DOCSLIB.ORG

The Role of Landscape in Catalogue D'oiseaux by Olivier Messiaen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Role of Landscape in Catalogue D'oiseaux by Olivier Messiaen The Role of Landscape in Catalogue d’Oiseaux by Olivier Messiaen By: Noha Kang A thesis submitted in partial fulfilment of the requirements for the degree of Master of Philosophy The University of Sheffield Department of Music January 2020 ABSTRACT This thesis explores the French composer, Olivier Messiaen’s ‘Catalogue d’oiseaux’ (Catalogue of birds, 1956-1968) for the solo piano, a collection of birdsong works which is widely regarded as one of the great repertoires from the modern period. The complete work consists of thirteen pieces that progressively present a main group of birds, followed by representations of other birds. These birds were found in France, embedded in their natural habitats. The repertoire is usually selected to be performed as separate pieces or as a group, depending on the length of time available, given that the total running time of the works extends to two and half hours. In this research, there follows a close examination of landscape, which signifies natural settings, the passage of time, as well as little creatures. All of these elements are discussed, including to what extent the introduction of landscape affects both birdsong as well as my own performance. There are six substantive chapters in this study. Introduction Chapter I – Birdsong: Pieces include birdsong by Messiaen and other composers Chapter II – Landscape: Works include landscape by Messiaen and other composers Chapter III – Catalogue d’oiseaux: General information regarding Catalogue d’oiseaux Chapter IV – Analysis of Landscape in Catalogue d’oiseaux Chapter V – The Role of Landscape in Messiaen’s Birdsong Music Chapter VI – Effects of Analysis on the Performance Conclusion ACKNOWLEDGEMENTS I would like to express my eternal gratitude to Professor George Nicholson for his continuous guidance and support throughout the process of writing this dissertation. It was truly an honour to study from and with him. I would also like to thank my beloved husband for his consideration and support which has allowed me to progress throughout my doctoral studies. I would like to thank my family, especially my mum, dad, three sons and my little daughter for their immeasurable encouragement. Thanks also to the following: Benjamin Frith, my piano tutor for his enthusiasm and invaluable guidance in relation to my piano playing. Peter Hill for his advice on piano performance and sharing with me his plentiful sources. TABLE OF CONTENTS INTRODUCTION 1 MOTIVATION 1 LITERATURE REVIEW 3 ANALYSIS 8 STRUCTURE OF STUDY 8 CHAPTER I 11 BIRDSONG IN MUSIC 12 1. REASONS WHY MESSIAEN USES BIRDSONG 13 2. EARLIER COMPOSERS’ BIRDSONG 17 3. MESSIAEN’S BIRDSONG PROCESS 18 I) EARLY WORKS WHICH INCLUDE BIRDSONG 19 II) BIRDSONG WORKS WRITTEN BETWEEN 1952-59 21 III) CATALOGUE D’OISEAUX (1956-58) 24 CHAPTER II 28 LANDSCAPE IN MUSIC 29 1. MOTIVATIONS 33 2. IMPORTANCE OF LANDSCAPE 37 3. ELEMENTS OF APPROACH TO LANDSCAPE 42 I) EXAMINATION OF NATURE 43 II) ENHANCEMENT OF BIRDSONG 44 III) PAINTING OF MUSICAL SOUNDS 45 IV) ADDING REALITY TO ART 46 CHAPTER III 51 CATALOGUE D’OISEAUX 52 CHAPTER IV 64 ANALYSIS OF LANDSCAPE IN CATALOGUE D’OISEAUX 65 1. TIME 67 I) DAY 71 II) NIGHT 73 2. LIGHT 79 3. WATER 87 I) THE WAVES OF THE SEA 98 II) THE WAVES (LES VAGUES) 99 III) THE WATER (L’EAU) 99 4. GEOMETRICAL FEATURES (MOUNTAINS, CLIFFS AND ROCKS) 100 5. OTHER NON-BIRDSONG MATERIALS 108 I) LITTLE ANIMALS 108 II) FLOWERS 109 CHAPTER V 111 THE ROLE OF LANDSCAPE IN MESSIAEN’S BIRDSONG MUSIC 112 CHAPTER VI 118 EFFECTS OF ANALYSIS ON THE PERFORMANCE 119 CONCLUSION 129 APPENDIX 139 LIST OF PIANO WORKS BY MESSIAEN IN CHRONOLOGICAL ORDER 139 MESSIAEN’S MODES OF LIMITED TRANSPOSITION 141 MESSIAEN’S CHORDS 144 1. CHORD OF RESONANCE (CR) 144 2. CHORD OF CONTRACTED RESONANCE (CCR) 145 3. CHORD ON THE DOMINANT (CD) 146 4. CHORD ON THE DOMINANT WITH APPOGGIATURA (CDA) 148 5. CHORD OF TRANSPOSED INVERSIONS (CTI) 149 6. TURNING CHORDS (TC) 151 BIBLIOGRAPHY 153 MUSIC EXAMPLES 157 FIGURES FIGURE 1-1. ARCH-FORM OF RÉ VEIL 22 FIGURE 2-1. DATES AND PLACES OF MESSIAEN’S COLLECTION OF BIRDSONGS USED IN CATALOGUE 40 FIGURE 2-2. MAP OF MESSIAEN’S TRIP IN FRANCE BETWEEN 1955 AND 1959 42 FIGURE 2-3. THE MONTHS IN CATALOGUE D’OISEAUX 48 FIGURE 3-1. LANDSCAPE IN CATALOGUE 56 FIGURE 3-2. EXAMPLES OF MESSIAEN’S HARMONIC PROGRESSION USED IN CATALOGUE D’OISEAUX 60 FIGURE 3-3. THE LIST OF SETTINGS IN CATALOGUE D’OISEAUX 62 FIGURE 3-4. MAP OF THE PLACES IN FRANCE FROM WHERE BIRDSONG IN CATALOGUE D’OISEAUX WAS COLLECTED 63 FIGURE 4-1 LANDSCAPE CATEGORISATION IN CATALOGUE 65 FIGURE 4-2. CATEGORISATION BY LANDSCAPE 66 FIGURE 4-3. TYPES OF TIME IN CATALOGUE D’OISEAUX 70 FIGURE 4-4. STRUCTURE OF PITCHES AND DYNAMICS IN LA CHOUETTE HULOTTE 75 FIGURE 4-5. STRUCTURE OF LA ROUSSEROLLE EFFARVATTE 84 FIGURE 4-6. SUNRISE AND SUNSET IN LA ROUSSEROLLE EFFARVATTE 86 FIGURE 4-7. RHYTHMIC CANON BY VALUES IN LA BOUSCARLE 93 FIGURE 4-8. CONSTRUCTION OF THE RHYTHMIC COMPONENT OF THE ISORHYTHM IN LA ROUSSEROLLE EFFARVATTE 95 FIGURE 4-9. SHARNGADEVA AND MESSIAEN’S RHYTHMS IN LE MERLE BLEU 104 FIGURE 4-10. THE PERMUTATION OF THE STONE MUSIC IN LE MERLE DE ROCHE 106 FIGURE 6-1. DYNAMICS DUE TO WAVE TYPE 123 FIGURE 6-2. TEMPI TAKEN IN THE OPENING BARS OF L’ALOUETTE CALANDRELLE FROM THE RECORDINGS 125 FIGURE 6-3. TEMPI TAKEN AT THE BEGINNING OF L’ALOUETTE LULU FROM RECORDINGS 126 MUSIC EXAMPLES CHAPTER I BIRDSONG IN MUSIC 158 CHAPTER II LANDSCAPE IN MUSIC 172 CHAPTER III CATALOGUE D’OISEAUX 176 CHPATER IV NALYSIS OF LANDSCAPE IN CATALOGUE D’OISEAUX 177 CHAPTER V THE ROLE OF LANDSCAPE IN MESSIAEN’S BIRDSONG MUSIC 237 CHAPTER VI EFFECTS OF ANALYSIS ON THE PERFORMANCE 244 INTRODUCTION Introduction 1. Motivation Over ten years ago as part of my MMus piano recital, I performed one movement from Catalogue d’oiseaux by the French composer Olivier Messiaen. This was the first time I had performed his music. My piano teacher had originally asked me to read it and, while listening to it, I was shocked. Up to that point, I had only ever played one piece by Alberto Ginastera which could possibly have been categorised as contemporary music. Even for someone like me, who considered both Claude Debussy and Maurice Ravel to be modernists, it was hard to understand and interpret many aspects of the music, especially the complicated rhythms and harmonies. In fact, those aspects represent the most difficult features of his music and, because of these, Messiaen is regarded as one of the most influential composers and teachers in twentieth-century music. The reasons behind why Messiaen is regarded as such an important composer of the music of the twentieth century has been a favourite and much-studied subject for scholars. Many have researched Messiaen’s compositional techniques1 such as his use of Greek and Hindu rhythms, modes of limited transposition, chords, Catholic symbolism, colour association and so forth. Birdsong music, including Catalogue d’oiseaux, has also been discussed as a main topic by many researchers. The performance was enough to stimulate my curiosity surrounding Messiaen's piano pieces in particular when considering first Catalogue d’oiseaux2 (hereafter referred to as Catalogue). Although this first experience was brief, it did serve to arouse and prepare me for the demands involved in studying the piece deeply and to render all movements of Catalogue. It made me wonder how Messiaen transcribe real birdsong into music and how these two real birdsong and Messiaen’s birdsong are similar. I was, however, more captivated to questions what landscape was used for the music, how it was presented in piano writing, how it was described in music, how landscape which does not have its own sound was reproduced as music in Catalogue. In theory it should be much easier to transcribe birdsong into music as it possesses actual sound, in comparison to landscape features such as rocks, mountains, night, and so on which do not inherently produce any sounds of their own. Messiaen, therefore, needed to create a musical device or develop his own musical language to represent the ‘sound’ of landscape to put into his birdsong work. 1 This term has the same meaning as ‘musical language’ which Messiaen used in his treatise Technique de mon langage musical (The technique of my musical language) and is used alternately. 2 Olivier Messiaen, Catalogue d’oiseaux, (Leduc, Paris, 1958) 1 This study began with the question of how to perform Catalogue precisely as the composer, Messiaen intended. It was one of the first, if not the first, pieces that was focused on birdsong- how to play birdsong accurately, beautifully and realistically. It was not long before there was an acknowledgment that the non-birdsong parts were just as important as birdsong. It was a natural progression where I then decided to concentrate more on landscape than birdsong for this research. The process by which the musical device or language used for landscape is defined should assist in understanding more completely how to interpret Catalogue for successful performance. For the modern performers, listening to recordings seems to be essential to comprehend the works, although that does not detract from the need to analysis music before playing. This is especially true with Catalogue in which the space considered as landscape is expressed in a variety of forms of resonance, birdsong and non-birdsong. The purpose of this study is that, as a pianist, I am going to explore Catalogue given its great popularity and that it is such an attractive piece among the twentieth-century solo piano works.
Load more

Recommended publications
  • “Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
    “Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions.
    [Show full text]
  • Orchestral Work, Turangalîla-Symphonie (1946–1948)
    AV1 AV3 AV4 AV2 • While there is a vast amount of research concerning Olivier Messiaen • Loriod meets Messiaen as a student in his harmony • After a successful premiere of Visions of the Amen, • Messiaen continues to write pieces with piano parts written and his compositions, there is a dearth of information about the pianist class at the Paris Conservatory on May 7, 1941. Loriod becomes the primary motivator for all of for Loriod and dedicates them to her including a major Yvonne Loriod, who played a primary role in inspiring the development • Messiaen becomes familiar with Loriod’s pianistic Messiaen’s new compositions for piano. orchestral work, Turangalîla-Symphonie (1946–1948). of Messiaen’s compositional approach to the piano. artistry by attending a concert in which she included • Shortly afterward, Messiaen writes the monumental • In the 1950s, Loriod helps Messiaen during a difficult period • Loriod was a French concert pianist, teacher, and composer. Messiaen’s Preludes (1929), a work she wanted to two-hour solo piano cycle: 20 Contemplations on the in his life. His first wife, violinist Claire Delbos, becomes • Born January 20, 1924 and died May 17, 2010 perform for the composer. Infant Jesus (1944) and dedicates the piece to mentally ill after surgery and is sent to a sanitorium and dies • Loriod would later become Olivier Messiaen’s second wife • Inspired by Loriod’s prodigious talent, Messiaen writes Loriod. in 1959. _____________________________________________________ Visions of the Amen (1943), a 40-minute work in seven • Like many of Messiaen’s earlier works, the • Adding to the difficulties of his personal family life, Messiaen movements for two pianos premiered by Loriod and compositional techniques include: encounters difficulties with his own compositional process himself.
    [Show full text]
  • Spring/Summer 2016
    News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else.
    [Show full text]
  • Signumclassics
    126booklet 13/5/08 11:28 Page 1 ALSO AVAILABLE ON signumclassics Ragtime & Blue Brahms and Schumann Haydn Piano Sonatas Elena Kats-Chernin - Piano John Lill - Piano John Lill - Piano SIGCD058 SIGCD075 SIGCD097 Elena Kats-Chernin is a composer who Much-loved pianist, John Lill, plays John Lill returns to take the listener on a defies categorisation: a virtuosic pianist touchstones of the 19th-century romantic journey through the many moods of Haydn, and improviser, her compositions flow piano tradition. Lill is at his sparkling in brilliant performances of some from her like a fountain. This CD is best in this wonderful repertoire. composer’s most intriguing works for drawn from the small works she often the keyboard. writes for her own enjoyment - a cornucopia of rags, blues and heart- melting melodies. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 126booklet 13/5/08 11:28 Page 3 MESSIAEN: CHAMBER WORKS MESSIAEN: CHAMBER WORKS The general perception of Messiaen is of a always turned up at class with mountains of work 1. Fantaisie [8.59] composer who lived in some rarefied atmosphere (not guaranteed to ensure popularity!) and was of his own, floating far above the mundane, recognised as a young man likely to succeed. But Quatuor pour la fin du Temps material world. Given his preoccupation with any view of Messiaen as vague or indecisive in his 2. Liturgie de cristal [2.37] esoteric rhythms, sound-colours, theology and opinions needs to be set against the truth - for all birdsong, this is perhaps a reasonable judgment his pacific demeanour (and, in later years, 3.
    [Show full text]
  • Recordings of Mahler Symphony No. 4
    Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel).
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • Birdsong in the Music of Olivier Messiaen a Thesis Submitted To
    P Birdsongin the Music of Olivier Messiaen A thesissubmitted to MiddlesexUniversity in partial fulfilment of the requirementsfor the degreeof Doctor of Philosophy David Kraft School of Art, Design and Performing Arts Nfiddlesex University December2000 Abstract 7be intentionof this investigationis to formulatea chronologicalsurvey of Messiaen'streatment of birdsong,taking into accountthe speciesinvolved and the composer'sevolving methods of motivic manipulation,instrumentation, incorporation of intrinsic characteristicsand structure.The approachtaken in this studyis to surveyselected works in turn, developingappropriate tabular formswith regardto Messiaen'suse of 'style oiseau',identified bird vocalisationsand eventhe frequentappearances of musicthat includesfamiliar characteristicsof bird style, althoughnot so labelledin the score.Due to the repetitivenature of so manymotivic fragmentsin birdsong,it has becomenecessary to developnew terminology and incorporatederivations from other research findings.7be 'motivic classification'tables, for instance,present the essentialmotivic featuresin somevery complexbirdsong. The studybegins by establishingthe importanceof the uniquemusical procedures developed by Messiaen:these involve, for example,questions of form, melodyand rhythm.7he problemof is 'authenticity' - that is, the degreeof accuracywith which Messiaenchooses to treat birdsong- then examined.A chronologicalsurvey of Messiaen'suse of birdsongin selectedmajor works follows, demonstratingan evolutionfrom the ge-eralterm 'oiseau' to the preciseattribution
    [Show full text]
  • Hommage À Olivier Messiaen Dimanche 18 Mars 2018 – 16H
    Hommage à Olivier Messiaen Dimanche 18 mars 2018 – 16h GRANDE SALLE PIERRE BOULEZ – PHILHARMONIE WEEK-END LES OISEAUX Pour certains scientifiques et certains historiens, la musique pourrait être née du désir des hommes d’imiter la voix des oiseaux, ressentie comme un véritable langage musical, au-delà de la simple émission de sons. Force est de constater que, si l’on ne peut trancher cette question, ceux que Messiaen, reprenant une image déjà utilisée au xviie siècle par le moine Paul de Montaigu notamment, appelait « les premiers musiciens du monde » ont constitué une inspiration de choix pour les compositeurs, qui se sont volon- tiers adonnés à l’évocation ou à l’imitation. De cette fréquentation plus ou moins intime, c’est effectivement Messiaen qui donna le témoignage le plus riche : « La nature, les chants d’oiseaux ! Ce sont mes passions. Ce sont aussi mes refuges. […] C’est là que réside pour moi la musique », écrivait-il en préface à son Catalogue d’oiseaux, qui réunit presque trois heures de musique évoquant rousserolle effarvatte, cho- card des Alpes ou traquet rieur – la journée du dimanche, en compagnie de Pierre-Laurent Aimard, y sera consacrée. Celui qui se définissait autant comme ornithologue que comme compositeur remplit au cours de sa vie des centaines de carnets de chants d’oiseaux notés aussi précisément que possible, un ardent enthousiasme dont ses pièces musicales sont très nom- breuses à porter la trace. Mais les petites bêtes à plumes n’ont bien sûr pas attendu le xxe siècle pour investir le champ musical. La musique baroque regorge déjà de leurs trilles et de leurs envolées, chez Vivaldi (notamment dans le Concerto pour flûte « Le Chardonneret ») ou chez Couperin, qui avaient eux-mêmes été précédés par des compositeurs comme Jacob van Eyck.
    [Show full text]
  • S H a P E S O F a P O C a Ly P
    Shapes of Apocalypse Arts and Philosophy in Slavic Thought M y t h s a n d ta b o o s i n R u s s i a n C u lt u R e Series Editor: Alyssa DinegA gillespie—University of Notre Dame, South Bend, Indiana Editorial Board: eliot Borenstein—New York University, New York Julia BekmAn ChadagA—Macalester College, St. Paul, Minnesota nancy ConDee—University of Pittsburg, Pittsburg Caryl emerson—Princeton University, Princeton Bernice glAtzer rosenthAl—Fordham University, New York marcus levitt—USC, Los Angeles Alex Martin—University of Notre Dame, South Bend, Indiana irene Masing-DeliC—Ohio State University, Columbus Joe pesChio—University of Wisconsin-Milwaukee, Milwaukee irina reyfmAn—Columbia University, New York stephanie SanDler—Harvard University, Cambridge Shapes of Apocalypse Arts and Philosophy in Slavic Thought Edited by Andrea OppO BOSTON / 2013 Library of Congress Cataloging-in-Publication Data: A bibliographic record for this title is available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved. ISBN 978-1-61811-174-6 (cloth) ISBN 978-1-618111-968 (electronic) Book design by Ivan Grave On the cover: Konstantin Juon, “The New Planet,” 1921. Published by Academic Studies Press in 2013 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law.
    [Show full text]
  • C:\Dokumente Und Einstellungen\Bruhn\Eigene
    Vorwort Fünfzehn Jahre nach seinem Tod ist Olivier Messiaen weithin anerkannt als einer der führenden französischen Komponisten des 20. Jahrhunderts und eine Stimme von zeitübergreifender Tragweite innerhalb der westlichen Musikkultur. Neben der Musik mit ihren “Farben” und Rhythmen galt seine Leidenschaft vor allem zwei weiteren Gebieten, in denen er sich im Laufe der Zeit umfassende Kenntnisse aneignete: der Theologie und der Ornithologie. Messiaen war ein gläubiger Katholik, der eine umfassende Sammlung theolo- gischer Bücher besaß und den Dialog mit den Denkern des Glaubens suchte. Als außergewöhnlich hingebungsvoller Vogelfreund zeichnete er zudem den Gesang hunderter Vogelarten so akribisch auf, dass Fachleute seinen Beitrag inzwischen als unschätzbar ansehen. Es wird daher kaum überraschen, dass seine Kompetenz in beiden Gebieten einen tief greifenden Einfluss auf seine Kompositionen hatte. Ein drittes Thema, über das Messiaen viel nachdachte und dem er eine Anzahl von Kompositionen widmete, ist das der schicksalhaften Liebe. In seinem Weltbild leitet sich alle Liebe von Gottes Liebe zur Menschheit her. Die Liebe der Menschen zu Gott mag nur ein sehr ungenaues Abbild der göttlichen Gabe sein, doch selbst die Liebe eines Menschen für einen ande- ren, sofern sie nur tief und schicksalhaft ist, muss, so fand der Komponist, noch als ein schwacher Abglanz der göttlichen Liebe betrachtet werden.1 Biografisch ergänzen Messiaens Kompositionen zum Thema der idealen menschlichen Liebe – sechs zwischen 1936 und 1948 entstandene Werke – jene, die er seit 1951 ausdrücklich dem Vogelgesang widmet. Im Juni 1932 heiratete Messiaen die brillante Geigerin Claire Delbos, eine Mitstudentin aus seiner Kompositionsklasse; 1937 wurde das einzige Kind der beiden geboren, der Sohn Pascal.
    [Show full text]
  • Departamento De Filosofía
    DEPARTAMENTO DE FILOSOFÍA APROXIMACIÓN AL LENGUAJE DE OLIVIER MESSIAEN: ANÁLISIS DE LA OBRA PARA PIANO VINGT REGARS SUR L’ENFANT - JESÚS FRANCISCO JAVIER COSTA CISCAR UNIVERSITAT DE VALENCIA Servei de Publicacions 2004 Aquesta Tesi Doctoral va ser presentada a Valencia el día 12 de Febrer de 2004 davant un tribunal format per: - D. Francisco José León Tello - D. Salvador Seguí Pérez - D. Antonio Notario Ruiz - D. Francisco Carlos Bueno Camejo - Dª. Carmen Alfaro Gómez Va ser dirigida per: D. Román De La Calle D. Luis Blanes ©Copyright: Servei de Publicacions Francisco Javier Costa Ciscar Depòsit legal: I.S.B.N.:84-370-5899-6 Edita: Universitat de València Servei de Publicacions C/ Artes Gráficas, 13 bajo 46010 València Spain Telèfon: 963864115 UNIVERSIDAD DE VALENCIA FACULTAD DE FILOSOFIA Y CIENCIAS DE LA EDUCACION AREA DE ESTETICA Y TEORIA DEL ARTE APROXIMACION AL LENGUAJE DE OLIVIER MESSIAEN: ANALISIS DE LA OBRA PARA PIANO VINGT REGARDS SUR L´ ENFANT - JESUS TESIS DOCTORAL REALIZADA POR: FRANCISCO JAVIER COSTA CISCAR DIRIGIDA POR LOS DOCTORES: DR. D. LUIS BLANES ARQUES DR. D. ROMAN DE LA CALLE VALENCIA 2003 I N D I C E 1.- Introducción ........................................................................ 5 2.- Antecedentes e influencias estilísticas en el lenguaje de Olivier Messiaen ........................................... 10 3.- Elementos musicales del lenguaje de Messiaen y su aplicación en la obra para piano Vingt Regards sur l ´ Enfant - Jésus ........................................................ 15 4.- Vingt Regards sur l ´ Enfant - Jésus : Datos Generales. Características de su escritura pianística .................. 42 5.- Temática, simbología e iconografía en Vingt Regards sur l ´ Enfant - Jésus ........................................................ 45 6.- Análisis Formal de la obra .......................................... 67 7.- Evolución de los Temas de la obra: Estudio comparativo de su desarrollo y presentación ........
    [Show full text]
  • God, Nature, and Politics in Olivier Messiaen's <I>Des Canyons Aux Étoiles
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2014 Sonic Environmentalism: God, Nature, and Politics in Olivier Messiaen's Des canyons aux étoiles . Ryan James Taussig University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Taussig, Ryan James, "Sonic Environmentalism: God, Nature, and Politics in Olivier Messiaen's Des canyons aux étoiles . .. " Master's Thesis, University of Tennessee, 2014. https://trace.tennessee.edu/utk_gradthes/2853 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Ryan James Taussig entitled "Sonic Environmentalism: God, Nature, and Politics in Olivier Messiaen's Des canyons aux étoiles . .." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay, Jacqueline A. Avila Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) ! Sonic Environmentalism:! God, Nature, and Politics in Olivier Messiaen’s Des canyons aux étoiles .
    [Show full text]