Concerts, Events & Book Reviews
13 February 2020. Igor Levit and Markus Hinterhäuser, pianos perform Visions de l'Amen.
Milton Court Hall, Barbican, London
This was the second in Igor Levit’s series of concerts as the Barbican featured artist and was the first of two concerts that included works for two pianos. Levit’s partner for Vision de l’Amen was Markus Hinterhäuser.
Visions de l’Amen was written in 1943 and first performed in Paris during the Occupation by Messiaen and Yvonne Loriod at the Concert de la Pléiade on May 10 that year. Messiaen made no attempt to divide the material between the two pianos and piano one was consciously written for the pianistic talents of Loriod who, even at a young age was able to juggle musical complexities with ease. So her part was assigned the bells, birdsong, rhythmic canons in several layers and so on and piano two (Messiaen’s role) was to supply the thematic material and emotional power. For almost two decades the work remained the sole domain of composer and pupil until Irén Marik and John Ranck made a recording c.1956 and performed it at the Deepest Valley Theatre, USA in 1965 then the Labèque’s took it on in 1969 under Messiaen's supervision.
Lately of course many couples have ventured into Messiaen’s world of creation, spinning planets, the agony of Jesus and Jugement, desire and consummation, some with variable results it has to be said.
Levit and Hinterhäuser began Amen de la Création with suitable solemn majesty and unlike many recent performances by others, tempo was effective and delivered a sense of Time and Eternity. Levit’s double rhythmic pedal carillon pieced the darkness with just enough light and gave us a hint of things to come.
The minim rest had just expired from movement one when Hinterhäuser segued into No.2 Amen des étoiles, de la planète à l’anneau – a brutal dance of the planets in octaves that is eventually joined by the swirling rhythmic and polymodal complexities of piano one. Apart from some over pedaling in piano two, tutti was impressive and the relentless energy and exhilaration heightened the drama.
The third Vision, Amen de l’agonie de Jésus focuses on the suffocating confines of the Garden of Gethsemene and Messiaen said of this movement: “God, who’s beyond time…came in order to suffer with us. And I express this in my music…God is above us and still He comes to suffer with us.” This was written at a time when Messiaen’s brother Alain was still in a German prisoner of War camp and his first wife Claire was suffering a debilitating and degenerative mental illness. The music ‘cries’ and shreds the emotions to an almost unbearable degree and the interlocking writing was nuanced and well projected by both performers.
Amen du Désir explores two themes of desire. The first slow, ecstatic and longing of a deep tenderness, the second passionate and explosive. Piano two states the opening love song while a sense of clock time is introduced by piano one quietly chiming octave ‘Ds’ where Levit, with legs astride and making eye contact with members of the audience was somewhat distracting. I found Hinterhäuser’s tone a little harsh at times and Messiaen’s detailed dynamics within the chords failed to convince but Levit’s crystalline accompaniment in the development was sensual and played with ardent warmth. As the movement progressed the playing became a little sullied towards the climaxes spoiling the impression at times.
Amen des anges, des saints, du chant des oiseaux transports the listener to the angelic sphere beginning with the angels and saints where the music is pure and sparse and phrasing by both pianists was effective and well shaped. Messiaen’s birdsong was still undeveloped in 1943 but he had a clear idea of the birds that would feature here, albeit in a stylized manner. Levit’s birds were not flawless but a sense of joyous freedom pervaded.
Amen du jugement is horrific in character with more bells, this time the ‘bell of evidence’. Both performers created a sense of terror and awe and together with Amen de l’agonie de Jésus these were the most successful of the movements in terms of spiritual energy between the two players.
Again, a quick segue launched us into Amen de la Consommation where the opening tempo was as fast as the closing tempo should have been. There are three clearly defined tempo increments in the movement that are designed to drive the music forward adding ecstatic joy and excitement that brings the work to it’s exuberant conclusion. Instead Levit and Hinterhäuser bulldozed their way through with scant regard for dynamic detail and less for the important articulation in piano one at the ‘Un peu plus vif’.
Visions de l’Amen is a work that requires two souls who are on an equal spiritual plane and have reached that level of intuition that the playing becomes ‘one’. I did not get that impression from this performance that seemed rather workman-like and over reliant on the score.
Levit’s Beethoven is masterful but Levit’s visions were not Messiaen’s Visions.
BBC PROM - 13 28th July 2019
Des canyons aux étoiles…
Nicolas Hodges (piano)
Martin Owen (horn)
David Hockings (xylorimba)
Alex Neal (glockenspiel)
BBC Symphony Orchestra Stephen Bryant (leader)
Sakari Oramo, conductor
It was with much excitement that I awaited the opening bars of Messiaen’s vision of ‘the resurrected in Paradise’ and ‘the beauties of the earth (its rocks, its birdsong) and the beauties of the physical sky and of the spiritual sky’ as Des canyons aux étoiles… is perhaps the most under-performed of all Messiaen’s orchestral pieces.
Written for the bicentennial of US independence, it is the longest of Messiaen’s orchestral work (outdoing Turangalîla Symphonie by two movements and about 20 minutes) but using far less forces than the Symphonie – for example, one double bass as opposed to ten and stripped down woodwind and brass. It does, however retain a major part for piano but no Ondes Martenot, instead solo parts for horn, xylorimba and glockenspiel.
I was not disappointed. The performance remained gripping throughout its 12 movements presenting a vast array of musical colours that conjured the vast desert and rocky imagery of the Utah landscape, and its unique ornithological aviary.
From the outset of movement one (Le désert), the solitude of the horn solo, scampering scorpions and isolated birdsong immediately drew the listener into Messiaen’s sound world and the almost tinnitus inducing bowed crotales, piccolo and violin harmonics created the deafening silence of the desert.
Colour has always been at the heart of Messiaen’s orchestral writing and the BBCSO delivered a vivid palette of hues throughout guided by the baton-less Sakari Oramo who just needed to take a little more time in the slow eighth movement (Les ressuscités et le chant de l’étoile Aldébaran) and the final carillon features in movement twelve (Zion Park et la Cité Céleste) to allow the music to breathe and the detailed textures to fully flourish.
Horn soloist Martin Owen took full advantage of the Royal Albert Hall acoustic in Appel interstellaire with well judged pauses and animated communication with the audience.
The score is peppered with new and experimental (for Messiaen) sounds including the eoliphone (wind machine), geophone (sand machine), cross bridge bowing in the strings and in movement five (Cedar Breaks et le Don de Crainte) a trumpet blowing into the mouthpiece only, creating strange glissandi that straddles the borders of mystery and the comic. Also, Messiaen’s musical alphabet (first used in his Méditations sur le mystère de la Sainte-Trinité) appears several times to spell out the biblical quotations that link the spiritual and physical elements in the work.
The two solo piano movements (Le Cossyphe d’Heuglin – The white-browed robin and Le Moqueur polyglotte – The Mockingbird), were played with unshaken security and clear sense of musical architecture by Nicholas Hodges and the ‘bird’ interplay between piano and glockenspiel (played by Alex Neal) was simply enthralling in Les ressuscités et le chant de l’étoile Aldébaran.
David Hockings (xylorimba) is well known for his virtuosity and this was demonstrated laudably in movement eleven (Omao, Leiothrix, Elepaio, Shama) as well as some enthralling duet work with glockenspiel.
For those audience members who felt they couldn’t quite stay the course, a great opportunity was missed to experience Messiaen’s vision as a whole in this rare and beguiling performance.
Review of the the first British performance of Harawi.
Interestingly given by Roy Bywood 'tenor' and John Boorman, piano. February 9th 1953
Quatuor pour la fin du temps and Messiaen's Maths
On 26th March 2017 Concerts Penzance presented a Humphry Davy Science & Music Lecture on the subject of the mathematics and numerology in the first movement of Quatuor pour la fin du temps (Liturgie de cristal). This was followed by a complete performance of the Quatuor given by students of the Royal Academy of Music London.
The often highly animated Marcus du Sautoy (Professor for the Public Understanding of Science and a Professor of Mathematics at the University of Oxford) delivered the lecture to a packed audience at Penwith College, Penzance, Cornwall. Sautoy is well placed on the subject being a former trumpet player and keen Messiaen enthusiast who has first hand knowledge of performing some of Messiaen’s work.
He devised a visual animation (the Island) that used various shapes and forms including cogged wheels to demonstrate and draw comparisons with the number system that Messiaen used in Liturgie de cristal that for the uninitiated worked extremely well. His background knowledge of Messiaen was substantial although I became a little uncomfortable with the amount of emphasis placed on the use of serialism in Messiaen’s music. That aside the lecture remained engaged and highly communicative throughout.
After the interval a complete performance of the Quatuor was given by Charles Dale-Harris (clarinet), Kate Oswin violin), Ghislaine McMullin (cello) and Joseph Havlet (piano). It must be said that this is a heck of a work for seasoned professionals to take on so all power to the elbows of these four fine players for this undertaking. It is not only the technical virtuosic ensemble playing needed in movements such as Vocalise pour l’ange qui announce la fin du temps and Danse de la fureur that is challenging but more the mental, spiritual concentration of the two Louange movements and the overall architecture of the entire work.
The four musicians here remained highly committed despite some mechanical issues with the clarinet at times. Ghislaine McMullen’s Louange a l'éternité de Jésus was compelling with no distortion of line or intent. Contrastingly there was a real sense of energy and thrill in Danse de la fureur where the quartet captured the score with vivid immediacy.
I am constantly heartened by the wealth of quality music making in the most south western corner of the UK and especially the genuine enthusiasm and interest shown for the music of Messiaen due in no small amount to the efforts of musicians such as Nigel Wicken and in the case of this concert, Tim Boulton and Concerts Penzance.
Pierre-Laurent Aimard performed Catalogue d'Oiseaux (complete) at Aldeburgh Festival UK 19 June 2016
When news broke several months ago that Pierre-Laurent Aimard would perform Messiaen’s Catalogue d’Oiseaux at the Aldeburgh Festival in its entirety, not in Messiaen’s written order and in one day from dawn to dusk and beyond, many seasoned concertgoers and Messiaen devotees thought the idea was bonkers and it would never work. How wrong they would be with the whole day sold out and over subscribed soon after booking opened.
Pierre-Laurent Aimard, Roger Muraro and Michel Beroff are three pianists most closely associated with Messiaen’s piano music and all were pupils of Yvonne Loriod and the couple often referred to them as their (musical) children. So having Pierre-Laurent Aimard (Artistic Director of the Aldeburgh Festival) in the driving seat for this special event meant that there was no doubt whatsoever that it would not work.
Aimard chose to place the pieces of the Catalogue by the time of day associated with the bird songs, so the concerts were presented thus: 4.30am Dawn – 1.00pm – Afternoon – 7.30pm – Dusk and 11.00pm – Night.
4.30am 'Dawn' Concert Hall Cafe. ©Sam Murray-Sutton
I have to say that after performing in Beethoven’s Missa Solemnis the previous evening, it was somewhat of a struggled to get myself up and arrive in Snape for the first concert at 4.30am. (Hardy twitchers were at the reed beds at 3.30 and before the sun rose). However, any sense of fatigue soon dissolved as we the audience took our seats in the Snape Maltings Concert Hall Cafe facing the window and looking out on the reed beds as the sun rose to the strains of Messiaen’s Traquet Stapazin (Black-eared Wheatear), La Bouscarle (Cetti’s Warbler) and Traquet Rieur (Black Wheatear) all mingling with the Suffolk dawn chorus.
At 1.00pm in the Britten Studio the ‘Afternoon’ concert revealed Le Buse Variable (Buzzard), L’alouette Calandrelle (Short-toed Lark), Le Loriot (Golden Oriole) and Le Merle Bleu (Blue Rock Thrush). The 7.30pm ‘Dusk’ concert was presented at RSPB Minsmere Nature Reserve outside on Whin Hill with Les Chocards des Alpes (Alpine Chough), Le Merle de Roche (Rock Thrush) and Le Courlis Cendre (Curlew). Finally back at the Britten Studio, ‘Night’ concluded with La Chouette Hulotte (Tawny Owl), L’Alouette Lulu (Woodlark) and La Rousserolle Effarvate (Reed Warbler).
What was most striking throughout the day was Aimard’s complete sense of focus (not to mention stamina) in the three locations and how each acoustic space could respond to Messiaen’s aural ‘paintings’. These works are not merely transcribed songs of the titled bird but rather their entire natural habitat and the relationship with other birds within that habitat are all represented, so natural phenomena such as tranquil lakes and rushes, rugged mountain terrain, crashing waves of the sea, howling wind etc. all form part of the canvas.
To present the Catalogue over a 19 hour period is impressive enough but to perform with such nuanced playing, emotional power and unshaken security was just astounding. Le Merle Bleu (Blue Rock Thrush) was simply breath-taking and left me speechless with its glittering and fluid passage work and sense of drama whereas La Chouette Hulotte (Tawny Owl) truly sent shivers up the spine with its depiction of ‘darkness, fear and beating heart’ with a call that at times sounds like (in Messiaen’s words) ‘a child being murdered’. A long way from the peaceful setting of La Bouscarle (Cetti’s Warbler) heard both by Aimard’s poised and piquant playing and ‘live’ by the bird itself in the reed beds at Snape.
Presenting the 7.30pm ‘Dusk’ concert at RSPB Minsmere Nature Reserve outside on Whin Hill was a risky masterstroke given the unpredictability of the English summer but one that paid off. Yes there was a vexing wind that kept Aimard’s page-turner on her toes but the effect and musical impression was magical. Special mention must go to the BBC. Musical events in the open air are notoriously difficult to control in both volume and sound quality, but the BBC team got it just right. Having Tom McKinney announce throughout the day was also fitting as he has, (according to the booklet notes) been bird watching all of his life. The Festival book was lavish but just a shame that Messiaen’s descriptions were not printed in full for each piece.
In between the concerts, other events took place in and around Snape including Nigel Paterson’s film: Dawn Chorus: The Sounds of Spring, a Festival church service, a concert by the Choir of King’s College, Cambridge at Blythburgh Church, an RSPB Walk and an illuminating talk by Christopher Dingle (Messiaen specialist and musicologist) and Nigel Collar (ornithologist).
1.00pm 'Afternoon' Britten Studio ©Matt Jolly
For many years Yvonne Loriod’s account of this work had remained definitive, but Pierre-Laurent Aimard took it to a higher plane setting a tough benchmark for pianists such as those attending his master-classes during the previous week.
It was Pierre-Laurent Aimard’s final year as artistic director of the Aldeburgh Festival and thanks must be given for the diversity of art and music that he brought to Suffolk over eight years but perhaps none more so than that of the 19th June 2016 where the entire landscape and natural beauty of Suffolk played a significant part in Messiaen’s and Aimard’s vision.
7.30pm 'Dusk' RSPB Minsmere © Matt Jolly
11.00pm 'Night' Britten Studio, Snape. © Matt Jolly
Review of the all-Messiaen concert. St. Mary's Church Penzance, Cornwall. UK 4th June 2016.
Featuring Malcolm Ball (ondes Martenot) and Peter Humphrey (piano), with Nigel Wicken (organ).
1. 5 Leçons de Solfege (1934) Nos.l,2,3,5,4. Ondes & piano.
2. O sacrum convivium (1937) soprano (Laura Nicholas) &Nigel Wicken (organ)
3. Two piano pieces played by Peter Humphrey: La colombe (1929)
and Rondeau (1943).
4. Le merle noir (1952) flute & piano - (Pippa Drummond, flute; Paul Comeau piano).
5. Feuillets inedits (unpublished pages) ondes & piano.
6. L'alouette lulu (1957) piano- (Peter Humphrey)
7. Vocalise (1935) Ondes & piano
8. Premiere communion de la Vierge (1944) piano.
9. Oraison des belles eaux (1937) Ondes & piano.
10. Joie et clarte des corps glorieux (1939), Nigel Wicken (organ)
This all-Messiaen concert was a unique musical event, and it was applauded with great enthusiasm by an audience of over 70
people. A glance at the items in the programme with their dates shows that these are works from the earlier half of the
composer's career, the latest in date being L'alouette lulu composed in 1957 when Messiaen was aged 49.
The concert included authorized arrangements for ondes Martenot and piano along with some other fine works that have
hitherto seldom been performed. None of the pieces is particularly obscure or difficult for the listener. Indeed the
intention was for this to be a concert of attractive and accessible music, much of it extraordinarily beautiful - music
that deserves to be heard more often. Many people will know of Messiaen's use of the Ondes Martenot in three of his greatest works: Trois petites liturgies de la Presence divine, Turangalila, and Saint François d'Assise.
The pieces in this concert, however, were adaptations of the high melodic line of some smaller works, pieces originally written
with pedagogical intent - sight-reading exercises or examination tests. In their modest way they often exemplify Messiaen's
characteristic melodies, harmonies and rhythms. What is remarkable is their quality, and also their delightful deftness
The 5 Leçons de Solfege (1934) for ondes and piano formed an ideal start to the concert. These sight-reading pieces,
originally for soprano but readily adaptable for flute or for ondes, are easy on the ear, some sprightly, others with a mildly
melancholy and wistful charm. We were not challenged with any of the loud swoopings and whoopings characteristic of the Ondes
in parts of the large orchestral works. This evening we experienced the quieter and ethereal qualities.
O sacrum convivium (1937), beautifully sung by the soprano Laura Nicholas accompanied by Nigel Wicken on the organ. This
version is rarely performed, though the a capella version is often sung by cathedral choirs. This was a spellbinding and very moving performance.
The four piano solos, admirably played by Peter Humphrey, were all remarkably different from one another. La colombe (1929)
was delicately evocative; Rondeau (1943) came across as exciting and dazzling with a delightful lightness of touch; La premiere
communion de la Vierge (1944) communicated a beautiful and deeply spiritual experience. L'alouette lulu (1957) was wonderful:
velvet-dark chords representing night, magical high descending trills of the woodlark, the more percussive brilliance of the
Le merle noir (1952) for flute (Pippa Drummond) and piano (Paul Comeau) was sensational in its virtuosity and brilliance.
The audience was bowled over by it. Of the pieces for ondes and piano, which constituted the bulk of the concert, it was the Oraison des belles eaux that built up to the most sustained intensity. Malcolm Ball and Peter Humphrey achieved an extraordinarily subtle, well-graduated, and compelling melodic and chordal progression. The emotion was overwhelming.
The concert concluded with Joie et clarte des corps glorieux (1939) played on the organ by Nigel Wicken using the exact stops
and registrations that are indicated in the score. The "joy and radiance" resounded in the church, an exhilarating and fitting culmination.
Nicholas Armfelt (June 2016)
Simón Bolívar Symphony Orchestra of Venezuela. Gustavo Dudamel conductor, Yuja Wang, piano, Cynthia Millar, Ondes Martenot Royal Festival Hall London. 16th January 2016
Some might say there was something more dazzling than the Lumiere Light Festival showing over London on the 16th of January and that was the appearance of the Simón Bolívar Symphony Orchestra of Venezuela under Gustavo Dudamel at London’s Southbank performing Messiaen’s mighty Turangalîla Symphonie. Messiaen loved to ‘dazzle’ and we were certainly treated to an aural and visual feast from the moment piano soloist Yuja Wang strode onto the Royal Festival Hall stage sporting a sparkling micro mini dress with matching shoes only out shone by her dazzling and scintillating performance of this quasi piano concerto. Ms. Wang is well known for her concerto performances of Tchaikovsky, Rachmaninoff, Prokofiev, Shostakovich etc. but not later 20th century works such as this. She may not have this music completely in her bones as Pierre-Laurant Aimard and indeed she seemed a little over reliant on the score at times, but she played the most demanding passages with unshaken security and a kaleidoscopic dynamic sense. This was particularly evident in movement 6 (Jardin du sommeil d’amour) where Messiaen had just started to develop his birdsong writing. Her delicate touch and ‘improvisatory’ approach allowed Messiaen’s birds to flit effortlessly over a cushion of strings and Ondes Martenot melody. As attractive and, again, dazzling her six inch stiletto heels and three inch platform shoes were, they did impair her pedaling at times where some resonances were abruptly cut short and not fully controlled. This was a minor glitch in an otherwise quite staggering performance.
Turangalîla Symphonie is new fair for the Simón Bolívar Symphony Orchestra and Dudamel added to their repertoire in 2015. This team with Yuja Wang and Cynthia Millar have performed the work in Barcelona, Luxembourg, London and will play in Cologne on the 24th January. The work is not new to ondist Cynthia Millar, having played it countless times over many years now. Her performance here demonstrated just how well attuned her ear is to tonal and dynamic balance of her instrument with the rest of the orchestra.
Dudamel stuck rigidly to Messiaen’s orchestral numbers that are inflated in all departments including 10 double basses. I have heard this piece where reductions were made and it really spoils the effect, balance and colour, but not so on this occasion. He conducted with precision and passion coaxing out the delicate ‘flower motif’ played by woodwinds, contrasting this with the burnished white-hot fortissimo ‘statue theme’ in the brass. He also stuck well to Messiaen’s revised tempi with just movement 5 (Joie du sang des étoiles) taking a few bars to settle. I felt the tam tam was a little cautious in the climaxes and the staggered positioning of the metallic instruments (vibraphone, celeste and keyed glock) did not create the intended gamelan effect that Messiaen wanted.
Bruce Hodges’ progamme notes were rather too generalised and contained a few minor inaccuracies. He alluded to Wagner’s Tristan und Isolde but failed to place Turangalila within Messiaen’s own Tristan trilogy (Harawi, Turangalîla Symphonie and Cinq Rechants).
This said, the ‘force’ was certainly with Simón Bolívar Symphony Orchestra and the vitality and energy that the orchestra is famous for was 95% evident. I reserve 100% for the performance given by the National Youth Orchestra of GB under Sir Andrew Davis in a 2001 BBC Prom.
© Malcolm Ball
BBC Proms Friday 7th August 2015 Royal Albert Hall, London.
Olivier Messiaen (1908-1992) Orchestration realised by Christopher Dingle (b. 1971)
Un oiseau des arbres de Vie (Oiseau tui) (1987/8, orch.2013/14) world premiere.
‘On either side of the river is the tree of life…’ (Revelations 22:2) ‘Bless the Lord, all birds of the air’ (Daniel 3:80)
For those of us who felt that Peter Hill’s recent and exciting discovery of the piano piece ‘La fauvette passerinette’ was the last piece of Messiaen’s manuscripts to see a new light of day since the composers’ death, image our thrill to hear of this 4 minute gem that emerged from the work desk in Paris! This said, many scholars and enthusiasts have known about ‘Un oiseau des arbres de Vie (Oiseau tui)’ as Chris Dingle pointed out in the highly illuminating Proms Extra talk that was shared with Peter Hill. Messiaen planned for a pair of movements in ‘Éclairs sur l’Au-delà…’ that featured the tui bird from New Zealand and the lyrebird from Australia. The lyrebird remained in the finished work but Messiaen, reluctantly decided to omit the tui from Éclairs. He had, however, written all the music for the movement in a three stave short score and characteristically approved this by marking ‘Bien’ to note its completion.
Thanks to Peter Hill who was granted a copy from Messiaen’s widow Yvonne Loriod-Messiaen, Chris Dingle set about the daunting task of orchestrating the movement.
It would be very hard to find another as well qualified as Chris to undertake such a task with his boundless knowledge of Messiaen’s final works (especially Éclairs) and a thorough understanding of the orchestral palette used by Messiaen.
The song of the tui is remarkable for its vast vocal range as well as being a great imitator of, not just other birds, but also many environmental sounds it hears such as percussive knocks and clicks, swooping glissandi and even the human voice. As one who has been fortunate enough to see and hear this bird first hand (on Tiritiri Matangi Island NZ) I can confirm it is one of the most vocally adept of all the avian species.
The result is a 4-minute virtuosic tour de force in all the orchestral departments. Messiaen’s beloved trio of marimba, xylorimba and xylophone featured prominently and executed with great aplomb by the percussionists of the BBC Philharmonic. The tui’s song flits around the orchestra of multiple woodwind, brass and strings at great speed and dazzling metrical complexity often culminating (and concluding) by ‘tumbling’ onto three cellos.
The wood blocks are featured in an almost concerto-like capacity and there are smacks of ‘Oiseaux exotiques’ with repeated tutti stabs, but as Chris Dingle pointed out, the music contains clearly recognisable ‘Messiaen’ but at the same time colours and traits new to his birdsong writing.
And it is ‘colour’ that really dazzled us in the Royal Albert Hall this evening by craftsman of 20th (and 21st) century composer/orchestrators.
Mozart kicked off the first half with the not too often heard Idomeneo – ballet music and although not 20th century, Messiaen considered Mozart a great colourist who’s influence remained with him throughout his life.
Jean-Efflam Bavouzet gave a glittering and moving account of Ravel’s Piano Concerto in G major as well as the breath-taking Etude de concert by Pierné by way of an encore, Stravinsky’s Symphony in Three Movements, Colin Matthews’s delicate and translucent orchestration of Oiseaux tristes from the piano suite Miroirs by Ravel and Ravel’s own orchestral masterpiece La Valse concluding the proceedings.
The BBC Philharmonic was on top form in all departments driven by the effervescent Nicholas Collon who coaxed out all the subtle nuances in this feast of nature and colour.
Peter Hill and Christopher Dingle
Philharmonia Orchestra. Esa-Pekka Salonen conductor, Pierre-Laurent Aimard, piano, Valérie Hartmann-Claverie, Ondes Martenot. Royal Festival Hall London. 28th May 2015
The last time I reviewed the Philharmonia performing Turangalîla Symphonie was back in 2008, Messiaen’s centenary year when they performed the work in sunny Southend-on-Sea, Essex (see below) and the only change in personnel in this performance was ondist Valérie Hartmann-Claverie (Jacques Tchamkerten was in the ondes chair in Southend).
This was the final concert in the Philharmonia’s series “City of Light – Paris, 1900–1950” and if you want to go out with a bang then Turangalîla is the ideal choice. But before the mighty Symphonie, we were treated to some sonorous delights of a different kind beginning with Debussy’s Syrinx for solo flute and indeed it could be said that the orchestra ‘grew’ throughout the evening with Simon Coles alone on stage followed by the rarely heard La damoiselle élue for female chorus, mezzo and soprano solo and orchestra, then Turangalîla where the RFH stage was bursting at the seams.
From the opening bars of the Introduction it was clear that Messiaen’s ‘baby’ was in safe hands as of course it has been with Salonen for many years now. The orchestral colours so important for Messiaen were clearly defined here and exquisitely balanced throughout. The keyboards (celeste, keyed glock and vibraphone) were positioned correctly at the front of the stage but sadly the mallets used on the vibraphone were too soft to convey the clanging gamelan effect that Messiaen intended.
Salonen’s tempi were well judged throughout but for (and this was the case in 2008) the 9th movement where Messiaen revised the tempo from quaver 100 to 80. Salonen produced a rather jaunty jog rather than the mysterious strange and ethereal atmosphere created by ondes, percussion, keyboards and 13 solo strings. If the tempo is too fast the timbral detail and rhythmic personalities are lost or at least thrown into relief.
This aside, Salonen and the orchestra produced an epic performance with soloists Valérie Hartmann-Claverie playing entirely from memory with great command and expressive intensity and Pierre-Laurent Aimard setting the whole piece alight with his stunning virtuosity and consistent engagement befitting in this glittering finale to the ‘City of Light’.
22 February 2015
Het Orgelpark, Amsterdam, Netherlands.
Fête des Belles Eaux for 6 Ondes Martenot’s
Fabienne Martin, Pascale Rousse-Lacordaire, Philippe Arrieus, Haruka Ogawa, Dominique Kim, Augustin Viard.
Quatuor pour la fin du temps
Thomas Dieltjens, piano
Benjamin Dieltjens, clarinet
Aki Sauliere, violin
Raphael Bell, cello
This concert was the culmination of a Messiaen festival organised by Johan Luijmes, (artistic director) and his team at the colourful and attractive Orgelpark venue in Amsterdam. Previous concerts in the series featured such luminaries as Ralph van Raat performing Vingt Regards sur l’Enfant Jesus, Berry van Berkum performing Les Corps Glorieux and Musici Nederlands Kamerkoor Klaas Stok with Marcel Verheggen performing Apparition de l’Eglise Eternelle, O Sacrum convivium, L’Ascension, Cinq Rechants, Le Banquet céleste.
Although I was unable to attend the entire festival I was determined to make the trip to Amsterdam on Sunday the 22nd to see and hear this performance of Fête des Belles Eaux by ‘Vecteur Ondes’ (Fabienne Martin, Pascale Rousse-Lacordaire, Philippe Arrieus, Haruka Ogawa, Dominique Kim and Augustin Viard). This piece is so rarely heard live that any performance that is only a short plan trip away is most definitely worthwhile.
Messiaen was one of 20 composers commissioned to write a piece in 1937 for a festival of sound, water and light (a ‘son et lumière’) that took place along the river Seine in Paris and after seeing and hearing Maurice Martenot’s new electronic invention in 1928 he opted for a piece featuring 6 Ondes Martenot’s. The performance began after dark where fireworks in the sky were mirrored by jets of water combined with the harmonies of the music.
Nowadays we settle for the six Ondists seated in a semicircle in the comfort of a concert hall, as was the case on the 22nd. The virtuosic first Ondes part (the role originally played by Ginette Martenot the inventors’ sister and later Jeanne Loriod) was superbly executed by Fabienne Martin who coaxed the most expressive qualities and emotional intensity from the instrument in movements 4 and 6. The musical material for these two movements later found its way into the Quatuor. Pascale Rousse-Lacordaire guided the overall performance clearly and concisely resulting in excellent ensemble and dynamic expression throughout.
Those of you familiar with the oak coloured wooden cabinet style that Maurice Martenot produced together with the eye catching lotus leaf shaped ‘palme’ loudspeaker would have been slightly disappointed as all the performers used the Ondea, a modern version of the original that has no such ‘art nouveau’ qualities. This is not a problem, as the sound quality and characteristics of the Ondea is very close to that of the original Martenot instrument and of course much more reliable, but being a little old fashioned, I just like the aesthetic of the original instrument.
However, the metallique speakers (a resonating gong) were used to create the highly effective shimmering in the 6th movement. Also, it wasn’t until 2003 that the new score of Fête des Belles Eaux was published and the timbre registrations were written for the series 7 Ondes Martenot that only includes 3 speakers: Principle, Reverberation and Metallique (D1,D2 and D3).
This was a memorable performance of the highest quality that clearly demonstrated the organic, human expressive quality of these instruments that have stood the test of time and sets it aside from modern day synthesizers.
The second half of the concert was given over to a scintillating performance of Quatuor pour la fin du temps perhaps Messiaen’s most performed work. If this is the case, then it is still extraordinary how every performance brings something different to the work. Benjamin Dieltjens, Aki Sauliere, Raphael Bell performed their respective ‘solo’s’ with rapt intensity all underpinned by Thomas Dieltjens’ secure, no nonsense pianism that totally captivated the audience throughout. A true Amsterdam standing ovation for both performances was thoroughly deserved.
As an extra ‘treat’ there was a running video of an interview with Messiaen and Dutch maestro Reinbert de Leew centred on a performance of La Transfiguration de notre-Seigneur Jésus Christ – what more could we ask for?
All thanks to Johan Luijmes and Karlijne Swart for their tireless efforts and hospitality.
Time Stood Still in Wivenhoe
Many of you reading this article would never have heard of Wivenhoe, a small town and ‘civil parish’ (as Wikipedia puts it) nestled in northeastern Essex. However, if I mention Colchester, the oldest recorded town in England, the numbers shoot up. Wivenhoe is a mere 3 miles south east of Colchester where the Roman River Music Festival has been delighting people with top quality performances as well as a strong out reaching educational programme since its foundation in 2000.
The concert given on the 30th September 2014 at St. Mary the Virgin Church, Wivenhoe brought together four extraordinary musicians to perform Messiaen’s Quatuor pour la Fin du Temps (Quartet for the End of Time) - Zsolt-Tihamér Visontay, violin (standing in at short notice for Jennifer Pike), Guy Johnston, cello, Mark Simpson clarinet and Tom Poster, piano.
Mark Simpson, former BBC Young Musician and Composer of the Year, opened proceedings with Mark-Anthony Turnage’s Cradle Song with Tom Poster, first prize winner at the Scottish International Piano Competition and keyboard sections of BBC Young Musician of the Year. With dimmed lighting to almost dark the duo created exactly the right atmosphere for the evening and their poised and piquant playing conveyed just enough unsentimental lyricism that this miniature gem requires.
Mendelssohn’s Piano Trio in D minor showcased the virtuosic talents of Guy Johnston (another BBC Young Musician of the Year) Tom Poster and Zsolt-Tihamér Visontay (concert master of the Phiharmonia). This was a compelling performance played with a sense of spontaneity and often-breathtaking dramatic intensity that prompted spontaneous audience reaction between movements. The almost tangible telepathy between these musicians produced enthralling climaxes and changes of texture and mood without being confrontational.
After a well-deserved break, all four musicians joined together for Messiaen’s most performed work. From the opening bars of Liturgie de cristal it was clear that a special ‘chemistry’ was at work, which is surprising and rare for a group who I suspect, have not worked together as a unit for very long. This was chamber music at its very finest. Mark Simpson’s clarinet seemed, at times, to come from another world in ‘Abîme des oiseaux’. The long sustained tones truly did come from nothing and grew to a shattering fortissimo but with perfect tonal control throughout as were the fiendishly difficult 7 note echo figures that stride the entire range of the instrument and where many players come to grief.
I have heard Messiaen’s Quartet many (many!) times but never before have I experienced the ‘Danse de la fureur pour les sept trompettes’ played with such unabashed fury! ‘Louange à l’éternité de Jésus’ and ‘Louange de l’immortalité de Jésus’ for cello and piano and violin and piano respectively, demonstrated perfect timbral and temporal control from Tom Poster allowing Guy Johnston’s cello and Zsolt-Tihamér Visontay’s violin to float effortlessly in the heights.
This was a rare spiritually engaging performance where time really did seem to stand still. There was just a slight hint of tonal ‘fluff’ on the final violin note but by that time we were all on a higher plane.
All power to the elbow of Orlando Jopling for programming such a wonderful event in this quaint corner of the Essex countryside. We all eagerly await 2015!
St. François d’Assise in Madrid. 13th July 2011
Instalación: Emilia e Ilya Kabakov
Disposición escénica: Giuseppe Frigeni
Figurinista: Robby Duiveman
Iluminador Jean Kalman
Director del coro: Andrés Máspero
El angel: Camilla Tilling
Saint François: Alejandro Marco-Buhrmester
El leproso: Michael König
Frère Léon: Wiard Withold
Frère Massée: Tom Randle
Frère Éllie: Gerhard Siegel
Frère Bernard: Victor von Halem
Frère Sylvestre: Vladimir Kapshuk
Coro Titular del Teatro Real y Coro de la
SWR Sinfonieorchester Baden-Baden - Freiburg
Musical Director: Sylvain Cambreling
Since the historical Paris premier of St François d’Assise in 1983 there appears an evolution of two particular trends when staging this immense musical epic. On the one hand directors stick pretty closely to Messiaen’s sometimes detailed production notes while on the other hand some stray so far that if it were not for the music one might sometimes wonder if we’re watching the same work.
Teatro Real’s Madrid offering most definitely falls into the former catagory. Madrid’s artistic director Gerard Mortier continues his ‘dream’ of staging St Francois wherever he goes.
Directing team Emilia and Ilya Kabakov brought their gigantic tilting dome first seen in the Ruhr Triennale production of 2003 to the Madrid Arena (this and the musical forces were deemed too large to house in Teatro Real’s theatre at opera square in the centre of Madrid).
Adapted sports spaces such as the arena are never ideal for ‘acoustic’ musical events even with the large forces employed by Messiaen. The orchestra and choir were reasonably well focused and balanced but some solo roles that were played out on the raised bridge platform to the front and sides struggled with projection at times in particular Gerhard Siegel as Brother Elías.
Alejandro Marco-Buhrmester was convincingly immersed throughout as St François and performed with rapt intensity at times. Tom Randle is always a pleasure to see in the role of Brother Masseo bringing a sense of spontaneity to the part although he had considerably less to do in this production than the Nederlandse Opera where he last appeared in the role. Camilla Tilling is by far my favourite Angel. She is familiar with this part now and one is totally transported by her firmly centered non-operatic sound with a purity found nowhere else. Her ‘Noh’-like movements are exactly as Messiaen wished and this is true of the entire production which was meditative rather than sensational – minimal rather than spectacular. Messiaen’s sense of time and tempo are often hard to grasp but musical director Sylvain Cambreling guided the 170 odd performers with security and expressive understanding.
The expanded SWR Sinfonieorchester Baden-Baden- Freiberg produced some fabulous textures and colours. However, discipline and etiquette was less impressive with members of the brass section holding conversations and even coming and going off stage became a distraction at times.
The static ‘stained glass’ dome added coloured lighting throughout -sometimes changing imperceptibly. This plus the candle-lit lighting in the choir gave the whole space an atmospheric spiritual feel. ‘Static’ is the adjective that keeps surfacing in relation to this production and at times one just wished for slightly more animation from characters or stage direction particularly in the Sermon to the Birds where Messiaen’s music is so highly animated we, the audience just had to use a little too much of our own imagination.
A huge bird cage completed the stage design with live doves that appeared to respond to light intensity and became animated when lit and less so when in shade. It was therefore a shame that they were not fully lit in the final 2 minuets of the opera – it would have been heart warming to see them joyously flapping to the illuminated brilliance of the final C major chord!
It was also a shame that some of the Spanish opera going clientele could not stay the course as they would surely have been spiritually rewarded at the end of this highly successful production that may never be seen again in Spain for many years.
© Malcolm Ball
St. François in Amsterdam
Saint François d’Assise. De Nederlandse Opera, Het Muziektheater, Amsterdam. 1-6-2008.
“Know the joy of the blessed by gentleness of colour and melody…and may there be opened for thee the secrets of glory!”
These are the words sung by the Angel in Messiaen’s ‘musical spectacle’ (his description) and unlike some recent stagings of Saint François d’Assise, Der Nederlanse Opera production focuses on the words colour and melody with Pierre Audi and his production team ever mindful of Messiaen’s intentions.
From the opening scene (La Croix) the lighting and set designs are inventive and appropriate without us having to delve into the recesses of our minds to work out what is going on.
The huge expanded Residentie Orkest sprawled from the rear of the stage with musical director Ingo Metzmacher plying his craft from centre stage with great authority and control throughout and thus the orchestra became a genuine character in the opera. Remarkably this sonic powerhouse of 100 plus musicians never once over-powered the voices, a testament to the genius of Messiaen’s orchestration, the sensitivity of Ingo Metzmacher and the acoustics of the Muziektheater.
Camilla Tilling (L’Ange) gave a compelling performance both vocally and theatrically. The 5th tableau (L’Ange musicien) in particular left the entire Muziektheater audience utterly breathless and mesmerised with her exquisite vocal line complemented by the ‘other-worldliness’ of the three Ondes Martenot’s and moving with the elegance and ritual of a Noh actor fulfilled Messiaen’s every wish.
Angelo Figus’s costumes reflected Messiaen’s vision appropriately without compromise or over indulgence and only the Leper costume lacked a little impact in terms of repulsiveness.
Rod Gilfry (Saint François) delivered just the right amount of humility when needed in this mammoth role and despite a troublesome throat at times managed to portray vocally the Saint’s despair, anguish and joy to great effect.
All the Fransiscan Brothers responded well to their individual characterization’s, however it was Tom Randle (Frère Massée), who is depicted as rather naïve and innocent, was in danger of ‘stealing the show’ with his witty interactions and mannerisms. Indeed the one ‘masterstroke’ of Pierre Audi’s production was to introduce a group of children in the ‘Sermon to the birds’ where Randle really came into his own with the children clearly enjoying the playful banter. For me this scene communicated and worked far better than any ornithological wildlife film footage ever can.
Great use was made of the space and various levels in the Muziektheater with minimal but effective scene changes smoothly articulated.
The choir of De Nederlandse Opera were really made to feel an integral part of the production and not just a static sound source at the back of the stage. Their disciplined and well drilled performance driven by Martin Wright.
Pierre Audi has brought Saint François d’Assise into the 21st century while at the same time retaining the spirit of Messiaen’s intentions and has succeeded in highlighting the human and spiritual world of Saint François that made the 5 hours of this opera seem like a celestial ‘moment’.
A selection of reviews and highlights from 2008 - Messiaen's centenary.
Messiaen in Cambridge
5th March 2008 West Road Concert Hall
CUMS 1 Orchestra – Matthew Schellhorn piano – Jacques Tchamkerten Ondes Martenot – Baldur Brönnimann Guest conductor.
When the National Youth Orchestra of Great Britain tackled Turangalila Symphonie at the 2001 Proms to much deserved acclaim, we all marvelled at how an orchestra made up of people no older than 19 years of age could bring so much musicality, verve and excitement to this work in the midst of, it has to be said, some rather workman like performances presented by some seasoned professional orchestras around this time.
It is generally accepted that NYO is the cream of our musical youth with the highest standards of teaching and coaching, so could any other aspiring young person’s ensemble achieve such standards? The answer is most definitely ‘yes’ as was experienced by the Cambridge University Musical Society (CUMS) concert at West Road Concert Hall.
Baldur Brönnimann directed with authority if lacking a little dynamism and ensemble, after some slight shaky moments during movement two, gained cohesion and confidence.
There was plenty of power when needed despite the somewhat reduced numbers in some sections. Messiaen specifies (rather optimistically!) for example 10 double basses rather than the 7 here although there was no loss of bottom right from the opening bars in the lower strings. The woodwind section was clear, bright and well articulated especially the capricious bassoon and piccolo in Chant d’amour 2 and the clarinets positively blossomed in the ‘flower theme’ with beautiful tone and control. Only the brass section suffered a little from depletion and the stratospheric D trumpet was missed in the climactic bar before the final Trés lent of the Final. Special mention should be made of the percussion section who in a restricted and confined space covered everything with great aplomb.
Soloists Matthew Schellhorn and Jacques Tchamkerten are becoming quite a ‘team’ now and who wouldn’t want this pair as part of any Messiaen ‘team’? Matthew began the evening’s proceedings with a lucid and fact packed presentation of the Symphonie that concluded with Jacques Tchamkerten introducing the Ondes Martenot with both Matthew and Jacques performing a few bars of Jardin du sommeil d’amour demonstrating how sensitive Jacques Tchamkerten is as a player and the Ondes Martenot is as an instrument.
Matthew Schellhorn’s total command of this virtuoso piano part was never more aptly apparent than in the cadenza at the end of Joie du sang des étoiles – totally breathtaking!
This was a special evening for CUMS and one that all involved should be proud and hold dear to their hearts for a long time. A great achievement.
22nd March 2008 King’s College Chapel.
Apparition de l’Église éternelle - Trois petites liturgies de la presence divine
CUCO – Peter Stevens organ - Choral Scholars of Clare College - Choral Scholars of Gonville and Caius College – Matthew Schellhorn piano – Jacques Tchamkerten Ondes Martenot – Stephen Cleobury conductor.
We knew we were in for a special evening right from the opening bars of Apparition de l’Église éternelle given by Peter Stevens at the mighty King’s organ. Peter Steven’s well controlled crescendo culminating in the Harrison and Harrison awesome 32’ almost literally made the earth move for us! This is the kind of building to hear this work and Stevens made the most of the massive space and reverberation that was both moving and awe-inspiring.
Even more special was Stephen Cleobury’s handling of Trois petites liturgies de la presence divine. With such a strange combination of instruments, this is a difficult work to balance dynamically and presents a challenge to any conductor even in the best concert halls let alone a lively and unforgiving acoustic such as King’s.
However, Stephen Cleobury is well accustomed to the reverberation in the chapel and his timed pauses were just enough for us to savour the huge climaxes and not lose momentum.
Tempos were exactly right. Bright without being rushed and the slow tempos, mystical without being turgid. The Cambridge University Chamber Orchestra played with precision and style throughout and combined with the solo piano and Ondes Martenot parts, Messiaen’s stained glass effects were as dazzling as the King’s Chapel windows themselves!
Everything was crystal clear from the gently tapping maracas to the earth shattering tam tam crescendos.
Again, the Schellhorn/Tchamkerten ‘team’ performed with typical style, sensitivity and character, never over playing and always with the utmost musical awareness.
The real ‘stars’ of the evening though were undoubtedly the ladies of Clare and Gonville and Caius Colleges. There are nowadays many recordings of Trois petites liturgies de la presence divine however very few can boast perfection in terms of balance and vocal presentation that Messiaen himself envisioned. I strongly believe that this choir, on this occasion did.
Singing and chanting in unison as the vocal part requires here can have as many pitfalls as complex harmonic performing but this choir with it’s crystalline diction and faultless intonation was way up there with the finest.
Praise indeed, but praise well deserved.
Philharmonia Orchestra. Esa-Pekka Salonen conductor, Pierre-Laurent Aimard, piano, Jacques Tchamkerten, Ondes Martenot. Cliffs Pavilion, Southend-on Sea. 15 February 2008
Southend-on-sea is not the first location to spring to mind when thinking of a performance of Messiaen’s mighty Turangalila Symphonie. However, if one thinks of the gayety of children playing on the sun-kissed seafront in summer, the noisy cacophony of the fairground and young lovers strolling along the promenade at night bathed in Southend’s famous multi-fluorescent and colourful illuminations (second only to Blackpool) the heart of Turangalila isn’t that far removed!
The Philharmonia are key players in the South Bank Centre Messiaen Festival driven by the tireless and seemingly unflagging Pierre-Laurent Aimard as artistic Festival director. This team has and will be presenting Turangalila many times throughout the year and it was refreshing to experience such an event in the Essex seaside town.
The main draw back to mounting such a concert at the Cliffs Pavilion is that by nature it is more suited to musical theatre where the orchestra is positioned below in front of the stage whereby audience members seated in the stalls (which is un-raked until half way up the auditorium) can hear a good balance of vocal on stage and music from a ‘pit’ position below. Having a full orchestra on stage meant that those in the first part of the stalls experience some imbalance because brass, percussion and some woodwinds that are behind the strings consequently get a little lost. Having said this,
I’m sure that these balance problems did not arise if seated in the circle or the boxes.
Because of the restricted room on stage the orchestra was somewhat reduced in numbers and even then the percussion department especially seemed to lack the necessary elbow room needed to project some moments in the music and it was a shame that all the 'gamelan' type instruments (keyboard percussion) could not be altogether (the vibraphone being at the side).
Esa-Pekka Salonen did a sterling job of holding everything together in what must have seemed an almost straightjacket situation. Salonen knows this music well now and drew out some beautiful nuances from woodwind and strings as well as some amazingly exciting tutti moments. Indeed, I don’t think I’ve heard the last chord of Joie de Sang des Étoiles held for so long since the early days of Maurice La Roux! There was one slight breathtaking moment of the panic kind when in Turangalila 2 the tam tam seemed to take forever to enter and crescendo before the final seven bars.
Only the ninth movement: Turangalila 3 I thought lost a little mystery due to a rather too well paced tempo.
I have found Jacques Tchamkerten to be one of the most sensitive ondists around. His playing was always well balanced even in the fortissimo climaxes, which in the wrong hands can be ear splittingly loud.
Pierre-Laurent Aimard makes the virtuoso piano part look effortless now and one is reminded of Yvonne Loriod in her hey day with that total and absolute involvement with not just the piano part but the entire orchestral canvas. What is more extraordinary about Aimard is the mental and physical work-load of performing the complete Vingt Regards and goodness knows how many Turangalila’s in such a short space of time, as well as overseeing the entire Messiaen Festival. A truly super-human task and we in Great Britain should be so thankful that this Messiaen and Loriod taught Frenchman chose to grace us with his presence for the centenary.
The good people of Southend were treated to a particularly fine bonus in the form of a pre concert talk and performance of Quatour pour la Fin du Temps no less, given by soloists of the Philharmonia (Barnaby Robson, clarinet, James Clark, violin, David Cohen, cello) and Messiaen aficionado Matthew Schellhorn, piano.
This was a heart felt and meaningful performance full of colour and tight ensemble. Despite what looked like Barnaby Robson suffering from the British winter he draw some stunning colours and dynamics from the clarinet in Abime des oiseaux where notes seemed to literally emerge from the depths!
So, fish and chips and candyfloss aside, Messiaen was put firmly on the Southend-on- sea menu on Friday the 15th. Let’s hope for more here in the future.
© Malcolm Ball
Messiaen l'empreinte d'un géant.
ISBN-10: 2840495112 - ISBN-13: 978-2840495116 Pub. Editions Seguier in French.
Nicholas Armfelt writes:
If I tell you that Catherine Lechner-Reydellet writes in a slightly awkwardly poetic French and that she makes a terrible lot of blunders ("François" instead of Pascal Messiaen), dozens (literally) of proper names mis-spelt ("Aymard", Charles "Yves" etc. etc.), you may expect my judgement of the book and its editor to be pretty negative.
However the bulk of the book is fascinating and informative because she has assembled a whole lot of "témoignages". These 'witnesses" all write very well about their recollections of Messiaen. You get a brief biography of the contributor and a list of his/her works. The "témoignages" take a couple of pages each. Lots and lots of witnesses, all of them interesting, covering a wonderfully wide range of subjects. Messiaen as conductor(!), for example. And so very many of them praise Messiaen as an incredibly good pianist. Contributors include Louis Thiry, Raffi Ourgandjian, Sigune von Osten, Georges Prêtre (on the first performance of Chronochromie)..etc.I was terribly moved by the testimony of Odette Gartenlaub, the very first pupil to be inscribed in Messiaen's class at the Paris Conservatoire in 1941, the touching letter from Claude Delvincourt telling her that she had to leave because she was Jewish, and the three imploring letters from Messiaen asking her (without success) to rejoin after the Liberation.The book includes numerous letters by Messiaen and by Yvonne Loriod, all of them reproduced both in Facsimile and printed transcription. Of particular interest is the long section by Gaëtan Puaud on the Festival Messiaen au Pays de la Meije.
OLIVIER MESSIAEN: Oiseaux exotiques
Peter Hill and Nigel Simeone
Series: Landmarks in Music Since 1950 Ashgate ISBN: 0 7546 5630 6
This is the fourth in the series ‘Landmarks in Music since 1950’, series editor Wyndham Thomas and published by Ashgate. The others being: Shostakovich: String Quartet No. 8 – Louis Andriessen: Da Staat and Gyorgy Kurtág: The Saying of Péter Bornemisza op.7. A fifth volume, Nicholas Maw: Odyssey is to be published in 2008.
Each book features a general introduction of the work under discussion, details of commission and composition history, contextual discussion of stylistic, generic and international influences and precedents, an analysis of the work, survey of its reception, a bibliography and discography and most importantly a CD recording.
OLIVIER MESSIAEN: Oiseaux exotiques shows Ashgate’s ongoing commitment to the work of Messiaen and the well-honed team of Hill and Simeone provide a highly readable and communicable account of this seminal work. Even in the analysis (Commentary) chapter of the book where often in these textbooks language and technical detail soar to heady heights understood only by those in revered university chambers, this is pitched ideally and is approachable from enthusiasts as well as students and academia.
Although the book is centred on Oiseaux exotiques, Hill and Simeone give detailed accounts of Messiaen’s life and work leading up to its composition and first performance. Facts that hitherto have never found their way into the biographies and text books in the past. Of particular interest here is the origins and birth of Domain Musical where, in typical Hill and Simeone style, they unearth detailed facts and dates mapping its development under Boulez and the setting up of the concert series at the Petit Marigny Theatre.
We are also treated to a lengthy précis of Oiseaux exotique’s predecessor Reveil des Oiseaux and for the first time in print we see Messiaen’s preliminary bird notations transcribed from his many cahiers and trace their development into the works. There are audio examples of these on the accompanying CD played impeccably by Peter Hill. The complete performance of Oiseaux exotiques is taken from the original Vega recording that was made at the world premiere in the Petit Marigny Theatre 1956.
In the chapter: First Performance, Reception and Publication, Hill and Simeone draw our attention to some American… I almost hesitate to call them composers, who were working with similar and sometimes the same bird recordings Messiaen was using around the same time. Jim Fassett who became director of CBS Radio’s music department in the 1940s produced an LP with the title Music and Bird Songs. Fasset had an obvious interest in ornithology and was enthused by the songs of the Wood Thrush, Cardinal etc but he manipulated the songs by slowing them down and changing the pitch to produce his own rather banal popular song melodies. Much worse than this and excruciatingly embarrassing to listen to was Johan Dalgas Frisch’s work where birdsongs were admirably collected as field recordings but then were added to tunes such as Sukiyaki and Swanee River! We have only to thank heaven that Messiaen never went down that road!
We are beginning to see a wealth of Messiaen material now leading up to the centenary in 2008 and a good deal of this is ‘British made’ thanks to the likes of Christopher Dingle, Stephen Broad and of course Nigel Simeone and Peter Hill. The book is presented in the usual high quality Ashgate style with beautifully set musical examples. Perhaps the only one wish is that a few plates of the actual birds would not have gone a miss in such a study although a small internet trawl will reveal these unlike the treasured material contained within these leaves.
MESSIAEN by Peter Hill & Nigel Simeone. Yale University Press ISBN 0-300-10907-5 (2005)
This is very ‘special’ book. ‘Special’ because unlike most books that have been written about Olivier Messiaen this is the first to reveal the almost day to day working life of one of the twentieth century’s most important musical giants. We know there is something ‘special’ in store just by the book’s cover photograph of Messiaen – to my knowledge rarely seen.
Pianist Peter Hill and musicologist Nigel Simeone have long associations with both Messiaen and more especially Yvonne Loriod-Messiaen and Peter Hill is well known for the almost definitive study of the music of Messiaen, The Messiaen Companion (see bibliography). Nigel Simeone has written many accounts and delved deep to produce some of the most authoritative writings on Messiaen and French music generally.
Where previous accounts have sought to analyse Messiaen’s oeuvres with sparse accounts of his private life, Peter Hill and Nigel Simeone for the first time have been granted access to his private papers and diaries all made possible by the permission of the composer’s widow Yvonne Loriod-Messiaen. And by ‘private life’ I don’t mean what Messiaen had for breakfast or the colour of his socks but rather facts about his childhood, relationships with his mother, father, brother, aunts and working companions throughout his life, all contribute to a greater understanding of the character and temperament of the man.
Hill and Simeone tread a very bold path from before Messiaen’s birth, through that special mother son relationship into his teens, the passionate but troubled first marriage to Claire Delbos and the birth of their son and the first meeting with Yvonne Loriod, (who went from Messiaen’s page turner to second wife and major interpreter of his piano music), and traces Messiaen’s spiritual and indeed physical journey up to his death.
There are some very moving, often heart-wrenching letters from Messiaen to Claire during the war years and his time in Vichy and the book reveals the intense love, passion and yearning Messiaen had for Claire and his son Pascal always overlooked and by passed by in earlier biographies as Messiaen was fiercely guarded when it came to his private life. The other ‘special’ feature of this book is the publication of many photographs hitherto unseen but for the immediate family. Some of these early photographs at Petichet (Messiaen’s summer retreat near the Alps in south east France) are charged with a romantic enchantment showing father, mother and son like any other family's holiday snapshot such as the one with Messiaen simply sitting in a deck chair reading. Later in the book though it is interesting that Hill & Simeone chose to present photos of Claire and Yvonne on facing pages (pp. 110-111) where Claire’s image is one of forlorn almost vacant desperation and that of Yvonne young and radiant at the piano. One almost feels the stress and irrepressible emotions Messiaen was experiencing through the 40s and 50s a time of the most tortuous personal life but also a time that yielded a plethora of music starting with Visions de l’Amen through to the Catalogue d’Oiseaux.
Apart from the archive photographs previously unseen I found Peter Hill’s own photographs most interesting for example the Messiaen family house at Nantes, the Grenoble shots and those of Fuligny.
The diaries and papers highlight the initial thoughts and framework of many works and give a fascinating insight into how pieces such as Vingt Regards sur l'enfant Jésus, La Transfiguration de Notre-Seigneur Jésus-Christ and Livre du Saint Sacrement evolved and grew to their definitive proportions.
There were moments in the book that had me laughing out loud especially when Loriod and Messiaen were departing for London and the taxi that dropped them at the Gare de Nord drove off with their suitcase in the boot which had both of them shouting after the taxi to no avail. Then when Jeanne Loriod suffered an electric shock from her Ondes Martenot when rain got in it at a rather doomed attempt at Turangalila Symphonie in the open air. I know one shouldn’t laugh but I gather she was unharmed - just alarmed!
I also shed a tear when reading the accounts of Messiaen’s declining health and the excruciating pain he must have been in when completing his final works. This really is a case of a man suffering for his art to bring joy to others. And one mustn’t forget the suffering of Yvonne Loriod. Not only the mental suffering caused by the ill health and eventual death of her husband but her own life threatening illness in 1963 resulting in two blood transfusions and hysterectomy with the couple having to face the fact that they would never have children.
The book highlights the punishing concert schedules Loriod and Messiaen undertook, taking them all over the world performing the most demanding programmes which must surely have had an adverse affect on their health. Having said this, the couple did always look forward to their summer retreat at Petichet where Messiaen would do most of his composing and at the same time unwind and get back to nature.
Apart from the diaries and private papers, Hill & Simeone have drawn on many other sources and accounts from latter day researchers for example Stephen Broad, Jacques Tchamkerten, Jean Boivan as well as personal communications from Loriod and close friends such as George Benjamin and Roger Muraro.
Those of us who have experienced Peter Hill and Nigel Simeone in talks or lectures will know just how engaging and communicative they are and this is reflected in the tone and pace of the writing throughout – totally captivating.
I spotted just a couple of minor misnomers. One was photograph 166 which states: Messiaen and Gary Kettel when in fact it is Messiaen and James Holland. The other is note 10 pp185 - the first recording of Visions de l’Amen was recorded by Contrepoint (Granti neuf E. Ploix-Musique Disquaires, 48 Rue St. Placide, Paris) on 78s then transferred to LP by Dial in New York a couple of years later.
My one thought was that perhaps the book ends all too suddenly. The final tribute by Boulez is most definitely apt but I felt I wanted to know a little more of Messiaen after his death. For example the decision to elect Naji Hakim as successor to Messiaen at Trinite, the work of Loriod-Messiaen completing the Traité, archiving Messiaen’s music and papers and so on – or maybe I was so enthralled I just wanted to read on and on!!
Yale have produced a book of the highest quality and Hill and Simeone have achieved a work whose contents many of us thought Olivier Messiaen had taken to that great rainbow in the sky. Bravo Peter and Nigel!
© Malcolm Ball
Olivier Messiaen: A Bibliographical Catalogue of Messiaen's Works. By Nigel Simeone. (Musikbibliographische Arbeiten, 14.) Tutzing: Hans Schneider, 1998. [xix, 249 p. ISBN 3-7952-0947-1. DM 142.]
The first thing that strikes the reader about this book is the obvious amount of work that has gone into it: painstaking research in the
Bibliothèque Nationale, for example, as well as in "publishers' archives or hire libraries . . . and other public and private collections in
France and England" (p. v). Yet there is some confusion from the start. On the spine, the title is First Editions of Messiaen; on the front
cover, it is Olivier Messiaen: Catalogue of Works; and on the title page, it is Olivier Messiaen: A Bibliographical Catalogue of Messiaen's Works: First Editions and First Performances. Clearly, the publisher could not put the whole of the latter on the spine; on the other hand, a catalog and a bibliography are two different things. Nigel Simeone tells us in the introduction that this is not a "systematic work catalogue" (p. v), but he does give two purposes for his book: first, "to provide detailed bibliographical information about the first . . . editions of Messiaen's published works," and second, to provide "information about the dates and places of composition, the scoring, and the first performances of Messiaen's works" (ibid.). He achieves both of these objectives admirably.
There are further problems with the bibliography Simeone provides on pages 231- 32. A complete list of books and articles, even limited
to literature in English and French (as here), would seem an excellent idea, yet here we find only two pages of references. The author does explain that he has included only materials consulted for the present volume, so it is understandable that a large number of works had to be omitted. Yet it is hard to imagine why, for example, the work of Robert Sherlaw Johnson, one of the first important writers on
Messiaen in English (along with David Drew), does not appear.
Toward the end of the book are two appendixes. The first is titled "'Un musicien, un artist . . . un mystique.' Reviews in Le Courrier musical and Le Ménestrel, 1930-39." The materials cited here are especially interesting since they reflect public and critical opinion of
Messiaen's early works during his ascendancy to international acclaim. Appendix 2 is a list of printing records of Messiaen's works by the publishers Durand & Cie and Alphonse Leduc.
The main catalog is arranged under the headings "Published Works" (pp. 1-184), "Unpublished Works" (pp. 185-96), and "Shorter
Writings" (pp. 197-202). The first section includes longer texts such as Vingt leçons d'harmonie (1939), the two-volume Technique
de mon langage musical (1942), and the vast Traité de rythme, de couleur et d'ornithologie (1949-92). The list progresses chronologically, from Le banquet céleste of 1928 to Concert a quatre, unfinished by Messiaen at the time of his death in 1992. The information Simeone provides in the entries includes title, date of composition, scoring, dedication or superscription, and first performance; for first editions, he gives the publisher, edition, collation, plate number(s), date, wrappers, format, engraver, and printer.
Under "Shorter Writings," Simeone lists the three conference booklets (Brussels, Notre Dame, and Kyoto) and a large number of
Apart from the few misgivings noted above, this is an excellent research tool that belongs in academic music libraries and on the bookshelf of anyone having a keen interest in one of the twentieth century's greatest composers.
University of Ulster
Copyright © 2000 by the Music Library Association, Inc. All rights reserved.
For the End of Time.
The Story of the Messiaen Quartet
By Rebecca Rischin
Published by Cornell University Press Ithaca and London
Never before has there been such high profile attention focused on Messiaen’s Quartet for the End of Time, what with Bryan Davidson’s innovative new play War Music and Rebecca Rischin’s illuminating account of the events surrounding the creation, premiere and the quartet’s life after the premiere.
Up until a few years ago it was Messiaen’s own accounts and testimonies surrounding the work that entered the history books. Rischin however exposes many myths and flaws in Messiaen’s recollections and, perhaps more importantly, the reasons for these ‘exaggerations’ of the facts (not least the 3 string cello myth!).
Rischin presents with great fluidity and clarity a time line of facts backed up by original war records and data that has come to light since Messiaen’s death. For example the order in which the movements of the Quartet for the End of Time appeared and the location in which they were composed shed new light on a piece that is one of the 20th century’s great musical legends.
It is well known that in the POW camp Stalag VIIIA in Gorlitz, Messiaen befriended a German officer who was sympathetic to his needs and supplied Messiaen with writing materials etc. necessary for composing the Quartet for the End of Time. Indeed it was the same officer who played such an important part in the lives of all 4 members of the quartet as again Rischin reveals. Curiously it was only a year before Messiaen died that he actually revealed the name of this officer.
How the Quartet for the End of Time was performed at all in the surroundings of a Nazi POW camp is made even more remarkable by the fact that Henri Akoka, the clarinettist for whom the work was written, was Jewish.
Rebecca Rischin has created a work of great substance by securing interviews with all family members of each of the quartet’s performers – the Pasquiers (those of the famous Trio Pasquier) – the Akoka family – and even the elusive La Boulaire who after the war became an actor and assumed a new identity, and of course Yvonne Loriod-Messiaen and her archive materials left by Messiaen himself.
Rischin explores in great detail each player’s personality, philosophical and political ideologies and how it affected their relationships throughout the time of their captivity.
She draws on the not inconsiderable archive of Hannalore Laurewald which contain photos, documents and plans of Stalag VIIIA (many of which are reproduced in the book) and to my knowledge never before published. She also manages to track down prisoners who were in the audience at the time of the premiere of Quartet for the End of Time, some of whom recall the event with great passion and tearful recollection.
All the members of the quartet that premiered Quartet for the End of Time have now passed on so, as in Holocaust testimonies, it is left to their families, friends etc and to the foresight of organisations like the Shoah foundation in the case of the Holocaust and books such as this by Rebecca Rischin to illustrate the accurate background behind events that indeed have shaped 20th century history.