Home / Biography / André Jolivet

André Jolivet

André Jolivet (1905-1974) was French music’s most advanced primitivist. While performing advanced tests with tempo and sonority, Jolivet also discovered motivation in the magic arts of equatorial realms as well as the “primitive” areas of such devices as the flute and percussion. He announced that he was focused on “repairing music’s original historic feeling, as the marvelous and incantatory manifestation from the religiosity of human being communities.” Thinking about episode, painting, and books in his youngsters, Jolivet eventually considered music, learning cello and music theory at Notre Dame de Clignancourt. At 15, he published a ballet, and designed its arranged and outfits. His parents, who have been performers, urged him to consider up teaching, a far more secure occupation than composing. However, in 1928, after a short pedagogical profession, Jolivet began a rigorous research of compositional technique under Paul Le Flem. In 1930, Jolivet dropped beneath the spell of avant-garde composer Edgard Varèse, under whose impact he became specifically alert to the potential of percussion in chamber and orchestral compositions. Jolivet’s early functions, such as a thick, atonal String Quartet and an Andante for String Orchestra, show his intimacy using the methods of Béla Bartók, Arnold Schoenberg, and Alban Berg. In 1935, Jolivet helped discovered a modern chamber-music firm, La Spirale. Another year, this progressed into La Jeune France, focused on fostering contemporary French music; Jolivet’s companions in this undertaking had been Olivier Messiaen, Daniel Lesur, and Yves Baudrier. During his program in the French Military in World Battle II, Jolivet grew thinking about primitive religious beliefs and magic, which intellectual quest shortly informed his design. Jolivet’s intellectual preoccupations could be in comparison to Varèse’s focus on Pythagorean amount ratios being a basis of tranquility and various other musical elements. In Jolivet’s case, the outcomes, as evidenced with the piano collection Mana, are concurrently spectacular and esoteric. In 1943, Jolivet was called music director from the Comédie-Française, where he continued to be until 1959; this motivated him to build up a still daring, and even more direct, expressive melodic design, exemplified with the virtuoso Concertino for trumpet, strings, and piano (1948) documented by such luminaries simply because Maurice André and Wynton Marsalis, as well as the Flute Concerto of 1949, documented by Jean-Pierre Rampal. A love-hate romantic relationship using the Neoclassicism from the 1930s led him to test out the futuristic, digital Ondes Martenot, that he had written a concerto in 1948, and with complicated orchestrations, that evoke the noises of Africa, East Asia, and Polynesia. Jolivet had written concertos for the original solo musical instruments (piano, violin, cello), but he also happy in uncommon sonic mixtures. Besides regularly enlisting the Ondes Martenot, he created such concoctions as Messe put le jour de la paix for tone of voice, body organ, and tambourine; and Rhapsodie ? Sept for clarinet, bassoon, trumpet, trombone, percussion, violin, and dual bass. Jolivet offered as president from the Concerts Lamoureux from 1963 to 1968; from 1965 to 1970, he was teacher of composition in the Paris Conservatory. At his loss of life, Jolivet was considered, with Messiaen, among the leading numbers in modern French music.

Check Also

Arrigo Boito

Poet, novelist, and composer, Boito is well known for the single opera he finished, Mefistofele. …

Leave a Reply

Your email address will not be published. Required fields are marked *