573471 Bk Messiaen EU
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Dec 08 Pp. 24-25.Indd
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. -
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 . -
MESSIAEN Visions De L’Amen
MESSIAEN Visions de l’Amen DEBUSSY En blanc et noir Ralph van Raat, Piano Håkon Austbø, Piano Claude Debussy (1862-1918): En blanc et noir (1915) Olivier Messiaen (1908-1992): Visions de l’Amen (1943) colouring, Messiaen carried out bold renewals in the Bird-song, at that time, played an increasingly Both works on this recording, milestones in the repertoire dancing quality of the first and by the witty, albeit realm of musical time. As he often said, “rhythm is important rôle in Messiaen’s music. He transcribed this as for two pianos, were composed in wartime at crucial somewhat sarcastic, elegance of the third. colouring of time”, and, correspon dingly, the blue-violet heard in nature, adapting the intervals to the instruments. points in the composers’ lives. Messiaen, in another war, returned to Paris in 1941 theme played by the second piano in the opening as well In No. 5 they are preceded by the pure unison of the Debussy passed the summer of 1915 at Pourville on from war imprisonment, where he had written the Quatuor as in the closing piece, is framed by a rhythmic pedal, Angels and the Saints. Finally, No. 6 expresses the the Normandy coast. He was struggling with his health pour la Fin du Temps (Quartet for the End of Time). played in the extreme registers by the first piano. In the harshness of the Judgement of the damned, before the and suffering from the horrors of the war and from the Having taken on a job as harmony professor at the first piece, the rhythm is a combination of five rhythmical joy of the last piece breaks out. -
Songs of Faith and Love: a Study of Olivier Messiaen's
SONGS OF FAITH AND LOVE: A STUDY OF OLIVIER MESSIAEN’S POÈMES POUR MI By Emily M. Bennett 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. Julia Broxholm ________________________________ Co-Chairperson University Distinguished Professor Joyce Castle ________________________________ Dr. Paul Laird ________________________________ Dr. John Stephens ________________________________ Dr. Michelle Hayes Date Defended: April 1, 2016 The Dissertation Committee for Emily M. Bennett certifies that this is the approved version of the following dissertation: SONGS OF FAITH AND LOVE: A STUDY OF OLIVIER MESSIAEN’S POÈMES POUR MI ________________________________ Chairperson Dr. Julia Broxholm ________________________________ Co-Chairperson University Distinguished Professor Joyce Castle Date approved: April 1, 2016 ii ABSTRACT It is my determination that Oliver Messiaen’s first song cycle, Poèmes pour Mi (1936), exhibits nearly all of the representative musical and literary devices of the composer’s arsenal: musical and poetic symbols and symmetry, asymmetric and exotic rhythms, color and harmony, and is inspired by his Catholic faith, and must therefore be regarded as among the composer’s most significant early vocal works. After outlining a brief biography and an overview of the work and its premiere, the subsequent analysis covers the compositional techniques and thematic devices are presented, including specific discussion of spirituality, numerical symbols, modal vocabulary, musical colors, and the “Boris motif.” A description of the cycle follows, highlighting important aspects of each piece as they relate to Messiaen’s style. Musical examples appear where relevant iii BIOGRAPHY Olivier Eugène Prosper Charles Messiaen, born 10 December 1908 in Avignon, France, was pre-destined to be a creative force in the world. -
The Turangalîla-Symphonie
with the Nashville Symphony CLASSICAL SERIES FRIDAY & SATURDAY, MAY 17 & 18, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JEAN-YVES THIBAUDET, piano CYNTHIA MILLAR, ondes Martenot Introduction to Messiaen’s Turangalîla-Symphonie with musical demonstrations – INTERMISSION – OLIVIER MESSIAEN Turangalîla-Symphonie for Piano, Ondes Martenot and Orchestra Introduction: Modéré, un peu vif Chant d'amour 1: Modéré, lourd Turangalîla 1: Presque lent, rêveur Chant d'amour 2: Bien modéré Joie du sang des étoiles: Un peu vif, joyeux et passioné Jardin du sommeil d'amour: Très modéré, très tendre Turangalîla 2: Piano solo un peu vif: orchestre modéré Développement de l'amour: Bien modéré Turangalîla 3: Modéré Final: Modéré, avec une grande joie Jean-Yves Thibaudet, piano Cynthia Millar, ondes Martenot This concert will last 2 hours and 20 minutes, including a 20-minute intermission. INCONCERT 39 TONIGHT’S CONCERT AT A GLANCE OLIVIER MESSIAEN Turangalîla-Symphonie • French composer Messiaen occupies a singular role as a trailblazer for the avant-garde who was at the same time profoundly respectful of Western musical tradition. He created a wholly original body of work, of which Turangalîla-Symphonie and The Quartet for the End of Time are his best-known compositions. The latter work was written while he was held in a German prisoner-of-war camp during World War II. • Messiaen’s influence has been profound, extending not only to his students Pierre Boulez and Karlheinz Stockhausen, who would go on to revolutionize modern music, but also to popular artists including Rufus Wainwright and Radiohead, whose music owes a particular debt to the composer. -
Messiaen As Pianist: a Romantic in a Modernist World Christopher Dingle
© Copyrighted Material Chapter 2 Messiaen as Pianist: A Romantic in a Modernist World Christopher Dingle Scholars or performers might view the study of musical performance, whether live or recorded, as the exploration of creative confusion. Such an investigation feeds off the gap between the information provided by the composer (principally, though not exclusively, through the score) and the performer’s understanding of what is and is not conveyed explicitly and implicitly by that information. We might rationally think that such a gap would not exist when the composer and the performer are the same individual. Still, while every case differs, the gap can often appear to become a yawning chasm for composer-performers. This chapter explores the particular creative confusion that arises between the composer Olivier Messiaen and the performer Olivier Messiaen. Pierre Boulez, admittedly talking about Messiaen’s position in general, neatly encapsulated the conundrum in words readily applicable to Messiaen the performer. He described Messiaen as: a man who is preoccupied strongly with techniques, but who puts forward, in the first place, expression … . He has a kind of revolutionary ideal and at the same time a very conservative taste for what the essence of music is … . [T]hat’s a man who is exactly in the centre of some very important contradictions of this century.1 These contradictions become especially acute in considering Messiaen as composer-performer. Messiaen the composer was a man of many words, always happy to talk about his music. Despite the widespread availability of certain recordings, Messiaen the performer is rather less well known. -
Olivier Messiaen: a Research and Information Guide, Is Intended to fill This Important Need
OLIVIER MESSIAEN ROUTLEDGE MUSIC BIBLIOGRAPHIES COMPOSERS Edward Elgar (1993) Gioachino Rossini (2002) Christopher Kent Denise P. Gallo Isaac Albe´niz (1998) Walter A. Clark Gabriel Faure´ (1999) Camille Saint-Sae¨ns (2003) Edward R. Phillips Timothy S. Flynn C. P. E. Bach (2002) Doris Bosworth Powers Christoph Willibald Gluck, Alessandro and Domenico 2nd Edition (2003) Scarlatti (1993) Samuel Barber (2001) Patricia Howard Carole F. Vidali Wayne C. Wentzel G.F. Handel, Heinrich Schenker (2003) Be´la Barto´k, 2nd Edition (2004) Benjamin Ayotte 2nd Edition (1997) Mary Ann Parker Elliott Antokoletz Alexander Scriabin (2004) Paul Hindemith (2005) Ellon D. Carpenter Vincenzo Bellini (2002) Stephen Luttman Stephen A. Willier Jean Sibelius (1998) Charles Ives (2002) Glenda D. Goss Alban Berg (1996) Gayle Sherwood Bryan R. Simms Giuseppe Verdi (1998) Scott Joplin (1998) Gregory Harwood Leonard Bernstein (2001) Nancy R. Ping-Robbins Paul F. Laird Toma´s Luis de Victoria Zolta´n Koda´ly (1998) (1998) Johannes Brahms (2003) Mı´chea´l Houlahan and Eugene Casjen Cramer Heather Platt Philip Tacka Richard Wagner (2002) Benjamin Britten (1996) Franz Liszt, 2nd Edition Michael Saffle Peter J. Hodgson (2004) Adrian Willaert (2004) William Byrd, Michael Saffle David Michael Kidger 2nd Edition (2005) Guillaume de Machaut Richard Turbet (1995) Elliott Carter (2000) Lawrence Earp GENRES John L. Link Felix Mendelssohn Bartholdy American Music Carlos Cha´vez (1998) (2001) Librarianship (2005) Robert Parker John Michael Cooper Carol June Bradley Fre´de´ric Chopin (1999) Olivier Messiaen (2008) Central European Folk Music (1996) William Smialek Vincent P. Benitez Philip V. Bohlman Aaron Copland (2001) Giovanni Pierluigi da Chamber Music, Marta Robertson and Palestrina (2001) 2nd Edition (2002) Robin Armstrong Clara Marvin John H. -
Introduction
Cambridge University Press 978-1-107-00031-5 — Olivier Messiaen's Catalogue d'oiseaux Roderick Chadwick , Peter Hill Excerpt More Information 1 I n t r o d u c t i o n In March 1948 Olivier Messiaen gave an interview to the newspaper France- Soir . He seemed at ease with life and, with the Turangalîla- Symphonie about to be i nished, he spoke of his plans for an opera with a freedom unthink- able in later years, when he would become cautious and secretive about work in progress. When asked which musicians had most inl uenced him the conversation took an unexpected turn: h e birds. Excuse me? Yes, the birds. I’ve listened to them ot en, when lying in the grass pencil and note- book in hand. And to which do you award the palm? To the blackbird, of course! It can improvise continuously eleven or twelve dif erent verses, in each of which identical musical phrases recur. What freedom of inven- tion, what an artist! 1 In the event there was to be no opera, at least not for another thirty- i ve years. Instead, Messiaen went through a period of experiment, prompted initially by a desire to develop his own version of serialism. h e trans- formation of his music moved into a second phase from 1952 when, tak- ing his cue from the France- Soir interview, he embarked on a decade in which almost all his music was inspired by the study of birds and bird- song. Messiaen ’ s belief that birdsong is music gave him a sense of mission to bring that music within the scope of human understanding.