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CHAN 9663 Front.Qxd 25/7/07 11:32 Am Page 1 CHAN 9663 Front.qxd 25/7/07 11:32 am Page 1 Chan 9663 CHANDOS A CAPPELLA WORKS BY MESSIAEN, STOCKHAUSEN AND XENAKIS Danish National Radio Choir Jesper Grove Jørgensen CHAN 9663 BOOK.qxd 25/7/07 11:35 am Page 2 Olivier Messiaen (1908–1992) Cinq rechants 19:24 1 I Modéré – Presque vif 5:17 2 II Bien modéré – 3:05 3 III Lent, caressant 4:16 4 IV Très vif 2:41 AKG 5 V Vif 3:59 6 O sacrum convivium! 5:21 Karlheinz Stockhausen (b. 1928) Chöre für Doris 8:45 Helle Charlotte Pedersen soprano 7 1 Die Nachtigall – 2:36 8 2 Armer junger Hirt – 3:05 9 3 Agnus Dei 3:05 10 Choral 3:44 Iannis Xenakis (b. 1922) Olivier Messiaen 11 A Hélène 11:23 12 Nuits 10:04 13 Serment 6:48 TT 65:51 Danish National Radio Choir Jesper Grove Jørgensen 3 CHAN 9663 BOOK.qxd 25/7/07 11:35 am Page 4 Aristophanic line); later he prefers rhythmic – after encountering the music of Messiaen. Pupils of Messiaen figures taken from a medieval Indian treatise Rather they show the influence of the German (hence also the Sanskrit syllables) or, more choral music (up to and including Hindemith’s) often still, rhythms of his own invented in the that he would have sung as a member of the The music here comes long into the western to all three compositions, and Cinq rechants is spirit of irregular Greek or Indian formulae. music academy’s chorus, and perhaps the tradition, but the medium of unaccompanied like Harawi in alluding to Peruvian folk song. Messiaen also imitates, and complicates, influence too of his composition teacher Frank voices is an invitation back to early times, to But it casts its net wider. Messiaen was Le Jeune in his form. His five pieces are Martin in their loose twelve-note technique. origins. In the beginning was the voice. Words thinking of the troubadours, and especially of similarly made of verses and refrains, but the Related in style is the Choral, also dating may appear as secondary, or be absent their albas, or dawn songs, voiced as warnings verses in each case all have the same text and from 1950 and also dedicated to Doris, but altogether. More fundamental, more urgent to lovers of approaching day. Like a change instead by increasing musical with a text of the composer’s own. The than words is the play of vocal sounds. More troubadour himself, he wrote both words and elaboration: new layers may be added (first, presence of two prayers, therefore, among decisive than any text is the pattern of music, and in his words cited examples of second and last sections), the music may be these four pieces of 1950, testifies to the ceremony. lovers: Orpheus, Bluebeard, Viviane, Yseult, the extended and varied (third section) or there young Stockhausen’s intense devotion, and Messiaen, who worked all his adult life in flying couple of a Chagall painting and those may be alterations in a pseudo-instrumental maternal references in both these prayers the church, was familiar with ceremony, and imprisoned in a crystal bubble in a picture by hummed accompaniment (fourth section). must remind us that he lost his mother when decided very early that the original vocal music Hieronymus Bosch. Much more of the text, Altogether the work moves towards and then he was a boy. Apart from a single performance of that ceremony – plainsong – could not be though, consists of meaningless words made away from the ecstatic consummation of its of the Choral by the Cologne music academy bettered. The communion motet O sacrum of syllables from Quechua (the Indian language middle movement, which might be regarded choir, the four settings remained unsung and convivium! (1937) was the only liturgical of Peru) and Sanskrit – words whose function as the Credo – made of music from unpublished until Stockhausen decided to setting he published; its companions are the is to enforce rhythm. Turangalîla transposed into glowing E major – make them available in the 1970s, when his organ pieces he made as similar meditations Rhythm here is paramount. In place of the of a mass of love. music had started to return – in melodic on the eucharist and therefore on eternity met slow-moving concords of the motet, Cinq The religious and the erotic are combined character, autobiographical echoes and now, eternity represented by slow tempo and rechants offers abrasive dissonances and again in Stockhausen’s Chöre für Doris, which fondness for the choral medium – towards its floating harmony. Instead of writing more for monodies, and lines with a vital rhythmic he composed in 1950, when he was studying condition in his youth. the church, he composed ceremonies for the energy. The very title refers to the ‘chants’ and at the music academy in Cologne, and While Stockhausen was writing these concert hall, including, in December 1948, the ‘rechants’ (verses and refrains) of the late dedicated to Doris Andreae, a fellow student choruses in Cologne, Xenakis was attending Cinq rechants for twelve voices. sixteenth-century composer Claude Le Jeune, who in 1953 became his wife. He was no Messiaen’s classes in Paris; Stockhausen would This was the last of three works whose who emphasized rhythm by using minims and prodigy as a composer. At this point his sights be there in two years’ time. Both young men subject is love, informed by reference to the crotchets to underscore the longs and shorts seem to have been set on a career as a music were impressed by Messiaen’s way of building Tristan legend, the others being the song-cycle of poetic metre. Messiaen imitates his teacher, and the choruses give no hint of the music from separate elements, but they went Harawi (1945) and the Turangalîla-symphonie predecessor directly in setting the phrase ‘les extraordinary succession of ground-breaking in quite different directions – from each other, (1946–8). Some musical themes are common amoureux s’envolent’ (in Greek metre an works on which he was to embark the next year as from their teacher. For Xenakis, the 4 5 CHAN 9663 BOOK.qxd 25/7/07 11:35 am Page 6 analytical approach helped in the creation of The Danish National Radio Choir was Academy of Music. He regularly conducts the conducting opera and musical productions in mass effects, stimulated partly by his founded in 1932 and appears regularly in the Danish National Radio Choir as well as choirs Danish theatres. He has taught choral mathematical interests and partly by his Thursday Concerts of the Danish National in the Netherlands, Germany and Norway. conducting for many years both in Denmark memories of wartime demonstrations in Radio Symphony Orchestra. The choir has Since 1987 he has been conductor of the and other countries. He often serves as a Athens against the German occupying forces. performed under eminent conductors such as Copenhagen University Choir Lille MUKO jury member in international choir Nuits for twelve voices (1967) was specifically Fritz Busch, Rafael Kubelik, Sergiu Celibidache, with whom he has achieved international competitions, and he has been president of designed as an appeal on behalf of political Kurt Sanderling and Giuseppe Sinopoli. acclaim in festivals and competitions. He often the Danish association of choral conductors prisoners, an appeal that is all the more Stefan Parkman, chief conductor since appears with Danish orchestras as well as since 1996. effective for being voiced without words, 1988, Uwe Gronostay, principal guest conductor using, according to the composer, Sumerian from 1992 to 1998, and a variety of guest and old Persian phonemes. conductors, including Eric Ericson, Rupert Huber Around the time of Nuits, Xenakis was and Stephen Layton have been entrusted with involved with writing choral music for ancient the a cappella repertoire, which takes up a little dramas (by Aeschylus and Seneca), and the more than fifty per cent of the Choir’s work. piece carries over from that work a certain The Choir’s tours all over Europe, Australia, monumental, ceremonial character that is not Canada and the USA, its many CD-releases and at odds with its vivid immediacy and its appearances by invitation in most of the contemporaneity. A Hélène for women’s or leading music festivals, including those in men’s voices (1977) comes from a later Flanders, Schleswig-Holstein, Malmö Baroque incidental score, written for a Euripides Festival, Tampere International Choir Festival, performance at Epidaurus. Serment (1981) is Oslo Ultima Festival and the 1992 BBC a setting of the Hippocratic oath, composed Promenade Concerts in London, together with for an international cardiovascular congress in concerts at Alte Oper in Frankfurt and Athens, but again non-verbal sounds are used, Konzerthaus in Vienna, have confirmed the including loud breathing noises. ‘Patients sigh Choir’s position on the great music stages of like that,’ the composer has remarked, ‘when Europe. Since 1994 the Choir has made regular they’re suffering – that’s why I put it in, as a appearances in Vienna, The Hague and London very concrete aspect of the healing of the as part of the series Great Choirs of Europe. sick.’ Such a graphic image from life, though, can sound like a gesture in another ritual. Jesper Grove Jørgensen studied choral conducting at the University of Copenhagen © 1999 Paul Griffiths and orchestral conducting at the Royal Danish 6 7 CHAN 9663 BOOK.qxd 25/7/07 11:35 am Page 8 Gesangslinien mit einer vitalen rhythmischen Musik, in strahlendes E-Dur transponiert – Schülers von Messiaen Kraft. Schon der Titel nimmt Bezug auf die einer Messe für die Liebe angesehen werden “chants” und “rechants” (Strophe und Refrain) könnte.
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