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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. -
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 -
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. -
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 ........ -
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 . -
Aspects of Structure in Olivier Messiaen's Vtngt Regards Sur L'enfant-Jesus
ASPECTS OF STRUCTURE IN OLIVIER MESSIAEN'S VTNGT REGARDS SUR L'ENFANT-JESUS by DAVID ROGOSIN B.Mus., l'Universite de Montreal, 1978 M.Mus., l'Universite de Montreal, 1981 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA March 1996 © David Rogosin, 1996 AUTHORIZATION In presenting this thesis in partial fulfillment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia, Vancouver, Canada Date DE-6 (2/88) ASPECTS OF STRUCTURE IN OLIVIER MESSIAEN'S "VINGT REGARDS SUR L'ENFANT-JESUS" ABSTRACT The paper explores various structural aspects of the 1944 masterwork for piano, Vingt Regards sur I'Enfant-Jesus, by Olivier Messiaen (1908-1992). Part One examines elements of the composer's style in isolation, focusing prin• cipally on the use of the modes of limited transposition to generate diverse tonal styles, as well as the use of form and "cyclical" or recurring themes and motifs to both unify and diversify the work. -
Messiaen's Influence on Post-War Serialism Thesis
3779 N8! RI. oIo MESSIAEN'S INFLUENCE ON POST-WAR SERIALISM THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by Thomas R. Muncy, B.A. Denton, Texas August, 1984 Muncy, Thomas R., Messiaen's Influence on Post-'gar Serialism. Master of Music (Theory), August, 1984, 106 pp., 76 examples, biblio- graphy, 44 titles. The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of post- war serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters. TABLE OF CONTENTS Page LIST OF EXAMPLES..-.........-... -
Abbate, Carolyn 122–3 Adams, John 233 Adorno, T. W. 68, 69, 172–3
Cambridge University Press 978-0-521-83981-5 - Messiaen Studies Edited by Robert Sholl Index More information Index A Bosch, Hieronymus 211 Abbate, Carolyn 122–3 Boulanger, Nadia 34, 50 Adams, John 233 Boulez, Pierre 2, 9, 37, 46–7, 49, 65, 66, Adorno, T. W. 68, 69, 172–3, 174, 176 67, 71, 77, 143, 190, 232, 232, agape 40 245, 247, 251 Alquie,´ Ferdinand 43 Piano Sonata No. 2 53 Antoine, Pere` Louis 217–18, 229 Structures 1a 64 Apollinaire, Guillaume 221 Sur incises 247 Aquinas, St Thomas 49, 91, 213, 217, Braque, Georges 44 224–5, 228–9 Breton, Andre´ 34, 35, 50–1, 55, 61 Aragon, Louis 42 Arcane 4, 55 Arletty 18 First Surrealist Manifesto 38–9 Arrieu, Claude 3 Mad Love (L’Amour fou) 41, 55, 60 Aubin, Tony 5 Nadja 55 Augustine, St 90, 92 le point sublime 41, 55, 61–2 Aulnoy, Madame d’ 211 Second Surrealist Manifesto 40–1 Auric, Georges 4, 5 use of Tristan ideal 60–1 Britten, Benjamin 173 B Bunlet, Marcelle 4, 5, 20, 23, 24, 25, Balthasar, Hans Urs Von 79, 94–8, 99, 26, 27, 30 208–9, 229 Barraine, Elsa 18 C Barto´k, Bela 232 Calvino, Italo 143, 253 Baudrier, Yves 6, 7, 11 The Castle 123–5, 132, 141–2 Les Musiciens dans la cite´ 7, 11, 12 Capdevielle, Pierre 5, 11–12 Beaumont, Etienne de 22 Caplet, Andre´ 4 Benjamin, George 246 Carne,´ Marcel Benjamin, Walter 40, 172 Les Enfants du paradis 17 Berg, Alban 66, 232 Carter, Elliott 233, 242–3, 245–6, Lyrische Suite 34 252, 253 Wozzeck 105 Catholic Action (l’Action Catholique) Berio, Luciano 212, 214, 230 Rendering 253 Chagall, Marc Berlioz, Hector 4, 234 Bouquet with Flying Lovers 37 Les Nuits -
DX225792.Pdf
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Olivier Messiaen and the culture of modernity Sholl, Robert The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 Olivier Messiaen and the Culture of Modernity Robert Peter Sholl Submitted in fulfilment of the requirements of King's College, University of London, for the degree of PhD. 2003 BL UNW. Robert Sholl Précis Olivier Messiaen and the Culture of Modernity This study interprets the French composer Olivier Messiaen as a religious modernist with a view to revealing a new critical perspective on the origin, style and poetics of his music and its importance in the twentieth century. -
A Musical and Theological Discussion of Olivier Messiaen’S Vingt Regards Sur L’Enfant-Jésus
The Theme of God: A Musical and Theological Discussion of Olivier Messiaen’s Vingt regards sur l’Enfant-Jésus By © 2017 Heekyung Choi Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Michael Kirkendoll ________________________________ Dr. Richard Reber ________________________________ Dr. Scott Murphy ________________________________ Dr. Scott McBride Smith ________________________________ Dr. Jane Barnette Date Defended: 1 May 2017 The Dissertation Committee for Heekyung Choi certifies that this is the approved version of the following dissertation: The Theme of God: A Musical and Theological Discussion of Olivier Messiaen’s Vingt regards sur l’Enfant-Jésus ________________________________ Chairperson Dr. Michael Kirkendoll Date approved: 1 May 2017 ii Abstract The purpose of this research is to help both performers and liturgical musicians to better understand Messiaen’s musical style and theological inspiration. Olivier Messiaen (1908-1992) is one of the most important composers of French keyboard music in the twentieth century. He composed numerous works in nearly every musical genre, many inspired by his Catholic faith. Vingt regards sur l’Enfant-Jésus (Twenty Contemplations on the Infant Jesus) is a two-hour masterpiece for solo piano written in 1944, and is one of the most significant of his works. The piece is constructed by using three main themes: the Thème de Dieu (Theme of God), Thème de l’étoile et de la Croix (Theme of the Star and of the Cross), and Thème d’accords (Theme of Chords). The “Theme of God” is based on an F-sharp major chord with chromatic passing tones in the inner voice. -
Traces of a Thomistic De Musica in the Compositions of Olivier Messiaen
Siglind Bruhn Traces of a Thomistic De musica in the Compositions of Olivier Messiaen In the year of his centennial, Olivier Messiaen (1908–92) is widely acknowledged as not only one of the leading French com posers of the twentieth century, but as a voice of timeless signifi cance within Western music. In addition to his love for music with its “colors” and rhythms, he felt passionately about two other areas in which he became an erudite scholar: theology and ornithology. A devout Catholic, he owned and diligently read a large collection of theologi cal books; an avid bird lover, he studied their song so thoroughly that his contri butions to the field are now considered invalua ble even to specialists. A third field to which Messiaen de voted a cluster of com positions is that of idealized human love. As he knew, all love derives from God’s love for humankind. The hu man love of God may be but an awkward and flawed response to the divine gift, but even the love of one human for another, provided it is true and strong, must be regarded as a reflection—albeit a pale reflection—of God’s love.1 Messiaen began reading books on theology already as a teen ager. Mystics like John of Ruusbroec, Thomas à Kempis, and Thomas Merton as well as saints like Francis of Assisi, Teresa of Ávila, John logos 11:4 fall 2008 thomistic de musica in the compositions of messiaen 17 of the Cross, Catherine of Siena, and Thérèse de Lisieux were of crucial impor tance for his devotion. -
Olivier Messiaen, 1908-1992)Š ̔ ̚Ƅȅ ˎ Ψ ̩ Š Š ʞ
Nj Ń[ ˄˄˄˄ ķķķķ ȪȪȪȪ ˋ̚ǤʟȀϑ(Olivier Messiaen, 1908-1992)š ̔ ̚ƅȅ ˎ Ψ ̩ š š ʞ ̇̔ ̚š ¿ Æ (13 ˥)û ˓ ý΅ À Ï ̚Ǥ(17 ˥)Ɲ ̚Ǥ̔ ̚ʻ ! " ˋ̚ Ǥš # $ ̔ ̚% &' ( ) * + , Ȁϑ- . š ̔ ̚% / 0 1 2 3 4 5 6 7 š 8 9: ;< = ˋ> ? ̚Ǥ@ A B C Ȁϑ̔ ̚8 9š D E FGˋH ? IJK (Préludes)LȀϑM N ˥4 Oš ˋ> ? ̚ǤC P Q R Ï S T S U % / š ̚Ǥ V ýW X š S T Y Z R Ï ƅ[ \ ˎ ] ^ _ ` š a b < c d\ efg h (Paul Dukas, 1865-1935)š i j k l mn o ˎ p q š r s t, u R Ï k l ˎ ] ^ ̔ v š w x F= ˥̚Ǥƅy z j { ] ^ | } š ~ ? ϟ ̘ Š ʣ ɚ z ! ] ^ H ř E š ̔ ̚w x = ų ; ǰ V Ϋ p ō š ˄ ° ˎ Ϋ Ƣ š ɍ ƹ F Ŋ[ ˄˄˄˄ ljljljlj ʓʓʓʓ ȹ ğ ŭ dž ź ɻ ƾ à Ȁϑš ̔ ̚˩ Λ , u Ȁϑ͑ ¡ R Ï E ¢ £ ¤ E š R Ï ϟ x ¥¦ N § m¤ ˋ̚Ǥ¨ © ª 7 š ˄ A / ° m« ¬ š ˥ ˎ ® ¯ ̯ F 1 M ± ² A ³ 7 š ´ ț ! « ¬ ȹ ̚Ǥš ¶ ·£ ̚Iw x ¸ ¹ º » ¼ w ʟ½Io ¶ ·Et½¿ ȣ Et½Á  Et½~ ? EýṁEÄ V p ō š « ¬ / ° Å Æ 4 ȹ Iš > E Ç È FM ŗ ² ɍ ƹ ˥ Ê Ë ź ɻ H ® Å Æ š ̩ * £ = ų Í Î š Ï Ð ΄ 4 N * * ɍ ƹ ÃZ U š " x ˀ° Ť ˎ Ϋ Ƣ tͱ Ȗ š ɍ ƹ lj o F 2 ɫɫɫɫ ŃŃŃŃ ˽˽˽˽ ŷŷŷŷ ̚̚̚̚ ɫɫ Ńǯǯ ȀȀȀ ϑϑϑ ɋɋɋ ȫȫ ȬʻζλǺϤ x ŗ ̚IΞ ī ̫ 5 Ȁϑ 1908 ʻ4 ɋ ýx ŗ ǔ ˥š ƣ á (Avignon)1992 ʻ˛ ã ýP Q 6 ʻ 84 ƃF¤ ǘ ʛ è é ê Ȁϑ(Pierre Messiaen)Lë ƅ˾ dž ǚ dɥ Lʖ ū ñ 5 S ų Ư ˎ ʖ ɼ ˥š ̚Ǥõ ʛ Ğ ̃ ø ù ú û (Cécile Sauvage, 1883-1927)LɃ ¡ mȀϑš 7 ƫ ÃĜ ʴj { E Ȍ ŵ ŭFʟ¤ æ ȣ / & , N ̸G̓ Ȉ ľ η š ˦ ˬ K(L'âme en bourgeon)š Ƀ 1 { 3 4 mȀϑ ̫ ń £ / ȡ NJ ¥˕ ̸Ƀ mýȀϑˎ ¼ p ǖ š E Ȍ Š ʣ ɚ Ǭz ! š Ĝ ʴɋ ș 2 Ɯ Ŕ ƃ% E ̩ A õ ʛ š ˙ ğ Ƀ JGt ƅ š ʛ K̚L! " # $ % & N ' ΅ 8 ( 3 ) I1991 ʻ¤ Ƀ ğ * ț 4 OÇ + Ȁϑɥ L¤ , - F 1 http://en.wikipedia.org/wiki/Messiaen, accessed January 21, 2007ˇ ˍ ý Q ˙ ğ Ƀ ã <t ƅ š ʛ J =(Tandis que la terre tourne)š ̐ ȥ Ń ̸ 2 Claude Samuel, Olivier Messiaen: Music and Color-Conversation with Claude Samuel(Oregon:Amadeus Press, 1994), p.