by Jeanne Oakley
I was completely blown away by the Description of Vinteuil's music, both his sonata and his new work, "the septet," in The Captive (C, 332):
"Whereas the sonata opened upon a lily-white pastoral dawn, dividing it's fragile purity only to hover in the delicate yet compact entanglement of a rustic bower of honeysuckle against white geraniums, it was upon flat, unbroken surfaces like those of the sea on a morning that threatens storm, in the midst of eerie silence, in an infinite void, that this new work began, and it was into a rose-red daybreak that this unknown universe was drawn from the silence and the night to build up gradually before me."
I had to know more about Vinteuil, and found this: a discussion, by John Adam's, at the Art Institute of Chicago:
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