“Until the 20th century, we did not only learn composition. We learned an instrument, improvisation… Every performer wrote a little. Learning from craftsmanship for performers and composers has been deadly separated. We make performers who do not even know on what degree of the scale they are playing… ”
It is in these terms that the composer Guillaume Connesson evoked in these columns, two years ago, the separation of courses between performers and creators who has been in the conservatory for too long.
“The twentieth century has gone too far in the sacralization of the composer and the written word.
Too many conductors and performers have forbidden themselves to write, because they felt that the authorized music was not theirs ”
Thierry escaich
An opinion that also joins Thierry Escaich.
At the age of 55, the man who now fully divides his life between his career as an organist and that of a composer, has just created his third opera,
Points d'orgue
(a suite to
La Voix humaine
by Poulenc and Cocteau) at the Théâtre des Champs-Élysées.
For him,
“the twentieth century has gone too far in the sacralization of the composer and the written word.
Too many conductors and performers have forbidden themselves to write, because they
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