Olivier Messiaen
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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. -
Recollections on Singing Messiaen's Saint Francois D'assise
Recollections on Singing Messiaen’s Saint François d’Assise robert grenier na record store I recently saw a newly released recording of Olivier Mes- Isiaen’s opera, Saint François d’Assise. This brought to mind a variety of recol- lections associated with the first production of the opera, in which I was priv- ileged to participate. With this new recording comes the fact that the work has a life independent of any association I had with it, just as it should be. Finding it released in me a host of memories whose character is mostly anecdotal, com- ing, as it does, some fifteen years after the events themselves. For four years (1980–84), I was a member of the Troupe de l’Opéra de Paris—who were the house singers called upon to sing roles not given to the luminaries that graced the stage of the Opéra. In the case of Saint François, it was decided that many of the roles would be sung by house singers, with three central roles being given to great artists: St. Francis was sung by José van Dam, the Angel by Christiane Eda-Pierre, and the Leper by Kenneth Riegel. Jean- Phillipe Courtis and I were cast to sing the role of Frère Bernard, which I per- formed twice in the Palais Garnier. Of the eight scenes in the opera, Frère Bernard appears in four, the most important being that of act 2, scene 4, where the Angel and Frère Bernard share the stage. Once cast, we were given vocal scores to begin studying our parts. -
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. -
Boston Symphony Orchestra Concert Programs, Season 94, 1974-1975
Saturday Evening March 15, 1975 at 8:00 Carneqie Hall J 974 1975 SEASON \*J NEW YORK The Carnegie Hall Corporation presents the Boston Symphony Orchestra NINETY-FOURTH SEASON 1974-7 5 SEIJI OZAWA, Music Director and Conductor COLIN DAVIS, Principal Guest Conductor OLIVIER MESSIAEN Turangalila-Syntphonie for Piano, Ondes Martenot and Orchestra I. Introduction Modere, un peu vif II. Chant d ' amour 1 Modere, lourd III. Turangalila 1 Presque lent, reveur IV. Chant d'amour 2 Bien modere V. Joie du sang des etoiles Un peu vif, joyeux et passione INTERMISSION VI. Jardin du sommeil d' Amour Tres modere, tres tendre VII. Turangalila 2 Piano solo un peu vif; orchestre modere VIII. Developpement de 1 ' amour Bien modere IX. Turangalila 3 Modere X. Final Modere, avec une grande joie YVONNE LORIOD Piano JEANNE LORIOD Ondes Martenot The Boston Symphony Orchestra records exclusively for Deutsche Grammophon Baldwin Piano Deutsche Grammophon and RCA Records Turangalila-Symphonie for Piano, Ondes Martenot and Orchestra/Olivier Messiaen The Turangalila-Symphonie was commissioned from me by Serge Koussevitzky for the Boston Symphony Orchestra. I wrote and orches- trated it between 17th July, 1946, and 29th November, 1948. The world first performance was given on 2nd December, 1949, in Boston (U.S.A.) Symphony Hall by the Boston Symphony Orchestra, under the direction of Leonard Bernstein. The piano solo part was played by Yvonne Loriod, who has played it in nearly every performance of the work, whoever the conductor or wherever it was given. Turangalila (pronounced with an accent and prolongation of sound on the last two syllables) is a Sanscrit word. -
3770001904221.Pdf
This is America! Meredith Monk (b. 1942) 1 Ellis Island 3’02 Leonard Bernstein (1918-1990) Symphonic Dances from West Side Story (transcription: John Musto) 2 Prologue 4’18 3 Somewhere 4’29 4 Mambo 2’19 5 Cha-Cha 1’02 6 Meeting Scene 0'41 7 Cool 0’38 8 Fugue 3’02 9 Rumble 2’01 10 Finale 2’27 Philip Glass (b. 1937) Four Movements for Two Pianos 11 Movement 1 6’21 12 Movement 2 4’49 13 Movement 3 6’19 14 Movement 4 5’30 John Adams (b. 1947) Hallelujah Junction 15 Movement 1 6’43 16 Movement 2 2’52 17 Movement 3 5’58 TT: 62’34 3 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Entretien avec Vanessa Wagner et Wilhem Latchoumia Apparu au milieu des années 60 aux États-Unis, le courant minimaliste a longtemps tutoyé l’avant-garde avant de gagner, au fil des ans, une audience beaucoup plus large et de s’imposer comme une étape majeure de la musique contemporaine. Terry Riley, La Monte Young, Steve Reich et Philip Glass, tous américains, sont considérés comme les pionniers de ce courant. Si beaucoup de ces compositeurs contestent l’étiquette minimaliste, réductrice à leurs yeux, leur approche se rejoint dans la recherche de nouvelles structures musicales, comme l’emploi de motifs répétitifs, une certaine forme de dépouillement et l’emploi de certains procédés spécifiques (la technique de « phasing » de Reich, utilisant simultanément des enregistrements avec un léger décalage). Les minimalistes ont intégré de nombreuses influences pour nourrir leur travail, le jazz et l’improvisation pour Terry Riley, la mouvance expérimentale pour La Monte Young, la musique indienne pour Philip Glass, les cultures africaines pour Steve Reich. -
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 -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Bmus 1 Analysis Week 9 Project 2
BMus 1 Analysis: Week 9 1 BMus 1 Analysis Week 9 Project 2 Just to remind you: the second project for this module is an essay (c. 1500 words) on one short post-tonal work from the list below. All of the works can be found in the library; if they’re not available for any reason, ask me for a copy. (Most can be found online as well.) Béla Bartók, 44 Duos for Violin, no. 33: ‘Erntelied’ (‘Harvest Song’) Harrison Birtwistle, Duets for Storab, any two movements Ruth Crawford-Seeger, String Quartet, movt. 2: ‘Leggiero’ or movt. 3: ‘Andante’ György Kurtag, Játékok Book 6, ‘In memoriam András Mihály’ Elisabeth Lutyens, Présages op. 53, theme and variations 1-2. Olivier Messiaen, Préludes, no. 1: ’La Colombe’ Kaija Saariaho, Sept Papillons, movements 1 and 2 Arnold Schoenberg, 6 Little Piano Pieces, Op.19: No. 2 (Langsam) Igor Stravinsky, 3 pieces for String Quartet, no. 1 Anton Webern, Variations op 27: no. 2 What to cover You may format your essay as you wish, according to what best suits the piece you’ve selected. However, you should aim to comment on the following (interrelated) features of your chosen work: • Formal Design o How is this articulated? This may involve pitch / tempo / changes of texture / dynamics / phrasing and other musical features. • Pitch Structure o Use of interval / mode(s) / pitch sets / 12-note chords and other techniques • Nature and Handling of Melodic and Harmonic Materials o How is the material constructed, treated, developed and/or elaboration in the work? Do not forget the importance of rhythm as well as pitch. -
PROGRAM C'd I .:R:F 1=Jj 5D3
PROGRAM C'D I .:r:F 1=Jj 5D3 Piece pour piano et quatuor acordes (1991) ...........':!:!..?:..?::........... Olivier Messiaen (1908·1992) Luke Fitzpatrick, violin Hye Jung Yang, cello Allion Salvador, violin Zack Myers, piano Vijay Chalasani, viola z.. Feuilles atravers les cloches (1998) .................?.~......:c............................ Tristan Murall (b. 1947) Natalie Ham, flute Isabella Kodama, cello Luke Fitzpatrick, violin Steven Damouni, piano 3 Rain Spell (1983) ................................9..;.H.:t..................................... Toru Takemitsu (1930·1996) Natalie Ham, flute Lauren Wessels, harp Ivan Arteaga, clarinet Ania Stachurska, piano Isaac Anderson, vibraphone 4 Les Sept crimes de I'amour (1979) ................. J.?::.: ..f:?..r?.. ................... Georges Aperghis (b. 1945) Sequence I Sequence II Sequence III Sequence IV Sequence V Sequence VI Sequence VII Emerald Lessley, soprano Ivan Arteaga, clarinet Isaac Anderson, percussion INTERMISSION CD2-#l7-1 S'D'1 Quasi Hoquetus (1985) ................./.7:..=..1.........................................Sofia Gubaidulina (b. 1931) Luke fitzpatrick, viola Jamael Smith, bassoon Steven Damouni, piano String Quartet (1964) ........................~.?:.~ ..?:.? ........................Witold Lutoslawski (1913-1994) Introductory Movement Main Movement Luke Fitzpatrick, violin Vijay Chalasani, viola Allion Salvador, violin Hye Jung Yang, cello Program Notes by Luke Fitzpatrick Except Where Noted Piece pour pianoet quatuor acordes(1991) by Olivier Messiaen is one' -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
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. -
The Influence of Plainchant on French Organ Music After the Revolution
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.