Olivier Messiaen: Journalism 1935-1939 - download pdf or read online

By Stephen Broad

One of many most effective composers of the 20 th century, Olivier Messiaen wrote commonly on his song and on his ideals. this can be the 1st version of his early journalism and offers either the unique French textual content and an English translation. The writing during this quantity dates from the Thirties, earlier than the composer received the foreign popularity that he and his song now take pleasure in. The items he wrote variety from stories of person performances to essays on specific works or composers and articles that debate extra common subject matters corresponding to sincerity of expression in tune. a few of the articles incorporated during this assortment are new to the Messiaen bibliography, and others can be found right here for the 1st time in English. a bunch are, as wide describes them, 'quietly shocking' in that they strength us to reappraise definite elements of the composer resembling his function in los angeles Jeune France, and his wider participation within the debates of his time. This version, as a result, represents a brand new resource for realizing Messiaen and gives a desirable glimpse of the composer within the early a part of his career.

About the Author
Stephen vast is Head of Postgraduate Programmes and study on the Royal Conservatoire of Scotland. A graduate of the univesities of Glasgow and Oxford, he has made a different examine of Messiaen's youth and writing. initially from the Isle of Mull, he now lives in Perthshire, united kingdom.

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Extra info for Olivier Messiaen: Journalism 1935-1939

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Kerdyk) (1936). This work does not appear in the Thiriet worklist given in the New Grove (second edition). 34 Trois thèmes se varient, se disloquent de la façon la plus inattendue, sur des rythmes de gavotte, de valse ou de blues. Deux petits emprunts moqueurs (du Massenet et du Wagner à la blague) sont bien en situation. Décors, costumes, acteurs, tout est étonnant de fantaisie dégingandée, de raideur tragi-comique. 35 Deux personnages: Monsieur, Madame. Derrière eux, leurs pensées prennent forme en diverses apparitions.

On est bien obligé de répondre: non. Non, elle n’est pas en avance; elle est même tristement, piteusement, stupidement en retard. C’est normal, et il en a toujours été ainsi; mais jamais, jamais ce retard n’a été aussi flagrant. C’est pourquoi il faut soutenir énergiquement ceux – et ils sont en nombre infime: trois ou quatre dans le monde entier – ceux qui essayent de rattraper un peu de terrain. Or, je viens de lire une œuvre, une simple suite de pièces pour piano, qui, par la nouveauté de son écriture, la singularité de son esthétique, semble répondre à ces aspirations.

Le poème de Maeterlinck était déjà loin du conte de Perrault. La musique de Dukas en est plus loin encore. Cet homme, nourri de Descartes, Kant et Schopenhauer, doué d’une sensibilité nerveuse très réelle, était vraiment taillé tout exprès pour ce sujet sévère! Voyons maintenant l’ossature thématique des deux pages les plus émues du 3e acte. Nous y vérifierons encore les quelques commentaires que j’ai donnés plus haut des idées philosophiques encloses dans l’œuvre. 1er page: Ariane vient de trancher les derniers liens, Barbe-bleue est libre.

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Olivier Messiaen: Journalism 1935-1939 by Stephen Broad

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