Classical music plays an essential role in my life, but I have always asked myself a question: should we consider it as an art, capable of making us vibrate with emotion, or as a science that we must submit to careful analysis? intellectual? This is a point on which specialists have not yet agreed. For my part, I would simply say that it is probable that it participates in these two aspects and that, fundamentally, science is only an art form and art only a form of science, but what whatever attitude one adopts towards it, this basic question of musical culture goes beyond the simple knowledge of the various musical productions and of those who compose them.

 

For our appreciation to be as complete as possible, it is necessary to know the complex universe of classical music , because yes, classical music is a complex universe and to study it from an early age, it is not I would tell you the opposite… It is as if, looking at Notre Dame Cathedral , our eyes had to reconstruct the characteristics of each stone, of each stained glass window, according to a large number of parameters, only to finally perceive their architectural totality . However, some would have us believe that classical music is, in the end, only a marginal and insignificant activity ...

 

Economically, it is true, its status places it far behind the football, cosmetics or automotive industries. Semantically, it is most perverse: irreducible to any discourse, it refuses to constitute a closed system and even arrogates to itself the right to transcendence. Philosophically, finally, it inspired a monumental course of ineptitude ... And yet, it is still there ... It turns ... It valiantly draws its spheres, even if its multiple faces and its innumerable paradoxes have meant that, the more we have the means to to know it, to judge it and to appreciate it, the less we are able to determine its true essence.

 

So what good is all our science, what good can it be to talk about music, if not to utter empty sentences. The sincere amateur, will he be more learned when he will know that the famous castrato Carlo Farinelli sang the same tunes every evening to Philippe V of Spain in order to appease the melancholy of the monarch. If Johann Sebastian Bach wrote his Goldberg variations , as he mentions in his dedication, to comfort lovers of this instrument, no matter if they were commissioned by Count Herman Carl de Keyserling, Russian Ambassador in Dresden , an insomniac who wanted in this way to find the ways of sleep.

 

Piotr I. Tchaikovsky , did he commit suicide for homosexuality? And what influence did his inclination exert on the genesis of pathos? Why did Eric Satie , between a visit to the Schola Cantorum and the project of a copper airship, be concerned with raising music to the rank of furnishing art? What force drove Ignace Paderewski , this virtuoso pianist à la Chopin who enchanted Europe at the end of the 19th century and who himself composed Polish operas and dances, to become Prime Minister of Poland and signatory of the Treaty of Versailles ? For what activities did Albert Schweitzer , majestic performer of Bach, obtain the Nobel Peace Prize in 1947?

 

I will not attempt here, some will have suspected, to comment on the reasons for the sociologically growing success of musical art, nor to theorize on the respective roles of art, craftsman or artist. artist… After all, this is the role of Culture Ministers and their minions. No, none of that… I just gave myself the mission of leafing through the pages of an enchanting story always renewed, made of both loyalty and successive ruptures and to share with you my passion for classical music quite simply… Read the following…