@article{38c32b0d-76be-4aa3-9485-3a30efa92331,
author = {Ewa Małgorzata Wierzbowska},
title = {<p>Charles de Vivray's Three Concerts</p>},
journal = {Cahiers ERTA},
volume = {2021},
year = {2021},
doi = {10.4467/23538953CE.21.028.14000},
issn = {2300-4681},
pages = {85-108},keywords = {Charles de Vivray; Krysinska; musicality; concerts; roman à clef},
abstract = {<p>Music is a keystone in the entire work of Marie Krysinska, who was first and foremost a musician. Guided by the rule of universal harmony, the perfect realisations of which are musical compositions, she applies it in her poems as well as in her narrative texts. Krysinska's novel, <em>La Force du désir </em>[<em>The Force of Desire</em>], was read in its time primarily as a roman à clef. Behind the literary characters are real people: poets, writers, actresses, singers, journalists, composers. One of the portraits is particularly touching, that of de Vivray whose real-life prototype was Charles-Erhardt de Sivry. A musician, conductor, poet and music theorist, de Sivry charmed listeners with his compositions. In the diegesis, all his professional activities are mentioned, more or less revealed. Thanks to Charles de Vivray's three concerts, the novelistic space transforms into a musical space.</p>},
url = {https://ejournals.eu/en/journal/cahiers-erta/article/les-trois-concerts-de-charles-de-vivray}
}