Olivier Messiaen (1908–1992) 100th Year Anniversary David Palmer
“He connects with me in the same way that Bach does.” So said Jack Bruce, the British singer-composer and bassist with the rock group Cream, when asked about the effect of Messiaen’s music on him, after one of the concerts of the big Southbank Festival in London ear- lier this year. “I’m not religious, but the spirituality touches me,” he continued. “There is a spirituality about it that you recognize.”1 So grows the impact of Mes- siaen in this centennial year of his birth, as his unique voice from the last century delivers a message that resonates more and more in the 21st century. Musicians love to use anniversary ob- servances to generate performances and study of composers’ works. Often, these commemorations serve to bring forward less familiar music: last year, we heard Buxtehude’s music far more than usual. Messiaen in the 1930s (photo © Malcolm On the other hand, Bach has received Ball, www.oliviermessiaen.org) three major outpourings in my lifetime: 1950, 1985 and 2000, commemorating either his birth or his death. These festi- vals simply gave us Bach lovers an excuse to play his music more than we usually do (or did)—which was already a lot. Messiaen in our time Coming only 16 years after his death, Messiaen’s 100th anniversary celebra- tions embrace both outcomes. In one way, performances and studies of his out- put have never slackened since his death, unlike many composers who go into eclipse. Great Britain has led the way for some time, and now North America is beginning to take Messiaen into the mainstream. Festivals and performances are fl ourishing all this year, and already are continuing unabated beyond De- cember 10, the day of his birth. The music world, in particular the young, is discovering Messiaen in a big way. Re- porting a performance of the Turangalî- Messiaen at Sainte Trinité in 1973 (from the private collection of Nigel Simeone) la-Symphonie, Anthony Tommasini in the New York Times wrote, “A large and ative career, Messiaen was in tune with tists’ depictions of black holes, in which Messiaen in the 1960s (photo © Malcolm noticeably young audience turned up at the scientifi c world of our day. Concepts huge amounts of matter are sucked in Ball, www.oliviermessiaen.org) Carnegie Hall to hear this unorthodox in cosmology, such as time moving at dif- and jets of energy are spewed out over and exhilarating 10-movement work.”2 ferent speeds, found expression in his thousands of light years. In another way, the centennial is stimu- music—indeed, such ideas are the foun- Second, Messiaen’s profound respect lating performances of works not heard dation of his sense of rhythm. The tumul- for creation allies him with the green very often, from Harawi to La Transfi gu- tuous whirling palindrome of Regard VI: earth trends of our time. His abhorrence ration de Notre Seigneur Jésus-Christ to “Par lui tout a été fait” (Vingt Regards sur of the city is well documented, as is his the opera St. François d’Assise. L’Enfant-Jésus) makes me think of those admiration for Debussy and his contem- Two elements in the music may be part marvelous Hubble telescope images of plation of nature. Wherever Messiaen of its growing appeal. Early in his cre- the birth and death of stars, or of scien- traveled, he made time to visit the coun-
/44/ (%533 /2'!. 0!243 Messiaen in the 1980s (photo © Malcolm 4RADITION AND 0ROGRESS Ball, www.oliviermessiaen.org) tryside nearby, taking great pains to no- tate the songs of the indigenous natural &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN musicians, i.e., the birds. The near-scien- CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND tifi c accuracy with which he notated bird- ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS song far surpassed any other composer’s depiction of ideas from nature. In Cata- logue d’oiseaux for piano, he gives us the /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY songs of birds of France and sets them MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR musically in their environment. The cy- EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP cle is an enthralling soundscape as music MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES on its own, but he adds another layer of meaning by indicating in the score the specifi c birds and the details of the scen- 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING ery. Birdsong appears in the organ music 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS as early as L’Ascension (1933), but not until Livre du Saint Sacrement (1984) do %VERYWHERE AND AROUND THE WORLD we encounter both birds and their natu- ral setting together. In VI: “la manne et /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING le Pain de Vie,” Messiaen fl ings a few in- cantations of the mourning chat and the desert lark out over the vastness and heat of the Judean desert (represented by the high drone of the Récit Cymbale and the /44/ (%533 'MB( n 'ERMANY dry trillings of the Positif Clarinette). 0HONE n s &AX n The music for organ E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE The organ music represents every peri- od of his creative output. Organists were among the earliest to program Messiaen
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Dec 08 pp. 24-25.indd 24 11/12/08 11:08:01 AM logues, including reissues of earlier ones For example, if one is learning the Médi- derives from Dupré’s style, as Latry ob- packaged for the anniversary year. In the tations, listening to La Transfi guration serves. All are published by Leduc. organ repertoire, must-haves for me are de notre Seigneur Jésus-Christ, the mas- “The only real music for the organ is the sets by Hans-Ola Ericsson, Olivier sive work for orchestra and chorus that by Bach and Messiaen,” is a remark at- Latry, and Dame Gillian Weir, in addition immediately preceded it, will greatly tributed to Alun Hoddinnott, the Welsh to those recorded by Messiaen himself. deepen understanding. Many of the ele- composer who died earlier this year. Al- When all is said and done about re- ments new to his language at that time though Messiaen played Bach and taught cordings, hearing a live performance is are common to both: Gregorian chant analysis of the B-minor Mass and St. the surest way to feel its impact. And quoted in its literal form (not channeled Matthew Passion, he didn’t regard him- there are many in the U.S. and Canada through the prism of his own modes), self as an heir to Bach. Yet their music, this year, as two websites show. Boston thick dissonant chords dissolving into in its expression of faith through highly University’s Messiaen Project,6 edited pure triads, birdsong in profusion, and structured and uncompromising musical by Andrew Shenton, offers a calendar chorale-like movements—all of which languages, unites them. Bach never ceas- of performances and conferences going take us into the sublime in a way at once es to awe listeners, both experienced and on around the world. The site is also a more simply and yet powerfully than new. In his centennial year, Messiaen is major source of scholarly articles, list of he had achieved previously. In another fl ourishing as a parallel and potent spiri- recordings, fi lms, and Internet resourc- example, the Livre du Saint Sacrement tual voice in a crowded, secular world. ■ es, among others. Percussionist Malcolm (1984) becomes more understandable Ball has set up a similarly wide-ranging through familiarity with the opera St. Notes site.7 Admittedly most performances will François. In the latter, elements of nar- 1. (“Messiaen—a life in color: part 2”). 2. New York Times, April 6, 2008. article appears, but they continue on into of contemplation on the growth of grace 3. Clyde Holloway, The Organ Works of the 101st year, as Ball’s and Shenton’s in Francis. In the eleventh movement of Oliver Messiaen and Their Importance in His calendars show. YouTube presents some the Livre, we experience the disbelief Total Oeuvre. Ann Arbor, MI: University Mi- Olivier Messiaen treasures, as well. For example, a video and then the overwhelming joy of Mary crofi lms, 1974. clip from Messiaen’s class in 1953 trans- Magdalene as she sees the risen Christ. 4. Almut Rössler, Contributions to the mits his enthusiasm for discovery and for This passage of narrative is a fi rst in the Spiritual World of Olivier Messiaen. Transl. passing it on to the young.8 organ oeuvre, and calls for an appropri- from the German by Barbara Dagg and Nancy ately dramatic interpretation. Poland. Duisburg: Gilles und Francke, 1986. Messiaen and improvisation 5. Christopher Dingle, The Life of Messi- Since Messiaen’s death, Yvonne Loriod- aen. Cambridge: Cambridge University Press, Another shows him improvising at La Messiaen, the composer’s widow, has la- 9 2007. Peter Hill and Nigel Simeone, Messi- Trinité, and proffers telling insights into bored tirelessly in gathering manuscripts aen. New Haven and London: Yale University the link between his own improvisations together and seeing them through to Press, 2005. over more than 60 years at La Trinité publication. Messiaen was never able to 6. . and his compositions. The freedom and fi nd time to make his lecture notes avail- 7. . inspiration of the moment evident in able in a treatise, as he spoke of often in 8. (“Messiaen on Debussy and Colour”). 9. (“Messiaen organ improvisation”). in his output. In interviews, he spoke of- teaching, on everything from Gregorian 10. Claude Samuel, Olivier Messiaen: Mu- ten of his improvisations: how he vowed chant to Wagner’s Tristan, and published sic and Color. Conversations with Claude never to waste so much energy again af- them over the years 1994–2002, in the Samuel. Transl. by E. Thomas Glasow. Port- ter summing them up in Messe de la Pen- seven-volume work, Traité de rhythme, land: Amadeus Press, p. 25. tecôte,10 and how improvisations at La de couleur and d’ornithologie. Among 11. Ibid., p. 125. Trinité accompanying a sermon in 1967 Messiaen’s other manuscripts, she dis- 12. Erato STU 71104 (vinyl). on the Holy Trinity led to the Médita- covered three organ pieces that offer 13. Samuel, Olivier Messiaen, p. 13. 11 14. Olivier Latry, Notes for Complete Organ tions sur le mystère de la Sainte Trinité. worthy additions to the repertoire: Of- Works. CDs, Deutsche Grammophon. The YouTube video gives an example of frande au Saint Sacrement (probably Messiaen (photo credit Andrew Shenton, www. an improvisation that shows clearly the written in 1928). As Olivier Latry points David Palmer is a professor in the School oliviermessiaen.net) origin of some of his compositions. While out in his editorial notes, it is an impro- of Music at the University of Windsor, Ontar- choosing stops, he announces the litur- visation reminiscent of those of Tour- io, Canada. He has given many recitals and gical theme on which he will improvise. nemire. The Monodie dates from 1963, workshops on the music of Messiaen, includ- Then comes a high pedal tone on the written for his assistant Jean Bonfi ls.14 ing the Canadian premiere of the Livre du Cymbale of the Récit (representing the The Prélude, probably written in 1929, Saint Sacrement in Toronto in 1990. Star seen by the Magi), followed by tri- ads in one of his modes of transposition, and the Gregorian chant for Christmas, The Cathedral of Christ the Light “Puer natus est nobis.” The piece re- minds one of movement V (titled “Puer O A K L A N D, C A L I F O R N I A nobis est natus”) from the Livre du Saint Sacrement. It also brings to mind other We are pleased to announce movements of the Livre as well, especial- the completion of the first ly movement VI (“la manne et le Pain de phase of our organ project Vie”) characterized by sustained chords with the Cathedral of Christ on Récit Cymbale, making us feel the in- the Light in time for the tense heat of the desert of Judea. In 1979, Messiaen recorded a read- Mass of Dedication held on ing of L’âme en bourgeon (The Soul in September 25, 2008. The Bud) by Gisele Casadesus, with his own remainder of the instrument improvisations recorded at La Trinité as will be constructed in our 12 interludes and commentary. This cycle workshops over the of poems written by his mother, the poet Cécile Sauvage, when she was pregnant coming six months and with him, had a lifelong infl uence on will be installed during him.13 Messiaen improvises using at least the late summer of two musical ideas from both earlier and 2009. The completed Messiaen in 1945 (from the private collection future works. One of them is a favorite instrument will feature of Nigel Simeone) melody on the Cornet (fi rst written for Cantéyodjaya, and later incorporated four manuals, 75 in recital, and there are several tributes into the Offertoire of the Messe de la independent stops this year: Gail Archer (New York), Jon Pentecôte). The other idea, a chromatic, (excluding borrows), 90 Gillock (Pittsburgh), Paul Jacobs (New turbulently ascending passage on the ranks and 5,335 pipes. York and New Haven), John Scott (New fonds d’orgue, forecasts the opening of The design of the organ’s York), Patrick Wedd (complete works in movement XI (“L’apparition du Christ Montreal), and Dame Gillian Weir (Chi- ressuscité à Marie-Madeleine”) of the twin façades was developed in collaboration with cago), to cite a few. Livre du Saint Sacrement. Music given the Cathedral’s architect, Craig Hartman of For organists who have dipped their genesis by his mother’s poetry written Skidmore, Owings & Merrill, and will suggest a foot into the Messiaen pond, or who are exactly 100 years ago is particularly mov- natural forest with numerous wooden pipes. interested in doing so, this article offers ing to hear in this centennial year. We are honoured to have been selected by the Cathedral of Christ the Light’s thoughts about getting to know this ex- traordinary body of music, especially the The music for other instruments Organ Committee to design and build this significant new pipe organ for organ cycles and pieces. For organists, getting to know Messi- Oakland’s resonant new Cathedral. For more information, visit our website at First of all, there is much to read. All aen’s music for other performing media the address below or the Cathedral’s website at www.ctlcathedral.org. his life, Messiaen spoke at great length can be exhilarating, if not at least infor- about his music—its ideas, its structure mative. During my own odyssey in dis- and the faith it sprang from. Others fol- covering it, hearing pianist Robert Sher- ORGUES LÉTOURNEAU LIMITÉE lowed in biographies and studies during law Johnson play Catalogue d’oiseaux his lifetime. Organists will want to know in 1978 was a revelation. For one thing, United States Canada 3 Clyde Holloway’s dissertation and Almut this window on Messiaen’s sound-world 1220 L Street NW 16355 avenue Savoie 4 Rössler’s conversations with Messiaen. embodied successfully both music and Suite 100 – No. 200 Saint-Hyacinthe, Québec Since then, more and more writers have instrument. The dry acoustics prevalent Washington, DC J2T 3N1 jumped in enthusiastically, in books and in North American churches veiled for 20005-4018 Tel: (450) 774-2698 articles on many different aspects of me the sense of big space in the music. Tel: (800) 625-PIPE Fax: (450) 774-3008 his output. Two engrossing biographies Another revealing approach to the organ Fax: (202) 737-1818 [email protected] alone have appeared since 2005.5 pieces comes through acquaintance with [email protected] www.letourneauorgans.com Releases of recordings fi ll the cata- companion works of the same period.
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