Méfano – Micromégas
Isshiki; Dupuis; Isherwood; Trémolières; Ensemble 2e2m; Pierre Roullier
Maguelone MAG 111.170
Philosophical treatise from the 18th century as a libretto for a quasi-operatic work? A preposterous idea, right? Not if the librettist is Voltaire himself and the music is supplied by French composer Paul Méfano (b.1937). After all, Candide proved to be one of the best sources for the musical theatre of the 20th century. Alas, Micromégas – action lyrique en 7 tableaux – is not a straightforward story, but rather a series of musings on loosely-related topics of existence, colour, microscopic universe and human destiny. The cast of characters is more of a group of ideas, expressed through abstract, yet frequently amusing observations from the world of philosophy and, ever-important in the 18th century, science. In typically Voltairean fashion, the last line of the work, delivered by Saturnien, is “I was right to doubt it!”
This is the milieu in which Méfano develops his complex landscape of musical themes, assigning motifs to ideas and quasi-characters, endowing them with particular, easily identifiable harmonies and distinct “voices.” All of this is put in the context of a “tone poem” and “sound images,” overlapping and leading the narrative from a light, comedic touch to a much deeper, contemplative conclusion.
Méfano studied with Darius Milhaud, as well as Boulez, Stockhausen and Olivier Messiaen. All of these influences are clearly present in his music, making for a fascinating, meandering journey through the music of the 20th century and beyond.
