ABSTRACT
The most comprehensive study of Jolivet's manuscripts and musical archives was undertaken by Lucie Kayas as part of her 2007 doctoral thesis on the composer. To mark the centenary of Andre Jolivet's birth in 2005, the Bibliotheque nationale de France (BnF) mounted an Exposition Andre Jolivet in which pages from the composer's manuscripts were displayed for first time to illustrate the beauty and precision of his musical calligraphy. Jolivet made no annotations on his manuscripts before making fair copies in ink, unlike Messiaen who wrote 'bon' or 'bien' on his pencil sketches. Jolivet's choice of manuscript paper merits comment as he used many types of paper during his compositional career. In his early period he drew the staves himself. Jolivet's use of pencil and ink relates to precise stages of his compositional process: pencil was used for drafts, sketches, short score working manuscripts, while ink was reserved for songs with voice and piano, and orchestral scores.
