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Notebook I (1980/1—1982 — Denisov)/51—100

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← 1-50 The Notebook I (1980/1—1982)/51—100[1]
written by Edison Denisov (1929—1996) 		101—150 →
Русская музыка/Russian music. Translated from Russian by D. Smirnov-Sadovsky & Richard Shaw. Source: Denisov MS.

The Notebook I (1980/81—1982)/51—100

51.
‘L’écume’ is the mirror of the collapse of all my hopes.[2]
52.
The best music is that which is not ‘composed’ but ‘heard’.[2]
53.
When a composer hears true music, he hears the voice of God. Probably the Great Saints at a moment of religious ecstasy listened to God too. But He could hardly speak to them in words.[2]
54.
Music is in the hands of such terrible people! Why does so much shit stick to this most beautiful and sublime part of the human spirit?[2]
55.
Around me there is just a desert, without a single human voice.[2]
56.
After ‘L'écume des jours’ I wanted to write two more operas: ‘The Petty Demon’ and ‘The Master and Margarita’[3]. No one except me should touch ‘The Master’—no-one else will succeed.[2]
57.
No sooner had Alfred [Schnittke] written a bad composition (the Piano Quintet), than they immediately began to 'push' and support him. But all the same he’s a very good composer.[2]
58.
In Birger's paintings light emanates from nude bodies. In Vian's novel, when Alise throws off her dress, the room becomes light. Light (la lumière - Licht - light) in my music is also painted with the tenderness of a beautiful female body, and not only in Requiem, but also in «L'écume» and the Pushkin Songs.[4]


59.
I'd really like 'L'écume' to be staged by a director like Bergman or Bunuel, because the surrealism of 'L'écume' is not like Dali's, but something quite different, much more profound and meaningful.

[4]

60.
In the production of 'L'écume', light has to play a huge role. This opera can't be staged on an evenly (and passively) lit stage.[4]
61.
Tenderness and kindness are dying out now. They're no longer needed.[4]
62.
Schubert's music is infinitely rich, tender and inexhaustible (but to a lesser degree than Mozart's).[4]
63.
A series is a good organizing module, especially for texture. [4]
64.
One must be a Master.[4]


65.
[4]


66.
[4]


67.
[4]


68.
‘Die Zauberflöte’ is immortal music for all time. But 'Wozzeck' is still too bound to its own time.[4]
69.
[4]


70.
Rhythm of death in «L'écume»[5] :
[4]
71.
[4]
70.
[4]
73.
[6]


74.
[6]


75.
[6]


76.
[6]
77.
[6]
78.
[6]


79.
[6]


80.
[7]
81.
[7]


93.
[8]


94.
[8]


100.
[8]


With my special thanks to Ekaterina Denisova-Bruggeman for the copy of manuscript of the Denisov’s ‘Notes’ (DS).

Notes

  1. ↑ Denisov’s notebooks contain 658 aphorisms, penned between 1980 and 1995. They were published in Russian by Valeria Tsenova in ‘Neizvestnyi Denisov’ (Unknown Denisov), Moscow, Kompozitor, 1997, but with many abridgments.
  2. ↑ 2,0 2,1 2,2 2,3 2,4 2,5 2,6 ‘Unknown Denisov’, p. 40.
  3. ↑ After the novels of Fyodor Sologub and Mikhail Bulgakov.
  4. ↑ 4,00 4,01 4,02 4,03 4,04 4,05 4,06 4,07 4,08 4,09 4,10 4,11 4,12 4,13 4,14 ‘Unknown Denisov’, p. 41.
  5. ↑ Rhythm of 12th Tableau of the opera «L'écume des jours» — Death of Chick.
  6. ↑ 6,0 6,1 6,2 6,3 6,4 6,5 6,6 ‘Unknown Denisov’, p. 42.
  7. ↑ 7,0 7,1 ‘Unknown Denisov’, p. 43.
  8. ↑ 8,0 8,1 8,2 ‘Unknown Denisov’, p. 44.
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