DOCSLIB.ORG

Olivier Messiaen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Olivier Messiaen Olivier Messiaen: The Quartet for the End of Time mov.5 (For Cello and Piano) Joey Earnest Seminar in Music Analysis Prof. Dutton March 18, 2014 Midterm Project ANALYSIS: Movement V- Louange à l’Éternité de Jésus (Praise to the Eternity of Jesus) ​ ​ Bio Olivier Messiaen was born December 10, 1908 in Avignon, France. His father was an English literature scholar and his mother was the poet, Cecile Sauvage. Messiaen’s family moved around France several times during his childhood, and lived in Ambert for a time, and then Grenoble with his mother after the outbreak of World War I. Messiaen taught himself piano with some training from Jean de Gibon (Messiaen 2) and started to compose while living at his uncle’s residence in Grenoble at the young age of seven. Messiaen did not have the easiest childhood, two of his uncles and an aunt were killed in the conflict and his mother died when Olivier was only 18. It is also rumored that his parents had a troublesome relationship while they were together. Messiaen began attending a music at the Paris Conservatory in 1919, and studied with Georges Falkenberg, César Abel Estyle, and Noel Gallon. As a young adult, Messiaen’s work received critical acclaim amongst some of the chief French musical figures of the time. As a devout Catholic, he worked as a church organist as a young adult. He would eventually look to his faith for compositional inspiration. In 1930 he married his wife, Claire Delbos, who was also a devout Catholic and Musician. He composed over twenty works before serving in World War II and began to build a strong reputation as a brilliant composer (Hill & Simone, 2005). Messiaen began serving with the French Army in 1939 and was captured by German forces in May of 1940. He worked on “The Quartet for the End of Time” or ‘Quatuor pour la fin ​ du Temps’ in a German P.O.W. camp. Although his time in captivity was far from pleasant, ​ ​ ​ Messiaen had the resources he needed to compose and even organize a performance of the eight movement piece (Rischin, 2003). After his time in captivity, Messiaen went on to write many other pieces including “Chronochromie” (‘Time-color’) in 1959, in addition to a multitude of songs inspired by birds, ​ ​ ​ ​ including his seven book “Catalogue d'oiseaux” (‘Bird Catalogue’) he composed during the He ​ ​ ​ ​ ​ ​ also had several publications about theory and his own compositional methods. His most notable accomplishment the field of music theory, was his development of Modes of Limited Transposition. Messiaen had synesthesia as well, and could clearly describe the colors that the different modes would produce in his mind’s eye. ‘The first transposition of mode 2 is defined like this, “blue-violet rocks speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet purple, gold, red, ruby, and stars of mauve, black, and white. Blue violet is dominant.” The same mode in its second transposition is totally different: “gold and silver spirals against a background of brown and ruby-red vertical stripes. Gold and brown are dominant.” And here’s the third transposition: “Light green and prairie-green foliage, with specks of blue, silver, and reddish orange. Dominant is green’ (Rischin, 2003). His synesthesia significantly impacted his compositional approach. Messiaen continued composing music until the time of his death in 1992. “The Quartet” In her book For the End of Time, Rebecca Rischin describes the quartet as being “based ​ ​ on the Apocalypse and written in apocalyptic times, music for the future, defiant of the past, music of the moment, and for eternity” (Rischin, 2003). The quartet was composed for Violin, Cello, Clarinet, and Piano. It should be noted that Messiaen, by luck, was able to network with these musicians at the time of his captivity. When describing the music style of the piece, Rischin claims that “Four diverse elements pervade Messiaen’s Quartet for the End of Time: ​ Catholic doctrine, rhythm, sound-color, and birdsong” (Rischin, 2003). The entire piece is comprised of eight movements: Liturgie de Cristal (The Crystal Liturgy), Vocalise, pour l'Ange ​ ​ ​ qui annonce la fin du Temps (Vocalize, for the Angel who Announces the end of time), Abîme ​ ​ des Oiseaux (Abyss of Birds), Interméde (Interlude), Louange à l’Éternité de Jésus (Praise to the ​ ​ ​ ​ ​ Eternity of Jesus), Danse de la fureur, pour les sept trompettes (Dance of Fury for the Seven ​ ​ Trumpets), Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (Tangle of rainbows, ​ ​ for the Angel who announces the end of time), and Louange à l'Immortalité de Jésus (Praise to ​ ​ the Immortality of Jesus). Messiaen supposedly had been studying the book of revelation heavily during his time composing the piece. With obvious tributes to Catholic doctrine as well as mention of birds and rainbows, the titles of the movements, directly reflect Messiaen’s influences from faith, birdsong, and color. Though the titles don't necessarily reflect his interest in rhythm and meter (with the exception of the Dance of Fury movement possibly), Messiaen’s ​ ​ works pull heavily from Indian classical music. The quartet explores rhythmic groupings focused around prime numbers. The Quartet for the End of Time premiered January 15th, 1941. ​ ​ Sound The fifth movement of the piece contrasts the rest of the piece in timbre because it is a cello-piano duet. There is a very ethereal cello melody, with a rich warm tone, played over ostinato triads and other tertian harmonies (three note voicings) in the low-mid range of the piano. It is played slowly, so the ostinato piano part has time to decay slightly, creating a ringing bell like quality. Harmony Messian uses tertian harmony in the piano part. Occasionally, the melody will serve a functional role in the chord. Many of the chords Messiaen chooses actually complete the given ‘mode of limited transposition’ when played with a symmetrical but “truncated” melody line. The chord progression of the song is as follows: E(10), Bb7(7), G(10), Bb(4), E(8); E(10) F#-(7), F[7](10), F#ø(4), B7(8); A(12), F#-(12), D#(4), E(5), C#(4), D#(5), E(4), F#-7(4); Aº(2), A#º(2), Bº(2), Cº(2), C#º(2), Dº(9), Ab7(5), C[b5](23{broken into groups of 17 and then an inversion in 16}); Ab-(4), F(4), B(4), D-(4), F#º(4), Bø(4), E7#11(10), F7sus(2), Eº(1*), Ab7(2), E7+(2), Eb-(2), E-(2), Ab7(2); E7+(4), C+(12), E(29*), D(4), E(34{17x2}); Bb(4), C#[b5](4), G(4), Bb(4); E(8),*rest(2), E(6), *rest(4), E(4). Although the movement is in the key of E major, and begins and ends on E major, the constant modulation to foreign keys makes any functional analysis futile. It is best to understand that the origin of the chords Messiaen incorporates, is the ‘mode of limited transposition’ that he is highlighting in a given timespan. For example in the opening of the piece, he is pulling chords from the second transposition of mode 2. The notes from the chords E, Bb, and G major are all a part of this mode. It should also be noted that according to the aforementioned text the second transposition of the second mode are “gold and silver spirals against a background of brown and ruby-red vertical stripes. Gold and brown are dominant.” These colors happen to carry symbolic meaning in Catholic church: Gold: Divine, Holy, God, Crown; Silver: Holy spirit, grace; Brown: Wood (Jesus was a carpenter), earth, mortality, Crown of Thorns; Ruby Red: Martyrdom, Blood of Christ (especially striking is the fact that Messiaen views the red like vertical stripes, also the specific mention of ruby holds a royal undertone). Because Messiaen was so vocal and specific about the different synesthetic colors these modes produced in his mind, and because the subject of the piece is Jesus Christ, one could speculate as to his intentions. The combination of triads plus the truncated and symmetrical melody lines forming complete ‘modes of limited transposition’, happens again later in m.13 where Messiaen begins to incorporate material from the first transposition of Mode 7. Messiaen had an obsession with prime numbers. One can see very clearly that there are many instances of the harmonic progression outlining these numbers. Messiaen would use rhythmic augmentation and diminution (the lengthening and shortening) of rhythmic patterns. Melody The piece opens with solo cello for 19 counts and introduces the main thematic material. The main theme is 28 counts long and can be broken into 3 parts: (a) m.1, (b)m.2, (c) m.3. The ‘A’ section rocks back and forth between B and G# then drops to G, to E, and up to F. The ‘C’ section of the main theme is an E dropping a minor third to C#. The ‘C’ section of the main theme is a G#, G, and F descending stepwise. Variations on material from the a theme can be seen repeated in measures 13-16 in a new mode. And again at m.27 in the original key and mode. Material from the ‘B’ section can be seen at measures 4, 8, 10, and 20. Instances of ‘C’ section variations can be seen in m.5-6, 9, 11-12, 17-18,. The melody line floats gently above the ostinato chords in the cello part. A truncated but symmetrical version of the second transposition of the second mode is played over the first 13 bars.
Load more

Recommended publications
  • Orchestral Work, Turangalîla-Symphonie (1946–1948)
    AV1 AV3 AV4 AV2 • While there is a vast amount of research concerning Olivier Messiaen • Loriod meets Messiaen as a student in his harmony • After a successful premiere of Visions of the Amen, • Messiaen continues to write pieces with piano parts written and his compositions, there is a dearth of information about the pianist class at the Paris Conservatory on May 7, 1941. Loriod becomes the primary motivator for all of for Loriod and dedicates them to her including a major Yvonne Loriod, who played a primary role in inspiring the development • Messiaen becomes familiar with Loriod’s pianistic Messiaen’s new compositions for piano. orchestral work, Turangalîla-Symphonie (1946–1948). of Messiaen’s compositional approach to the piano. artistry by attending a concert in which she included • Shortly afterward, Messiaen writes the monumental • In the 1950s, Loriod helps Messiaen during a difficult period • Loriod was a French concert pianist, teacher, and composer. Messiaen’s Preludes (1929), a work she wanted to two-hour solo piano cycle: 20 Contemplations on the in his life. His first wife, violinist Claire Delbos, becomes • Born January 20, 1924 and died May 17, 2010 perform for the composer. Infant Jesus (1944) and dedicates the piece to mentally ill after surgery and is sent to a sanitorium and dies • Loriod would later become Olivier Messiaen’s second wife • Inspired by Loriod’s prodigious talent, Messiaen writes Loriod. in 1959. _____________________________________________________ Visions of the Amen (1943), a 40-minute work in seven • Like many of Messiaen’s earlier works, the • Adding to the difficulties of his personal family life, Messiaen movements for two pianos premiered by Loriod and compositional techniques include: encounters difficulties with his own compositional process himself.
    [Show full text]
  • 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.
    [Show full text]
  • Hommage À Olivier Messiaen Dimanche 18 Mars 2018 – 16H
    Hommage à Olivier Messiaen Dimanche 18 mars 2018 – 16h GRANDE SALLE PIERRE BOULEZ – PHILHARMONIE WEEK-END LES OISEAUX Pour certains scientifiques et certains historiens, la musique pourrait être née du désir des hommes d’imiter la voix des oiseaux, ressentie comme un véritable langage musical, au-delà de la simple émission de sons. Force est de constater que, si l’on ne peut trancher cette question, ceux que Messiaen, reprenant une image déjà utilisée au xviie siècle par le moine Paul de Montaigu notamment, appelait « les premiers musiciens du monde » ont constitué une inspiration de choix pour les compositeurs, qui se sont volon- tiers adonnés à l’évocation ou à l’imitation. De cette fréquentation plus ou moins intime, c’est effectivement Messiaen qui donna le témoignage le plus riche : « La nature, les chants d’oiseaux ! Ce sont mes passions. Ce sont aussi mes refuges. […] C’est là que réside pour moi la musique », écrivait-il en préface à son Catalogue d’oiseaux, qui réunit presque trois heures de musique évoquant rousserolle effarvatte, cho- card des Alpes ou traquet rieur – la journée du dimanche, en compagnie de Pierre-Laurent Aimard, y sera consacrée. Celui qui se définissait autant comme ornithologue que comme compositeur remplit au cours de sa vie des centaines de carnets de chants d’oiseaux notés aussi précisément que possible, un ardent enthousiasme dont ses pièces musicales sont très nom- breuses à porter la trace. Mais les petites bêtes à plumes n’ont bien sûr pas attendu le xxe siècle pour investir le champ musical. La musique baroque regorge déjà de leurs trilles et de leurs envolées, chez Vivaldi (notamment dans le Concerto pour flûte « Le Chardonneret ») ou chez Couperin, qui avaient eux-mêmes été précédés par des compositeurs comme Jacob van Eyck.
    [Show full text]
  • The Influence of Plainchant on French Organ Music After the Revolution
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.
    [Show full text]
  • 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.
    [Show full text]
  • Olivier Messiaen Comes to Visit
    Friends of the Kotzschmar Organ Founded in 1981, the Friends of the Kotzschmar of the organ and provides funds to produce and Organ (FOKO), a non-profi t organization, supports promote concerts, maintain, repair, and enhance the the Kotzschmar Organ. Each year the organization organ, sponsor lectures and organ demonstrations presents 16 to 18 concerts, engaging renowned and tours and supports a growing education program organists and guest artists from around the world. to bring awareness and understanding of this musical FOKO is responsible for the care and maintenance gem of Portland. The KotZschmar Organ ... In August, 1912 the City of Portland dedicated its and action component restored to original condition new City Hall, replacing the building destroyed at the shops of Foley-Baker, Incorporated, in Tolland, by fi re in 1908. Th e new building included a large Connecticut. Re-installation of the instrument is public auditorium whose stage was dominated currently underway. by a magnifi cent organ built by the Austin Organ Company of Hartford, Connecticut. Th e instrument Th e renovated Kotzschmar Organ will make its was the gift of Cyrus H.K. Curtis, born in Portland début on Saturday evening, September 27, 2014. in 1850, founder of the Curtis Publishing Company Performers will include Municipal Organist of Philadelphia, renowned for such magazines as Th e Ray Cornils, Peter Richard Conte (Organist of Saturday Evening Post, and Ladies Home Journal. Macy’s Wanamaker Organ, Philadelphia), and the Kotzschmar Festival Brass. Curtis stipulated that his gift should be a memorial to Hermann Kotzschmar, a family friend, his fi rst music teacher, and the leading fi gure in Portland’s musical life from the 1850s until his death in 1908.
    [Show full text]
  • Transforming Messiaen : the Application of Elements of the Musical Language of Olivier Messiaen to the Contemporary Jazz Orchestra
    Edith Cowan University Research Online Theses : Honours Theses 2006 Transforming Messiaen : The Application of Elements of the Musical Language of Olivier Messiaen to the Contemporary Jazz Orchestra Johannes Luebbers Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Composition Commons Recommended Citation Luebbers, J. (2006). Transforming Messiaen : The Application of Elements of the Musical Language of Olivier Messiaen to the Contemporary Jazz Orchestra. https://ro.ecu.edu.au/theses_hons/1393 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1393 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • AFFECTING ETERNITY: the PEDAGOGICAL INFLUENCE of OLIVIER MESSIAEN Dissertation Directed By
    ABSTRACT Title of dissertation: AFFECTING ETERNITY: THE PEDAGOGICAL INFLUENCE OF OLIVIER MESSIAEN Dissertation directed by: Professor Rita Sloan, School of Music Olivier Messiaen was among the most prominent and prodigious composer-teachers of the 20 th century, teaching scores of students while holding two positions at the Conservatoire de Paris, first as professor of analysis, then as professor of composition. This dissertation explores the connections that can be established through three generations of composers: the composers whose works Messiaen lectured on, his own works, and works by the students of Messiaen. The repertoire considered centers on the piano in various solo and collaborative settings, including operatic reductions, art song, and instrumental chamber music. An effort was made to include students from different periods of Messiaen’s teaching career and representatives of different aesthetic traditions, including serialism, neo-expressionism, European minimalism, and others. Compositions by composers preceding Messiaen were chosen because they were most important to Messiaen and his philosophies. All of these works and composers are assembled here in order to represent the breadth and diversity of Messiaen’s teaching, which enabled his students to find distinct voices in the postwar musical scene. This repertoire was performed over the course of three recitals on November 15 th , 2019, March 8 th and May 6 th , 2020, with the first two recitals held in the Gildenhorn Recital Hall at the University of Maryland, and the third recital streamed live from the living room of the pianist. Recordings of these three recitals can be found in the Digital Repository at the University of Maryland (DRUM).
    [Show full text]
  • Monstres D'asie
    AMPHITHÉÂTRE – CITÉ DE LA MUSIQUE Monstres d’Asie Dimanche 20 janvier 2019 – 14h30 WEEK-END FAIS-MOI PEUR Le Moyen Âge et la Renaissance frayaient volontiers avec le démoniaque, envisagé via la figure de la sorcière ou les évocations de l’Enfer chrétien. À la fin du xviiie siècle, la tendance s’accentue, et un intérêt certain pour le surnaturel se manifeste. Pour Philippe Dagen, c’est « la mise en cause des dogmes chrétiens [qui] détermine à la fois l’apparition d’autres explications du monde et la réapparition de croyances ou mythes que catholicisme et protestantisme réprimaient ou recouvraient ». Place aux fantômes, aux esprits, aux vampires et autres cavaliers sans tête. En litté- rature, le romantisme noir en fera son miel avec délectation. La musique ne fut pas en reste. On pense bien sûr à Berlioz et son Songe d’une nuit de sabbat de la Symphonie fantastique, à Weber et la « scène de la Gorge-aux-Loups » du Freischütz, à Liszt et la figure de Méphisto… Pour représenter cette veine romantique, la Philharmonie choisit de faire entendre Hansel et Gretel de Humperdinck, donné dans une version illustrée par Lorenzo Mattotti pour un spectacle en famille. Quant aux premières décennies du xxe siècle, elles sont illustrées par une « enfantine » ravélienne, la suite Ma mère l’Oye, couplée au Pierre et le Loup de Prokofiev, interprétés par les solistes de l’Orchestre national d’Île-de- France. Datant à peu près de la même époque, le Nosferatu de Murnau est projeté avec un accompagnement musical de Jean-François Zygel. Est également représentée la création contemporaine avec Les Percussions de Strasbourg et Pierre Jodlowski dans Ghostland, pour percussionnistes, marionnettiste et dispositif interactif de lumières, sons et vidéos : « Les “fantômes” dont il est ici question renvoient certes aux êtres chers dis- parus et aux traces conservées par la mémoire, mais aussi, de manière plus métaphorique, à l’individu pris dans les rouages d’un système qui l’arrache au réel, à soi et aux autres », explique le compositeur.
    [Show full text]
  • COULEURS DE LA CITE CELESTE Presented to the Graduate Council
    37V9 /(B THE ROLE OF TEXTURAL DESIGN IN THE MUSIC OF OLIVIER MESSIAEN: A STUDY OF #0 / COULEURS DE LA CITE CELESTE THESIS Presented to the Graduate Council of the North Texas State University in Partial Fullf illment of the Requirements For the Degree of MASTER OF MUSIC by Paulette Sue Wallendorf, B.M. Denton, Texas August, 1981 Wallendorf, Paulette S., The Role of Textural Desin in the Music of Olivier Messiaen: A%Studyof Couleurs de la Cite Celeste. Master of Music (Theory), August, 1981, 76 Pp., 5 graphs, 11 illus trations, bibliography. This study first traces the evolution of a new musical design, one which emphasizes textural elements in the structural foundation. It follows with an account of the life and musical style of Olivier Messiaen, a contemporary composer who has emphasized timbre as a structural parameter in his music--most notably in several works of the sixties. An analysis of his Couleurs de la Cite Celeste (1963) is offered in the final chapter, indicating in particular the impor tant role that timbre, as well as other textural elements, plays in forming the large-scale design. TABLE OF CONTENTS Page LIST OF GRAPHS ........................ .. ..iv . LIST OF ILLUSTRATIONS .. 0.0 . 0 . .0 . 0 V Chapter I. INTRODUCTION . 1 II. TIMBRE AS A STRUCTURAL PARAMETER IN MUSICAL FORMS, PAST AND PRESENT . 12 III. MESSIAEN--HIS BACKGROUND, EDUCATION, INFLUENCES, AND CAREER . , . 25 IV. THE MUSICAL LANGUAGE OF MESSIAEN . 33 Melody Rhythm Harmony The Modes of Limited Transposition V. THE TREATMENT OF TIMBRE IN MESSIAEN'S MUSIC . .. 42 / / VI. COULEURS DE LA CITE CELESTE: A TEXTURALANALYSIS .
    [Show full text]