@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&#039;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&#039;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} }