Jacques Chailley (1910-1999) : Symphonie n°1 (1945) **MUST HEAR**

[@unkobold]

Cher Jacques Chailley ! Son « traité historique d’analyse musicale » reste, malgré ses travers de phallocratie, une base lumineuse pour comprendre l’évolution du langage harmonique occidental, du Moyen-Âge et en-deçà, jusqu’à aujourd’hui - y compris dans le jazz que pourtant il ne traitait pas.

[@TheVisualMusicShow]

Met Jacques Chailley in 1981 at the Besançon Competition for conductors where I was one of the laureates and he on the jury along with Pierre Dervaux and others. Later, I expressed interest and he wrote me, sending a list of his compositions. However, I regret that I didn't get to know him and his music better.

[@deodatdechampignac]

I do not think his character of personality needs to be better known …

[@DavidA-ps1qr]

This is a very interesting symphony. Fine orchestration and lots going on. Each movement is so different from the last you don't have time to take a breath. Loved it.

[@samlondon7281]

instaBlaster...

[@rossefrancois2]

Heureux de découvrir la musique de Jacques Chailley, superbe professeur d'histoire de la musique qui m'a fait découvrir efficacement les musiques du Moyen-âge occidental. J'ai eu la chance de l'avoir un peu connu davantage ayant été hébergé chez lui dans les années 67/68 rue de Châteaudun à Paris, il m'avait fait l'honneur de venir écouter la création de "Vestiges" pour orchestre en 1993, au conservatoire de Boulogne Billancourt.

[@deodatdechampignac]

Et superbe collabo pendant les heures noires de l'occupation!

[@hectorbarrionuevo6034]

This was powerful, complex, full of tension, and lush! Only knew Chailley as a music historian.

[@giuseppedimarco8358]

Great! Stupendo!First time! So much! great music! and everybody! hearing the same! thing!

[@darrylschultz9395]

You wrote "hearing the same!". This being 3 words, it fails to follow what is clearly your own rule of having an exclamation mark after no more than 2 words. Therefore I'm afraid I'll have to deduct a point from your final score for this comment. Yep that's it-zero to minus 1.😏

[@TheVisualMusicShow]

Met Jacques Chailley in 1981 at the Besançon Competition where I was one of the laureates and he on the jury, along with Pierre Dervaux, among others. He appeared to be a rather sensitive, perhaps modest gentleman. I did express interest in his music some time later. He sent me a list of his works with a letter. I regret that I didn't seize the opportunity to get to know him and his music better.

[@deodatdechampignac]

So you were a friend of one of the worst nazi collaborator among the French composers

[@jackwilmoresongs]

CB2, I usually take ***MUST HEAR*** at face value. If you recommend it, I'll listen to it. Thanks for so many obscure and new (to me) classics.

[@pianomanhere]

Thanks for posting this. The beginning of the work reminds me of the feverish intensity of Honegger's Symphony No.3 ("Liturgique")..

[@Kiarinadia]

Excellente oeuvre qui vaut la peine d'être écouté. Passages très "Hollywoodien" dans le 4e mouv.

[@unkobold]

« Hollywoodiens » en effet, sans que cela soit péjoratif ! La « musique de film » de l’entre-deux guerres aux USA a bénéficié d’un apport important de musiciens juifs de haut niveau, rompus aux disciplines classiques, et il en va de même pour la comédie musicale, genre essentiel à cette époque. Mais dans le cinéma, les compositeurs avaient bien plus d’occasions d’utiliser les harmonies complexes ( polytonalité etc.) dont ils affectionnaient le côté avant-gardiste, particulièrement dans les passages dramatiques ou angoissants. Des dissonances qui auraient été peu appréciées en concert abondent dans nombre de films !

[@AvetissovGeorge]

Manifique !!

[@NovicebutPassionate]

"40,000 Years of Music," written by Jacques Chailley, Paris, 1961; translated into English by Rollo Myers, London, 1964.

[@charlesryder6734]

Thank you for your awesome uploads!

[@citrone345]

Finalmente mi sono liberato dai concetti di Adorno di progressivo e regressivo in musica.Penso che una musica non debba essere giudicata in base alle tendenze del tempo,ma per il suo valore intrinseco.

[@collectionCB3]

C'est tout à fait vrai ! Questo è molto vero ! It's absolutely right ! Corentin Boissier, composer + collectionCB, collectionCB2 and collectionCB3

[@deodatdechampignac]

Très juste ! D'ailleurs Chailley en tant que collabo ne devait pas porter dans son cœur Adorno

[@darrylschultz9395]

Ah yes, intrinsicisity. But is not people's judgement of what has intrinsic value an ever-evolving thingie, and to a large degree a product of exposure to current trends? Although I'm willing to concede, some stuff would be considered great in any era.

[@ptose]

thank you!

[@erlandschneck-holze4476]

... eine wirklich sehr hörenswerte Symphonie - mit dem Charme der französischen Neoklassik - voller Temperament und Schönklang; hervorragend interpretiert von Maestro Jean Fournet und dem ORTF-Nationalorchester.

[@deodatdechampignac]

Of course you like him , as a former Kollabo

[@kuang-licheng402]

nice

[@Franky_M]

I am a bit shocked to see J. Chailley's music being promoted without the least bit of a disclaimer about the diligent hand he had in enforcing antisemitic policies under the Nazi Germany occupation, which has been well documented by French research since the early 2000s at least. Chailley was instrumental in establishing lists of Jewish teachers and students at the Paris Conservatoire as early as october 1940, prior to any specific demands from the collaborationist government or even Nazi authorities. Chailley also had an active hand in enforcing the eventual exclusion of all students with any degree of Jewish descent a couple years later in 1942, as per official instructions. Chailley never expressed any form of regret for these actions, and simply claimed ignorance in the face of overwhelming evidence when these facts were established by historical research. He might've saved his public image and escaped retribution in the immediate aftermath of the war, but his legacy is problematic nonetheless. This is the "must hear" part whenever Chailley's name comes up. Whatever music or essays he might've written are entirely secondary, although they are indeed of great documentational value.

[@FleuveAlphee]

This raises the perennial question of whether one should allow our appreciation of the artistic or intellectual work of a person to be influenced by facts about their political or ideological stances or actions. We know the story: Should Wagner be banned from Israel's concerts, given the 'piece' he once wrote about 'Jewish corrupting influence in music'? Or Heidegger be shunned as a philosopher, etc. And why, by the way, are those complaints nearly always about antisemitism (real or alleged), and rarely about other forms of discrimination or 'questionable' behaviour? (just a naive question)

[@nicolaschailley6456]

my ancestor

[@deodatdechampignac]

Tu n'es pas responsable de sa piteuse attitude pendant les heures noires de l'occupation, mais c'est pas non plus une raison pour t'en vanter !

[@originaltommy]

Agreed!

[@obduliorincon6112]

.. beautifuly dark symphony...uncounciously, the souveniers of the war working in a paralalell estate of mind?..

[@steveegallo3384]

Souvenirs, Selective Reminiscence, Trauma? That beauty can arise therefrom....

[@Clutched392]

if u wanna hear amazing look up hungarian rhapsody No.2

[@klop4228]

Is good, but there's a ton of better music out there. That said, Horowitz's and Hamelin's performances of that one are fantastic.

[@MichaelConwayBaker]

What is the reference about the composer being a racist? What has this to do with him music?

[@MichaelConwayBaker]

Too bad he has such a racist blot on his reputation!!