2~ Onde _ JACQUES CHARPENTIER 4~ Mf)uvun~ ..t I~CD· ~~~~jia!i!~~ @) •• I'···~ ~Ond. 4~ Ond. Quatuor pour Ondes Martenot ® @) t ..~ Jacques Charpentier est ne it Paris Ie 18 octobre 1933. II debute I'etude de la musique Ie jour de l'anniversaire de ses cinq ans avec Maria Cerati. Eleve au Conservatoire National ANDRE JOLIVET Superieur de Musique dans les classes de Tony Aubin et d'Olivier Messiaen, il y obtient Ie premier prix de composi­ TROIS POEMES POUR tion musicale et Ie premier prix de philosophie de la musique. ONDES MARTENOT ET PIANO (1935) En plus de la composition, il se consacre a l'etude des «SERIMPIE» musiques de tradition orale, de l'orgue et de la direction Le titre SERIMPIE est une creation plaisante de Jolivet sur Ie d' orchestre. modele du mot ESTAMPIE. L'estampie, une des plus anciennes danses connues au Moyen-Age, s'executait parfois En 1966, annee de la creation par Andre Malraux du Service sur l'orgue portatif. Ici, rorgue est remplace par les Ondes de la Musique au Ministere della Culture, Jacques Charpen­ Martenot et ala technique modale et ulterieurement tonale a tier est nomme Inspecteur Principal de la Musique. Depuis ete substituee la technique serielle, d'ou la premiere partie du cette date, il prend une part determinante atoutes les actions titre insolite (Georges Hacquard). entreprises par !'Etat en faveur de la reorganisation de la musique en France, notamment dans les domaines de «ONDES» l'enseignement specialise, des orgues, du chant gregorien, des Ce poeme a ete ecrit it l'intention de Maurice Martenot qui l'a musiques traditionnelles et celles des departements et cree lui-meme it la Societe Nationale Ie 6 mai 1939. territoires d'Outre Mer. Au fur et amesure que s'etendent les activites de ce service, qui deviendra Direction en 1970, Andre Jolivet avait ete impressionne par une demonstration Jacques Charpentier se voit confier des responsabilites de de rOnde Martenot construite par Maurice Martenot pour plus en plus importantes: celles d'Inspecteur General en Rabindranath Tagore. 1975, celles de Directeur de la musique, en 1979 au Ministere Cette audition avait ete donnee en presence du compositeur, de la Culture. de Honegger, Thiriet, Auric. II fonde Ie centre d'etudes gregoriennes et de musiques « CHANT D'OPPRESSION» traditionnelles comparees du bassin mediterraneen a l'Ab­ Apres une introduction etablissant une atmosphere de baye de Senanque et Ie Festival International des Milleli douleur contenue, qui sera celle de tout Ie marceau, Ie piano (Ajaccio). fait entendre de sourdes batteries au-dessus desquelles l'Onde Vice-President du concours international d'orgue de Char­ exhale une melopee plaintive. Cette melopee s'eleve jusqu'au tres, il est egalement organiste titulaire du grand orgue de lyrisme d'un chant. I'eglise Saint-nicolas du Chardon net a Paris. ' Mais apres plusieurs tentatives envolees dont l'une particulie­ rement vehemente et angoissee, ce chant retombe encore et En outre, Jacques Charpentier est un collaborateur regulier s'acheve dans une phrase desoJee. Les toutes dernieres de Radio-France. mesures nous laissent sous une impression de contemplation Jacques Charpentier est Fun des compositeurs les plus resignee ... feconds de sa generation. Parmi ses reuvres, 80 ouvrages a ce Et si ce morceau meritait des conclusions, elles seraient les jour, on citera particulierement les «Etudes karnatiques,> suivantes: pour Ie piano, «Beatris», opera en langue d'oc, cree, sous la - la revolte n'a que peu de chance d'apporter la liberation. direction de I'auteur, au Festival d'Aix-en-Provence en 1971, - l'epreuve n'est salvatrice que si elle est consentie. «Prelude pour la Genese» pour cordes, les 3° et 4° symphonies, la 6° symphonie (avec orgue), Ie «Te Deum», Au point de vue esthetique cette reuvre est en dehors de une dizaine de «Concerts» pour differents instruments toutes les conventions de forme et d'ecriture harmoniques solistes et cordes; enfin, ses reuvres pour orgue dont Ie « Livre habituelles. Son analyse technique plus poussee nous montre­ d'Orgue». rait que son auteur y obeit deja aux principes incantatoires qu'il a appliques depuis dans ses reuvres (Cinq incantations C'est a I'age de vingt cinq ans que Jacques Charpentier ecrivit pour flute seule, etc). ses nombreuses reuvres pour On des Martenot. En effet, cet Le salut final est un acte de foi (Andre Jolivet). instrument Ie captivait. Outre les deux Concertos d'Ondes Martenot pour grand orchestre et orchestre de chambre, «Lalita )', « Suite Karnatique )', « Le Quatuor pour Ondes Martenot» fut Ie premier quatuor d'Ondes. Ce quatuor porte DARIUS MILHAUD en sous-titre Ie mot RASIKAPRYA, nom du mode Karnati­ SUITE que sur lequel il est entierement ecrit. Darius Milhaud, qui avait suivi avec un vif interet les progres de l'instrument d'Ondes Martenot depuis Ie premier recital Void ct m()de: public a l'opera de Paris en 1928, fut sollicite par Charles DuBin en 1932, pour ecrire la musique de scene du «Chateau ®~~~~ des Papes». L' exiguite du plateau du Theatre de I'Atelier et la variete des sonorites du nouvel instrument l'inciterent a Chaque ins.trument utHise unt Tonique ditferentt de cellt des trois 3utres. f'Xctptt pour ecrire une partition pour Ondes Martenot et petit orchestre. Ie 3~ mouvtmtnt dans lequel ltS quatn! Ondes utilisent Ie mode' naturel. L'auteur lui-meme en fit une presentation nouvelle pour Void. pour chaQue: mouvement. "annature de chaque instrument; Ondes Martenot et piano. It!.f Mouvement En 1933, cette « Suite)} etait donnee en premiere audition it e I'Ecole Normale de Musique de Paris. l(§:t t~~~~§~ 2<;Ond. t~~~~~~ @ :l Les differences d'inspiration dont ces pieces sont issues 4~Ond. ={~~j£~~~ mettent en relief a la fois, la diversite et I'originalite des 3~@t i~~~~~~ ® '1 timbres et de leur registration. l! Mouvement "

Furthermore, Jacques Charpentier is a regular contributor to Radio­ France. Jacques Charpentier is one of the most prolific composers of his generation. Among his works, numbering 80 at the present time, we can mention particularly the Etudes karnatiquesfor piano. Beatris, an opera in langue d'oe, which received its first performance conducted by the composer at the Aix-en-Provence Festival in 1971, Prelude pour Ia Genese for strings, the Third and Fourth Symphonies, the Sixth Symphony (with organ), the Te Deum, about ten Concerts for different solo instruments and strings; lastly, his organ works, ofwhich the Livre d·Orgue. Jacques Charpentier composed a large number of works for Ondes Martenot when he was 25. Indeed, he was captivated by thL5 instrument. Besides the two Concertos for Ondes Martenot, with large orchestra and for chamber orchestra, Lalita, the Suite Karnatique, the Quartet for Ondes Martenot was the first work to be written for four Ondes. The quartet bears the sub-title the word RASlKAPRYA, the name of the Carnatic mode on which it is entirely composed. Here is this mode: See French text (a) Each instrument uses a different Tonic from the three others, except in the 3rd movement where the four Ondes use the natural mode. Here, for each movement, are the accidentals for each instrument: 1st Movement 1st Onde: see French text (b) - 2nd Onde.· see French text (c) 3rd Onde: see French text (d) - 4th Onde: see French text (e) 2nd Movement 1st Onde: see French text (f) - 2nd Onde: see French text (g) 3rd Onde: see French text (h) - 4 th Onde: see French text (i) In the 2nd movement, a series of subsidiary values enters which, in the natural mode (on C), is as follows: see French text 0).

3rd Movement The four Ondes use the Camatic mode on C: see French text (k). 4 th Movement 1st Onde: see French text (l) - 2nd Onde: see French text (m) 3rd Onde: see French text (n) - 4th Onde: see French text (0)

ANDRE JDUVET TROIS POEMES FOR ONDES MARTENOT AND PIANO (1935) "SERIMPIE" The title SERIMPIE is Jolivet's own pleasant invention derived from the word ESTAMPIE. The estampie, one of the oldest known dances ofthe Middle Ages, was sometimes performed on the portalive organ. The Ondes Martenot take the place of the organ here the modal and, later, tonal techniques have been replaced by the serial technique, hence the first syllable of the unusual title (Georges Hacquard). "ONDES" This poem was composed for Maurice Martenot who gave the work its first performance at the Societe Nationale on 6th May 1939. Andre lolivet had been impressed by a demonstration of the Ondes ...... Martenot built by Maurice Martenot for Rabindranath Tagore. This performance took place in the presence of the composer, • revolt has but little chance of bringing freedom. Martenot with great interest since the instrument made its first public Honegger, Thiriet and Auric. • ordeal is only salvation if it is accepted. appearance at a recital in the Paris Opera in 1928, was asked by From a stylistic point of view, this work falls outside any customary Charles Dullin in 1932 to compose the incidental music for the "CHANT D'OPPRESSION" formal and compositional conventions. A more thorough technical Chateau des Papes. The limited size of the stage at the Atelier Theatre an introduction establishing a mood of controlled suffering, analysis would show us that the composer was already conforming to and the varied sounds of the new instrument urged him to write a score is to be the mood of the whole piece, the piano plays muffled the spell-binding principII's he later applied to his works (Cinq for Ondes Martenot and small orchestra. The composer himself percussive sounds over which the Onde emits a plaintive recitative incantations for unaccompanied flute, etc). arranged it for Ondes Martenot and piano. which rises to the level of a true melody. The final salute is an act of faith (Andre lolivet). In 1933, this Suite was given its first performance at the Ecole Normale But after several attempts to take flight, one of which is particularly de Musique in Paris. violent and distressed, this melody falls back once more and ends in a grievous phrase. The very last bars leave us with a feeling of resigned DARIUS MILHAUD The different sources of, inspiration for these pieces bring out contemplation ... SUITE Simultaneously the diversity and originality of the timbres and their And if this piece deserved conclusions, they would be the following: Darius Milhaud. who followed the development of the Ondes registration. Jeanne LORIOD aexecuter les reuvres les plUS OlItlClleS oes Jianni LUKlUlJ Jeanne LUJYvonne LORIOD began her pianistic career la classe de Maurice Martenot creee par Dans la perspective immense qui s'ouvre aux tered the class of Maurice Martenot created by very early; at 14 she was already giving Claude Delvincourt en 1946 au Conserva­ instruments electroniques, la personnalit6 Claude Delvincourt in 1946 at the Paris Con­ recitals with Beethoven's thirty-two sonataS, toire National Superieur de Musique de artistique de Jeanne LORIOD s'impose servatoire. She received the first medal, first Bach's Well-tempered clavier, the works of Paris. Elle recevra la premiere medaille, comme celie d'une brillante initiatrice. named with the congratulations of the jury. Chopin. premiere nommee avec felicitations du Jury. Jeanne LORIOD immediately recognized the Having secured seven Premiers Prix at the De cet instrument, Jeanne LORIOD recon­ Yvonne LORIOD amazing possibilities of this instrument, the Paris Conservatoire, she added to her reper­ nait immediatement les etonnantes res­ exceptional variety of timbres, the subtlety of tory the complete works of Debussy, Ravel, Yvonne LORIOD commen~a, tres jeune, sa sources, I'exceptionnelle variete de timbres, SchUmann, Bartok, Schoenberg, Albeniz, carriere pianistique: quatorze ans, elle expression, the powerful wealth of musical la subtilite d'expression, la puissante richesse a Jolivet, Messiaen. donnait deja des recitals avec les trente deux thought. A new world ofsound opened before de pensee musicale. C'est un nouveau monde sonates de Beethoven, Ie «Clavecin bein her. She was the first pianist to perform Mozart's des sons qui s'ouvre devant elle. tempere» de Bach, et I'reuvre de Chopin. Jeanne LORIOD gave her first concert on twenty-one concertos in seven concerts with Jeanne LORIOD donne son premier concert 29th november 1950 at the Saint Cecilia orchestra. In Paris, she has given the first Nantie des sept Premiers Prix du Conserva­ Ie 29 novembre 1950 l'Academie Sainte­ Academy in Rome, and began a brilliant performances of concertos by Schoenberg, a toire National Superieur de Musique de cecile de Rome, et commence une brillante career as a soloist. She visited all the countries Bartok, and most of the works for piano, two Paris, elle ajoute a son repertoire I'reuvre carriere de soliste. Elle se rendra dans tous of Europe, in North America, in Central pianos, piano and orchestra by Olivier Mes­ integrale de Debussy, Ravel, Schumann, les pays d'Europe, en Amerique du Nord, en America, in the Soviet Union, in North siaen, whom she married. Bartok, SchOnberg, Albeniz, Jolivet, Mes­ Amerique Centrale, en U.R.S.S., en Afri­ Africa, and haS given concerts with the most She has played in all the European capitals, siaen. que du Nord, y donnera des recitals et des reputed orchestras and conductors: Orchestre including Scandinavia, in Africa and the two concerts avec les orchestres et les chefs les Elle fut la premiere pianiste a donner en sept de Paris, Orchestre de ['Opera de Paris, the Americas, with the most famous conductors. plus reputes: Orchestre de Paris, Orchestre concerts avec orchestre, les vingt et un Berlin Philharmonic Orchestra, the London At the present time, she teaches the piano at de l'Opera de Paris, Orchestre Philharmoni­ concerti de Mozart. Elle a cree a Paris les Symphony Orchestra, the Lenigrad Philhar­ the Paris Conservatoire, and can already be que de Berlin, London Symphonic Orches­ concerti de SchOnberg, de Bartok, et la monic, the Amsterdam Concertgebouw, the proud to have had twenty-six Premiers Prix tra, Philharmonie de Leningrad, Concertge­ plupart des reuvres pour piano, deux pianos, Boston Symphony Orchestra, the orchestras for piano in her class. On twelve occasions, bouw d'Amsterdam, Boston Symphony et piano et orchestre d'Olivier Messiaen, of Chicago, San Francisco, Pittsburgh, etc., she has received awards for her recordings by Orchestra, les orchestres de Chicago, San dont elle est devenue repouse. under Ozawa, Boulez, Rosbaud, Previn, the Grand Prix du Disque. Francisco, Pittsburgh, etc., sous la direction Cluytens, Munch ... Elle a joue dans toutes les capitales d'Eu­ de Ozawa, Boulez, Rosbaud, Previn, Cluy­ Her repertory consists of fourteen concertos SEXTUOR JEANNE LORIOD tens, Munch ... rope, de Scandinavie, d'Afrique et des deux Ameriques, avec les chefs d'orchestre les for Ondes Martenot and orchestra, fifty works Fonde en 1974 par Jeanne Loriod avec ses Son repertoire comprend quatorze concertos plus celebres. with a concerting part, two hundred chamber anciens 6leves, Ie «Sextuor' Jeanne Loriod » se pour Ondes Martenot et orchestre, cin­ works. She has given the first performance of produit indifferemment en duo, trio, quatuor, quante reuvres pour partie concertante, deux Elle est actuellement professeur de piano au about a hundred works, by Jolivet, Honegger, Conservatoire National Superieur de Musi­ quintette ou sextuor, formations qui lui permet­ cents reuvres de musique de chambre. Elle J. Charpentier, Landowski, Messiaen, etc. tent d'interpreter toute la litt6rature de musi­ crea pres d'une centaine d'reuvres, de Joti­ que de Paris, et peut deja s'enorgueillir d'avoir eu, dans sa classe, vingt-six premiers At the same time as her soloist career, Jeanne que de chambre ecrite pour les ondes Martenot. vet, Honegger, Charpentier, Landowski, II donne de nombreux concerts en France et en Messiaen, etc. prix de piano. LORIOD teaches the Ondes Marlenot and chamber music: Ecole Normale de Musique, Europe, Belgique, Allemagne, Italie, Suisse et Parallelement asa carriere de soliste intern a­ Par douze fois, elle a re~u pour ses enregis­ Schola Cantorum, the Saint-Maur regional a cree des reuvres de Jacques Bondon, Jacques tionale, Jeanne LORIOD se cons acre aussi a trements Ie Grand Prix du Disque. conservatory where she created the first titular Charpentier, Charles Chaynes, Michael Le­ l'enseignement des Ondes Martenot et de la class for the Ondes Martenot. In 1970, she vinas, Alain Louvier, Tristan Murail, Ivan musique de chambre: Ecole Normale de succeeded Maurice Martenot at the Paris Wyschnegradsky, etc. Musique, Schola Cantorum, Conservatoire Conservatoire. Through her instrumental National de Region de Saint-Maur oil eIle research and teaching, Jeanne LORIOD has *** cree la premiere classe titulaire d'Ondes developed the technique of the Onde Mar­ Founded in 1974 by Jeanne Loriod with her Martenot. En 1970, elle succede a Maurice tenot, thus allowing young performers to play former pupils, the "Sextuor Jeanne Loriod" has Martenot au Conservatoire National Supe­ the most difficult works by contemporary given many concerts in France and abroad: rieur de Musique de Paris. composers. She is at present working on a Belgium, Germany, Italy, Switzerland. I' teaching manual which will be entitled: La ·)par ses recherches instrumentales et son It has given the first performances of works by enseignement, Jeanne LORIOD a deve­ technique de rOnde electronique. Jacques Bondon, Jacques Charpentier, Charles 11 loppe la technique de rOnde Martenot, In the vast perspective which opens to elec­ Chaynes, Michael Levinas, Alain Louvier, Tris­ "\\ permettant ainsi aux jeunes interpretes tronic instruments, the artistic personality of tan MuraU, Ivan Wyschnegradsky, etc. -~ LESONDES lV\ARTENOT par /e SEXTUOR JEANNE LOR/DO et YVONNE LOR/DO, pianiste

Face 1 (24'15) JACQUES CHARPENTIER (ne en 1933) Quatuor pour ondes Martenot 1. Tres modere 3'45 2. Vif et agite 3,35 3. Tres lent 9' 10 4. Moderement agite 3'25 (1 "' enregistrement mondial realise en presence du compositeur) mne LDRIDD, Valerie HARTMANN-CLA VERIE, Philippe RA YNAUD, Pascale ROUSSE-LACORDAIRE (du (( Sextuor Jeanne LORIDD II Grand Prix. Academie du Disque Fran<;ais ANDRE JOLIVET (1905-1974) 3 Poemes pour ondes Martenot et piano 1. Serimpie 3'40 Face 2 (22'55) 2. Ondes 6' 10 3, Chant d'oppression 5'00 Jeanne LORIOO, ondes Martenot. Yvonne LOR/OD, piano Grand Prix. Academie du Disque Fran<;ais DARIUS MILHAUD (1892-1974) Suite pour ondes musicales Martenot et piano 1. Choral 3'45 2. Serenade 2'15 3. Impromptu "55 4. Etude 1'20 5. Elegie 3' 15 Jeanne LOR/OD, ondes Martenot. Yvonne LORIOD, piano Piano Steinway Editeurs : Alphonse Leduc, "Quatuor" de J. Charpentier - Editions franCfa ises de Musique, " Suite" de D. Milhaud

En couverture : photo prise au cours de I'enregistrement par Jean-Luc Dubin

------RAPPEL -----­ LES ONDES MARTENOT O. MESSIAEN : Fete des belles eaUl( R. TESSIER : Hexade Sextuor Jeanne Loriod , 4.035 - Cassette C-12.019 MHS 821 MHS 821

Side 1: Side 2: OLIVIER MESSIAEN (b. 1908) FETE DES BELLES EAUX (conclusion) DARIUS MILHAUD (b. 1892) FETE DES BELLES EAUX SUITE for Martenot and Piano for Sextet of Ondes Martenot L Choral 4. Etude 2. serenade 5. Elegie (beginning) 3. Impromptu JACQUES CHARPENTIER (b. 1933) LALITA for Ondes Martenot and Percussion

Nelly CARON, Monique MATAGNE, Renee RECOUSSINE, Karel TROW, Henriette CHAN FORAN, Ondes Martenot John PHILIPS, Piano • Didier DUCLOS, Percussion JEANNE LORIOD, Martenot Solo and Musical Direction ONDES MARTENOT television programs, numerous recordings, several of which have result place in relief the diversity as well as the originality of received the Grand Prix du Disque. the timbres and of their registration. It was at the end of the war of 1914-18 that a young sergeant Now known and esteemed world wide, the Ondes Martenot are commanding a wireless station, Maurice Martenot, noted the played by instrumentalists of great talent, and are taught at the JACQUES CHARPENTIER - Lalita extreme purity of the vibrations produced by radio tubes a ConJf!f'llatoire National S"plirieur Musique de Paris, at the Ecole Jacques Charpentier was born in Paris on Oct. 18, 1933. From then recent creation - and dreamed of using such vibrations to Normale de Musique de Paris and at the Schola Cantorum. 1953 to 1954 he lived in Calcutta where he experienced the enrich music with new sonorities. JEANNE LORIOD revelation of Indian music. He returned to France to enter the After an initial series of researches in the domains of sound C01Jsefl'dtoi,-e National Sup,§.-ieur de Musique where, in 1956, he and electronics, the inventor presented to the Parisian public, on a OLIVIER MESSIAEN - Fete Des Belles Eaux won first prize in Philosophy of Music in the classes of Professor May evening of 1928 at the Paris Opera, the world's first electronic It was the year 1937. In addition to the magnificent Exposition Olivier Messiaen; and, in 1958, first prize in Composition in the musical instrument. It was a triumph! which was attracting the curious from the world over, Paris had classes of Professor Tony Aubin. In spite of his youth, Jacques It was, in fact, a veritable revolution which his instrument organized festivals of sound, of water, and of lights which, at Charpentier already has to his credit a sizeable catalog of important portended, both to traditional concepts of orchestration and to the night-fall, unfolded across the Seine vast audio-visual spectacles works. The majority of his works have been published by Alphonse personal expression of the musician. One of the principal qualities where sky-rockets exploding in the sky and the spouting of great Leduc. of the Martenot is its ability to realize with great facility and of water mingled with the harmonies of symphonic scores. For L"litd is the act of Sacred Love which Consumes at each new unequaled intensity the most subtle expressive intentions. musical ornamentation of these soirees, Paris commissioned 20 dawn the Earth and the Sun. It is the loying expectation of the The Martenot can be played in two ways: scores from 20 composers. Earth that is going to satisfy, for fertilizing her, the solar ardor. I was one of the 20. My colleagues chose orchestral works, After a melodic solo entrusted to the Martenot, which expresses 1. At the keyboard (7 octaves) permitting virtuosity equal to the nostalgic expectation of the nocturnal world, the metallic that of pianists; the keyboard is extremely flexible, offering to the choral works, or chamber works. I had the idea of writing for an Ondes Martenot sextet. The sounds were to be amplified through percussion joins with the trills of the Martenot to sing of the first performer the incomparable advantage of being able to express shivers preceding the coming of the dawn. himself in his own personal vibrato. loud speakers placed on all the buildings bordering the Seine. The Ondes Martenot were perfectly suited to such open-air music. After a short period of repose, the thousand and one flames of 2. The "speaking" play: by ribbon (also 7 octaves) possessing Specialized architects supplied me with large, minutely detailed nascent day spread over all the Earth in order to produce qualities of inflection identical to those of the voice and of diagrams of the particular festival event which had been assigned to one single flame and one single brightness in an ecstacy of light. stringed instruments, thus giving the possibilities of glissandi me. Thc form and the music of the work were thus absolutely The work ends in the reconciliation of the two elements, united at the will of the executant. dependent on these imposed details. The night is mysterious, the in a new day. Within reach of the player's left hand is found a small slide deep watcr has a funereal aspect, the rockets are gay, playful, JEANNE LORIOD where are arranged: light, the fire works show the same playful character. On the other JEANNE LORIOD 1. A key which serves the same purpose as the bow of the hand, the fountains of water are furious and terrible, or dreamy Jeanne Loriod was an outstanding student in both her secondary violinist or the breath of the wind player; with one simple touch and contemplative. It is this latter feeling which predominates, and and musical studies_ At the age of 18, she dedicated herself com­ of the finger one covers the gamut of intensity from the lightest at the two moments of climax of the Festival of Beautiful Water, pletely to the Ondes Martenot and entered the Conservatoire pianissimo to the most extreme fortissimo. This key also permits that is, the two times when the water attains its maximum height, Nationdl Superieur de MI/Jique to study in the classes of Maurice varied types of attack. one hears a long, slow phrase, nearly a prayer, which makes the Martenol. 2. Some small hunons which control the Martenot's loud water a symbol of Grace and Eternity, according to the words of In Martenot's instrument she recognized immediately the speakers and regulate the multiple combinations of timbres, from the Gospel according to St. John: "The water which I shall give astonishing resources, the exceptional variety of timbres, the the pure sound, completely stripped of harmonics, to that of the will become a spring of water rising up to eternal life." subtlety of expression, the mighty richness of musical thought. most complex instruments. The buttons also impart to the speakers OLIVIER MESSIAEN It was a new world of sound which opened before her. qualities which may be described as "metallic" and "flat." DARIUS MILHAUD - Suite Her awards obtained unanimously with the congratulations of Finally, a knee-lever which may be used in place of the key, the jury, Jeanne Loriod began her brilliant career as soloist. Darius Milhaud, who has followed with lively interest the Accompanied by the most celebrated international orchestras she thus freeing the left hand to join the right hand at the keyboard. progress of the Ondes Martenot since its first public recital in 1928, The aim of Maurice Martenot, who was endowed with an played the works of 150 composers, among them Messiaen, Jolivet was approached hy Charles Dullin in 1932 for the purpose of writ­ exceptional and precociously manifested musicality, was to bring to (1st Concerto for Martenot and Orchestra), Honegger, Milhaud, ing the incidental music to his Chateau des PapeJ. The scantiness of the palette of sound some "colors" hitherto unknown. Delannoy, and others. the stage of the Theatre de l'Atelier and the variety of sonorities This explains why to this day more than 350 composers have Her repertoire includes 8 concertos for Martenot and already written for this instrument; of the new instrument prompted him to compose a score for orchestra, 10 orchestral works which include a roncerlante part Martenot and small orchestra. The composer himself has made a for Martenot, and some 60 chamber works encompassing many a repertoire of 8 concertos, new reduction for Martenot and piano which is recorded here. about a hundred symphonic works, interesting and diverse forms. some 60 operatic works, This Suite was first performed in 1933 at the Ecole Normale She has since been named professor at the Ecole Normale de 25 bailets, de Musique de Paris. Musique de Paris) and appointed to the jury of the Conservatoire. 121 chamber works, The work is in five parts: None other than this young artist, full of enthusiasm and 150 incidental scores for the theater, L Choral. II. Serenade. III. Impromptu. - IV. Etude. ­ pledged to the service of an exceptional musical sensibility, could 500 film scores. V. Elegie. be better able to spread the message of such a genius as Maurice In addition, the Martenot has partiCipated in 1,500 radio and The differences in inspiration of which these pieces are the Martenot.

(Translated trom the Pren.h by James B. Rj&h) Recorded by ERATO, France Library of Congress Catalog Card Nos. Messiaen Mono: R68-2756 / Stereo: R68·2759 the mUSIcal heRltaqe socIety Inc. Milhaud Mono: R68-2757 / Stereo: R68-2760 1991 L\RO.\OWa.y. new YORk, n. y. 10023 Charpentier - Mono: R68-2758 / Stereo: R68·2761

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