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Like Messiaen, you are organist, composer, improviser but also professor of analysis at the Conservatoire de Paris and musicologist.Do you claim this complementarity in your musical approach as a form of engagement?Is it still a model for the young generation of composers?It seems to me that for the young composers of today, Messiaen is an ancestor already very distant.
It is not a matter of returning to the former "master of music" but rather of the conviction that to think and create through categories is a permanent necessity for musical invention to remain alive.
To truly "speak" this document, the only solution is to "put it into action" on its place of origin, the organ of the Trinity: to pull the stops requested by Messiaen, to be guided by its brief indications, and thus make it possible to hear a buried musical idea that this single instrument allows to "decode", with obviously a very good knowledge of its techniques of composition at that time.
It is as much research as creation, reconstruction or invention, because the blanks left are enormous, but it is the only way to make this document anything but a piece of paper ...
The main challenge seems to be to understand how Messiaen was able to have a very organized theory of composition interact with his intimate, intuitive, keyboard and creative relationship "in the moment".
His earliest improvisations recorded today and accessible, date from the late 1960s; For the preceding decades, we were reduced to conjectures.