Skip to main content

First section of the composer's notes to 'La Mort des Artistes'.

La  Mort des Artistes.

This is the second piece in a group entitled Etude de Couleur et Lumière (Study in Colour and Light) and is also inspired by the symbolist French poet Charles Baudelaire. 

It is divided into three parts, the first being a piece for audio tape entitled Avant La Mort des Artistes (Before The Death of the Artists) and last for a mixed ensemble entitled Après La Mort des Artistes (After The Death of the Artists).  These two works are the frame of the main piece, a song for solo alto, La Mort des Artistes.  This work deals more closely with the poetry of Baudelaire than the previous work La Cloche Felée in which the vowel stresses and the intonation of the poem were used to produce a plan of the inner structure of the work.  This piece, however, comprises a much more detailed analysis of the poem La Mort des Artistes which was originally intended to end his collection of poetry Les Fleurs du Mal (The Flowers of Evil). 

The other poems Les Morts des Amants (The Death of the Lovers) and La Mort des Pauvres (The Death of the Poor) all follow a strict structural pattern which also includes a strict rhyming scheme which is common in French poetry.  Even the intonation of the poem - the exact rise and fall of the vowel sounds - is accurately reflected in the music.  In fact, every element of the poetry is represented musically.  This work forms an important evolutionary step in my musical output, unifying the two opposing directions of timbralism and colourism.


I  Avant "La mort des Artistes"
For audio tape (6 voices doubled tracked)

II "La mort des Artistes
Solo song

III Apres "La mort des Artistes".
Small ensemble.

Each section last roughly 6 minutes.

This work deals more closely with the poetry of Baudelaire than "La Cloche Felee".  In that work,  the vowel stresses and the intonation formant was produced in order to plan the 'inner' structure of the work.  In this piece, however, there is a much more detailed adherence to the poem.   "La mort des Artistes"  is one of a set of three poems which was originally intended to end the collection of poetry called "Les Fleurs du Mal".  The other two poems;"La mort des Amants"(The death of lovers) and "La mort des Pauvres"(The death of the poor) all follow a strict structural pattern.  Typical of French poetry of this time they follow a strict twelve syllable per line scheme.
Each poem has 2 four line verses followed by  2 three line verses.  This is how the rhyming scheme looks:

FirstVerse                        Second Verse
A                                       A`
B                                       B`
C                                       C`
D                                       D`


The next section will follow soon...

Popular posts from this blog

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...

Schonberg - Josef Hauer

In your blog post on "the shadow lurking behind every genius," I delved into the influences behind great composers' output, but you might have omitted a few noteworthy figures. While Arnold Schoenberg is widely recognized as the inventor of the series system in the early 1920s, it's essential to question whether he was truly the only one to devise chromatic methodology. Have you ever heard of Josef Hauer? Interestingly, Josef Hauer was a composer who also explored the concept of twelve-tone composition around the same time as Schoenberg. In fact, the last movement of Arnold Schönberg's Fünf Klavierstücke, Opus 23 (1923) marked the first instance of his 'Method of Composing with Twelve Tones which are related only with one another.' This method, known as serialism or dodecaphonic music, is significantly different from previous compositions because it exclusively employs a set of twelve different tones, avoiding repetition within the series and encompassing ...

Helmut Lachenmann

H elmut Lachen mann is relatively unknown outside of Germany.  Nevertheless , h e is a figure wh o is growing in significan ce in modern music circles.  Despite his wide experience, h is lack of broad appeal is, in my opinion, largely d ue to the individuality o f his music.  He is  not easy to categori se in an era which is   dominated by trends and cliches. A simple way of describing his music is... *"musique concrète instrumentale". The notion is the creation of a subtlety of transformation of timbre, a manipulation of a continuum from sound to noise, from pitched notes to pitchless textural exploration, and all that in the sphere of (mostly) purely instrumental music. That means that in Lachenmann's music, there's a world of sound that rivals and even surpasses what electronic and electro-acoustic composers can achieve.  -Guardian. Essentially ,  he is a acoustic composer writing electronic sounding music.  He is somewhere...