Escolar Documentos
Profissional Documentos
Cultura Documentos
(Dumbarton
Oaks) from the same year. Yet in the two pieces performed on Febru-
ary 27, Ibert and Stravinsky treated melody, rhythm, and instrumenta-
tion quite differently, as is evident in comparing two concerted pas-
sages. In example 1a, a solo episode for bassoon from Iberts Capriccio,
the melody is lyrical and sustained, drawing on an octatonic scale, with
a steady, almost percussive rhythm in the accompanying strings. Both
melody and accompaniment emphasize the prevailing meter, even
when utilizing irregular patterns of off-beats and triplets. The harp,
which here contributes occasional rapid scalar ascents to the accompa-
niment, plays a predominant role in the middle and nal sections of
the piece. In example 1b, a solo French horn passage from the Thme
vari of Stravinskys Danses concertantes, the melody is pentatonic, dis-
junct, and punctuated by rests. Neither the melodic accents nor the
spare accompanying gures that shadow the melody correlate with the
triple meter of the passage. The austerity of this melody, its lack of for-
ward motion in either pitch or rhythm, and the spare instrumentation
of its accompaniment, demonstrate the continuity between Stravinskys
91
10
Michle Alten, Musiciens franais dans la guerre froide (19451956) (Paris:
LHarmattan, 2000), 5051.
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92
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93
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94
example 1b. Stravinsky, Danses concertantes: III. Thme vari, mm. 43
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96
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prewar neoclassical works, such as the Dumbarton Oaks concerto,
and several of the compositions he wrote in America during the war.
The reappearance of the music of Ibert, Milhaud, and Stravinsky in
Paris in the 194445 season was a signicant homecoming for all three,
even if music by Ibert and Stravinsky had appeared on French concert
programs during the German occupation.
11
The performances of
Stravinskys Danses concertantes and Milhauds Four Sketches were French
premieres of recent music by prominent French exiles in America, and
Iberts Capriccio was by a composer whose music had been marginalized
in wartime concert life for political reasons.
12
Not surprisingly, most
music critics reviewing the concert xated on the novelty of hearing
Stravinskys American music for the rst time, and they responded with
hyperbolic praise. Gone were the accusations of academicism that had
greeted the Dumbarton Oaks concerto, whose June 1938 European
premiere had been Stravinskys last concert appearance in Paris before
the war.
13
The earlier negative critiques were swept aside in 1945 by
critics eagerness to embrace the return of a major musical gure to the
French scene. As Georges Auric wrote in his review, the French pre-
miere of Danses concertantes brought to us a message from the man of
genius who dominated our youth; the piece was a new masterpiece by
our matre, whose musical language has arrived at a surprising point of
perfection.
14
Likewise, Jean Winer rejoiced that after four years of
penitence, during which [we received] not a note, not a sign from
97
11
Wartime performances by Charles Munch and the Orchestre de la Socit des
Concerts du Conservatoire included Iberts Ouverture de fte, Concertino da camera, and
Flute Concerto as well as four performances of Stravinskys Firebird and one each of Le
Sacre du printemps, Les Noces, the Symphony of Psalms, Jeu de cartes and the Concerto in E
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rhythmic pedals. In program notes for a 1947 concert, Nigg specied
that the inuence came from exotic music and Le Sacre du printemps. A
subsequent report in Contrepoints on Niggs recent activities reveals that
the Concertino belongs to this initial phase of Niggs compositional de-
velopment, when he was strongly inuenced by the music and aesthetic
preferences of his teacher Messiaen.
20
Claude Rostand was the sole reviewer to acknowledge not only that
Stravinskys music shared the program with the works of Nigg and the
other three composers, but that Danses concertantes and Four Sketches had
also met with vocal protests from the audience. Rostand shared the
other critics tendency toward hyperbole when it came to describing
Danses concertantes: If music, in its diverse forms, has ever been able to
express the most inexpressible beauty, surely it is here, in this language
whose terms are nearly inhuman. Rostand did not mince words about
the young cretins who, the other night, attempted quite unnecessarily
(and quite pitifully) to manifest their imbecilic bad humor against
Stravinsky. Whereas Rostand was intrigued by the novelty of Dallapic-
colas Tre Laudi, with its surprising expressiveness and surly, rugged
melodic line, his review of Niggs Concertino took on a patronizing
tone: [Niggs] music is far from indifferent, even if it is not always
pleasant. It is merely necessary to advise him not to depend on formu-
las that were tested now almost thirty years ago, and that he otherwise
manipulates with skill and ferocity.
21
Presumably, with Niggs own de-
scriptions of his music as primitive, atonal, and contrapuntal, Rostands
reference could be either to the Stravinsky of Le Sacre or to Schoen-
bergs early atonal worksboth equally invalid in Rostands eyes as
models for a twenty-year-old composer in 1945.
With all but one of the reviews of Danses concertantes published by
March 10 (and thus well in advance of the third Stravinsky Festival con-
cert on the fteenth), the stage was set for the generational conict
that manifested itself at the Thtre des Champs-lyses and in the
press for several weeks afterward. When critics and composers pub-
lished their opinions about the protests against the Four Norwegian
Moods, they described the students rejection of Stravinskys latest works
as unpatriotic, disrespectful, and hopelessly out of date. Roland-Manuel
compared the 1945 protests with those that met the premiere of Le
Sacre in the same hall thirty-two years earlier. The students mistake was
102
20
Une enqute (suite): Serge Nigg, ou les convictions combatives, Contrepoints 3
(MarchApril 1946): 7879; Concerts de la Pliade, program, February 13, 1947, 1617
(Papers of Denise Tual, Music Department, Bibliothque nationale de France); Bruno
Valeano, Sur quelques jeunes musiciens, Contrepoints 1 ( January 1946): 64. Niggs sur-
vey responses, although not published until the March-April 1946 issue, predate the Janu-
ary 1946 issue of Contrepoints.
21
Rostand, La Musique: Strawinsky et Milhaud, Carrefour 29 (March 10, 1945): 5.
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to idolize the revolutionary Stravinsky of 1913 and denounce the
academic Stravinsky of 1945: They are wasting their breath, for this
great artisan has never concerned himself with either one.
22
Auric
made the same comparison and warned against any return to the mod-
ernism of the past: It took us twenty years, but we nally rid ourselves
of an absurd conception of modernism that seems to me today to be
completely outmoded. Make no mistake, Auric continued: the night
of March 15, the young musician was Stravinsky. He will be there in
twenty years, in a century. At that moment, we will no longer be here.
Neither will most of the mediocre compositions, hastily written and arti-
cial, that I would have hoped not to mention. The reference is a
thinly veiled jab at Niggs Concertino, which Auric had indeed failed to
mention in his review of the chamber music concert of February 27.
23
The angriest of them all was Rostand, who decided that this time,
the young cretins of the initial protest needed to have Stravinskys im-
portance to France spelled out for them. Using language that had spe-
cial resonance scarcely six months after the liberation of Paris, Rostand
declared:
Mr. Igor Stravinskya Russian, as we all knowhonored France by
becoming a naturalized French citizen. Nearly his entire stunning ca-
reer has taken place in France and by France. He honored us by
premiering in Paris the majority of his most important works. He
honored us by occasionally looking into our national culture to enrich
his genius. He honored us by bringing to the contemporary French
school certain aesthetic or technical elements that gave it, in part, its
grandeur and its vitality. He even did us the honor of being a genius.
And now, after a ban of ve years whose stupidity is equaled only by
the intolerant imbecility now shown to him, there is a pitiful attempt
to attack him with some absurd recrimination at the rst sign of his re-
turn among us!
Rostand followed his emotional outburst by marveling, somewhat disin-
genuously, that the Norwegian Moodswhich he described as admittedly
not among Stravinskys loftiest creationscould have inspired such vi-
cious protests, about which there was nothing spontaneous.
24
103
22
Roland-Manuel, Signication de quelques coups de sifet, Combat (March 25
26, 1945), 2.
23
Auric, Strawinsky ou lternel renouvellement, Les Lettres franaises (March 24,
1945), 5; Auric, Tibor Harsanyi, 5. Nigg later claimed that Rosenthal retaliated against
him for his role in the protests by canceling his plans to perform Timour with the Or-
chestre national. Nigg, quoted by Jean Boivin in La Classe de Messiaen (Paris: Christian
Bourgois, 1995), 65.
24
Rostand, Strawinsky contre les imbeciles, Carrefour 31 (March 24, 1945): 5.
Stravinsky also expressed skepticism about the spontaneity of the protests, writing to
Rosenthal that the sincere and spontaneous manifestations against the Sacre in 1913
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The matter might have rested there, had not Rostands heated
rhetoric generated an equally heated response. Andr Jolivets April 4
article Enough of Stravinsky! turned Rostands nationalist rhetoric on
its head. If Rostand had raised the specter of a wartime ban on Stravin-
skys music, Jolivet made reference to the live public concerts hosted by
the German-run Radio-Paris at the Thtre des Champs-lyses during
the occupation to promote the superiority of German over French mu-
sic. And now, Jolivet complained, we are called to the same theater to
adore a new idol whose Frenchness was only temporary. Our compatri-
ots ought to realize, Jolivet insisted, that Stravinsky has taught us noth-
ing in the realms of rhythm, melody, orchestration, or formal architec-
ture; that French musicians nd these diverse elements of musical
composition in their most advanced form in our own tradition. For
Jolivet, the 1945 Stravinsky festival was the last circle of hell [in
French, a play on words between cycle Strawinsky and cycle denfer] that
French music must cross in order to merit the radiance that the French
ought to help it to attain.
25
The references by Rostand and Jolivet to the recent German occu-
pation were highly charged in the spring of 1945. Questions of whose
music had been banned by the German occupying forces, as well as the
legacy of German propaganda in occupied Paris, were hotly debated
even before Paris was liberated. Rostands goal was to elevate Stravinsky
for having suffered a wartime ban on his music in France; Jolivets was
to associate Stravinsky instead with the parade of German composers
promoted during the occupation at the expense of the French. Neither
claim holds much factual merit. Stravinskys music was openly per-
formed in occupied Paris by the major French orchestras, which sub-
mitted their programs to German censors in advance, as well as by
chamber music series such as the Concerts de la Pliade. Munchs June
1944 performance of Les Noces even shared several soloists with Rosen-
thals in the second Stravinsky festival concert of February 1945.
26
104
[were] comprehensible because of the violent character of this score. . . . But one doubts
the spontaneity of a howling manifestation against the Norwegian Moods, the elements that
could provoke boisterous protestations being totally absent. . . . Unless I am mistaken, it
seems that once the violent has been accepted, the amiable, in turn, is no longer tolera-
ble. Stravinsky to Rosenthal, January 12, 1946. Quoted in translation in Stravinsky: Se-
lected Correspondence, ed. Robert Craft (New York: Knopf, 1984), 2: 347.
25
Andr Jolivet, Assez de Strawinsky, Noir et blanc 8 (April 4, 1945): 114.
26
The singer Joseph Peyron and the pianists Monique Haas and Francis Poulenc
performed in both concerts. Simeone, Messiaen and the Concerts de la Pliade, 577.
See also note 11. Joan Evans has shown that Stravinskys music was heard frequently in
Germany until September 1939, after which time his status as a French citizen made Ger-
man performances of his music problematic. French citizenship, of course, was not a
cause for censorship in German-occupied France. Evans, Stravinskys Music in Hitlers
Germany, Journal of the American Musicological Society 56 (2003): 58184. For a discussion
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Apart from the novelty of featuring the music Stravinsky had composed
in America for the rst time, the 1945 Stravinsky festival represented a
striking degree of continuity with concert programs from the occupa-
tion. In Stravinskys case, what had changed after the liberation was not
the style of the music being performed as the ability of the French to
now react freely in public to the music they heard.
Jolivets resentment against Radio-Paris and its pro-German propa-
ganda was widely shared. During the occupation, the Grand Orchestre
de Radio-Paris attracted French musicians and conductors with gener-
ous salaries and a programming schedule dominated by music broad-
casts. Festivals ranged from the inevitable Beethoven and Wagner cele-
brations to occasional showcases of new German talent, for example
Werner Egk, who led the orchestra in October 1942 in an evening-long
concert of his own works, including an excerpt from his opera Peer
Gynt, the production of which at the Paris Opra in October 1943 was
broadcast live by Radio-Paris.
27
After the liberation, the focus of French
anger was against composers such as Egk, whose music had been re-
viewed favorably during the occupation by French and German critics
alike, and not the venerated German classics whose music had domi-
nated the programs of all the symphony orchestras in occupied Paris.
There was even less animosity against foreign composers as a group.
28
Roland-Manuel, in one of the rst issues of the newspaper Les Lettres
franaises to appear after the liberation, wrote disdainfully that the mu-
sic of recent German composers presented an inappropriate model for
the French, owing to a romanticism that is out of step with modern
life, even as he advocated that the French not reject the German clas-
sics simply because the Germans had denigrated French music.
29
In an
atmosphere where new music from several countries was featured in
105
of the postwar rumors that the Concerts de la Pliade performed music of banned com-
posers in deance of the Germans and the persistence of such rumors in recent scholar-
ship, see my Messiaen, Jolivet, and the Soldier-Composers of Wartime France, Musical
Quarterly 87 (2004): 26364.
27
Egks appearance with the Grand Orchestre de Radio-Paris was announced in Les
Ondes 78 (October 25, 1942) for broadcast on October 29.
28
On the positive reviews that performances of Egks music received in occupied
France, see my Music for a New Era: Composers and National Identity in France, 1936
1946 (PhD diss., University of California, Berkeley, 2000), 25657, 31621.
29
The article also gives details of the clandestine activities of French musicians in
the resistance. Roland-Manuel, Roland-Manuel nous dit laction de quatre ans de musi-
ciens franais, Les Lettres franaises (September 16, 1944): 7. On French musicians and the
resistance, see Daniel Viriex, Front national des musiciens (printemps 1941-automne
1944), in Roger Dsormire (18981963): Actes du Colloque, ed. Nicolas Guillot (Paris:
Comit pour la celebration du centenaire de la naissance de Roger Dsormire, 1999),
4762; see also Guy Krivopissko and Daniel Virieux, Musiciens: une profession en rsis-
tance? in La Vie musicale sous Vichy, 33351.
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the Orchestre nationals 194445 broadcast concerts and embraced by
the French press (and the audience that lled the theaters), Jolivets
nationalist diatribe against Stravinsky was decidedly out of place.
It did not take long for people to say so in print. Three days after
Jolivets article appeared, Le Figaro published a response by Francis
Poulenc on its front page. Unlike ustered critics such as Rostand,
Poulenc proclaimed that young people had the right to reject the mu-
sic of their elders. But the pseudo young people, presumably the
forty-four-year-old Jolivet, who owe the meager varnish of modernism
that covers their own works solely to the researchalready surpassed by
the composer himselfof the Stravinsky of 1913, were a much more
serious matter. All contemporary music, in France and elsewhere,
stemmed from Stravinskys work, Poulenc proclaimed. He then coun-
tered Jolivets innuendo with some of his own:
We ought to have the decency to acknowledge our debt; lets not push
the debate to the level of nationalism, as has, imprudently, one musi-
cian, of whom one only asks that he forget a certain incidental music
written inadvisably during the occupation to celebrate the eightieth
birthday of the most illustrious German playwright. I suppose that my
frankness in setting the record straight may earn me several enemies.
Far from bemoaning this fate, I celebrate it.
30
The incidental music in question was composed by Jolivet for the play
Iphigenie in Delphi by the Nobel laureate Gerhart Hauptmann during its
1943 production in French translation at the Comdie-Franaise. The
production, in honor of Hauptmanns eightieth birthday, was planned
by the director of the Comdie-Franaise, Jean-Louis Vaudoyer, under
pressure from the Propaganda Staffel in Paris to expand the theaters
offerings by German playwrights.
31
The irony that Poulenc meant to
highlight was that Jolivet, who was now objecting strenuously to Rosen-
thals celebration of a foreigner, had himself participated in one of the
innumerable festivals in honor of German cultural gures during the
occupation. Despite Poulencs insinuations, Jolivet was never under any
suspicion for his wartime activities. Poulencs public reminder of Jo-
livets participation in the Hauptmann production was inopportune,
106
30
Poulenc, Vive Strawinsky! Le Figaro (April 7, 1945): 1.
31
On the involvement of the Propaganda Staffel in the production, see Marie-
Agns Joubert, La Comdie-Franaise sous lOccupation (Paris: Tallandier, 1998), 17886;
and Jean-Claire Vanon, Andr Jolivet (Paris: Bleu Nuit, 2007), 7778. On Jolivets involve-
ment as composer and conductor for the production, see Christine Jolivet, Chronolo-
gie, in Portrait(s) dAndr Jolivet (Paris: Bibliothque nationale de France, 2005), 151. Jo-
livets incidental music for Iphigenie in Delphi was published and recorded in 1957 by
Path Marconi as Suite delphique.
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however, coming so closely after Jolivets January 1945 appointment as
music director at the Comdie-Franaise.
Whereas Poulenc reacted to Jolivets nationalist call to arms against
Stravinsky with insinuations about Jolivets wartime activities, Roland-
Manuel chose instead to sarcastically recount the decidedly cosmopoli-
tan inuences on Jolivets compositional development. On April 12 in
Combat he described how, back in the good old days [aux temps joyeux]
of the interwar years, the likes of Schoenberg and Varse ( Jolivets
teacher from 1930 to 1933) had given to French music a fresh, native
avor and found inspiration in the most authentic sources of our na-
tional tradition. Jolivet had in turn been so obligingly attached to the
manifestations of French genius that he followed every new (and for-
eign) trend that came along. Roland-Manuel saw the controversy as a
new Querelle des Bouffons: the title of his article. In his opinion, the
protesters efforts to protect French music from the foreign inuence
of Stravinsky would be as unsuccessful as the eighteenth-century parti-
sans of the tragdie lyrique had been against the incursion of Italian opera
buffa in France.
32
Young French Composers in 1945
Finally, on April 14, one of the protesters spoke up about their
activities in print. Having already published two articles by their own
music critic, Roland-Manuel, the editorial staff at Combat decided to re-
spond positively to the protesters request for equal treatment.
33
That
the job fell to Nigg seems appropriate, for his music had already g-
ured in the debate. The most recent reference to Nigg had appeared in
Combat only two days earlier, when Roland-Manuel had linked Niggs
Concertino with Jolivets recently premiered Chant de Linos to argue that,
by protesting Stravinskys music, Jolivet and his little band of partisans
were only barking at [Stravinskys] heels.
34
It was a metaphor already
used by Poulenc, albeit more crudely, when he spoke of little yappy
dogs . . . lifting their legs at the pedestals of statues.
35
Yet whatever musical similarities may have existed between the self-
avowed exoticism of Niggs Concertino and Jolivets use of ancient Greek
funeral laments as a model for Chant de Linos, the two composers justi-
cations in print for rejecting Stravinsky in 1945 could not have been
more different. Most notable is the complete absence of nationalism in
Niggs provocative explanation of the protesters motivations. Nigg
107
32
Roland-Manuel, Une nouvelle querelle des Bouffons, Combat (April 12, 1945), 2.
33
Unsigned editorial, Combat (April 1415, 1945), 2.
34
Roland-Manuel, Une nouvelle querelle des bouffons, 2.
35
Poulenc, Vive Strawinsky! 1.
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chafed at the remarkable unanimity in favor of Stravinskys neoclassi-
cism as a model for new composition in postwar France. Instead of the
Querelle des Bouffons, with its nationalist overtones, Nigg sarcastically
evoked later eighteenth-century musical quarrels that had been re-
solved in favor of an established genius: So, no defenders of Salieri?
No one for Piccini? Everyone has recognized Mozart and Gluck; what
joy! Nigg listed the labels applied in recent articles to the protesters
for having expressed their skepticism: conformists of non-conformity,
neo-academics, and devotees of modernism at any price. What is
all this jargon hiding? he asked. Incontestably, a guilty conscience.
36
That one loaded phrase encapsulates the gap between the genera-
tion that had come of age in occupied France and its elders. In the
minds of French critics, the end of the occupation was an opportunity
for French composers to pick up where they had left off in 1939, when
the war had begun and several French musicians had been mobilized to
ght in the armed forces. Their rediscovery of Stravinsky was a grand
leap backwards, a phrase coined by Serge Guilbaut in reference to the
fall 1944 Picasso retrospective in Paris.
37
Guilbaut interprets the post-
war embrace of Picasso as an attempt by the French art world to erase
the nightmare of the occupation and return to the point at which the
war had intervened. In the case of Stravinsky, the return was to an imag-
inary version of prewar Paris, one where Stravinskys new music had
met with universal praise, not the mixed reception that had actually
greeted the composers nal prewar appearance in the capital in 1938.
Such a return made no sense to French composers of Niggs gener-
ation, who were intensely aware of their own place in history. Niggs
emphasis on the necessity of meeting present-day demands conrms
Guilbauts analysis that this concealment was certainly therapeutic
but would not allow Paris to take charge of the enormous ideological
and emotional transformations that the postwar had in store.
38
Ought
we, asked Nigg, to prolong or end denitively the neoclassical current
that for nearly thirty years has dragged in its wake every mediocre ele-
ment, and nds its justication in the decadent works of a great man?
Rather, he asserted, the contemporary artistic production of the so-
called young imbeciles who protested Stravinsky ought to at least bear
what he called the traces of a profoundly felt uncertainty.
39
108
36
Nigg, La Querelle Strawinsky, 2.
37
Serge Guilbaut, Comment la Ville lumire sest fait voler lide dart moderne,
in Paris 19441954: Artistes, intellectuels, publics: la culture comme enjeu, ed. Philippe Gum -
plo wicz and Jean-Claude Klein (Paris: ditions Autrement, 1995), 49.
38
Ibid.
39
Nigg, La Querelle Strawinsky, 2.
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The profoundly felt uncertainty proposed by Nigg for young
French composers in 1945 was the polar opposite of the critics hyper-
bolic certainty in Stravinskys postwar relevance. Niggs position also
presented a striking contrast to the knowing self-assurance that domi-
nated the prescriptions offered by French composers, critics, and ad-
ministrators to young French composers during the occupation. The
wartime Vichy government had worked actively to promote new French
music by calling on young composers to return to their heritage and by
condemning the so-called stylistic gimmickry of the past twenty years
through which the traditions of that heritage had been cast aside. At
Vichys Administration of Fine Arts, the disdain of the new director,
Louis Hautecur, for what he called modernisms fashionable myth
of originality resonated with older French composers whose values and
ideals had been displaced by new currents in modern music since 1918.
The states commissions program ensured that young composers who
embraced their heritage received the recognition and nancial remu-
neration their music deserved.
40
Nigg entered the Paris Conservatoire at age seventeen in 1941, fol-
lowed by Boulez, who arrived in Paris in 1943 at age eighteen.
41
Al-
though they would have been too young to have been directly affected
by wartime government programs for contemporary music, the educa-
tion they received at the Conservatoire was not immune to the wartime
nationalist embrace of tradition and the past. Nigg was a student in the
rst class Messiaen taught at the Conservatoire in 1941 following the
latters release from a German prisoner-of-war camp.
42
Ofcially, Messi-
aen was only a harmony professor; he was an isolated gure at the Con-
servatoire for several years. Composition classes were taught by Henri
Busser and Max dOllone, distinguished older composers with solid
academic credentials. Although neither Nigg nor Boulez studied with
them, these men held powerful positions in wartime French musical life,
with dOllone appointed the director of the Opra-Comique in 1941
and Busser appointed music director at Radiodiffusion nationale (the
wartime name of Radiodiffusion franaise) in 1943.
43
Boulez spent one
109
40
Louis Hautecur, Les Beaux-Arts en France, pass et avenir (Paris: Picard, 1948), 80.
On the government commissions program and other programs of support for contempo-
rary French music during the war, see my Music for a New Era.
41
On Niggs early years, see Nicolas Bacri, Serge Nigg: Une introduction, in Mar-
ius Constant et Serge Nigg: Deux compositeurs en marge des systmes, ed. Franois Madurell
(Paris: La Sorbonne, 2000), 56. On Boulezs arrival in Paris, see Jameux, 2329.
42
Like many Frenchmen of his generation, Messiaen was mobilized in September
1939 and captured by the Germans in June 1940; he spent several months in a German
prisoner-of-war camp before his repatriation to France in March 1941.
43
On the roles Busser and dOllone played in wartime musical life in France and
the postwar consequences, see my Music for a New Era. For a description of Bussers
nal years as a professor at the Conservatoire, see Boivin, 7577.
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year in a preparatory course taught by Georges Dandelot before joining
Messiaens harmony class in fall 1944. During the occupation, Busser,
Arthur Honegger, and Tony AubindOllones successor at the Conser-
vatoire in 1945were vocal proponents of the so-called New French
School of young composers, and Dandelot was both a representative of
the school and a beneciary of French government support.
44
In the realm of orchestral music, the precursors of the New French
School were clear. Honegger put it best in his 1941 review of a Debussy
Festival, quoting Wagner (in the original German) to make his point.
Honor our German masters! sings Hans Sachs at the end of Die Meis-
tersinger. He is right. Let us honor our French masters. After Debussy
and Ravel let it now be the turn of Vincent dIndy, Roussel, Florent
Schmitt and all those who are the honor and glory of France.
45
The
battle that dIndy had waged at the turn of the century on behalf of a
French symphonic tradition, with its explicit goal of proving French
competence in a domain perceived to be inherently German, had
never been laid to rest. In 1913 dIndy was predicting that French com-
posers would fulll the so-called mission of symphonic development
that had begun with Haydn and Beethoven.
46
Thirty years later, Aubin
declared that recent compositions by Dandelot, Henri Tomasi, and oth-
ers provided the necessary indications that the New French School
would justify dIndys optimism. A return to the rigor of dIndys ap-
proach to la musique pure, Aubin argued in a review of the premiere of
Dandelots Symphony in D, was exactly what was called for in the
France of 1943.
47
The only way that wartime Conservatoire students such as Nigg and
Boulez could gain access to new music that differed from this restrictive
view centered on the French tradition was through the teachings of
Messiaen, either in his ofcial harmony classes or the private lessons he
was offering concurrently.
48
In addition to scores by Debussy, Wagner,
110
44
On Dandelot, see Armand Machabeys wartime portrait, Galerie de quelques
jeunes musiciens parisiens: Georges Dandelot, LInformation musicale 80 (September 4,
1942): 1, reprinted in Machabey, Portraits de trente musiciens franais (Paris: Richard-Masse,
1949), 4953. For information about the government support he received during the oc-
cupation, including two state commissions, and the reception his music received in occu-
pied Paris, see my Music for a New Era, 38586, 39395, 410.
45
Ehrt eure deutschen Meister! dit Hans Sachs la n des Matres chanteurs. Il a
raison. Honorons nos matres franais. Arthur Honegger, Le Festival Claude Debussy,
Comdia ( June 21, 1941), 3.
46
DIndy, Concerts Lamoureux, S.I.M. 9 (December 1, 1913): 45, quoted by
Brian Hart in The Symphony in Theory and Practice in France, 19001914 (PhD diss.,
Indiana University, 1994), 140.
47
Aubin, Premires auditions, Comdia (February 20, 1943), 5.
48
Boulez joined Messiaens harmony class and the private lessons in the fall of
1944, and Nigg, who had been in Messiaens harmony class since 1941, joined the private
lessons sometime around 1946, shortly before he left the Conservatoire. On Nigg, see
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and Ravel, Messiaens students read and played medieval polyphony,
non-western music, and modern works by composers ranging from Stra -
vinsky (Le Sacre du printemps, Petrushka, Les Noces) to Bartk (Music for
Strings, Percussion, and Celeste) and the Second Viennese School (Schoen -
berg, Pierrot Lunaire; Berg, Wozzeck and the Violin Concerto; Webern,
Variations, op. 27).
49
As for Stravinskys music, Messiaen was notably fond
of teaching his students in both classes about rhythm in the early Russian
ballets, particularly Le Sacre.
50
But his ambivalence toward Stravinskys
neoclassical works dated from at least 1931, when he stated that it
seems to me that all French music today is focused on the Albert Rous-
sel of the Suite en fa and the symphonies, and early Stravinsky and de-
scribed Apollon musagte as like a piece by Lully with a few wrong bass
notes.
51
Nigg later told Jean Boivin that we thought, in [Messiaens]
class, that the grand Stravinsky was that of Le Sacre, Les Nocesworks of
that genre.
52
Nigg echoed his teachers opinions in his 1945 Combat ar-
ticle when he decried the critics dismissal of Le Sacre. As Nigg put it, if
the critics saw Le Sacre as an outdated source, how can they dare sup-
port those who draw upon the much more valuable, yet unsurpassable,
resources of the Brandenburg concertos!
53
With the publication of Niggs article, a clash was now inevitable be-
tween the hyperbole of critics who supported Stravinsky and the now-
stated position of the protestors. Indeed, the continuing press debate
over the third Stravinsky festival concert continued well past the perfor-
mance of the fourth concert on April 12, overshadowing the French
premiere of the Symphony in C, the most substantial new Stravinsky
piece of the festival. Among rare reviews of the concert, Roland-Manuel
prefaced his positive assessment of the Symphony in C with the sarcastic
observation that Rosenthal was defying Mr. Andr Jolivets ban by
111
Boivin, 48. On Boulezs arrival in Messiaens classes, see Boivin, 3435. Boulez wrote of
the enormous impact of Messiaens class on himself and his fellow students in Une classe
et ses chimres, a tribute to Messiaen on his ftieth birthday in 1959. Reprinted in
Boulez, Points de repre, ed. Jean-Jacques Nattiez (Paris: Christian Bourgois, 1981), 56667.
49
Boivin, 434.
50
Messiaens opinions on Stravinskys use of rhythm appeared in print in a 1939 ar-
ticle in which he singled out Le Sacre and Les Noces as Stravinskys most signicant works:
Le rythme chez Igor Stravinsky, Revue Musicale 191 (1939): 9192. Both Messiaen and
his former students later recalled the prominence of Le Sacre in his classes. Boivin, 3738,
46.
51
Messiaen, in Jos Bruyr, Olivier Messiaen, in Lcran des musiciens, seconde srie
(Paris: Jos Corti, 1933), 128. The interview was published two years after it took place.
See Simeone, Offrandes oublies 2: Messiaen, Boulanger, and Jos Bruyr, Musical Times
142 (2001): 20.
52
Nigg, quoted in Boivin, 64.
53
Nigg, La querelle Strawinsky, 2. The reference could apply to either Danses con-
certantes or the Concerto in E
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while Nigg, pressured by the PCF to make use of the French musical
heritage, did so in only a few of his compositions.
107
During the 1945 Stravinsky debates, Nigg was a spokesman for his
generation in words and music, his political commitment to commu-
nism playing a negligible role. After 1947, as the Soviet Union began to
intervene directly in the political and creative lives of communist musi-
cians in western Europe, Nigg could not maintain his aesthetic interests
in twelve-tone composition or his distaste for overt expressions of
French nationalism and remain a loyal member of the PCF. Niggs am-
bivalent engagement with the Soviet doctrine of socialist realism in
works such as his 1954 Concerto for Piano and Orchestra demonstrates
how the legacy of the German occupation of France lasted into the
early Cold War. The stylistic choices faced by French composers during
this period were colored not only by the global Cold War rhetoric from
the superpowers, but also by the local history of Frances wartime pro-
motion of the French musical heritage as a model for a New French
School. When Nigg swiftly abandoned both the French national her-
itage and the Soviet aesthetic doctrine in music he composed after he
left the PCF in 1956, he nally began to explore just what kind of
music he felt would appropriately express what he had called in 1945
the profoundly felt uncertainty of the era. For Nigg, as for France, the
early Cold War had ended.
Drew University
ABSTRACT
In spring 1945, a small group of students, among them Serge Nigg
and Pierre Boulez, protested during the rst performances in liberated
Paris of the neoclassical works Stravinsky had composed in America.
Whereas Boulezs biographers have interpreted the student protests as
a sign of Ren Leibowitzs successful promotion of serialism in France,
scholars of the Cold War have seen the 1945 concerts as a precursor to
Stravinskys participation in the 1952 Luvre du XXe sicle, a festival
in Paris indirectly funded by the CIA. These interpretations subsume
the immediate postwar period in France within a synchronic view of the
early Cold War era. But the 1945 protests against Stravinsky were not
about the decisive embrace of a single musical style; rather, they were
130
107
Boulez sarcastically observed in 1952 that They try to persuade us that serial
discoveries are old. We ought now to create something new, and to support this brilliant
thesis, they cite false Gounod, fake Chabrier, champions of clarity, elegance, renement
qualities that are eminently French. (They adore mixing Descartes with haute couture.)
Boulez, ventuellement . . . , Revue musicale 212 (1952): 118.
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about the desire of young French composers to play an active role in
shaping the postwar future of music in France.
In 1945, Niggand not Boulezrepresented the aesthetic opin-
ions of a generation of French composers who had grown up during
the German occupation of Paris and the political aspirations of those
who, like Nigg, ocked to the French Communist Party at wars end.
Niggs participation in the 1945 Stravinsky debates gives us occasion to
examine his earliest musical compositions and the political opinions he
would express with increasing ideological fervor in the 1950s. Although
in verbal pronouncements he supported socialist realism, Niggs rare
and complex use of a French folk tune in his 1954 Piano Concerto be-
trays his ambivalence about the Soviet demand for communist com-
posers to reject falsely cosmopolitan tendencies in favor of their
national cultural heritage. Having rejected in 1945 both Stravinskys
neoclassicism and French nationalism (the latter tainted by associations
with Vichy during the occupation), Nigg had to choose in the early
Cold War between his aesthetic and political loyalties.
Keywords: Pierre Boulez, Cold War, German occupation of France,
Olivier Messiaen, Serge Nigg, Igor Stravinsky 131
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