3 janvier 1784
3 août 1795
Création le 3 janvier 1784 mais ouverture effective le 1er avril 1784.
École publique de chant et de déclamation
École nationale de chant et de déclamation
Institut national de musique
École royale de chant (Paris ; 1784-1795)
Arrêté du 3 janvier 1784 du Conseil d'État du roi instituant l'École royale de chant (voir Arch. nat., E/2606, pièce 1).
Décret du 18 brumaire en II (8 novembre 1793) de la Convention nationale créant l’Institut national de musique.
Loi du 6 thermidor an III (3 août 1795) supprimant l'École de chant et en attribuant les professeurs au nouveau conservatoire (voir Arch. nat.,C/346).
Avant 1784 : les prémices
Plusieurs tentatives d'organisation d'un enseignement laïc remontent à la fin du XVIIe siècle. En effet, lors de la fondation de l'Académie royale de musique, l'enseignement donné dans les maîtrises des églises, où d'ailleurs les femmes n'étaient pas admises, fut reconnu comme ne pouvant plus satisfaire les besoins de la musique profane. Lully, appelé à la direction de l'Académie, s'empressa, en 1672, d'y fonder et d'y diriger une école de chant et de déclamation, mais celle-ci ne lui survécut pas. Des initiatives privées tentent alors d'y suppléer : une de ses élèves, Marthe Le Rochois, en se retirant du théâtre en 1698, crée une école de chant et de déclamation, qui fonctionne jusqu'en 1726. De son côté, la femme du peintre Carle Van Loo ouvre aussi, vers la même époque, une école où elle enseigne les vocalises. Mais la disette d'artistes est telle que le roi décide, en 1713, d'établir une école de musique, de danse et d'instruments, où l'enseignement sera gratuit, auprès de l'Académie royale de musique, en son hôtel de la rue Saint-Nicaise, où se trouve déjà logé, entre autres, le magasin des décors ; ainsi est fondée l'École dite du Magasin, qui, en fait, n'a d'école que le nom, car on n'y pratiquera jamais qu'un dégrossissage très superficiel. À cette insuffisance s'ajoute une administration financière si désastreuse de l'Académie que celle-ci est conduite au bord de la ruine. En 1780, le roi enlève à la ville de Paris la concession du privilège, et rattache l'établissement au ministère de sa Maison, en lui donnant une subvention annuelle. Mais la médiocrité des artistes, dont souffre d'ailleurs aussi la Chapelle royale, reste telle que de nombreuses plaintes ne cessent de s'élever. Le baron de Breteuil, ministre de la Maison du roi, écrit, le 19 décembre 1783, à Calonne :
« Le Roi, ainsi que la Reine, m'ont fait l'honneur, Monsieur, de me marquer leur désir, sur l'établissement d'une École à Paris, dans le goût des conservatoires d'Italie, où l'on élève des sujets, non seulement pour l'Opéra, mais même pour la musique de Versailles. Je me suis sérieusement occupé de cet objet, regardant en effet l'établissement de cette école, comme l'unique moyen de conserver un spectacle si essentiel dans Paris, et si utile aux arts, au Commerce et même aux Finances de Sa Majesté, par les consommations des étrangers que l'Opéra attire et fixe plus longtemps dans la capitale ». (Cf. Arch. nat., O/1/618, pièce 43 : projet de la lettre du baron de Breteuil au contrôleur général des finances de Calonne, à laquelle celui-ci a répondu le 22 décembre suivant (ibid., pièce 44). Voir la transcription et publication dans Constant PIERRE, Le Conservatoire national de musique et de déclamation - Documents historiques et administratifs recueillis ou reconstitués... - Paris, 1900, p. 8, 9, doc. VIII, avec référence à l'ancienne cote Arch. nat., 01626).
Une antichambre de l'Académie royale de musique ?
Par l’arrêté du Conseil d’État du roi en date du 3 janvier 1784, l’École royale de chant est créée à partir du 1er avril 1784 dans le but de pourvoir en chanteurs et musiciens l’Académie royale de musique et de former des élèves propres au service particulier de la musique du roi. Cette école est sous la tutelle de La Ferté, intendant des Menus-Plaisirs. Elle doit être « tenue par d'habiles maîtres de musique, de clavecin, de déclamation, de langue française, et autres, chargés d'y enseigner la musique, la composition et en général tout ce qui peut servir à perfectionner les différents talents propres à la musique du roi et à l'Opéra ».
En 1790, la prépondérance du « Corps de musique de la garde nationale » à la charge de la municipalité de Paris s’affirme au détriment de l’école royale de chant. Cette structure intègre nombre de musiciens touchés par le démantèlement et la désorganisation de la vie musicale parisienne. Par l’arrêté du 9 juin 1792 du Conseil général de la commune de Paris, l’école municipale de musique de la Garde nationale est créée à l’initiative de Bernard Sarrette pour former gratuitement les musiciens à vent de l’armée en ligne. Avec la chute de la monarchie le 10 août 1792, les derniers feux de la musique d’Ancien régime s’éteignent. Les maîtres de chant et l’enseignement musical qu’ils professaient sont démantelés. L’école de Sarrette ne forme plus uniquement des militaires mais des artistes citoyens destinés à glorifier les vertus de la République. La centralisation révolutionnaire fait son œuvre et par le décret du 18 brumaire en II (8 novembre 1793) de la Convention nationale est créé l’Institut national de musique sur l’inspiration du conservatoire italien. Il reçoit les attributions des instruments de musique confisqués aux émigrés. Finalement la loi du 16 thermidor an III (3 août 1795) supprime l'école de chant et en attribue les professeurs au conservatoire national de musique nouvellement créé.
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