Also this year there will be two exhibitions. The first will present paintings by the Danish neoclassicist Chr. W. Eckersberg as an artistic parallel to Mozart, and the other is devoted to Olivier Messiaen, who also has a place in the programme, and his preferences within visual art – Robert Delauney, Georges Rouault and Georges Braque.
Wolfgang Amadeus Mozart (1756-1791), Joseph Haydn (1732-1809) and Ludwig van Beethoven (1770-1827) were leading Viennese classicists.
Are there parallels to them within visual art? This is a difficult question, but the Danish neoclassicist, Christopher Wilhelm Eckersberg (1783-1853) is certainly a painter who, in his views on the status and role of art, had an understanding which on several points is close to the view of music we find among the Viennese classicists.
We are, therefore, exhibiting some of his works, so that you yourselves can decide whether or not there are any parallels.
Olivier Messiaen (1908-1992) is also a composer who we are celebrating at this festival, and this with a work which he wrote while a prisoner in the German Concentration Camp Stammlager VIII A. Here he wrote Quator pour la fin du Temps for the clarinet, violin, cello and piano, as there happened to be prisoners with these instruments.
In the exhibition we shall first present Messiaen and this work, and thereafter three artists with whom Messiaen was connected, namely Robert Delauney (1885-1941) whose boldly coloured paintings Messiaen thought were similar to his own music, next the Catholic painter Georges Rouault (1871-1958) who shared his faith, and finally Georges Braque (1882-1963) who was as interested in birds as Messiaen himself. Quator is the first composition in which Messiaen makes a reference to bird song.