posted 08/11/08 Arise, Olivier Messiaen, soraxtm
I listened to the quartet for the end of time again today.
I don’t know why I like it so much. I mean I haven’t listened or even got any Stockhausen or John cage. Maybe it’s because people shut up when you play it. Maybe it’s because it’s just so goddamn highbrow that you just know your doing something good for your brain. I doubt the creation of new neural pathways is an easy matter . If that was the case I would doubt everyone would be so stupid. Stupid and boring. Why is everyone so so so tired and worn out. Why are their brains so dispensable. People just say and think the same thing over and over and over. It must be the fascist state we are required to live in because we have a democracy. Can you imaging if anyone just went ahead and thought their own thoughts, if they could even tell what they were. I mean even on the internet it’s hard to find anything challenging to read or listen to. I have personally scoured the internet for lectured and audiobooks to listen to and I find myself listening to the same one over and over. There are a few lectures from berkely that are interesting but that’s about it. I don’t want to learn fact or vocabulary or how to be an elite or intellectual I just want to be amazed. I want the world to unfold for me, I want to see thing with new eyes everyday.
Is that to much to ask.
I mean fuck
from the wiki
“It is almost impossible to mistake a Messiaen composition for the work of any other Western classical composer. His music has been described as outside the western musical tradition, although growing out of that tradition and influenced by it. Much of Messiaen’s output denies the western conventions of forward motion, development and diatonic harmonic resolution. This is partly due to the symmetries of his technique — for instance the modes of limited transposition do not admit the conventional cadences found in western classical music.
Messiaen’s youthful love for the fairy-tale element in Shakespeare prefigured his later expressions of what he called “the marvellous aspects of the [Roman Catholic] Faith” — among which may be numbered Christ’s Nativity, Crucifixion, Resurrection, Ascension, Transfiguration, the Apocalypse and the hereafter. Messiaen was not interested in depicting aspects of theology such as sin; rather he concentrated on the theology of joy, divine love, and human redemption.
Although Messiaen continually evolved new composition techniques, he integrated them into his musical style; so, for instance, his final work still retains the use of modes of limited transposition. For many commentators this continual development of Messiaen’s musical language made every major work from the Quatuor onwards a conscious summation of all that Messiaen had composed up to that time. However, very few of these major works contain no new technical ideas — simple examples being the introduction of communicable language in Meditations, the invention of a new percussion instrument (the geophone) for Des canyons aux etoiles…, and the freedom from any synchronisation with the main pulse of individual parts in certain birdsong episodes of St. François d’Assise.
As well as discovering new techniques for himself, Messiaen found and absorbed exotic music into his compositional style, including Ancient Greek rhythms, Hindu rhythms (he encountered Śārṅgadeva’s list of 120 rhythmic units, the deçî-tâlas) Balinese and Javanese Gamelan, birdsong, and Japanese music (see Example 1 for an instance of his use of ancient Greek and Hindu rhythms).
While he was instrumental in the academic exploration of his techniques (he published two treatises, the later one in five volumes which was substantially complete when he died), and was himself a master of music analysis, he considered the development and study of techniques to be a means to intellectual, aesthetic and emotional ends. In this connection, Messiaen maintained that a musical composition must be measured against three separate criteria: to be successful it must be interesting, beautiful to listen to, and it must touch the listener.”