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Extra info for Concerto No.5 in A-Dur KV.219-Partitura completa
In discussing the notions of the Swiss theologian Hans Urs von Balthasar, for whom the idea of beauty (with the arts and especially music in tow) occupied a central position in theology, Messiaen tells Claude Samuel that people are not justiﬁed in being shocked by this notion: Which shocks iconoclasts above all, the people who reject stained-glass windows, paintings, music. But these people are mistaken, for God is the creator, and whatever he has created is beautiful. Look at the stars, the landscape on our little planet, our mountains and oceans: their beauty is the work of God.
What has been created refers in (and through) its transience to eternity or the uncreated. In other words, to the everlasting, true reality of God (in the theological sense, then, music functions as a signum). This referential aspect of music is caused by the fact that it is created and therefore has a negativity, a (relative) lack of truth, in what is created. According to Messiaen, this is true for music, but one might add that it is true, within the same Platonic-Christian conception, for any other phenomenon or creature.
An excellence above all, which is not one thing, nor another’’). He concludes, All these dazzlements (e´blouissements) are a great lesson. They show us that God is beyond words, thoughts, concepts, beyond our earth and our sun, beyond the thousands of stars which circle around us, above and beyond time and space, beyond all these things which are somehow linked to him. He alone knows Himself by His Word, incarnate in Jesus Christ. ’’ In inaccessible heights. Doing this, they help us to live better, to better prepare for our death, to better prepare for our resurrection from the dead and the new life that awaits us.