Olivier Messiaen: journalism 1935-1939 PDF
Preview Olivier Messiaen: journalism 1935-1939
Olivier Messiaen: JOurnalisM 1935–1939 For Alexander and Joëlle Olivier Messiaen: Journalism 1935–1939 stephen BrOad Royal Conservatoire of Scotland, UK © stephen Broad 2012 all rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. stephen Broad has asserted his right under the Copyright, designs and patents act, 1988, to be identified as the author of this work. published by ashgate publishing limited ashgate publishing Company Wey Court east suite 420 union road 101 Cherry street Farnham Burlington surrey, Gu9 7pt vt 05401-4405 england usa www.ashgate.com British Library Cataloguing in Publication Data Messiaen, Olivier, 1908-1992. Olivier Messiaen : journalism 1935-1939. 1. Musical criticism--history--20th century. i. title ii. Broad, stephen. 780.9'2-dc23 Library of Congress Cataloging-in-Publication Data Messiaen, Olivier, 1908-1992. Olivier Messiaen : journalism 1935-1939 / [edited by] stephen Broad. p. cm. includes bibliographical references and index. isBn 978-0-7546-0876-9 (hardcover) -- isBn 978-1-4094-4477-0 (ebook) 1. Musical criticism. i. Broad, stephen. ii. title. Ml410.M595a5 2012 780.9--dc23 2011041499 isBn 9780754608769 (hbk) isBn 9781409444770 (ebk) II printed and bound in Great Britain by the MpG Books Group, uK. Contents List of Music Examples vii Preface ix Editorial Notes xi Introduction 1 Part I: the JournalIsm (French orIgInal) I Articles for La Revue musicale 15 II Articles for La Sirène (later La Syrinx) 25 III Articles for Le Monde musical 43 IV Articles for La Page musicale 61 V Articles for Various Other Journals 71 Part II: the JournalIsm (englIsh translatIon) I Articles for La Revue musicale 79 II Articles for La Sirène (later La Syrinx) 89 III Articles for Le Monde musical 105 IV Articles for La Page musicale 123 V Articles for Various Other Journals 133 Appendix I: A Catalogue of Messiaen’s Journalism (1935–1939) 139 Appendix II: Selected Personalia 145 Bibliography 157 Index 163 This page has been left blank intentionally List of Music Examples Part I 3.1 Short score extract from ‘Majesté du Christ demandant sa gloire à son Père’ (mm. 1–6) from L’Ascension (version for orchestra) 44 3.2 Short score extract from ‘Alléluias sereins d’une âme qui desire le ciel’ (mm. 1–11) from L’Ascension (version for orchestra) 45 3.3 Short score extract from ‘Prière du Christ montant vers son Père’ (mm. 1–12) from L’Ascension (version pour orchestra) 46 3.4 Rhythms followed by their augmentation or diminution 49 3.5 The added half-value 49 3.6 Second mode of limited transposition, harmonic presentation 50 3.7 Third mode of limited transposition, harmonic presentation 50 3.8 Short score extract from ‘La Vierge et l’Enfant’ (mm. 1–4) from La Nativité 51 3.9 Short score extract from ‘Le Verbe’ (mm. 48–9) from La Nativité 51 3.10 Short score extract from ‘Les Mages’ (mm. 28–31) from La Nativité 51 Part II 3.1 Short score extract from ‘Majesté du Christ demandant sa gloire à son Père’ (mm. 1–6) from L’Ascension (version for orchestra) 107 3.2 Short score extract from ‘Alléluias sereins d’une âme qui desire le ciel’ (mm. 1–11) from L’Ascension (version for orchestra) 108 3.3 Short score extract from ‘Prière du Christ montant vers son Père’ (mm. 1–12) from L’Ascension (version pour orchestra) 109 3.4 Rhythms followed by their augmentation or diminution 112 3.5 The added half-value 112 3.6 Second mode of limited transposition, harmonic presentation 112 3.7 Third mode of limited transposition, harmonic presentation 113 3.8 Short score extract from ‘La Vierge et l’Enfant’ (mm. 1–4) from La Nativité 113 3.9 Short score extract from ‘Le Verbe’ (mm. 48–9) from La Nativité 114 3.10 Short score extract from ‘Les Mages’ (mm. 28–31) from La Nativité 114 This page has been left blank intentionally Preface The articles in this book are collected from a wide range of sources. Most people with an interest in Messiaen will know some of them, but this is the first time they have been compiled and translated. I built up this collection of articles during an extended period of doctoral research. The late Robert Sherlaw Johnson, whose monograph played a major part in orienting me towards the music of Messiaen, supervised my studies until his untimely death in 2000. Although our approaches to the subject were quite different, his quiet encouragement and thoughtful suggestions sustained me through the difficult initial stages of research. Annegret Fauser took over the supervision of my thesis when work was already well underway, but her influence was decisive and our lively discussions opened many new avenues for investigation. Many senior colleagues provided important advice and encouragement and I should especially like to thank Peter Franklin and Katharine Ellis for the constructive challenge they provided. Robert Saxton and Nicholas Marston also played vital roles at crucial moments. Nigel Simeone, in addition to providing extraordinary moral and academic support, kindly made available several articles that I had difficulty tracing and generously offered the cover illustration of Messiaen from his private collection. I must also thank the staffs of the various libraries in which I worked, especially those of the music reading room at the Bodleian Library and the Faculty of Music library in Oxford who aided me generously and cheerfully, often providing valuable bibliographic assistance. Special thanks especially to John Wagstaff. Further afield, I examined materials at the Département de la Musique at the Bibliothèque Nationale, Paris; the Médiathèque of the Conservatoire National Supérieur de Musique et de Danse de Paris; the Archives Nationales, Paris; and the Bibliotheek Koninklijk Conservatorium, Brussels. Isabelle Uny and Winnie Marshall read drafts of the manuscript and offered constructive advice. Other friends also assisted, especially Delphine Mordey, Emma Hornby and Alexandra Wilson. Anne Crawford – an inspirational teacher – deserves special thanks for first introducing me to the music of Olivier Messiaen. The Scottish Executive funded the research through the award of a Major Scottish Studentship and I also received financial assistance from the Charles and Barbara Tyre Trust, and the Vice-Chancellor’s Fund (University of Oxford). I gratefully acknowledge my thanks to these bodies. Stephen Broad, Dunning
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