The life and works of one of the most difficult yet rewarding composers of modern time.
Jean Barraqué is increasingly being recognized as one of the great composers of the second half of the 20th century. Though he left only seven works, his voice in each of them is unmistakeable, and powerful. He had no doubt of hisresponsibility, as a creator, to take his listeners on challenging adventures that could not but leave them changed. After the collapse of morality he had witnessed as a child growing up during the Second World War, and having taken notice of so much disarray in the culture around him, he set himself to make music that would, out of chaos, speak.
Three others were crucial to him. One was Pierre Boulez, who, three years older, provided him with keysto a new musical language — a language more dramatic, driving and passionate than Boulez’s. Another was Michel Foucault, to whom he was close personally for a while, and with whom he had a dialogue that was determinative for bothof them. Finally, in the writings of Hermann Broch-and especially in the novel The Death of Virgil-he found the myth he needed to realize musically.
He played for high stakes, and he took risks with himself as well as in hisart. Intemperate and difficult, even with his closest friends, he died in 1973 at the age of forty-five.
Paul Griffiths was chief music critic for the London
Times (1982-92) and
The New Yorker (1992-96) and since 1996 has written regularly for the
New York Times. He has written books on Boulez, Cage, Messiaen, Ligeti, Davies, Bartók and Stravinsky, as well as several librettos, among them
The Jewel Box (Mozart, 1991),
Marco Polo (Tan Dun, 1996) and
What Next? (Elliott Carter, 1999).
Jean Barraqué is increasingly being recognized as one of the great composers of the second half of the 20th century. Though he left only seven works, his voice in each of them is unmistakeable, and powerful. He had no doubt of hisresponsibility, as a creator, to take his listeners on challenging adventures that could not but leave them changed. After the collapse of morality he had witnessed as a child growing up during the Second World War, and having taken notice of so much disarray in the culture around him, he set himself to make music that would, out of chaos, speak.
Three others were crucial to him. One was Pierre Boulez, who, three years older, provided him with keysto a new musical language — a language more dramatic, driving and passionate than Boulez’s. Another was Michel Foucault, to whom he was close personally for a while, and with whom he had a dialogue that was determinative for bothof them. Finally, in the writings of Hermann Broch-and especially in the novel The Death of Virgil-he found the myth he needed to realize musically.
He played for high stakes, and he took risks with himself as well as in hisart. Intemperate and difficult, even with his closest friends, he died in 1973 at the age of forty-five.
Paul Griffiths was chief music critic for the London
Times (1982-92) and
The New Yorker (1992-96) and since 1996 has written regularly for the
New York Times. He has written books on Boulez, Cage, Messiaen, Ligeti, Davies, Bartók and Stravinsky, as well as several librettos, among them
The Jewel Box (Mozart, 1991),
Marco Polo (Tan Dun, 1996) and
What Next? (Elliott Carter, 1999).
€32.99
Tabela de Conteúdo
Family and FormationLanglais, and a Beginning
Messiaen, and Friendships
Sonata
A Nietzsche Sequence
Musique Concrete
Foucault
The Death of Virgil
You
Time Regiven
Beyond Chance
Since Debussy
Silence
Citation: Hommage a Claude Debussy
Song after Song
Concerto
The Man Lying Down
Língua Inglês ● Formato PDF ● Páginas 238 ● ISBN 9781580466196 ● Tamanho do arquivo 2.9 MB ● Editora Boydell & Brewer Ltd ● Cidade Rochester ● País US ● Publicado 2003 ● Carregável 24 meses ● Moeda EUR ● ID 9053461 ● Proteção contra cópia Adobe DRM
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