This is the best Milhaud that will survive the time: the light but well constructed, the simple but ingenious. And I am afraid always not-‚polytonal’… at least not in the experimental levels that some works have. Because no one can really stand a ‚rigorous‘ so called polytonal piece for too long.



The Song is the most basic nutrient of the musician. If you lose contact with it, you lose contact with music itself.

Powerful Music has always a will that is equal to its substance. This will is what makes music unravel and move forward. But the will is also defined by the resistance it encounters, by its inherent resistors but also by resistance from outside of it. We get an idea of the power of this will by feeling along with it its resistance.


We all know: It arrives when it wants. However, we as musicians have to seduce it. To know how to invite it at any time, to have it at its best all the time. This is achieved by letting us fall. The muse likes renunciation, likes simplicity. When we make music we inhabit the melodies, harmonies and rhythms, we move away from the everyday world and we start to communicate with spheres that remain silent in the day to day life. What we do is activate a sixth sense to enter a state of absolute sensitivity and inner singing. This is an extremely important notion for music in all its areas. When we listen to a melody we can only understand it if we sing it internally while listening to it. This is the difference between listening actively and passively. This is the difference between having access to deeper works or staying on the surface. Singing is the beginning of all musical activity and is present in all its expressions. Why do some musical works do not manage to touch us and leave us cold in a slight intellectual satisfaction but nothing emotional? The answer is in large part: because they do not awaken the internal singing in us, because they keep us away and do not force us / invite us to sing internally. It would seem that good music is an invitation, a seduction to become with the line, to sing internally. But I would dare to say that good music forces you with a soft violence, with a violent tenderness to enter it and to renounce one’s will to submit to the will of music itself.

It could be said, then, that the inspiration state is a renunciation and letting go to sing. Precisely that availability is what ignites in us a childish enthusiasm, an indescribable joy.

Sound or music

The Pythagorean notion that music was not restricted to the play of tones but that everything in the universe was music, is diametrically contrary to the false belief that all sound is or can be music. Sound itself is not music, and neither its raw sensuality.

It is true that hearing is the most optimal sense with which we count to perceive relationships and therefore to understand music.

But what makes music music?

Without pretending to respond fully to this question, which is largely a mystery, I want to present some ideas:

Music transcends sound to create a plane of relationships, a structure and a form. However, any kind of structure can not be imposed on tones (like for example twelve-tone music does). It has to come from the melodic structure of the singable, from the traditional melody, which is capable of being transmitted orally. This is the first and most important resistance of music. Sound is nothing more than the way we perceive this musical information. The music defines a constellation and the resistances between its elements that are the melody with its horizontal relationships, the harmony with the vertical relationships and the rhythm with the metric relations in time. It is necessary to clarify that these elements are only separable in theory. In practice they are dependent on each other. (Terms such as harmonic rhythm, melodic rhythm, harmonic melody, etc. give testimony of such dependences)

The wonderful thing about our sense of hearing is that the numbers as relations of their elements (their mathematical structure) coincides with the quality since our ears understand simple mathematical relationships in tones and rhythm as very basic and unique qualities. Put another way, our spirit gives a color to each relationship and understands the numerical architecture without being aware of it. It is precisely this point that makes us believe that the ear is our window to the divine world, to the spiritual world that underlies the material.

What differentiates music from any collection of sounds or tones is a sublime intention and a careful and supremely conscious construction, even when the sources of inspiration are unconscious.