Jean Catoire — Sonata for Organ No. 11, op. 284 (1973) скачать в хорошем качестве

Jean Catoire — Sonata for Organ No. 11, op. 284 (1973)

Jean Catoire (1923–2005) — Sonata for Organ No. 11, op. 284 (1973) Carson Cooman, organ Published by Le Phénomène Sonore (http://www.lephenomenesonore.com) Jean Catoire (1923–2005) was a French composer of music in a personal, minimalist style focused around an obsession with consonant intervals. His first works in his own characteristic style date from the late 1950s. The composer’s widow, Catherine Catoire, has provided the following information about composer and his very individual and unusual musical compositions: “Jean Catoire was born in Paris 1923, but he was immersed throughout his childhood in the culture of Russian immigration. His family, who lived in Moscow until the 1917 Revolution, loved and played music. His parents, his uncles and aunts played the piano and the violin, and his great-uncle Georges Catoire (1861–1926) taught composition at the Tchaikovsky Conservatoire in Moscow and was a composer known in Russia. While very young, Jean Catoire received a musical training at the Serge Rachmaninoff Conservatoire in Paris from the wife of the violinist Julius Conus, but he showed little interest in these courses which did not correspond with what he felt when he listened to music. “In the month of June 1943 that an unexpected event led him on the path of composition: while he was standing in front of the church at Auteuil he saw high up, the presence of ante-sound, a presence which he described in this way: ‘it took up a large part of the field of vision, without in any way diminishing the material perception, in this case the top of the porch and the front of the church. This presence was unmoving and soundless and the non-sound was its entire manifestation. In its original immutability was to be found the motive of its later manifestations, these still not being absolute sounds.’ This was the first time he had seen the archetypical ante-sound linked to tangible reality (‘a personal physical place’). He studied with Olivier Messiaen and while he appreciated those studies, they confirmed to him that he needed to follow a different path. He was seeking a way to write that differed greatly from those around him. He discovered in this way that what he was seeing and trying to write as music, did not belong to what was called ‘music’ in the West and the East, but must be realized in a different expression of sound, a tributary of a different discipline... He wrote: ‘In truth, all my life I have searched for a transcriptive device susceptible of giving the ante-sound that was appearing in my global vision out of time and space...from where time and structural elements are always identical, but which have no connection with repetitive music...’ “From 1957 with his tenth symphony (opus 98), Jean Catoire felt free to abandon the style which he had been taught. He knew that it was possible for him from then on to proceed with the research of a way of writing in which the structural elements could, without evolution of development and without variations (in the musical sense of the term), structure themselves in reversible counterpoints in which certain elements would be in shorter value than others. It was not the repetitive form (repetitive music) as, in that, the repetition is an intention of the composer in the conception of the work while in the compositions especially in those that would come later it is the fundamental elements of the archetype that instead of developing a temporal basis appear to us in an unchanging non-temporal present made clear by the continual presence of the same sound image in which the mobile and immobile functions are always present and always simultaneous in the relative absolute (the written) intimately associated with the absolute absolute (the seen).”