Appunti dal web, dagli scritti di Michele Trenti

Appunti di Michele Trenti

If Messiaen’s writings, dating back to 1942, have so far not found the distribution they deserve, it is probably because of the disarmingly unsystematic approach to a subject that is presented in a very personal and brilliant way. Some truly enlightening observations on various aspects of rhythm, melody, harmony, form, and one’s own compositional technique have gone beyond any need to motivate their basic choices. It is the artist’s language, not the theorist’s, which is not easily understood in a period that searches more for explanations than illumination. In "thinking about today’s music" in 1966, let us consider the opposite attitude of the early Boulez, Messiaen’s pupil: the concerns of justifying the compositional criteria for their work—if not of finding the same guidelines—are primary. In Messiaen, this does not mean an absence of critical analysis on the choices of his language. However, it is important to note that he believed a composer's critical apparatus to be basically a question of a personal nature, which does not require justification in the public arena, at least by the artist himself, seeing as it relates to one’s own subjectivity.