But we aren't therefore going to rewrite the Recent History of France when the vital urgency demands a complete reform of the actual centralizing jacobin state, now "a bout de souffle" but always omniscient and omnipresent, under the permanent influence of acute delusional flushes (in medicine, hospitalization is urgently needed) in its all-out interventionism with tax levies that have become unbearable for economic activity and entrepreneurship, is no longer capable of ensuring the essential, all coming, individual protective masks coasting 1 EUR each: yet the key to success against the highly contagious microbe ... Everything goes through sweltering bureaucracy when you know it's the endemic wound of these totalizing regimes. In December 2020, the ruling party is even considering internment camps for positive cases of Sars-cov-2 when the overpowered PCR tests are deemed to be able to find viral RNA traces prior to this pandemic ... History stutters!
"Official music" hasn't been spared from this sterilizing planning ambition. And besides, what is "official music", called "contemporary" to "impress the bourgeois", if not a return to practices of Old Regime outdated? Where courtesy only acts as talent. In France, this shabby bureaucratic ambition that is not very artistic gave birth to the worst of art: navel-gazing, non-art, non-expressiveness, aesthetic banalities, acoustic monstrosities, linguistic absurdities, white sheet, chaos and tabula rasa . If we can summarize 70 years of nonsense in these few words. Then came, after the long time of generational resilience in humanist music, the time for care. This music came naturally from the depths of the heart since always. But she must have faced a desert crossing in decades. When officially caviar was served with great fanfare to nihilists (and in official Soviet medicine, to post-Lissenkists), the ostracized proponents of this universal spirituality had to be content with frugal ingredients, aphorisms of hope as much sparks of hope: "The spirit may go further than the heart, it never goes that far." (Chinese proverb); "Beauty will save the world." (Dostoyevsky); "True heartless genius is nonsense. Because neither high intelligence, nor imagination, nor both together make genius. Love! Love! Love! This is the soul of genius." (Mozart); etc.
Sleep was so deep in so-called "serious" French music (so serious that it seemed to walk the cemetery path daily in its style), that the situation was felt there as an overwhelmed coma, when the invigorating spirit of the French music of the early twentieth century had enchanted music lovers worldwide with its technical and metaphysical prowess. Pitifully, sadly, there remains today in contemporary French creation no trace of this demiurgic glory of yesteryear. On the contrary, French music at the end of the XXth century baffled, disjointed, theorized, pontified, judged, ostracized, selected its disciples as in a sect, excommunicated the bad-minded, and ended up even tiring its most ardent defenders. Sensibly, one felt there perpetually the apology of an eschatological spirit never very far from scatology. Let's not hide our sensitive disgust, it was objectively highly subsidized institutional shit: "De la merda d'artista" in the words chosen by the Italian plastic artist Piero Manzoni to name his turds put in a tin in May 1961. The Covid-19 then appeared as an evil puppet destined, in these multiple paradigms of State watered by undue subsidies and notoriously useless for the public good, to awaken the consciences asleep by the harmful ideological poison. In medicine, as in a parallel operational tragedy, an iconoclastic figure arises like a tsunami to destabilize the vacant sand castle of French Public Health. Pr. Didier Raoult had discovered a medication protocol on Hydroxychloroquine basis, a famous antimalarial which proved effective in view of the statistics of the Marseille Hospital Foundation which he directed. Medication protocol of the IHU of Marseille which objectively, according to official world statistics, saved Africa from pandemic health disaster.
HCQ 650mg , the technical name and the dose of this medication which forms part of its treatment protocol, is in turn a sound attempt, a desire to take medication to treat a national musical universe, says " serious "or" classic ", damaged by 70 years of disastrous obsolete, necrotic ideology, and therefore totally outdated. We wanted to denounce the Crimes against Humanity of the Nuremberg Trials by the abstruse language of contemporary music , as theorized in 1949 by Theodor W. Adorno in his famous aphorism: "Write a poem after Auschwitz is barbaric " he said then! Evil took this obtuse generation: the remedy was too often worse than the evil. We will now have to come back from these sterile and arid regions like Siberia in winter ... The convalescence will be long and strewn with pitfalls, pitfalls, pitfalls, passages of intellectual Berezina, because we will teach the trial, like the French institutional society on the verge of agony because of a pathogenic virus, a morbid institution and its clerics still clinging to their seats like mussels to their rock. Even if the system has terminal cancer metastasized to all its organs.
It is now a question of life and death of our national culture, therefore of its Renaissance or its disappearance in the flow of History. Obviously, this is my favorite subject of reflection.
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