By Stephen Broad
One of many top-rated composers of the 20 th century, Olivier Messiaen wrote commonly on his song and on his ideals. this can be the 1st variation 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, ahead of the composer won the overseas attractiveness that he and his track now get pleasure from. The items he wrote diversity from stories of person performances to essays on specific works or composers and articles that debate extra basic issues resembling sincerity of expression in tune. some of the articles integrated during this assortment are new to the Messiaen bibliography, and others can be found right here for the 1st time in English. a host are, as wide describes them, 'quietly shocking' in that they strength us to reappraise sure elements of the composer akin to his function in l. a. Jeune France, and his wider participation within the debates of his time. This variation, for this reason, represents a brand new resource for figuring out Messiaen and offers a desirable glimpse of the composer within the early a part of his career.
About the Author
Stephen large 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 learn of Messiaen's adolescence 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
Sample text
Jean Rivier, Vénitienne (comic opera in one act, libretto by R. 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.
16 Résumons-le: après un modéré très mélodique, vient un animé vigoureux, alertement troussé, suivi d’un très lent fertile en imitations canoniques, et dont le contrepoint sévère et durement dissonant s’élève et plane à des hauteurs vraiment sublimes. Un décidé, de forme plus classique, termine ce magnifique ouvrage. On sait que Milhaud adore écrire pour quatuor: cet amour lui a porté bonheur huit fois de suite. Voici la neuvième! II/3f ‘Billet parisien: Réflexions sur le rythme’17 En attendant les manifestations musicales que nous promet L’Exposition de 1937, jetons un coup d’œil sur l’ensemble des concerts de la saison.
26 Mlle. Barraine avoue avoir utilisé certains chants populaires indochinois, madécasses et de l’Afrique Occidentale Française. Mais il n’empêche qu’elle a harmonisé, opposé, développé ces éléments, ainsi que de nombreux thèmes personnels, avec une poésie étonnante ‘Billet Parisien: Les Fêtes de la lumière’, La Sirène (Jul 1937), 18–19. Not given in published worklists, but may be (or may be related to): Henry Barraud, 22 23 Le Feu (1937). 24 This work does not appear on published Honegger worklists.
Olivier Messiaen: Journalism 1935-1939 by Stephen Broad
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