Affinity of Thought between Giacinto Scelsi and André Jolivet within the Context of Musical Societies and Esoteric Circles in 1930s Paris

Abstract

The 1930s marked the transition from youth to maturity for both Scelsi and Jolivet, a crucial period both personally and artistically. At that time, Paris was a center of great musical activity, with numerous musical societies initially focused on promoting French music, but later opening up to international musical experiences. In a political context marked by the rise of nationalism, Scelsi and Jolivet opposed these trends by actively participating in the organization of concerts to spread contemporary music. Additionally, the cultural climate in Paris was also characterized by a growing interest in esotericism. Although their paths were parallel, these shared influences played a key role in shaping their human and musical development. The article focuses particularly on comparing the theoretical writings of Scelsi and Jolivet, analyzing their texts to highlight the similarities and differences in their musical approaches. This study provides a theoretical foundation for future research on the compositions of the two composers and their shared interest in a musical language distinct from dodecaphony, with a focus on the exploration of sound material.