When I got back about 6.30, the Hound was in fine fettle; we went for a walk and came back with the same ball (and the same Hound). She’s still sulking because of lack of Fish (I can only provide so many furfles), but such is life.
An excellent choice. Messiaen’s brief flirtation with jazz - or at least, jazz as filtered through the work of Cocteau and Les Six. As far as I know, the only other examples are the Fantasie Burlesque for piano (which is pretty forgettable, TBH) and the Intermède from the Quatuor pour la fin du Temps:
Once we leave this end of the Common Practice Period, there’s very little classical music wot a sparrer gets on wiv; and I’ve always rather suspected that one of the major influences on the Quatuor was the desire to annoy the prison guards. Still, he was sound on birdsong.
Happy Easter (or, over-literally translating the Russian, up-cross-day) to them as does.
There is a curious and poignant footnote to the composition of the Quatuor, regarding one of the guards, Karl-Albert Brüll. He was aware of Messiaen’s eminence as a composer and excused him the usual menial duties, instead finding him somewhere to write and procuring manuscript paper, pencils, etc.
Long afterwards, in the late 60s, Brüll called on Messiaen in Paris, but Messiaen refused to admit him—possibly he didn’t remember who he was. A while later, Messiaen relented and tried to contact Brüll, only to find he’d since died in a car accident.
Oh, and for That Sparrer, here’s the piece I played for my second year recital at college: