By Stephen Broad
One of many optimal composers of the 20 th century, Olivier Messiaen wrote largely 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, ahead of the composer won the overseas popularity that he and his song now take pleasure in. The items he wrote diversity from experiences of person performances to essays on specific works or composers and articles that debate extra normal topics reminiscent of sincerity of expression in song. a number of the articles integrated during this assortment are new to the Messiaen bibliography, and others can be found the following for the 1st time in English. a bunch are, as wide describes them, 'quietly shocking' in that they strength us to reappraise definite points of the composer akin to his position 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 realizing 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 examine of Messiaen's adolescence and writing. initially from the Isle of Mull, he now lives in Perthshire, united kingdom.
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Additional info for Olivier Messiaen: Journalism 1935-1939
38 Albert Roussel, Suite in F (Prélude, Sarabande, Gigue) (op. 33, 1926); Albert Roussel, Piano Concerto in G (op. 36, 1927); Albert Roussel, Rapsodie flamande (op. 56, 1936); Albert Roussel, Symphony no. 3 in g minor (op. 42, 1929–30); Albert Roussel, Articles for La Sirène (later La Syrinx) 33 Depuis la mort de Roussel, beaucoup d’articles ont vanté tour à tour ses qualités de symphoniste, son orientalisme, son néo-classicisme, son impressionnisme, etc. … Il y a du vrai dans tout cela. Roussel était un tempérament très complexe: ses voyages en mer, ses études à la Schola, les influences combinées de Debussy, de d’Indy, de la musique indoue, avaient fait jaillir en lui, de bonne heure, une langue très personnelle qui s’est accentuée et épurée dans ses derniers ouvrages, mais dont il ne s’est jamais départi, malgré les différents courants de la mode.
21 Georges Dandelot, Pax (Libretto by Dandelot) (1937). Olivier Messiaen: Journalism 1935–1939 30 II/5f ‘Billet parisien: Les Fêtes de la lumière’22 J’ai dit quelques mots, dans mon précédent article, sur les Fêtes de la lumière à L’Exposition 1937. Je veux y revenir aujourd’hui avec plus de détails. Ces fêtes – dont les plans, conçus par les architectes Beaudoin et Lods, se réalisent en des véritables féeries d’eau, lumière, fusées, artifices – sont accompagnées et commentées, en étroit synchronisme, par dix-huit partitions musicales d’auteurs divers, composées pour la circonstance.
Dukas’s comment reflects some of the themes of Birds, but is not a direct quotation or paraphrase. The Athenian poet Kinesias, at line 1387, speaks of drawing inspiration ‘in the clouds’, whilst at lines 481–2 Peisetairos says that the birds were once masters of the human world, before the coming of the gods. : Aristophanes, Birds and Other Plays, tr. with intro. and notes by Stephen Halliwell (Oxford, 1998), 33, 66. 11 Note that the climax of this scene concludes in F-sharp major, a favourite key for Messiaen.