This chapter understands Florentz’s spectral thought as manifestations of beauty and mysticism, and of alterity and the liminal that are empowered through his use of spectralism. Florentz extended Messiaen’s apocalyptic language of revelation and the communication of his own faith through the spectral resources of the organ and through his thinking about musical materiality to figure his particular vision of religious thought.
It shows how Florentz translated ethnographical sources, especially Ethiopian liturgical chant, through mode, and it differentiates his work from that of Olivier Messiaen. It reveals that his sense of the sacred, the role of the composer, his restless searching throughout the world for the experience of alterity, enabled the creation of a spectral music that was an offering, a form of meditation, of testament, and of praise. Using unpublished material and radio interviews, it examines Florentz’s inspiration in the natural world (especially birdsong), the relationship between his voyages, and his music.
This chapter examines the French composer Jean Louis Florentz’s (1947–2004) engagement with spectralism and it identifies various spectral processes and types of spectral material present in his music.
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