Carried Away: Bezaly, Hahn, Déjà vu et l’Heure exquise

T he official conception of the classic was still linked to a holistic, conservative French community... Reynaldo Hahn’s A nos morts ignorés is typical in its economy of means and its search for an expressive style that incorporates learnèd archaisms, such as modal allusions and ars antiqua organum.”
— Jane Fulcher, p. 91.
H is mind is attracted by a vision, by an image; his heart suffers a feeling; his refined sensuality thrills under the contact of an impression; immediately the emotion is translated into a musical formula, fixed in an instant; but soon reverie gains the upper hand, the image becomes general, the overtones of feeling reverberate, hum, and the inconstant dreamer, seduced by their echo, allows himself to be distracted and carried away.”
— Reynaldo Hahn, speculating on Fauré’s creative process (but really projecting his own process and imagining it as belonging to Fauré), Journal de l’Université des Annales, July 1914, 8:115-8.

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