Skip to main content

La Mort Des Artistes





This is the second piece in a group entitled "Etude de Couleur et Lumière" (Study in Colour and Light). Inspired by the French symbolist poet, Charles Baudelaire, it is an attempt to recreate a poem in musical form. Even the intonation of the poem - the exact rise and fall of the vowel sounds - is reflected in the music. In fact, every element of the poetry is represented musically. Also, this work signifies an important evolutionary step in my musical output; it unifies the two opposing elements of timbralism and colourism.

La Mort des Artistes.

Combien faut-il de fois secouer mes grelots
Et baiser ton front bas, morne caricature?
Pour piquer dans le but, de mystique nature,
Combien, ô mon carquois, perdre de javelots?

Nous userons notre âme en de subtils complots,
Et nous démolirons mainte lourde armature,
Avant de contempler la grande Créature
Dont l'infernal désir nous remplit de sanglots!

Il en est qui jamais n'ont connu leur Idole,
Et ces sculpteurs damnés et marqués d'un affront,
Qui vont se martelant la poitrine et le front,

N'ont qu'un espoir, étrange et sombre Capitole!
C'est que la Mort, planant comme un soleil nouveau,
Fera s'épanouir les fleurs de leur cerveau!

How many times must I shake my bells 
And kiss your brow, sad mockery? 
To strike at the heart of mystic nature, 
How many darts, O my quiver, must I lose?

We will wear away our souls with subtle schemes
And we will demolish many a stricture
Before we gaze on the glorious Creature
Which makes us grieve with tormented desire!

There are some who never knew their Idol
And there are sculptors damned and branded by insult,
Who hammer their brows and their own breasts,

In only one hope, bizarre and somber Capitol! 
It is that Death, rising like a new sun, 
Will bring to blossom the flowers of their thoughts!

Romina Basso, who translated the poem, provides us with this insight:

'A purpose of art if not the singular purpose of art, he suggests, is to struggle towards the one "hope" that dying brings blossoms to the "flowers of their thoughts". ' 


It is a live performance which is sung beautifully by the alto singer, Rachel Fisher.

Popular posts from this blog

Once Upon a Time - by James Dillon

Once Upon a Time   James Dillon Once Upon a Time...Ircam When the premiere of a work called ‘Once Upon a Time’ at the Huddersfield Festival of 1980,  James Dillon was immediately thrust centre stage.   Hitherto, James Dillon's success had been variable.   Mainly learning his craft in libraries rather than formal institutions and without the prospect of a performance at the end, many of his early pieces were left incomplete.   The first substantial work Babble (1974-6) was a brief glimpse of things to come.   Although now James Dillon disregards the rigorous architectural design in which everything 'is mapped out despite the material'.   After the first section was rehearsed by the newly formed Charles Ives Choir who were perplexed by some of the graphic notation, the work was abandoned.    His momentary interest in serialism in ‘Dillug-Kefitsah’ (1976) encouraged James Dillon to examine the seemingly paradoxical notion of a 'parametrical discipline' wo

What is Stockhausen's legacy?

Karlheinz Stockhausen is one of the most important composers of the post war era. He is partially responsible for the creation of the post war modernist music.   But what is his true legacy? Was he the leading composer in his field? Did he invent the 'timbralist' idea of generating music from a single sound? Well, he did accomplish that concept with  "Stimmung'' (Voice) which is completely designed around the single chord of a B flat ninth . But he wasn't the first.  Giacinto Scelsi wrote "Quatro pezzi per orchestre" which is based a single note per movement and that work was written in 1959. Quatro pezzi per orchestre - Scelsi I seriously doubt whether Stockhausen knew about Scelsi's achievement when he wrote Stimmung in 1977. Perhaps one of his greatest works  is " Gruppen'' (Groups) composed for three orchestras. Did it change the way we use the orchestra?  He was a pioneer, especially in the early stages of hi

In the shadow of a genius.

Recently, I have discovered a fascinating revelation about the composers we admire so much.  That behind many geniuses, there usually is a predecessor lurking in the background.  It reminds of that often quoted phrase by Picasso A  good  artist borrows and  great  artist steals Now, I am not suggesting that the composers who I mention are stealing peoples' ideas - there is no evidence to support that fact.  However, I am suggesting that the idea of a genius who came from nowhere may not be accurate.  Let's take the case of Ernest Fanelli.  Who? You might ask.  He is a significant but unknown person in the development of impressionism.  He is an Italian born composer living in Paris.  He composed a good deal of 'new' music at the end of the nineteenth century.  His ideas were quite radical; his instrumentation included harmonics, sul pont., he used wordless choruses.  Unfortunately, he wasn't as talented a composer as Debussy and his music wasn'