Page 132 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
P. 132
konservator iji: profesionalizacija in specializacija glasbenega dela
The last pupil’s remark was “touches of green.” However, one may
doubt this pupil was really a connoisseur of synesthesia, as Messiaen was.
He might be a “sponger pupil,” trying to please his teacher.
Let us take this very peculiar example to conclude, as in some kind of
anecdote. This pupil seemed “charmed,” perhaps even fascinated by Mes-
siaen, or notably by Messiaen’s “academic value” inside the Conservatoire.
He obviously tried to work for his model, thus for the Conservatoire it-
self. And this work was a work of mediation through a confirmation (yes
“touches of green”), notably as the teacher seemed to touch a difficult sub-
ject. In a way this “soldier helped the captain” when the latter seemed to be
in a difficult position. When Messiaen (or The Conservatoire itself) spoke
about colors, the pupil emphasized this topic, as if to defend a Conserva-
toire-related topic, even a marginal one, even not reasonable. It was final-
ly a mediation work for the Conservatoire de Paris itself through its privi-
leged vector – Messiaen.
Bibliography
Amblard, Jacques. Vingt regards sur Messiaen. Aix-en-Provence: PUP, 2017.
Arnault, Pascal, and Nicolas Darbon. Messiaen ou les sons impalpables du rêve.
Lillebonne: Millénaire III, 1999.
Balmer, Yves, and Christopher Murray. “Olivier Messiaen et la reconstruction de
son parcours sous l’Occupation : le vide de l’année 1941.” In La musique à Pa-
ris sous l’Occupation, edited by Myriam Chimènes and Yannick Simon, 149–
160. Paris: Fayard/Cité de la Musique, 2013.
Boivin, Jean. La Classe de Messiaen. Paris: Christian Bourgois, 1995.
Boulez, Pierre. Relevés d’apprenti. Paris: Seuil, 1966.
Gillock, Jon. Performing Messiaen’s organ music: 66 master classes. Bloomington:
Indiana University Press, 2010.
Menger, Pierre-Michel. Le paradoxe du musicien: Le compositeur, le mélomane et
l’État dans la société contemporaine. Paris: Flammarion, 1983.
Pavlović, Aleksandra. “Messiaen on Debussy and Colour.” 22 February 2014. You-
tube, 2:35. https://www.youtube.com/watch?v=cTtz76AFfw4.
Rathert, Wolfgang. “Olivier Messiaen: Ein Heiliger (Franziskus) der Musikge-
schichte des 20. Jahrhunderts?” In Religion und Glaube als künstlerische Ker-
nkräfte im Werk von Olivier Messiaen, ed. Albrecht Götze, 9–24. Hofheim:
Wolke, 2010.
Rishin, Rebecca. Messiaen quartet. Ithaca (NY): Cornell University Press, 2003.
130
The last pupil’s remark was “touches of green.” However, one may
doubt this pupil was really a connoisseur of synesthesia, as Messiaen was.
He might be a “sponger pupil,” trying to please his teacher.
Let us take this very peculiar example to conclude, as in some kind of
anecdote. This pupil seemed “charmed,” perhaps even fascinated by Mes-
siaen, or notably by Messiaen’s “academic value” inside the Conservatoire.
He obviously tried to work for his model, thus for the Conservatoire it-
self. And this work was a work of mediation through a confirmation (yes
“touches of green”), notably as the teacher seemed to touch a difficult sub-
ject. In a way this “soldier helped the captain” when the latter seemed to be
in a difficult position. When Messiaen (or The Conservatoire itself) spoke
about colors, the pupil emphasized this topic, as if to defend a Conserva-
toire-related topic, even a marginal one, even not reasonable. It was final-
ly a mediation work for the Conservatoire de Paris itself through its privi-
leged vector – Messiaen.
Bibliography
Amblard, Jacques. Vingt regards sur Messiaen. Aix-en-Provence: PUP, 2017.
Arnault, Pascal, and Nicolas Darbon. Messiaen ou les sons impalpables du rêve.
Lillebonne: Millénaire III, 1999.
Balmer, Yves, and Christopher Murray. “Olivier Messiaen et la reconstruction de
son parcours sous l’Occupation : le vide de l’année 1941.” In La musique à Pa-
ris sous l’Occupation, edited by Myriam Chimènes and Yannick Simon, 149–
160. Paris: Fayard/Cité de la Musique, 2013.
Boivin, Jean. La Classe de Messiaen. Paris: Christian Bourgois, 1995.
Boulez, Pierre. Relevés d’apprenti. Paris: Seuil, 1966.
Gillock, Jon. Performing Messiaen’s organ music: 66 master classes. Bloomington:
Indiana University Press, 2010.
Menger, Pierre-Michel. Le paradoxe du musicien: Le compositeur, le mélomane et
l’État dans la société contemporaine. Paris: Flammarion, 1983.
Pavlović, Aleksandra. “Messiaen on Debussy and Colour.” 22 February 2014. You-
tube, 2:35. https://www.youtube.com/watch?v=cTtz76AFfw4.
Rathert, Wolfgang. “Olivier Messiaen: Ein Heiliger (Franziskus) der Musikge-
schichte des 20. Jahrhunderts?” In Religion und Glaube als künstlerische Ker-
nkräfte im Werk von Olivier Messiaen, ed. Albrecht Götze, 9–24. Hofheim:
Wolke, 2010.
Rishin, Rebecca. Messiaen quartet. Ithaca (NY): Cornell University Press, 2003.
130
