![]() He re-examined some twenty years of ideas through the comprehensively controlled lens of his own instrument, the organ. ![]() Simply put, he was wracked with concern that the ultimate doctrinal end of his music-the glorification of God-was becoming obscured by its semiotically elaborate collection of impulses and influences.Īnd so Messiaen passed through a period in the wilderness that was part quest, part clarification. But much of his crisis was musical-which in his case meant spiritual. As a Roman Catholic of remarkable devoutness, Messiaen must have felt paralyzed. Complicating matters further, Messiaen had fallen in love with one of his students, a brilliant pianist named Yvonne Loriod (who played the floridly difficult solo piano part in the Turangalîla premiere). Part of it was personal: his wife and musical partner, Claire Delbos, had suffered years of declining mental health that left her with incurable amnesia she would be institutionalized for the rest of her life. At the time, Messiaen was a fixture on the Parisian musical scene, not only as a composer, but also as an organist and educator the young composers who studied with him, at the Paris Conservatoire and, beginning that year, at the summer school for new music in Darmstadt, Germany, were beginning to remake the musical world in their own avant-garde image.Īnd yet, Messiaen was in crisis.
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