{"rendered":"Vienna – Ultravox"},"content":{"rendered":"

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Un single qui refusait d’en \u00eatre un<\/h3>\n

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Une bo\u00eete \u00e0 rythmes marque un cr\u00e9puscule europ\u00e9en, clairsem\u00e9 et formel, et la voix de Midge Ure arrive avec une ligne d\u00e9j\u00e0 finie, comme si le reste de la chanson devait rattraper une phrase qu’il ne pouvait pas perdre.<\/p>\n

Ultravox \u00e9crit Vienna<\/em> dans une salle de r\u00e9p\u00e9tition froide en 1980, peu apr\u00e8s que Ure a remplac\u00e9 John Foxx, que le groupe a \u00e9t\u00e9 l\u00e2ch\u00e9 et qu’il a fallu gratter pour avoir du studio. Billy Currie voulait quelque chose du poids des romantiques tardifs, Grieg et Elgar dans le sang de ses lignes de clavier. Warren Cann pose un rythme. Chris Cross trouve une basse sur un synth\u00e9tiseur. Ure arrive avec presque rien, sauf la phrase sur le sentiment parti, this means nothing to me. Conny Plank produit l’album au RAK \u00e0 Londres et dans son propre studio pr\u00e8s de Cologne, et la piste gagne un solo d’alto, un piano \u00e0 queue, et une section centrale qui enfle comme un film dont l’image n’existe pas. Chrysalis la trouvait trop lente, trop longue, le contraire d’un single. Le groupe refuse le montage. Elle sort en janvier 1981.<\/p>\n

Elle s’arr\u00eate \u00e0 la 2e place en Grande-Bretagne, bloqu\u00e9e par le tube gadget de Joe Dolce, une blague \u00e0 laquelle la chanson n’a jamais tout \u00e0 fait \u00e9chapp\u00e9 et dont elle n’a jamais eu besoin. La vid\u00e9o, en noir et blanc, va de Covent Garden \u00e0 la ville du titre, film\u00e9e avec la pompe que demande le milieu. Ure a dit qu’il avait menti aux journaux \u00e0 l’\u00e9poque, habillant une id\u00e9e plus sombre, plus priv\u00e9e, en romance de vacances. La musique fait le travail honn\u00eate. Elle est pompeuse expr\u00e8s au centre, nue avant et apr\u00e8s, et elle finit sur une fioriture classique qui aurait g\u00ean\u00e9 un groupe moins s\u00fbr de son nerf. Plank, qui avait enregistr\u00e9 Kraftwerk, comprenait l’espace. Il laisse le vide faire partie du refrain.<\/p>\n

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Le label ne voulait pas sortir Vienna. C’\u00e9tait trop lent, trop long, et il y avait un solo de violon, l’antith\u00e8se d’un single commercial.<\/p>\n<\/blockquote>\n

(Midge Ure, The Guardian, 2017)<\/em><\/p>\n

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En concert, la chanson est une c\u00e9r\u00e9monie. La salle chante le d\u00e9ni, this means nothing, et veut dire le contraire. L’alto de Currie, ou son fant\u00f4me de clavier, divise encore la pi\u00e8ce. On a pass\u00e9 des ann\u00e9es \u00e0 demander \u00e0 Ultravox Berlin, Paris, une autre ville avec le m\u00eame manteau. Ils ne pouvaient pas r\u00e9\u00e9crire le m\u00eame accident. Le morceau reste celui que connaissent ceux qui ne connaissent pas le catalogue, et celui avec lequel le groupe, qu’on avait enterr\u00e9, est revenu au jour. Un single refus\u00e9, gard\u00e9 en entier, a vendu plus que les choix raisonnables.<\/p>\n

Ce qui reste, c’est le plaisir de l’\u00e9chelle. Quatre minutes qui se conduisent comme un petit op\u00e9ra, un groupe de synth\u00e9s qui se souvient qu’un piano peut encore briser le c\u0153ur, un refrain qui hausse les \u00e9paules puis b\u00e2tit une cath\u00e9drale autour du haussement. La ligne de Ure est petite. L’arrangement refuse de l’\u00eatre. Ensemble ils ont fait le rare disque pop qui est \u00e0 la fois une humeur et une architecture, et qui, quand l’alto entre, fait encore retenir le souffle d’une salle, comme si la ville dehors s’\u00e9tait tue expr\u00e8s.<\/p>\n

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