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Definition
1822-1890
Born in Liége
Stage parent father sponsored concerts at a young age
Moved to Paris to enter conservatory at age 14
Began study with Alexandre Benoit in 1840. It was all improvisation
Break with his father in 1846 over his marriage
Began by teaching school and playing choir organ
Friendship and encouragement from Liszt, who was in Weimar
First Cavaille-Coll at Saint-Jean-Saint-François-au-Marais: "My organ is like an orchestra!"
Participated in organ inauguration concerts
Titular Organist at Saint Clotilde 1858-1872, new Cavaillé-Coll there in 1859
1872 Succeeded Benoit as professor of organ at the Conservatoire. He was a well-loved institution |
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| Role of Improvisation at Paris Conservatoire in 19th c. |
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Definition
1872 Still emphasized improvisation under Franck, only one lit piece per term
Alexandre Benoit in 1840. It was all improvisation; there was no repertoire component. There was no canon of historic works to perform. You write you own music, then run around performing your own works. |
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| Organ music in France between French Classic and Franck |
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Definition
After about 1750-1800 the French Classic declines. Best period ended in 1730.
Increasing secular nature of society, cults taking over the Catholic church. Secular society worked against religious music of any kind.
French Revolution dealt several detrimental blows to organs and organ music, the greatest of which was the sale and subsequent destruction of many instruments.
Catholic church regained legal status in 1801, but it wasn't until the 1830s that organs began to be rebuilt |
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| Alexandre Pierre François Boely |
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Definition
1785-1858
Example: Offertoire
Sounds like a common practice hymn (kinda boring).
CPE Bach with much less solid compositional grounding. |
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1817-1869
Extremely predictable harmonically, without the charm of German composers.
Really blocky--perfect for a carousel. Oom-pa-pa.
Best ones were ok but entirely non-memorable |
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| Two pivotal figures that ended the organ drought in France |
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Definition
Aristide Cavaillé-Coll (1811-1899)
César Franck (1822-1890) |
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| César Franck, Organ Works |
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Definition
Published a collection of small church pieces first, L’Organist. Kind of silly little pieces, 30 seconds long. Still some usable for Offertory or something.
1868 Published Six Pieces
1878 Published Trois Pieces
1890 Trois Chorales were published after he died
He did not consider himself primarily an organist or an organ composer. He wrote works for piano, symphonies (2nd Symphony), choral music.
Franck’s last 6 works are mainly concert works without much liturgical use, even for postlude. First truly concert organ pieces in France |
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| Organ Music in France, 1860-1900 |
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Definition
New Symphonic organs being built by Cavaillé-Coll
An organ recital tradition began to build. In the Palais du Trochadero (new fashionable concert hall) there was a big new CC instrument
Turning point: organ works written mainly for concert, not liturgical, use
This gave organ music a new freedom: it no longer had to lag in style in order to fit into church services |
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| César Franck, compositional style |
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Definition
Ground-breaking
Symphonic
Very French sounding
Example: B Minor Chorale
Somewhat sonata-like form. Recapitulates, but a fugue in the middle, and the recapitulation is enriched and layered with other material. Like Beethoven: takes the basic concept and greatly enlarges it.
Great example of the right instrument and the right composer coming together at the right time to create something ground-breaking.
Who were his influences? Chopin, Liszt, Berlioz, Bizet.
French music finding its identity post-Baroque. |
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| Franck and the Symphonic Organ Style |
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Definition
Consistency of texture within sections
Use of symphonic colors in appropriate registers: orchestrated
Somewhat sonata-like form. Recapitulates, but a fugue in the middle, and the recapitulation is enriched and layered with other material. Like Beethoven: takes the basic concept and greatly enlarges it. Layering during the recap.
Took the techniques of orchestral composition and applied them to the organ. Solved a problem in organ composition: How do you write an extended organ piece? Contrasts and development of themes, texture, color, etc.
Adding and subtracting tone colors to create cresc/decresc: enlarging and decreasing ensemble. Not just contrast of theme and form, but gradual evolution of color and texture
Contrasts of 8’ tone color between sections
Digressive sections leave out some “instruments” are short, then return to “full orchestra” |
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| What makes 19th c. French organ music sound French? |
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Definition
Obvious differences in organ tone colors in principals, reeds, tierce, voix humaine
Cavaillé-Coll unique use of fonds and anches colors. Composition closely tied to the organ itself. Don’t even make sense on another organ.
Overall more sustained quality
Well-curved, balanced, symmetric phrases and periods
More gradual transitions, often elided between sections, with fewer abrupt contrasts in volume, tone color, etc
Much more cohesive throughout
Balanced use of pitch registers
Balanced form where ideas are repeated and returned to in a long work
Even chromatic progressions are balanced
Pacing really well thought-out
Very organistic, as opposed to pianistic, writing
Extensive use of ties and suspensions--does this hark back to French Baroque dissonance and resolution?
French fascination with color from back in the French Baroque--it’s still there. Rich harmonic color also, richness of chromaticism that just sounds French. French chromaticism is smooth and elegant, German is harsh and jangling. 2 different solutions to the same problem: how do you create a crescendo? |
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Term
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Definition
b. 1942
Studied with Marie-Claire Alain
Responsible for setting up Alain family museum
1979-99 taught Spanish organ music at University of Salamanca
1999-2008 at Musikhochschule in Basel, Switzerland; also Collegiate Church of Neuchâtel
Scholar and restorer of historical organs
Has written lots of music for film
Quirky: Naked portrait of him and wife in the entryway of his house, opium pouch around his neck |
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Term
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Definition
5 Livres d’Orgue
Includes chorale settings and others
Nouvelle pièces d’orgue
Messe pour les Bâloises
Preludes and intonations on Catholic Psalms
Trois Préludes Hambourgeois
Tangos Ecclesiasticos
Organ demo
Salve Regina
Lots of others:
Organ with other instruments, choirs, etc.
Transcriptions of other organ works, popular orchestral and film music, etc.
Programmatic stuff
Arrangements for 4 hands, 2 organs, or even 3 organs
Lots of light-hearted works
Spanish stuff like Salamanca, Fandango, Don Quixote
Limited use of pedals, divided manuals
Music for theater organ
Lots of stuff just a little wacky--union of styles
Mozart Bolero
Wie Schöne Leucht die Morgenstern
Pink Panther in Nouveau Cahier: called Fuga sopra un soggetto |
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Term
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Definition
Sound
Theater organ sound, tongue in cheek, sometimes irreverent, classy instead of trashy
Combines Spanish, historic, popular and theater styles in amusing ways
Repetitive motifs
Harmony
Often sort of tonal
Melody
Lots of borrowed themes, incongruously stuck into other types of works
Rhythm
Motivic rhythms very common, consistent throughout pieces
Growth
A little like PDQ Bach |
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Term
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Definition
1911-1940
Died in WWI in the French Resistance, after surviving Dunkirk
Influenced by Debussy and Impressionism
Ravel, Les Six (Satie, Poulenc, Honiger)
Diverse array of other influences, including Gregorian chant, indigenous music of Eastern cultures, neoclassicism, and jazz (and other popular styles)
Also Neo-classicism post WWI
At the Paris conservatory in late 1920s, early 1930s. Same conservatory class as Messiaen, Langlais, Duruflé, Elsa Barraine. Taught by Marcel Dupré, Paul Dukas. Teaching was geared toward everyone finding their own voice
The rules were starting to break down. First generation of everybody creating their own rules.
Family organ in home, family project
Alain composed furiously in his 20s. His opus list runs to 150 or so numbers, for piano, organ, voices, chamber orchestra. Maybe Trois Danses might have been for symphony orchestra. All we have are notes of how he thought he might orchestrate it.
Earliest compositions date from around 1929 (age 18), really picks up in the early 1930s, steady stream after that.
Many people think Trois Danses might be the greatest organ work of the 20th century.
When you hear Alain, you know it must be Alain and no one else. The same can be said of Messiaen: unique harmonic language, texture, use of themes.
What was he like? Cartoons...weird, sort of fantastic, impish, Picasso-like |
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Definition
Alain composed furiously in his 20s. His opus list runs to 150 or so numbers, for piano, organ, voices, chamber orchestra. Maybe Trois Danses might have been for symphony orchestra. All we have are notes of how he thought he might orchestrate it.
Earliest compositions date from around 1929 (age 18), really picks up in the early 1930s, steady stream after that.
Many people think Trois Danses might be the greatest organ work of the 20th century.
Trois Danses is his most significant work, followed by the 2nd Fantasy
Alain composed his masterpiece, the Trois Danses, while serving in the army in 1937-38. This landmark work is seen by many as one of the greatest and most important organ works of the twentieth century.
Other works:
Berceuse sur deux notes qui cornent, JA 7 (Berceuse on two notes that cipher:)
Lullaby for a poor deranged baby
Miniature, beautiful, charming, somewhat impressionistic
20th c. ideal: it doesn’t all have to be monumental
Postlude pour l’office de complies
Variations sur un théme de Clément Jannequin JA 118
Neoclassicism, French style
Le Jardin suspendu, JA 71
2nd Fantasie is his 2nd greatest work
Very Eastern type scale
Fascinating rhythmic ideas. Goes from 8 16ths per beat, to 7, to 6. Creates an acceleration by removing a note at a time.
Suite, his other big work. 3 movements. |
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Term
| Jehan Alain, Trois Danses |
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Definition
How does the idea of dance play into this?
An elemental form of human expression, our thoughts on the human condition
Dance rhythms
Last mvt dance macabre between joys and sorrows
Some people think the second movement is dedicated to his own death
Joies:
Intensity, almost fierce
Weird, but definitely playful
Impish
Notice the registration suggestions: not an organ he knew, but sounds in his head
Building to this explosion of joy!
Alain was known to feel things very intensely
Climax at mm. 66-73, then another one at the end
Deuils:
Eastern type of scale
Strange rhythm--Alain thought rhythmic notation was entirely inadequate
Scherzo running, screaming
Ends with a chant, prayer
Luttes:
Begins by bringing back all the themes
Juxtaposition against one another
At first, joy theme can’t quite get going, but then it gets rolling
Sorrow keeps interrupting the joy with greater and greater frequency
Sorrow takes over, big and bad. Keeps sinking lower and lower
What is the whole thing saying?
Joy and sorrow need each other. Teaching 2 Ne 2. You can’t have one without the other.
The last few measures sound like getting shot down. People never know when to clap.
Intended to be performed continuously--don’t stop after the 2nd movement
Other people may not get it--it needs an explanation first
Huge peaks of joy, incredible depths of sorrow. |
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Definition
Marie-Claire and father have created many editions. No definitive manuscripts. Some differ wildly in details, registration. You have to decide what he meant. Marie-Claire took a lot of heat for her edition in the 1970s
Extensive English version of critical notes even better than the French one, published about 2003. Make sure you buy the 2003 editions.
There is a 2011 Barenreiter edition published by Helga Schaurte a student of Alain’s, who bought all his manuscripts and withheld them from Marie-Claire. So is Barenreiter misbehaving? Besides KU hates her. Except it includes a few little pieces...that MC didn’t have.
The 1970s one is not awful, but the 1950s is. And you also need to purchase or borrow the critical notes |
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Term
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Definition
SHMRG, Alain’s unique sound
Sound:
Often fierce: Brutalement
Often transcendental also--he felt things very intensely
Interspersed with segments that are almost lyrical, surreal
Builds toward climaxes through rhythmic and motivic stretto and diminution
Relentless hammering of themes; unity to the point of obsession
Sounds fairly minimalist because of repetition of themes
Often otherworldly, ethereal. He does a great job of taking you from where you are to someplace else--impressionistic
Harmony:
Instances of tonality on the local or even discrete level. Individual chords, segments of a prominent line in a traditional scale. Key signatures.
Use of major and minor triads in root position and inversion, but unrelated ones. Nevertheless he can make them sound more or less bright or dark, dissonant or restful, especially at cadences
Some use of Eastern scales
Melody:
Themes are angular at times. Can be step-wise depending on what material he is workin with
Motivic repetition even in short melodies
Rhythm:
Driving, obsessive rhythms
Many areas of ambiguous rhythm
Almost no conventional meters
Some areas seem almost impossible to read rhythmically
Very complex rhythms
Growth:
Majority of his works are small
In large works, A and B themes, often contrasting, sometimes C
A usually returns. Frequent layering of themes during final sections.
Intensification of repetition, increase of speed, volume, and density leading to late climax.
Frequent use of codas and sectional writing, which may be contrasting, and may introduce new material |
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Definition
1870-1937
Born blind. An operation at age six restored partial sight, but it was never good.
Was an auditor in Franck’s organ class for a number of years.
1890 officially entered Franck’s class, right before Franck died
Franck really took an interest in Vierne, almost like a father
Widor took over the class and was also very good to Vierne. Read to him, took him under his wing. Vierne did not come from a musical family--it was the blindness that made a musical career palatable, got him out of hard labor.
1892 became Widor’s assistant at Saint-Sulpice
1900 appointed titular organist at Notre-Dame. Music there had been languishing, so Vierne’s appointment was a turning point.
Also served as Widor’s deputy for the organ class, entirely unpaid.
Died while playing his 1750th recital at Notre-Dame (more recitals elsewhere)
He was a pretty angry person, bitter. Setbacks
Unpaid assistant to Widor, and when Guilmant took over. In 1911 when Guilmant passed away they hired Gigout instead of Vierne, then 1926 hired his former student, Marcel Dupré. Dupré had been Vierne’s assistant at Notre Dame
Had to take 6 months leave to sit in a dark room after surgery. Went back to Notre Dame to find Dupré had been promoting himself as the organist, betrayal
Divorce, deaths
Had to go on tour to try to fund organ repairs
A number of European and American organ tours. Taught a number of American organists, including Alexander Schreiner. |
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Term
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Definition
Two main editions, by Barenreiter and Carus, published within the last 10-12 years.
Because Vierne was blind, huge editorial problems.
Widely known errors in previous editions with corrections passed down from teacher to student, including Schreiner
Manuscripts, first editions, transcriptions: wild discrepancies
Barenreiter and Carus arrive at different decisions by weighing sources differently. Might as well use cheap editions, but do your homework! Examples of registration changes on the wrong lines, wrong manuals, etc. |
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Term
| Louis Vierne, organ works |
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Definition
Six Organ Symphonies
#1 Opus 14, 1898-99, prior to Notre Dame. Encouraged to write them by Widor.
Through Symphony #6, Opus 59, written in 1930
Was working on a 7th symphony when he died, dedicated to Duruflé, who was also his student, but no sketches remain
Written in ascending order: D minor, E minor, F# minor, G minor, A minor, B minor
6th symphony, B minor symphony, borders on atonality, also jazz harmonies--ends on a jazz chord
Four sets of Fantasies, all written 1926-27
6 pieces per set, 24 total
Impressionism on the organ, impressionistic titles
24 pieces in style libré, actually written for harmonium
Solemn mass for choir and 2 organs. Can only do this in a French church :) Choir and choir organ in the front, big organ at the back.
First symphony in 1899, last just before he died--spanned his entire career
Some of his symphonies are actually cyclical, and use themes from one movement in the others. The first example of a cyclical symphony is Beethoven’s 5th, although he didn’t do it much.
Vierne is considered to be the high point of the Symphonic tradition |
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Definition
Vierne inherits rich chromaticism from Franck, sense of form from Widor. Vierne blends the elements of his two great teachers.
Vierne is the mixture of Franck and Widor
Chromatic harmony and Frenchiness of Franck with the classical structure, architecture of Widor |
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Term
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Definition
Strong chromatic and atonal tendencies, very late tonality. Uses harmony in “fake” tonal progressions, similar harmonic motion and timing without actual harmonic progressions and cadences. When tonal harmonic progressions are present they do not resolve but instead modulate, and often include chromatically altered tones in the harmonies that sound a little or a lot “off.”
Often impressionistic, especially in shorter works. Often common to have 2-3 impressionistic movements between large 1st and last movements of symphonies.
Relatively strict adherence to form, both in phrases and throughout larger works.
But he likes to expand or contract phrase length for musical effect. Not afraid at all of multiples of 3 and 5 bars. This is really French, not German.
Likes to prolong melodies in repeated segments
Likes to layer themes and motifs in sections that return to previous material
As a performer, understanding how the themes dictate form is how you decide interpretation.
Virtuosity, chromaticism, incredible sense of structure. |
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Term
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Definition
1844-1937
Widor wrote 10 organ symphonies, and very little else for organ. Not quite as Frenchy as Franck (studied with Lemmens). Widor had a more classical sense of form and structure.
First 4 published as opus 13 in 1872
Next 3 as opus 42 in mid 1880s
Then Widor thought he was done
Chant revival at the end of 19th c. Monks were preparing volumes of chant and researching how to perform them.
Motivated Widor to write Symphony Gothique, 1875, and Symphony Romaine, 1900-01. Both incorporate chant. This is when he was working with Vierne
Symphonies 1-4 are meh. Symphonies 5-6 are great. Symphonies 7-8 are a bit obscure. Symphony Gothique is great; Symphony Romaine is sublime, use of chant. |
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Definition
1837-1911
Student of Lemmens
Organist at La Trinité, Paris
Heavily influenced by chant
Noted improviser and virtuoso concert organist
Edited anthologies of early French and of foreign organ music
Taught at the Paris Conservatory: kindness, attention to detail
Taught Dupré's father, and then Dupré himself from age 11. Championed Dupré's career |
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Term
| Alexandre Guilmant, organ works |
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Definition
Prolific organ composer
Pièces dans différents styles, 18 volumes
L'organiste pratique (harmonium), 12 volumes
Pièces Nouvelles, 18 pieces
L'Organiste liturgique, 10 volumes
Eight Sonatas are symphonic in form and style
Works for organ and choir
scattered other works |
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Definition
1823-1881
Belgian
Taught French legato style, supposedly handed down from Bach through Adolf Friedrich Hesse, and sent it to France
Taught Widor and Guilmant at Brussels conservatory
Performed Bach in France at an early period
Known for his brilliant pedal work |
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Term
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Definition
1835-1921
Child prodigy, debut at age 10, Paris Conservatory at age 13
Studied with Boëly, from whom he learned Bach
Conservatory class of François Benoist included Franck, Lefébure-Wély, and Bizet
Organist at La Madeleine, Paris (official church of Fr. Empire)
Conservative (Romantic conservative) as a composer
Taught Fauré
Wrote mostly symphonic works, concertos, operas, chamber works
Modest number of pieces for organ, mostly for concert use, many also or primarily for harmonium
Organ Concerto of course, but it is mostly for orchestra with organ |
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Term
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Definition
1870-1939
Studied with Franck
Organist at St. Clotilde from 1898 on
Great improvisor, based on chant
Best known for L'Orgue Mystique, 1927-1932
51 sets of 5 pieces each, based on the chant for each day of the Catholic liturgical year |
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Term
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Definition
1886-1971
b. in Rouen; Father Albert was an organist
Cavaillé-Coll built an organ in his house
Studied with Guilmant early; child prodigy
1904 Paris Conservatory studied with Guilmant, Vierne, and Widor
Organ professor there for 38 years, 1916-1954
Taught 2 generations of organists including Alains, Guillou, Cochereau, Langlais, Messiaen
1934 succeeded Widor at Saint-Sulpice
Spectacular improviser
Famous recitalist |
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Term
| Marcel Dupré, organ works |
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Definition
79 Chorales, opus 28, pedagogical/easy
Trois Preludes and Fugues Opus 7 Widor said were unplayable, only Dupré could play them for several years
Some works almost impossibly difficult--Paganini
His more successful works combine this virtuosity with a high degree of musical integrity, qualities found in works such as the Symphonie-Passion, the Chemin de la Croix, the Preludes and Fugues, the Esquisses and Évocation, and the Cortège et Litanie
"Symphonie-Passion" began as an improvisation on Philadelphia's Wanamaker Organ |
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Term
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Definition
b. 1930
Studied at the Paris Conservatoire under Marcel Dupré, Maurice Duruflé and Olivier Messiaen.
1963-2015 appointed Titular Organist at Saint Eustache
Many organ compositions, also for organ with another instrument, and transcriptions of famous works by Bach Handel Liszt Mozart Prokofiev Rachmaninoff Stravinsky Tchaikovsky Vivaldi
Great transcription of Pictures at an Exhibition, Mussorgsky |
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Term
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Definition
b. 1976
Studied composition and organ (with Michel Bouvard and Olivier Latry) at the Conservatoire de Paris
Also studied composition with Marie-Claire Alain
Organist at Poitiers, and at the chapel at Versailles
Famous for French Classic interpretation
Compositions commissioned by Pierre Boulez
20th c counterpoint, some sound effects
Some areas almost sound cloud
Regard vers l'Air
Cercles Réfléchissants (suite) |
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Term
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Definition
b. 1965
Succeeded Duruflé in joint position at Saint-Étienne-du-Mont
Tours widely
solo pieces, chamber music, two concertos, La Barque Solaire [The Sun Boat] for organ and orchestra |
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Term
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Definition
1902-1986
Strongly influenced by chant
Studied privately with Tournemire, Conservatoire with Gigout
Assistant to Vierne at Notre-Dame
titular organist of St-Étienne-du-Mont
Professor of Harmony at the Conservatoire
highly critical of his own compositions=highly polished
Only 7 published organ works, one posthumous
Requiem |
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Term
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Definition
1908-1992
He is really important--one of the most important composers in the history of this instrument, right up there with Bach.
He is not just a big deal in organ, but in all of music. Game-changing composer in all of music.
Same sincerity and religious devotion as in Bach.
Bio:
He was the first to do many things--other composers base their whole style on him (Robin, Eisach)
Developed religious devotion and music at a young age
Requested opera and vocal scores for birthday gifts
Debussy’s Pellius et Melisande was particularly influential: a revelation, defining discovery.
Raised in Grenoble, 1919 his family moved to Paris.
Started at Conservatoire no later that 1923
Organ with Dupré, composition with Dukas, counterpoint with Georges Caussade
During this time, new music was becoming a big thing. Swirling influences (see Alain)
Stravinsky and Les Six (Neoclassicists: Poulenc, Milhaud, Honiger). Messiaen didn’t really follow after them, but started after Debussy instead.
Reaction to WWI: German neo-Baroque, American retreat. After WWII things went nuts, Milton Babbit, etc.
Finished in 1930, organist at La Trinité in 1931 for 60 years
In his later years he was a world-famous, rock star composer. Livre du Saint Sacrement AGO commissioned for $1 million in 1980s
Stayed at the church for religious reasons
Called up for military service, POW, concentration camp. Quartet for the end of time. Piano, violin, cello, clarinet were in prison with him.
Time, and timelessness, are important elements of his style. Obscuring the meter until it disappears.
Released 1941, appointed professor of harmony at Conservatoire, then 1947 analysis and 1966 composition. His classes were very famous; people came from all over the world to study with him. Who’s who were his students: Stockhausen, Xenakis, Boulez. He was very much into helping each student find their own voice.
Synesthesia: Bi-directional sound-color synesthesia. He saw colors when he heard harmony. Used color to compose. Described violets, blues, violet-purples mode 2; very complex colors.
Trivia: travelled widely, visited Bryce Canyon in 1972, wrote a 12-movement orchestral work “From the Canyons to the Stars” |
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Term
| Olivier Messiaen, Organ Works |
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Definition
He was prolific in general and in organ works. Olivier Latry was his favorite interpreter of his works; it takes 6 CDs. Naxos also has Messiaen playing his own music.
All of his organ works and most of his music are based on religious themes. Very very spiritual.
Le Banquet Celeste, 1928--one of his first, or very first, published pieces
Amazing, unusual statement of who he will be and what he will say
1934-35 Le Nativité du Seigneur
Already has discarded time signatures
Bergers: 4’ flute plus nazard
Added value rhythms
Le Verbe has a little bit of jazzy sound
Dieu Parmi Nous sounds a little jazzy at the beginning
1934 Apparition de l’Eglise éternelle
Starts out very dense, foggy
The church emerging out of darkness
Middle: giant climax on C major: the blinding light
1942 Les Corps Glorieux: seven brief visions on the life of the resurrected
The battle between life and death
For the whole first part, it sounds like death is winning--and then it is cut off
Afterwards, beautiful, eternal, life--we have arrived, just existing
Joie et Clarté des corps glorieux
Jazzy expression absolute freedom and joy of no more bodily restrictions, pains
And after WWII, everybody lost their minds
Between the wars things were a little conservative
After WWII, ultra modernism--Jackson Pollock, Milton Babbitt. In their minds, it was wonderfully complex stuff
Serializing everything, pitch rhythm whatever
1951 Messe de la Pentecost
Communion: Les oiseaux et les sources (of water)
Things are significantly more abstracted that they were before
Collage: just a series of impressions
Music on the page in scattered fragments--plays in, again, to his concept of time
Not serial: didn’t use serial techniques in organ music
1953 Livre d’orgue
Chants d’oiseaux
Real bird calls
And a retrograde bird
Visual and aural landscapes
For the last few large works he retreats a little bit from that
1969 Meditations sur le Mystere de la Trinite
2 hrs long
Introduces communicable language: both actual pitch and duration determine a letter
In English!
Maybe doesn’t label in the music
Movement V: God is immense, God is eternal, God is immutable, God is love, the Father all powerful, Our Father
Each is a fragment
Music and registration together creating depth, fatness
Invented notation
Wonderful toccata in the middle |
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Term
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Definition
Time, and timelessness, are important elements of his style. Obscuring the meter until it disappears.
Discontinuous music: an environment through which time can be observed. Only the instantaneous and the eternal. Not a narrative unfolding in time.
Obscures any sense of strong and weak beat, not trying to get somewhere at any appointed time. Don’t arrive at strong beats or expected cadences: happens when it wants to happen, no sooner or later.
Some movements so slow that you lose all sense of time. Music of meditation, suspended in eternity. As a performer you count, but the listener never feels it. His later works don’t have time signatures, even as early as The Nativity, written in 1931.
Added value rhythms--adds dots to make things unequal.
Palindromic rhythms, the same forwards and backwards
Eastern and Hindu rhythms |
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Term
| Olivier Messiaen and harmony |
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Definition
Everything based on the modes of limited transposition
Mode 1 is whole-tone scale, only 2 transpositions
Mode 2 is octatonic scale, only 3 transpositions
He has 7 modes based on some sort of repeating pattern
This system has defined French music in the 20th c. French organists are taught to improvise in these modes, common chord progressions in each mode.
Progressions characteristic of each mode, characteristic cadences.
A single work may mix and/or transpose modes. His form of modulation
These scales form his characteristic sound
Synesthesia: Bi-directional sound-color synesthesia. He saw colors when he heard harmony. Used color to compose. Described violets, blues, violet-purples mode 2; very complex colors. |
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Term
| Olivier Messiaen and 2 unique ideas |
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Definition
Birdsong:
He believed that birds were the greatest musicians on the planet. Birds sing the praises of God.
He travelled the world transcribing birdsong, owned one of the world’s largest private collections of birds. Becomes more and more prominent in his later works--he uses actual transcribed birdsong in his works. Pentecost Mass has a movement called the birds
Communicable Language:
Each note (octave-specific, with a duration) represents a letter, spells things with them. |
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Term
| Olivier Messiaen, late style |
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Definition
General Conclusions:
This is obvious, but it’s very dissonant.
Fragments
Lots of tritones
Lots of birds
Lots of chant--monody is very common in late Messiaen
Nothing mathematical--takes a step back from extreme modernism of 1950s. Steps back from extremely complex rhythms, pointillism, abstraction. There are melodies you can here.
Meditative with toccata moments.
Rhythmic but not metered. Often loses even sense of pulse.
Can build to a climax, or just as often remain in place, just existing in an eternal state.
Almost always visually descriptive; also aurally and emotionally descriptive. Does this mean it’s not absolute music? I suppose so.
Very spiritually and doctrinally significant; always has spiritual meaning |
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Term
| Olivier Messiaen, significance |
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Definition
Summing up: Why is he so great?
Important that he used many different 20th century techniques
Didn’t use electronic or chance music
Style evolved a lot
Even with differences, he maintained his identity
Entirely new uses of consonance and dissonance, new scales, melody, harmony, structure
Different solution to the problem: If you aren’t going to use tonal rules, how do you structure the music so you get some kind of consistency? Balance of variety and unity. Serialism sounds kind of all the same.
Alain, for instance, uses familiar tonal structures (triads) and familiar methods of growth
Messiaen’s scales were his harmonic glue
Your hands start to feel these patterns and recognize them--your brain can recognize them too
Finding a solution to the problem of structure and cohesion in the absence of tonality, for himself and for others.
Pioneer in the use of fragments, landscape and time, collage. This is even more important than his use of modes
Innovative registration, uses it to create sounds from the real world, novel combinations that would not have been used before. Plays into his ideas of color. French music has always been obsessed with color.
Squarely NOT based on Cavaillé-Coll--based on new classic additions to CC, all those mixtures and high sounds, tied to combination action. 3-5 registrations recycled throughout the piece.
The big thing: Is he as important as Bach to organ music? Gave us a completely new understanding of what organ music could be. His idiomatic way of using the instrument shows generations what you can do with the organ.
Rebirth of spirituality in magnificent classical music
Organ is at the east end of the church, directly under the steeple: God’s spirit entered the church through the steeple, through the organ into the church. |
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