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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
ii
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
iii
ABSTRACT ItismydeterminationthatOliverMessiaen’sfirstsongcycle,PoèmespourMi
(1936),exhibitsnearlyalloftherepresentativemusicalandliterarydevicesofthe
composer’sarsenal:musicalandpoeticsymbolsandsymmetry,asymmetricandexotic
rhythms,colorandharmony,andisinspiredbyhisCatholicfaith,andmustthereforebe
regardedasamongthecomposer’smostsignificantearlyvocalworks.Afteroutlininga
briefbiographyandanoverviewoftheworkanditspremiere,thesubsequentanalysis
coversthecompositionaltechniquesandthematicdevicesarepresented,includingspecific
discussionofspirituality,numericalsymbols,modalvocabulary,musicalcolors,andthe
“Borismotif.”Adescriptionofthecyclefollows,highlightingimportantaspectsofeach
pieceastheyrelatetoMessiaen’sstyle.Musicalexamplesappearwhererelevant
1
BIOGRAPHY OlivierEugèneProsperCharlesMessiaen,born10December1908inAvignon,
France,waspre-destinedtobeacreativeforceintheworld.Hisfather,Pierre,wasan
EnglishteacherandscholarbestknownfortranslatingWilliamShakespeare’scomplete
works.Hismother,poetessCécileSauvage,pennedabookduringherpregnancy,entitled
L’âmeenbourgeon(“TheFloweringSoul”),whichshededicatedtoherson.Thesepoems
incorporatedthreeimportantthematicideasthatwouldlaterinfluencethecomposer’s
works:nature(birdsong),music,andtheexoticismoftheOrient.ItwascleartoSauvage
thatshewastogivebirthtoaspecialboy,writing,“…Icarrywithinmetheloveof
mysteriousandmarvelousthings.”1
MessiaengrewupinthecityofGrenoble,atownrestingatthefootoftheFrench
AlpsinthesoutheasternpartofFrance.Itwastherethattheself-describedloner
entertainedhimselfwithnature’sbeauty,hismother’sstories,Shakespearereenactments,
fairytalesandthemysteryofthesupernatural,andagrowingloveofmusic.2Messiaen
taughthimselfhowtoplaythepianoasachild,composingthepianowork,LaDamede
Shalotte,basedontheTennysonpoem.3Aspredictedbyhismother,Messiaenrealizedhis
artisticfateattheageoftenwhenhisfirstharmonyinstructor,JehandeGibsonNantes,
gavehimacopyofClaudeDebussy’soperaPelléasetMélisande.Messiaenwouldlater
1CarlaHustonBell,OlivierMessiaen(Boston:G.K.Hall&Co.,1984),1-2. 2OlivierMessiaen,“OlivierMessiaen:TheMusicofFaith”(FilmsOnDemand,1984),accessed13January2016,fod.infobase.com/PortalPlaylists.aspx?wID=104680&xtid=10323. 3ClaudeSamuel,ConversationswithOlivierMessiaen(London:Stainer&Bell,1976),1.
2
confessitwas“loveatfirstsight”4and“…probablythemostdecisiveinfluencein[my]
life.”5
Thefollowingyear,hewassenttostudyattheParisConservatoire,wherehe
studiedmusichistorywithMauriceEmmanuel,organwithMarcelDupré,andcomposition
andorchestrationunderPaulDukas.Between1926-1930MessiaenwonfivePremierPrix
awardsincategoriesrangingfromcounterpointandfuguetoorganandimprovisation,and
in1931hebecametheorganistfortheÉglisedelaSainte-TrinitéinParis,apositionhe
wouldholdformorethansixtyyears.
Theyear1936providedMessiaenwithbothprofessionalandpersonalsuccesses.
HejoinedthefacultyattheScholaCantorumandtheÉcoleNormaledeMusique,wherehe
taughtharmony.InadditionhehelpedfoundthegroupLaJeuneFrance(1936-1945)along
withcomposersAndréJolivet(1905-1974),Jean-YvesDaniel-Lesur(1908-2002),andYves
Baudrier(1906-1988).6Boundbytheirspiritualaspirations,themenaimedtorebuildand
encourageaninterestinthepassionsandsensualitythatcouldresultfrommusic—
specifically,whattheycalledlivingmusic.Itwasinpart,areactiontotheanti-Romantic
movementstartedbythecomposer-musiciangroupLesSix,whobelievedtheirmusic
shouldseekhigherlevelsofrefinement.7Inhispersonallife,itmarkedtheyearhisson,
4Ibid. 5RogerNichols,Messiaen(OxfordandNewYork:OxfordUniversityPress,1986),7. 6TheNewGrovelistsLaJeuneFranceasbeginningin1936withrecordofatleastoneperformanceaslateas1945.TheVichyregimewasrecognizedastheofficialgovernmentofFranceuntilAugustof1945,whichcouldexplainthedissolutionofthemusicalgroup.ThenameLaJeuneFranceisalsoassociatedwithapoliticalorganizationthatwasestablishedin1940inVichy,France. 7PaulGriffiths,"LesSix,"OxfordMusicOnline,accessed6January2016,http://www.oxfordmusiconline.com.www2.lib.ku.edu/subscriber/article/opr/t114/e6228
3
Pascal,wasbornwithhiswifeoffouryears,violinistandcomposer,ClaireDelbos(1906-
1959).
The1940sand1950sprovedtobefullofchallengesandsuccesses.Messiaenwas
obligedtoleavehispositionsandjointhearmyduringtheSecondWorldWar,wherehe
servedasahospitalattendantandwastakenasaprisonerofwarbytheGermansandheld
atGörlitz,intheformerProvinceofSilesia.8Hewasreleasedtwoyearslaterin1942and
returnedtohisworkattheÉglisedelaSainte-Trinitéandacceptedanewpositionatthe
ParisConservatoire,wherehetaughtharmonyforthirty-sixyears.Itwasatthe
ConservatoirethatMessiaentaughthismostfamousstudents,includingYvonneLoriod
(1924-2010),PierreBoulez(1925-2016),KarlheinzStockhausen(1928-2007),andWilliam
Bolcom(b.1938).9AtthistimehealsobeganworkonhisTraitéderythme,decouleur,et
d’ornithologie(1949-1992),whichwouldbeaworkinprogressoverhismorethanforty
yearsofteaching.Theseven-volumeworkincludesmusicanalysisofsomeofhisown
worksandthoseofothercomposers(Mozart,Debussy),inadditiontohisthoughtson
composition,ancientandmodernrhythms,birdsong,color,modes,andtheology.
Additionally,Messiaen’sTechniquedemonlangagemusical(1944)waspublished.Inthis
treatise,Messiaenexploredandcitedexamplesofrhythmicvarieties,includingHindu
rhythms,addednotesrhythms,augmentedanddiminishedrhythms,retrogradeandnon-
retrogradablerhythms,andpolyrhythms. 8Duringhisimprisonment,Messiaencomposedoneofhisbest-knownworks:Quatuorpourlafindutemps(1940-41). 9YvonneLoriodwasknownforherstrongtechnicalskillsatthepianoandimpressivememory.PierreBoulezandKarlheinzStockhausenwereimportantcontributorstoserialandotheravant-gardemusic.Inaddition,Boulezisknownforconductingtheworksofmanytwentieth-centurycomposers,includingMessiaen.WilliamBolcomisanAmericancomposerandpianistwhosecompositionalstylespanstheinfluenceofcabaret,ragtime,populardancemusic,andoldpopularsongs.
4
AsthingsbegantoreturntonormalinhisprofessionallifeafterWorldWarII,his
personallifewassuffering.Clairehadbecomeillandwassenttoasanatorium,whereher
healthcontinuedtodeclineuntilherdeathin1959.Twoyearslater,Messiaenmarriedhis
formerpupil,pianistYvonneLoriod.ManyofhislaterworkswerededicatedtoYvonne,
whowashisadvocatewellintothelaterhalfofthetwentieth-century.Inaddition,sheis
responsibleforrevisinghisTraitéderythme,decouleur,etd’ornithologie.10
OVERVIEWANDPREMIERE Thesongcycle,PoèmespourMi(1936)wasagiftforMessiaen’sfirstwifeClaire
Delbos,whomhemarriedin1932.“Mi”washisnicknameforher.Thecycleismadeupof
twobookswithpoetrywrittenbyMessiaen.Thissongcycle,alongwithChantsdeterreet
deciel(1938)andHarawi(1945)werewrittenspecificallyforFrenchdramaticsoprano,
MarcelleBunlet(1900-1991).11MessiaenwroteforBunletbecauseofher“veryflexible
voiceand[a]veryextendedtessitura.”12Theoriginalversion,whichcalledfordramatic
sopranoandpiano,wasfirstperformedon28April1937fortheConcertsdelaSpiralein
PariswithBunletandMessiaenperforming.13In1937,Messiaencomposedanorchestral
version,whichpremieredthatsameyearinBrusselswithBunletandtheBelgianNational
10PeterHill,“InterviewwithYvonneLoriod.”TheMessiaenCompanion(Portland:AmadeusPress,1995),284-285. 11MessiaenandBunletperformedPoèmespourMiataconcertinVichyin1954.Thisistheonlyknownrecordingwiththetwoofthem. 12ClaudeSamuel,ConversationswithOlivierMessiaen(London:Stainer&Bell,1976),82. 13OlivierMessiaen.PoèmespourMi,withOlivierMessiaen(piano)andLiseArseguest(soprano),recordedbyEverestRecords.SDBR3269,S-39050,1968,LP.
5
RadioOrchestraunderthedirectionofFranzAndré.14Theorchestralversiondidnot
receiveapremiereinFranceuntiltenyearslaterattheThéâtredesChampsElysées,again
withBunletsinging,andRogerDésormièreconductingtheOrchestreNational.
Thefirstbook,whichincludesfoursongs,focusesonthepreparationformarriage,
asexperiencedfromthemalepointofview.Thesecondbookcelebratesthefulfillmentof
marriageandthelifethereafter.Withinthepoetry,onefindsabalanceofromanticlove
andGod’sloveandreferencestoGod’screations.WhileMessiaendividedthecycleinto
twobooks,onecouldarguethatthefifthsong,“L’épouse,”isthecenterpiecethatdivides
thefirstandlastsectionsofequallength.
COMPOSITIONALTECHNIQUESANDTHEMATICDEVICESSpirituality ThroughoutMessiaen’slifeandcareer,onethingremainedconstant:hisdevotionto
God.HewasraisedinahomewithaCatholicfatherandhismotherwasnon-religious.
Nevertheless,hefeltGod’spresenceasearlyashecouldremember.Inthedocumentary
OlivierMessiaen:TheMusicofFaith,Messiaenprofessestohavebeen“bornwithfaith”and
trustedthatevennon-believersexperiencesomelevelofspirituality.Heconsideredhis
musictobeaspiritualsacrifice;itwashistestimonytotheloyaltyhehadforthesecular
worldandechoedhisfeelingsabouthisfaith.Throughhismusic,Messiaendesiredtofind
the“innerunion”betweenhimselfandGod,whichtieddirectlyintothegoalsofthe
14Durandpublishedtheoriginalversionin1937,followedbytheorchestralin1939.
6
CatholicChurch.15AccordingtoMessiaen,hismusicconsistsofthreetheological
categories:God’slove(asshownthroughthegiftofJesus),humanlove,andGod’s
creation.16Messiaen’s“hierarchyoflove”dividesloveinorderofimportance:divine,
maternal,human,andtrivial.17Manyofhisworks,includingPoèmespourMialsodealwith
thefollowingthemes:theTrinity,Ascension,theApocalypse,Transfiguration,andthe
Resurrection(bothChristandMan).18
NumericalSymbols Inadditiontotheaforementionedthemes,Messiaenutilizedbiblicallysymbolic
numbersthroughoutthework.Thesenumberscanbefoundinthepoetrythathesets,
formalstructures,rhythmicsyntax,andchoiceofmodes.Themostprevalentnumberis
three:thesymbolofdivinityandtheHolyTrinity.MessiaenalsoincorporatestheHindu
symbolofdivinitywiththenumberfive—itspecificallyrelatestotheIndiangodShiva,who
representsthedeathofdeathandisthereforeatypeofChrist.19Thenumberseven,
accordingtoMessiaen,isthe“perfectnumber,theCreationofsixdayssanctifiedbythe
divineSabbath.”20ThenumbersevenisalsothefoundationofGod’swordandwiththe
numbersevencomethesevenCatholicritesinstitutedbyChrist(Baptism,Confirmation,
15AndrewShenton,OlivierMessiaen’sSystemofSigns(Burlington,VT:AshgatePublishingCo.,2008),17-18. 16Shenton,26. 17SiglindBruhn,Messiaen’sLanguageofMysticalLove(NewYorkandLondon:GarlandPublishing,Inc.,1998),74-75. 18Ibid. 19RobertSherlawJohnson,Messiaen(London:JMDent&SonsLtd.,1989),41-42. 20ibid.
7
Eucharist,Confession,AnointingoftheSick,Ordination,Matrimony).21Messiaenalso
utilizedthenumbernine,perhapsasapersonalsymbolofthemotherhoodoftheHoly
Virgin,divinecompleteness,andthemeaningoffinality.22
FavoritePitchSets Messiaenfrequentlyincorporatedintohiscompositionsthemodesoflimited
transposition,scalesthatcanbetransposedbyasemitonefewerthaneleventimesbefore
theoriginalsetofnotesreappears.23Thesemodesareconsideredlimitedduetosome
transpositionscontainingthesamenotes,eveniftheyhappentoappearinadifferentorder
inthescale(seeTable1.1).Thetranspositionsaredeterminedbaseduponthechromatic
scale,whichtotalstwelvesemitones.Forexample,ModeIinitsoriginaltransposition
includesC,D,EF#,G#,andB-flat.Knowingthatthismodeincludeshalfofthesemitonesin
atwelve-notescale,onecandeducethereisonlyonepossibletranspositionofthismode,
whichincludesC#,E-flat,F,G,A,andB.Thesearethenotesthatmakeupthewhole-tone
scale,whichcanbefoundoftenintheworksofClaudeDebussyandMessiaen’steacher,
Dukas.
21AndrewShenton,OlivierMessiaen’sSystemofSigns(Burlington,VT:AshgatePublishingCo.,2008),17-18. 22CarlaHustonBell,OlivierMessiaen(Boston:G.K.Hall&Co.,1984),60. 23Modeoflimitedtransposition,OxfordMusicOnline,accessed6January2016,http://www.oxfordmusiconline.com.www2.lib.ku.edu/subscriber/article/grove/music/50589.
8
Table1.1:Messiaen’sModesofLimitedTranspositionMode1(wholetone): 11 C D E F# G# B♭ 12 C# E♭F GA BMode2(octatonic): 21 CC#E♭E F#G A B♭ 22 C#DEF G G# B♭B 23 CDE♭F F# G#A BMode3: 31 CDE♭ E F#G G# B♭B 32 CC#E♭ EF G G#A B
33 CC#D EF F# G#A B♭ 34 C#DE♭F F#G A B♭BMode4: 41 CC#DF F#G G#B 42 CC#DE♭ F#G G#A
43 C#DE♭E G G#A B♭ 44 DE♭EF G#A B♭B 45 C E♭EF F# A B♭B 46 CC# EF F#G B♭BMode5: 51 CC# F F#G B 52 CC#D F#G G# 53 C#DE♭ G G#A
54 DE♭E G#A B♭ 55 E♭EF A B♭B 56 C EF F# B♭BMode6 61 CDEF F# G# B♭B 62 CC#E♭F F#G A B
63 CC#DE F#G G# B♭ 64 C#DE♭F G G#A B 65 CDE♭E F# G#A B♭ 66 C#E♭EF G A B♭BMode7: 71 CC#DE♭F F#G G#A B
72 CC#DE♭E F#G G#A B♭ 73 C#DE♭EF G G#A B♭B 74 CDE♭EF F# G#A B♭B 75 CC#E♭EF F#G A B♭B 76 CC#DEF F#G G# B♭BSource:AdaptedfromSiglindBruhn,“LanguagesofDevotion,Magic,andAwe”inMessiaen’sExplorationsofLoveandDeath:Musico-PoeticSignificationinthe“TristanTrilogy”and
ThreeRelatedSongCycles(Hillsdale,NY:PendragonPress,2008),43.
9
MusicalColors Theearliestmodeswereoftenassociatedwithacertainemotion,orcouldbeused
toconveyaspecificmood.Byusingtranspositionsoftheseoriginalmodes,Messiaen
providedhimselfwithapaletteofmusicalcolorsthatcouldgivevarietytothemoodofa
song,createvividimagery,andavoidtheconstraintsofastrictkeysignature.Messiaen
primarilyincorporatedtranspositionsofModesIIandIIIthroughoutPoèmes.
Thesemodesontheirown,andinrelationshiptoaspecifickeycreatedmusical
colors,whichMessiaenfoundtobecrucialtohisworks.ThecombinationofF#andmode2
areusedinslow,ecstaticmovements,whilethepairingofeminorandmode2represent
Christ’ssufferinguponthecross.24ThekeyofEmajorisslow,butimpliespraise,andG
majorrepresentsthedesireforthefulfillmentofhumanlove.25Itisworthnotingthat
Messiaendoesnotalwaysclearlyindicatethekeyofapiece;however,itcanbedetermined
uponcloserstudyofthescore.
Inadditiontoconveyingspecificmoods,Messiaenoftenwantedtocreatecolors
throughsound,muchlikewhatonemayseewhenlookingthroughastained-glasswindow.
Heclaimedtohaveseencolorwhenhearingcertainsounds,experiencingsynesthesia.26He
frequentlyusedmodes2and3andtheirtranspositions.InadiscussionwithClaude
Samuel,MessiaendescribedMode21as“blue-violetrocks,speckledwithlittlegraycubes,
cobaltblue,deepPrussianblue,highlightedbyabitofviolet-purplegold,red,ruby,and
starsmauve,blackandwhite.Blue-violetisdominant”whilehisdescriptionofMode22 24Johnson,43-44. 25Ibid. 26ChristineElizabethBronson,"MakingMeaningwithSynesthesia:Perception,Aspiration,andOlivierMessiaen'sReality."(MMthesis,FloridaStateUniversity,2013),45,accessed31January2016,http://search.proquest.com/docview/1411374735?accountid=14556.
10
contains“goldandsilverspiralsagainstabackgroundofbrownandruby-redvertical
stripes.Goldandbrownaredominant.”27Mode23isdescribedas“lightgreenandprairie-
greenfoliage,withspecksofblue,silver,andreddishorange.Dominantisgreen.”28It
quicklybecomesclearthatMessiaenwasconsumedwiththevividimagerycreatedthrough
thetranspositionsofmodes.
“BorisMotif” Inadditiontohisfrequentuseofmodes,Messiaenborrowsathemefromthe
CoronationSceneofModestMussorgsky’soperaBorisGodunov(1869,rev.1872)forsome
ofthesongsincludedinPoèmes(seeMusicalExample1).Intheopera,the“Borismotif”is
usedtomusicallydepictchurchbellsandincludesthepitchesC#-E-D#-F#-C#.Messiaen
adaptstheoriginal,changingtheopeningintervalfromaminorthirdtoatritone,with
usuallyoneotherintervalinthesequenceshortened.Messiaenusesthis“motif”infourof
theninesongsinthecycleunderconsiderationhere(seeTable1.2).Noticeitisusedto
enhanceimportantwordsoroutcries,andisoccasionallyfoundinthepianopartaswell.
The“Borismotif”isfoundinanumberofforms:rhythmicallyaugmented,diminished,
repeatedseveraltimesinarow,andeveninvocalandpianodoubling.Additionally,the
variationsdonotalwaysbeginwithanopeningtritone,butmayinsteadmovebyathird.
Inusinghisadaptationsofthe“Borismotif,”Messiaenisabletobringattentionto
importantpoeticmaterialwhilecreatingunitywithinthecycle.
27SiglindBruhn,Messiaen’sLanguageofMysticalLove(NewYorkandLondon:GarlandPublishing,Inc.,1998),90. 28Ibid.
11
MusicalExample1:Mussorgsky’s“Borismotif”
Table1.2:Messiaen’sUseofthe“Borismotif”inPoémespourMi
“Actiondegrâces” “Paysage” “Épouvante” “Lesdeuxguerriers”m.4“transforme”(“transformed”)
The“motif”isusedasavocalisethatdepictsthelight
transforming.
m.5-8Messiaenreturnsthe“motif”totherighthandofthepiano,whereitissoundedsixtimes.
Thesixthrepetitionisinterruptedbythereturnoftheopeningmaterial.Thefinal
pitchofthe“motif”isextendedrhythmicallytodescribethe“chagrins”(“grief”)and
“hesitant”(“hesitation”)theprotagonistisexperiencing.
m.40“ha”
Anaugmentedvariationofthe“motif”ispresentinthevocallineoverarhythmiccanoninthepianopart.Byaddingavariationofthe“motif,”
Messiaenhascreatedanotherlayerandextendedthe
sufferingexperiencedbytheprotagonist.
m.16“ah”
Messiaen’streatmentofthe“motif”inthissongissimilar
to“Épouvante.”The“gémissons”(“groans”)
appearinstraightsixteenth-notegestures.Messiaen
elevatedtheagonywithtworepetitionsthataredoubledintherighthandofthepiano.
m.14“unie”
(“united”)The“motif”leadstoanextension
oftheoriginalvocalise,describingtwowavesbecoming
one.
m.13Therighthandofthepianorepeatsthe“motif”twice,
servingasconnectivematerial.
m.28“lumière”(“light”)
The“motif”isrepeatedtwiceinthevocalise,drawingattentiontothe“light”thatreferstotheHoly
Spirit.
m.16-20Arhythmicallydiminishedvariationofthe“motif”issounded,imitatingthefirstimageofthebeloved,smiling,hidden“entrelebléetlesoleil”(“betweenthecornandsun”).
m.29-30Messiaentransfersthe“motif”totherighthandofthepiano,
whereitisrepeatedthreetimes.Thisservesastransitionalmaterialtothenewsection.
m.20-21Therighthandofthepianobeginsthe“motif”aneighth-
noteaheadofthevoice,creatingaslightoverlapbeforequickly
returningtounisonfor“lamainsurlesyeux”
(“herhandoverhereyes”).
m.42-43“étoile”(“star”)
The“motif”servesasafinalcelebrationofGod’sgiftsbeforeleadingintothejoyous“Alleluia”
finale.
12
Rhythm RhythmicfluidityisfoundthroughoutMessiaen’scompositions.Whenaskedabout
rhythminthedocumentaryTheMusicofFaith,Messiaenexplained,“Ihavealwaysavoided
usingaregularbeatbecauseanevenrhythmisartificial.Equaldurationsbelongtoa
militarymarch,whichisanartificialthing.”29Hedefendedhiscommentsbyexplainingthat
thingsinnature,likethebranchesoftreesandtherollingwavesareirregular,therefore
makingregularityunnatural,un-human.Messiaen’srhythmsstemfromaninterestin
Hindurhythmsthatarerelatedtothedeçi-tâlas(rhythmicformulae)foundinancient
Sanskrittreatises.30Messiaen’searliestincorporationoftheserhythmsintohismusic
occurredin1935withLaNativitéduSeigneur.31FromthestudyofHindurhythms,
Messiaendevelopedfourrhythmicconceptsforhismusicalstyle:augmentation,
diminution,non-retrogradablerhythms,andaddedvalues.Whilethesearenotuniqueto
Messiaen,theyarecharacteristicofhispersonalstyle,andcanbefoundinPoèmes.Whena
rhythmisdoubled,itiscalledanexactaugmentation(seeMusicalExample2),whichcanbe
foundintheopeningof“Épouvant”(seeMusicalExample3).Non-retrograderhythms,
accordingtoMessiaen,are“anabsolutelyclosedrhythm[that]worksthesameforwards
andbackwards.”32ThesearepresentthroughoutPoèmes,buthavetheirgreatestimpact
29OlivierMessiaen,“OlivierMessiaen:TheMusicofFaith”(FilmsOnDemand,1984),accessed13January2016,fod.infobase.com/PortalPlaylists.aspx?wID=104680&xtid=10323. 30PaulGriffiths,"OlivierMessiaen."OxfordMusicOnline,accessed5January2016,http://www.oxfordmusiconline.com.www2.lib.ku.edu/subscriber/article/grove/music/18497. 31Ibid. 32StephanieLynnAston,"JourneysofExpression:AnExaminationofFourTwentiethandTwenty-FirstCenturyVocalWorks."(DMAdissertation,UniversityofCalifornia,SanDiego,2011),18,accessed31January2016,http://search.proquest.com/docview/875564302?accountid=14556.
13
whenpairedwithaninterestingmusicalidea.Addedvaluesareoftenincorporatedfor
affectortoaccommodatethenaturalflowoftheFrenchlanguage.Forexample,Messiaen
usesaddednotestosuspendthelistenerintimeandpostponethenextline,eitherthrough
extendinganotevalueoraddinganunexpectedrest.Messiaenrefersto“Lamaison”(“The
House”)inhisTechniquetodemonstratehisuseofaddednotes(seeMusicalExample4).
Notethatthefirsttwomeasuresincludefourquarter-notes,whilethethirdmeasure
includesfourdottedquarter-notes.Theeighth-noteremainsconstantthroughout,making
thetransitionsmooth.
MusicalExample2:ExactaugmentationasfoundinMessiaen’sTheTechniqueofMyMusicalLanguage(1944).
MusicalExample3:ExactaugmentationinMeasure1ofOlivierMessiaen’s“Épouvant”
14
MusicalExample4:AddedNotesin“Lamaison”asfoundinMessiaen’sTheTechniqueofMyMusicalLanguage(1944).
THECYCLE“Actiondegrâces”
Thefirstsongofthecycleappropriatelyservesasaprayerofthanksgiving,
musicallyaswellaspoetically.Whenstudyingthescore,itquicklybecomesclearthat
Messiaendoesnotincludetimesignatures.Instead,measuresareoftenvariedinthe
numberofbeatsinordertosuitthepoetryandthemusicalimageryhewantedtocreate.
Aurally,theserhythmicvarietiescanbesubtle,especiallyMessiaen’suseofrhythmic
palindrome,ornon-retrogradablerhythm.Theopeningmeasure,whichisrepeatedtwice
more,beginswithapalindromeinthepiano.Wheneachnoteisdividedintosixteenth
notes,theytotal8/4-2-1/2/2/2/2-2-3/8.Uponfirstglance,thesedonotappeartobea
mirrorimage,howeverwhencombiningtheboldednumbers,theybecome8/7/2/2/2/7/8
(seeMusicalExample5).
15
MusicalExample5:Polymodality,RhythmicCanon,andRhythmicPalindromeinMeasure1ofOlivierMessiaen’s“Actiondegrâces”
Therhythmicpalindromeissetasacanoninthepiano,thelefthandfollowingone
fullbeatbehindtheright.ThisisalsoanintroductionoftwoofMessiaen’sfavoritemodes.
Mode32soundsintherighthandwhile21soundsinthelefthand,creatingapolymodal
texture.Thismixtureofmodescanbeinterpretedasamusicalsymbolfortheunionof
ManandGod.Inchoosingtobeginwiththecanonandthesemodes,Messiaenhascreated
amusicalvisionofGod,somewhatdistantatfirst,leadingMan.Witheachnewchordthe
twogrownearer,leadingintoaclusterchordsettomode61.Thismodeislessfrequently
used;however,itscolorblendcreatesabrightnessandearthinessthatseemsappropriate
forthefollowingopeningvocalline,“Lecieletl’eauquisuitlesvariationsdesnuages…”
(“Theskyandthewaterthatfollowthevariationsoftheclouds…”).Messiaenwrotethe
vocallineusingachantwiththetonalcenterofF#.Incorporatingchantstrengthensthe
religiousundertonesthroughoutthecycle.
Thecompletionofthefirststatementincludesavocalmelismaonthe“Borismotif.”
Thepianofollowswitharepeatofopeningmusicandanextensionontheopeningcluster
chord—likethe“Borismotif”thesetoobecomemoreelaboratewitheachrestatement.
16
Withthefirstrepeatoftheopeningmaterial,thetonalcenterofthechantrisestoA-flat,
nowintroducingthebeloved,“Etunoeilprèsdemonoeil…etdeuxpiedsderrièremes
pieds”(“Andaneyeneartomyeye…andtwofeetbehindmyfeet”),whofollowsthe
protagonist’slead.Whenthepoetrydescribesthetwoaswavesunited,the“Borismotif”
returnstohighlightthetext.Asthepianorepeatsitspunctuation,itbecomesmore
complex.Thetonalcenteroftheplainchantisagaintransposed,thistimeuptoC.Theline
continuesasexpectedwitha“Borismotif”attheendofthephrasetoemphasize“lumière”
(“light”).Followingclosebehind,therighthandofthepianoincludesthe“Borismotif”for
thefirsttime,whichactsasatransitionintotheBsection.
Bythistime,theprotagonisthaslistedanumberof“Thanksgivings,”includingthe
beautyofnatureanditstransformativequalities,thebelovedwhoisalovingcompanion
andfollowsthepathtoGod,andthegraceandloveofGodthroughtheresurrection.TheB
sectionistherealizationofthegreatestgiftGodhasgiven:himself.Musically,Messiaen
createsthismomentofaweandgratitudewithaPresquelent(almostslow)anddescending
tritonesthatsoundalmoststaticintheirdescent.Thevocallinealsoincludesatritoneon
thewords“toutcela”(“allthat[Godhasgiventome]”)toemphasizeGod’sgifts.Thetonal
centerofthissectionisDwitheachlineoftextgainingmoreenergyfromtherising
chromatic,scalarpassages.Theinterweavingofthevocalandpianolinestothispointhave
beenimportanttotheunderstandingofMessiaen’smessage.Thisiswhyhischoicetouse
silenceinthepianowiththementionoftheEucharistonthewords“Painplusdoux”
(“breadmoresweet”)issospecial.Describingthisgiftasbeingsweeterthanthefreshness
ofthestars,Messiaenwroteanascendingscale,whichleadsintoanextensionofthe“Boris
motif”asafinalcelebrationofGod’ssacrifices.TheBsection,withtheexceptionofthe
17
openingtritones,soundsC#dominantthroughout.Thismakessense,asthemusical
introductionofthe“Alleluia”celebrationisclearlywrittenasF#—thisisoneoftwo
occasionswhereMessiaenhasincludedakeysignature.Thepoemendswithseven
repetitionsofthisword.Johnsoncomparesthistoajubilus,whichisamelismatic
extensionofthefinal“a”ofanAlleluiasungbetweentheEpistleandGospeloftheRoman
Mass.33Thenumbersevenisimportant,asitrepresentsphysicalandspiritual
completenessandperfection,andisreferencedthroughouttheBible.34
“Paysage” “Paysage”(“Landscape”)isashortsongthatstillmanagestoconveymanythings.
Theopeninglinecomparesalakeasa“grosbijoubleu”(“bigbluejewel”)andisrepeated
threetimesatthebeginning,middle,andendofthesong.Thevoiceechoesthetritone
heardintherighthandofthepiano.Thelefthandsupportswithasecond-inversionV7
chordinmode22.Thecombinationofcolorandthedescendinggestureimitatethegentle
splashofjewel-toned,bluewater.Thisvividimageryisdisruptedbythefallingchromatic
lineintherighthandofthepiano,followedbyanabruptandbriefmomentofsilence.
Thesefallinglinesaremademoresubstantialinthattheyarewritteninfirstinversion,
creatingmoreweighttothemusical“tumble”ofchords.Theyanticipatethe
acknowledgementofstrugglethatresultsfromlivinginasecularworld.Inthissong
particularly,Messiaenreliesheavilyonthe“Borismotif.”Inmeasure4thevocalline
33Johnson,56 34“MeaningofNumbersintheBible,”TheBibleStudySiteaccessed31January2016.http://www.biblestudy.org/bibleref/meaning-of-numbers-in-bible/introduction.html.
18
returnswitharecitationcenteringonA-natural.The“Borismotif”soundsintherighthand
ofthepianoinmeasures5-8atotalofsixtimes,withthefinalrepetitionleftincomplete,
andinsteadinterruptedbythetritoneheardintheopeningmeasureofthesong.Attention
isdrawntotheword“hésitent”(“hesitate”)inmeasure8withthenumberofsixteenth-
notebeatsincreasingto23—thisisthelongestmeasureofthesong.Itcreatesamusical
interpretationoftheprotagonist’s“Mespiedsquihésitentdanslapoussière”(“feetthat
hesitateinthedust”)on“Laroutepleinedechagrinsetdefondrières”(“roadfullofgrief
andhollows.”)Followingthefirstrepetitionofthe“bigbluejewel,”thebelovedisformally
introduced,“verteetbleuecommelepaysage!”(“greenandbluelikealandscape”).Thisis
anotherexampleofwhythe“Borismotif”hassuchanimpactinthesong.Untilthispoint,
thepianohasbeenacrucialpartofthestory.Here,however,thepianolinesaresustained,
subtlymovingfrommode23to32inmeasures14-15tosimplysupportthechantabove.
Messiaenhighlightedthetext,“Entrelebléetlesoleiljevoissonvisage:Ellesourit”
(“betweenthesunandcornIseeherface:shesmiles”)bycomposingthelinetobesung
onlyonA-natural.Inaddition,the“Borismotif”oravariationofitsoundsinthepianopart
20timesoutofthe24measuresofthesong.Messiaenwrotethe“Borismotif”intothe
vocallineatthePluslentwiththeline“lamainsurlesyeux”(“herhandoverhereyes”).
Eventhoughthereisafinalrepetitionofthe“bigbluelake,”itsoundsincomplete,ending
withanunresolveddescendingscalarpassageinthepianoline.Perhapsthiswas
Messiaen’swayofmaintainingthemysteryofthebeloved.Itisalsoworthnotingthat
“Paysage”isoneofafewexamplesfromthiscyclethatemployssurrealisminthepoetry.
Asanartisticmovementthathadsomeimpactonmusicasearlyasthe1920’s,Bruhn
describesitas“radicalimageryorexamplesofalienatedobjects.”
19
“Lamaison” Messiaen’sclosestexampleofatypicalFrenchmélodiecomesintheformof“La
maison,”whichwasinspiredbythetimehespentathissummerhomeinPetichet.35“La
maison”or“TheHouse”servesasametaphorinthispoem.Justas“Cettemaisonnous
allonslaquitter”(“Thishousewewillleave…”)thecouplemusteventuallyleavethehouse,
theywillsoonalsoleave“noscorps”(“theirbodies”).Messiaencreatesmusicalparallelism
tocomplementthepoetry,placingemphasisonthelines“Iseeitinyoureyes”and“Isee
theminyoureyes,”referringtothehouseandtheirbodiesrespectively.Whilethe
protagonistshowsnohintsofsadness,hewitnessesthesadnessintheeyesofhisbeloved.
Messiaenincorporateschantintotheinterludeabovesustainedchordsfrommode33inthe
piano.Thiscontrastfromthelyricalopeningbringsfurtherattentiontothemessage,when
theprotagonistcomfortsthebelovedwithpromisesoftheirresurrectionasaresultoftheir
devotiontoGod:“Toutescesimagesdedouleurquis’imprimentdanstonoeil…Tonoeilne
lesretrouveraplus:QuandnouscontempleronslaVérité”(“Alloftheseimagesofpainthat
imprintinyoureye:YoureyewillnomorefindthemwhenwecontemplatetheTruth”).
Theywillleavetheirsecularbodiesfortransfiguredbodiesintheireternalrestingplace.
Theseimagesofpainandthegiftofeternalrestingreferencethescripturereadings2
Corinthians5:2and5:4.36Thefinalsixmeasuresof“Lamaison”offeranumberof
interestingelements.First,Messiaenhascreatedrhythmicsymmetrythatspansfrom
measures10-15:8/12/11/23(11+12)/8.Thisrhythmicsymmetryservesasavisual
reminderofthehopefulnessforeternallife.Griffith’sdrawsattentiontomeasure11, 35“Gallery,”OlivierMessiaen.Accessed12January2016,http://www.oliviermessiaen.org/messiaengall.htm 36“Wegroan,longingtobeclothedwithourheavenlydwelling”and“Forwhileweareinthetent,wegroanandareburdened.”
20
whichincludesallofthenotesnecessarytocreatemode21,stressingthatthisisunusual
forMessiaen.37Thatbeingsaid,the12-noteaggregateemphasizestheword“Vérité”
(“Truth”),whichisclearlyoneofthemostimportantwordsofthepoem.Inadditionto
thesemusicalsymbols,Messiaenendsthepiecewithapentatonicchordthatfollowsa
symmetricalline,perhapsrepresentingeternity(seeMusicalExample6).
MusicalExample6:Rhythmicsymmetry,Mode21,and“Eternity”PalindromeinMeasures10-15ofOlivierMessiaen’s“Lamaison”
37PaulGriffiths,OlivierMessiaenandtheMusicofTime(London:Faber,1985),79.
21
“Épouvante” Thecycletakesadramaticturnwith“Épouvante,”whichtranslatesto“terror.”The
poemiswrittenusingtheconditionaltense,whichclarifiesthatthisisawarningofwhat
couldcomeratherthanwhatisinevitable.Thesongbeginswithagonizingmoansthat
descendintothefierydepthsofhellviaoctavechromaticscalesaperfectfourthandan
augmentedfourthapart,supportedbyaCmajorchordandaclusterofnotes.Themoans
areaccompaniedbyathickertexturethanprevioussongsandsoundsmostlyinthebass
clef,symbolizinghell.Thesingerisplacedinavulnerablepartoftherange,withatonal
centeronmiddleC,recitingthewarningsofwhatmaycomewhenonefocusestheir
attentiontoomuchinearthlypleasures.Thepianoincludesplummeting,percussivelines
thatincreaseinvolumeandintensitywitheachrepetition(seeMusicalExample7).This
warningisstrengthenedthroughthesurrealisminsertedthroughoutthepoem,including,
“Deslambeauxsanglantstesuivraientdanslesténèbrescommeunevomissure
triangulaire”(“Bloodyshredsthatwouldfollowyouinthedarknessasatriangular
vomit”).Whiletheseimagesmayseemunusual,theintentbehindthemisclear.Messiaen
includesawhole-tonescaleinthevocalline,whichisdoubled—thoughdifficulttohear—in
thepianopart.Thisisamusicalculminationofthefearandanguishtheprotagonist
envisionsmayresultifhedoesnotfollowGod,andleadstothehighB-flat.Thetormenting
visionsoffirearemusicallyrepresentedbymode22,whichissupposedtorepresentGod’s
love.Thisinsertioncannotbebyaccident,andislikelyMessiaen’swayofremindingthe
listenerthatGodispresentevenintimesofstruggle.Imagesofdarknessanddespairmake
wayformoretroubledmoans,whichMessiaentransformsintoapolymodal“Borismotif”
withmode22returningtothevocallineand34inthepiano.Inadditiontothe
22
polymodalityinmeasures40-41,Messiaenincreasedtherhythmiccomplexityofthe
moans,withmeasuresof16and42sixteenth-notebeatsrespectively.Notonlydohis
musicalchoicescreateanextensionofsuffering,theyaddtothechallengesforthe
performer.Theclimaxisreachedtwomeasureslaterwiththeprotagonist’sdescending
outcriesatfortississimo,whichseemtobeinvain.Messiaenwrotetwodescendingtritone
moansfortheprotagonist,beforeheisdefeatedinafinalchromaticgroan,followedbya
percussivefallinthepiano.AlthoughMessiaennevercomesoutandmentions“hell,”one
couldconcludethatthispoemdescribeshisownpersonalvisionofhellthroughthe
potentiallossofhisbelovedandhisrelationshipwithGod.
MusicalExample7:PlummetingLinesPairedwithSurrealistPoetryinMeasures13-18ofOlivierMessiaen’s“Épouvante”
23
“L’épouse” Astheheartofthecycleandarguablythemostbeautifulofthesongs,“L’épouse”
(TheWife)offersahopefulmessagethroughpoetryandsymbolicreferencestotheHoly
Trinity.Thefocusofthepoemliesinthecovenantofmarriageandthesacramentof
husbandandwifetoGod.“L’épouse”describesboththesecular“wife”andthebrideof
Christ,specificallytheChurch.Inthistext,MessiaendrawsfromMatthewandEphesiansto
strengthenthismessage.38Whiletheothersongshavebeenfromthepointofviewofthe
protagonist,onecouldarguethatthispoemistoldfromtheviewoftheHolySpirit.Bruhn
arguesthatitisunclearwhetherornottheprotagonistisspeakingdirectlytohisbeloved,
orifheisdirectingthewordstowardhimselfforassurance.39
38ThesescripturereadingsunderlineloveandobediencesharedbetweenManandWife.ThroughChrist’ssacrifice,thesethingsaremadepossible.MessiaenandMatthewdrawparallelsbetweentheWifeasanextensionoftheHusbandandtheChurchasanextensionofChrist. “ThereforewhatGodhasjoinedtogether,letnotmanseparate.”(Matthew19:6,NewCenturyVersion) “Wives,yieldtoyourhusbands,asyoudototheLord,becausethehusbandistheheadofthewife,asChrististheheadofthechurch.AndheistheSaviorofthebody,whichisthechurch.AsthechurchyieldstoChrist,soyouwivesshouldyieldtoyourhusbandsineverything.Husbands,loveyourwivesasChristlovedthechurchandgavehimselfforittomakeitbelongtoGod.Christusedthewordtomakethechurchcleanbywashingitwithwater.Hediedsothathecouldgivethechurchtohimselflikeabrideinallherbeauty.Hediedsothatthechurchcouldbepureandwithoutfault,withnoevilorsinoranyotherwrongthinginit.Inthesameway,husbandsshouldlovetheirwivesastheylovetheirownbodies.Themanwholoveshiswifeloveshimself.Nooneeverhateshisownbody,butfeedsandtakescareofit.AndthatiswhatChristdoesforthechurch,becausewearepartsofhisbody.TheScripturesays,“Soamanwillleavehisfatherandmotherandbeunitedwithhiswife,andthetwowillbecomeonebody.”Thatsecretisveryimportant—IamtalkingaboutChristandthechurch.Buteachoneofyoumustlovehiswifeasheloveshimself,andawifemustrespectherhusband.”(Ephesians5:22-33,NewCenturyVersion) 39Bruhn,Messiaen’sExplorationofLoveandDeath,85
24
TheevidenceofsymbolismrelatedtotheHolyTrinityissubstantial.Messiaen
composedthesonginthirteenmeasures.ThisnumberissymbolicthroughouttheBible,
withnegativeandpositiveconnotations.ConsideringthecontextofMessiaen’spoetry,his
useofthenumberthirteenlikelymakesreferencetogreatblessingandpromise,aswellas
tonewlife.Thepoemincludesthreepeople:thehusband,thewife,andChrist.The
composerdividesthesongintothreesectionswiththreerefrainsof“Vaoùl’Espritte
mène”(“Gowherethespiritleadsyou”),eachgrowingindynamiclevel.Messiaenusedall
threetranspositionsofmode2throughoutthesong,themodeknownbythispointforits
associationwithGodandhislove.Thenumberofsixteenthnotesineachmeasureis
divisiblebythree,withtheexceptionofthepenultimatemeasure.Thismeasureisa
repetitionofthepreviousmeasure,howeverithastwoadditionalbeats,totaling29.
Messiaenelongatestheline,“Commel’Egliseestleprolongement…”(“Asthechurchisthe
extension…”)toemphasizefromwhomthechurchextends—Christ.
“Tavoix” “Tavoix”(“Yourvoice”)depictsanimageofheavenandthepromiseofeternal
happiness.Otherthanthe“Alleluia”vocaliseof“Action,”itistheonlysongthatincludesa
keysignature,whichisinF#major(justlikethe“Alleluia”).Theprotagonistimagineshis
belovedsingingpraisestotheFather,andthroughthesepraises,sheismademore
beautifulandangelic:anincorporealangel,abirdofspring.Thepianistpresentsa
polyrhythmicostinato,thoughtheirregularityinsomemeasuresmuddiesthepattern.This
songfollowsaclearABA’formwiththeBsectionrevertingtopolymodality.Althoughthe
firstfivemeasuresofeachAsectioncanbesubdividedintothirteenbeatsofsixteenth
25
notes,theremainderofthesongisrhythmicallycomplex,inthattherhythmsdonotfollow
aclearpattern,makingthecountingofthissongespeciallychallenging.Followingthefinal
statementoftheA’section,thepianisthasaone-measurecadenza,totalingninety-nine
sixteenth-notebeats.Therhythmsarereminiscentofthe“Borismotif”andtheir
asymmetryimitatesthesongofabird.ThoughMessiaendidnotbeginhis“BirdSong”
perioduntilthe1950’s,hisfascinationwithbirdsandtheirtuneswasevidentbeginningin
hismid-teens.Therefore,whilethismaynotberepresentativeofaspecificbird,the
asymmetricalwritingandthesextupletsdoubledattheoctavebeyondtheAabovethestaff
providetheimpressionofbirdsong.Thevocallinefollowingthisreads,“Youwouldsing,”
whichdirectlycorrespondstothe“BirdofSpring”mentioneddirectlybeforethe“bird
song”occurs,makingthisalikelyinterpretation.
Like“Épouvante,”thepoetryof“Tavoix”makesuseoftheconditionaltense,though
notasawarning.DescribedbyBruhnas“spirituallycomplementary,”“Épouvante,”pairs
nicelywith“Tavoix,”astheyprovidedrasticallydifferentpoeticandemotionalresponses.
Thetwopoemscreatevividparallels:imagesoflightanddark,heavenandhell.Anew
awakeningcalmsshrieksoffearandsuffering.Despairisreplacedwithhope.40
“Lesdeuxguerriers” “Lesdeuxguerriers”describeshusbandandwifeas“twowarriors”unitedand
marchingtheirwaytowardthegatesofheaven.Themessagehereisunlike“Lamaison”
andfunctionsasawarning,suggestingthatwithoutaction,nothingisgrantedorgiven.As
husbandandwife,thewarriorsmustfighttheirwaytogetherintotheHolyCity.Though 40Bruhn,Messiaen’sExplorationsofLoveandDeath,83-84.
26
theseareMessiaen’swords,againheborrowsfromaBiblepassage,Ephesians6:10-17.41
Like“Épouvante,”thevocallineof“Lesdeuxguerriers”exploresthelowerrangeofthe
sopranovoice.Thesesectionsareunaccompanied,perhapsbecauseMessiaenwasaware
thatthenoteswouldbedifficulttoproject.
Thesongisbrokenintothreeclearsections,ABA’andmakesuseoftranspositions
inmodes2,3,and4.Similartothepoeticsymmetryfoundin“Lamaison,”thissonghas
poeticsymmetryworthnoting.Itbegins,“Dedeuxnousvoiciun…”(“Beholdustwoin
one…”)referringtoHusbandandWife,nowunitedandinsearchfortheHolyLand.Inthe
measurepriortothereturnofA’thepoemreads,“Jesuistesdeuxenfants,monDieu!(“I
amyourtwochildren,myGod…”),makingreferenceagaintothisunityofthetwopeople
andtheirconnectiontohim.Musically,themelodiccontourofthismeasureisreminiscent
ofthe“Va”sectionof“L’épouse,”whichcouldimplythatatransitionintherelationshiphas
occurred—possiblytheHusbandandWifehavestrengthenedtheirbondwithoneanother
andGod(seeMusicalExamples8aand8b).Messiaenincludeswordpaintinginthepiano
partofmeasure24withgracenotegesturesthatimitatethe“Lancezversleciellesflèches
dudévouementd’aurore”(“arrowslaunchingintothesky…”)beforeshiftingtomode21
41“FinallybestrongintheLordandinhisgreatpower.PutonthefullarmorofGodsothatyoucanfightagainstthedevil’seviltricks.Ourfightisnotagainstpeopleonearthbutagainsttherulersandauthoritiesandthepowersofthisworld’sdarkness,againstthespiritualpowersofevilintheheavenlyworld.ThatiswhyyouneedtoputonGod’sarmor.Thenonthedayofevilyouwillbeabletostandstrong.Andwhenyouhavefinishedthewholefight,youwillstillbestanding.Sostandstrong,withthebeltoftruthtiedaroundyourwaistandtheprotectionofrightlivingonyourchest.OnyourfeetweartheGoodNewsofpeacetohelpyoustandstrong.AndalsousetheshieldoffaithwithwhichyoucanstopalltheburningarrowsoftheEvilOne.AcceptGod’ssalvationasyourhelmet,andtaketheswordoftheSpirit,whichisthewordofGod.”(Ephesians6:10-17,NewCenturyVersion)
27
(God’slove)toanticipatethefinalline,“VousparviendrezauxportesdelaVille”(“Youwill
arriveatthegatesofthecity”).
MusicalExample8a:Measures17-18ofOlivierMessiaen’s“Lesdeuxguerriers”
MusicalExample8b:Measure1ofOlivierMessiaen’s“L’épouse”
“Lecollier” Intheentirecycle,“Lecollier”(“TheNecklace”)istheonlysongthatinsinuates
romanticintimacy,andlike“Paysage,”makesnodirectreferencetoGod.Musically,thisis
representedwiththeomissionofmode21.Messiaencomposedapatternoffourchords
usingmode31intherighthandofthepianotoimitatethecircularpatternofthenecklace
(seeMusicalExample9).ThispatternbeginsandendsonaCminortriad,givingitaclear
beginningandending.Inaddition,thelefthandofthepianoisinmode22,resultingina
polymodalcolorthatseemstorepresentthecolorsoftherainbowandtheexoticismofthe
28
“necklace”itself.Thepoetryshiftsbetweennature,“Printempsenchaîné…”and“Paysage
courbe…”(“Captivespring”and“Curvedlandscape”)andthe“necklace.”Through
surrealistpoetry,hedescribesthistreasurednecklaceasa“Petitsoutienvivant…Collierde
renouveau”(“Tinylivingcushion…necklaceofrenewal”).Itbecomesclearthatthebeloved
supportstheprotagonist,particularlyintimesofstrife.Thisisoneoftheonlyexamplesin
thispoemofMessiaen’sreferencetohumanlove.Hebringsattentiontothis“necklace”
throughthemusic,specificallyinmeasures19-23.Here,Messiaen’ssettingof“Collier
d’Orient,collierchoisi…”(“necklaceoftheOrient,necklacechosen…”)borrowsfromthe
followingmodes:Mixolydian,Aeolian,Ionian,andLydian.42Thesemodesaresounded
consecutivelybymeansofstackedchordsintheleftandrighthandofthepiano.The
patternisrepeatedfivetimes.ThisistheonlyplaceMessiaenincorporatedthesemodes,
strengtheningtheargumentthathewantedtobringattentiontohowspecialandexoticthe
necklacewas(seeMusicalExample10).InthefinalstatementofA’thereareafewthings
worthmentioning.First,Messiaen’suseofsilence;afterthefinal“Ahmoncollier”(“Ah,my
necklace…”)themusicstops,beforerevealingthatthe“necklace”isasymbolfor“Tesdeux
brasautourdemoncou,cematin”(“Yourtwoarmsaroundmyneckthismorning”).This
silenceheightenstheimportanceofthismoment.Toimitatetheshapeofthebeloved’s
arms,Messiaenendedthesongwithareturnoftheopeningcircularpatternof“Lecollier”
(“thenecklace”).Like“Paysage,”thissongendssoundingunresolved,whichmakesthe
anticipationofthefinalsongthatmuchstronger.
42YunLee,"SymmetryandSymbolicLanguageinOlivierMessiaen's"PoèmespourMi":AMusicalReflectiononDivineandConjugalLove"(doctoraldissertation,BostonUniversity,2009),135,accessed13January2016,http://search.proquest.com/docview/304850662?accountid=14556.
29
MusicalExample9:Circularpatternof“theNecklace”inMeasures1-3ofOlivierMessiaen’s“Lecollier”
MusicalExample10:“Exotic”useofMedievalModesinMeasures20-23ofOlivierMessiaen’s“Lecollier”
“Prièreexaucée” Thefinalpoem,“Prièreexaucée”(‘PrayerAnswered’)isanappropriateconclusion
toMessiaen’scycle.TheformisAA’Bandcreatesabalancewiththereturntoprayerand
reflectionfoundintheopeningsong“Actiondegrâces.”Theprotagonistiswearyand
pleading,askingforGodto“Ebranlezlasolitairelavieillemontagnededouleur”(“shake
thelonelyoldmountainofpain”)andforhealingofthesoul.Thevocallineisachantthat
centersonA.ThepianobeginswithacombinationofAmajor,whichtiesitto“Action,”and
C#major.HereagainMessiaenreferencestheEucharistasitwasintheopeningsong,and
anextendedmelismaissungontheword“âme”(“soul”).BeggingforGod’sgrace,the
30
poemtransformsasitenterstheTrèsvifattheBsection—musicallytheprayerhasbeen
answered.Messiaencreatesonomatopoeicgesturesinthevocallinefor“Frappe,tape,
choquepourtonroi[Dieu]!”(“strike,beat,ringforyourking[God])(seeMusicalExample
11).Thisrepetitionincreasestheexcitementuntilitreachestheclimaxwiththe“gloireet
deresurrection”(“gloryandtheresurrection”).Here,thesingerhasafinalcelebratory
melismaontheword“joy”withwhatbeginasthesamerhythms,butendwiththenotes
elongatedinanticipationofthefinalrealizationthat“Lajoieestrevenue”(“joyhas
returned”).
MusicalExample11:UseofOnomatopoeiainMeasure20ofOlivierMessiaen’s“Prièreexaucée”
CONCLUSION ItisclearthatPoèmespourMi,thoughearlyinhismusicaloutput,containsmany
earlyillustrationsofMessiaen’smostimportantmusicalandliterarydevices:theinfluence
ofspirituality,numericalsymbols,modalvocabulary,musicalcolors,andthe“Boris
motif.”Onthewhole,PoèmespourMi,representsayoungcomposer’seffortstoassemble
anddevelopadistinctcompositionallanguage.Itdeservestoberegardedasasignificant
31
andprototypicalvocalworkofOlivierMessiaen’scompleteoutputandanhistorically
significantlandmarkinthecomposer’smaturation.InstudyingPoèmes,onecangaina
betterunderstandingofwhatMessiaenconsideredimportantinacomposition,andthen
determinethemostidealwaytoperformhisworks.
32
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DiscographyMessiaen,Olivier.Messiaen:PoèmespourMi/SeptHaikai/LeRéveildesoiseaux. ConductedbyPierreBoulez.RecordedwiththeClevelandOrchestra,November11, 1997.DeutscheGrammophonB000VAAB7Q,1997.CD.Messiaen,Olivier.Messiaen:PoèmespourMi.RecordedwithGweneth-AnnJeffersand StephenDePledge.ChampsHillRecordsB004YP3U2C,2011.CD.Messiaen,Olivier.Messiaen:Harawi/PoèmespourMi(I).RecordedwithJacqueline DelmanandLuciaNegro.BISB002PRMBYY,1987.CD.Messiaen,Olivier.Messiaen:PoèmespourMi/Chantsdeterreetdeciel.RecordedwithJane ManningandDavidMason.UnicornB000001PCD,1997.CD.
Messiaen,Olivier.PoèmespourMi.RecordedwithOlivierMessiaenandLiseArseguest. EverestRecordsSDBR3269,S-39050,1968.LP.Nordskog,LivElise.PourMi:SongsbyOlivierMessiaenandClaireDelbos.Recordedwith SigneBakke.LAWOClassicsLWC1051,2014.CDPhillips,Susanna.Paysages:Debussy/Fauré/Messiaen.RecordedwithMyraHuang. BridgeRecords,Inc.B005OUDYJU,2011.CD.Upshaw,Dawn.VoicesofLight:MusicofMessiaen,Debussy,GolijovandFauré.Recorded withGilbertKalish.