Diaghilev

Summary

Dominique Pagani mentions Diaghilev for his Ballets Russes, which serve him as a landmark for situating Parisian musical life in the early twentieth century. He often returns to the place these Ballets held in Paris at the time: they enliven the musical scene and dominate it, they "enchant" the city and "make the hearts" of music lovers beat123. Above all, he sees them as a place of creation: it is through them that the Russian avant-garde is performed in Paris and that major premieres are given there45. In his view, they show that European music is being renewed by the Russians and that Russia then stands at its centre67. He speaks of Diaghilev in sessions devoted to Debussy, to Wagner or to modal and tonal music, and he links him to the scandal of the Rite89. In these passages, Diaghilev appears as an organiser of musical life, not as an author whose work he would read.

1. 1The music of history26 Apr 2015 · 1:33:16
2. 2#3 Harnessed to confinitude4 Apr 2020 · 9:38
3. 3#10.6 War and peace: “The death drives advance in silence…” (Freud)8 Dec 2021 · 35:49
4. 4#10 The two Klemperers and Bruno Walter in Wagner18 Jan 2021 · 20:58
5. 5#9.23 “Ruled like music paper!” Bach, Nerval, Lévi-Strauss9 Jun 2021 · 1:52:57
6. 6Adotevi: Negritude and negrologists (2017)8 Jun 2017 · 27:11
7. 7#4.9 Angélique (by Nerval)14 Jun 2018 · 58:55
8. 8#4 Harnessed to confinitude11 Apr 2020 · 1:05:04
9. 9#11 Modal and tonal music24 Jan 2021 · 11:05

Summary produced automatically from 10 of the passages below, to be reviewed; the numbers link to the moment in the session.