Page 423 - 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
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oi: https://doi.org/10.26493/978-961-7055-86-3.421-440
Summaries
Jacques Amblard
The role of the Conservatoire de Paris in Messiaen’s
development as a composer
In 1919, when he was 11 years old, Olivier Messiaen entered the Paris Con-
servatory. Later, he was appointed professor of harmony on March 25, 1941,
in the same Conservatoire de Paris. This position was vacant since the oust-
ing of André Bloch. The latter was removed from his post in December
1940 because he was Jewish. Later, Messiaen might have tried to hide what
he did during the year 1941, which was for him a troubled page of history.
He was later professor of analysis and composition until his retirement in
1978. He spent half a century (more than two thirds of his life) at the Con-
servatoire, both as a student and a teacher. As a matter of fact, this institu-
tion, by its esprit de corps, probably galvanized the career of the compos-
er, considered since, according to many sources, one of the most important
musicians of the second twentieth century. It was also through the media-
tion work of Yvonne Loriod, met at the Conservatoire, who will premiere
almost all future works for piano; of Boulez, the powerful mediator, his pu-
pil in class of harmony at the Conservatoire; of Antoine Goléa, musicolo-
gist and supporter of his modernist aesthetics. There is undoubtedly a se-
cret within the French music community: „The Conservatoire“ (of Paris) is
a powerful world that builds the careers of its inductees, students and/or
teachers. Even before 1945 it could be presumed from reading certain letters
421
Summaries
Jacques Amblard
The role of the Conservatoire de Paris in Messiaen’s
development as a composer
In 1919, when he was 11 years old, Olivier Messiaen entered the Paris Con-
servatory. Later, he was appointed professor of harmony on March 25, 1941,
in the same Conservatoire de Paris. This position was vacant since the oust-
ing of André Bloch. The latter was removed from his post in December
1940 because he was Jewish. Later, Messiaen might have tried to hide what
he did during the year 1941, which was for him a troubled page of history.
He was later professor of analysis and composition until his retirement in
1978. He spent half a century (more than two thirds of his life) at the Con-
servatoire, both as a student and a teacher. As a matter of fact, this institu-
tion, by its esprit de corps, probably galvanized the career of the compos-
er, considered since, according to many sources, one of the most important
musicians of the second twentieth century. It was also through the media-
tion work of Yvonne Loriod, met at the Conservatoire, who will premiere
almost all future works for piano; of Boulez, the powerful mediator, his pu-
pil in class of harmony at the Conservatoire; of Antoine Goléa, musicolo-
gist and supporter of his modernist aesthetics. There is undoubtedly a se-
cret within the French music community: „The Conservatoire“ (of Paris) is
a powerful world that builds the careers of its inductees, students and/or
teachers. Even before 1945 it could be presumed from reading certain letters
421
