Messiaen’s Language of Mystical
Love
CONTENTS
Series Editor’s Preface |
vii |
Editor’s Introduction |
xv |
Part One: The Composer as Humanist,
Mathematician, and Theologian
Messiaen’s Teaching at the Paris
Conservatoire: A Humanist’s Legacy
(Jean Boivin)
|
5 |
The Theology of Illusion
(Ian Darbyshire)
|
33 |
Part Two: Self-Restriction and Symbolism
Theological Implications of Restrictions
in Messiaen’s Compositional Processes
(Roberto Fabbi) |
55 |
Mystical Symbols of Faith: Olivier
Messiaen’s Charm of Impossibilities
(Jean Marie Wu) |
85 |
Rhythmic Technique and Symbolism in
Messiaen’s Music
(Robert Sherlaw-Johnson) |
121 |
Part Three: Praising God with Saint Francis and the Song
of Birds
Saint Thomas Aquinas and the Theme of
Truth in Messiaen’s Saint
François d'Assise
(Camille Crunelle Hill) |
143 |
Messiaen’s Saint François d’Assise and
Franciscan Spirituality
(Nils Holger Petersen) |
169 |
Magic and Enchantment in Olivier
Messiaen’s Catalogue d’Oiseaux
(Theo Hirsbrunner) |
195 |
Part Four: Poetry, Angelic Language, and Contemplations
Messiaen and Surrealism: A Study of His
Poetry
(Larry Peterson) |
215 |
Speaking with the Tongues of Men and of
Angels: Messiaen’s “langage communicable”
(Andrew Shenton) |
225 |
The Spiritual Layout in Messiaen’s
Contemplations of the Manger
(Siglind Bruhn) |
247 |
Introduction
Since the beginning of sacred music in the
Christian tradition, composers have created musical symbols to express
transcendental ideas. These included the use of certain keys and modes,
the choice of specific intervals perceived as connected to religious
concepts (from the chromaticism in laments over human sinfulness to the
representation of God’s perfection in the octave), the shaping of pitch
lines for special images of visual symbols (see e.g. the manifold
melodic outlines tracing the shape of the Cross), as well as the
translation of Christian terms into their numerological equivalents and
their embodiment in the form of rhythmic, metric, or otherwise
countable units. This development reached its peak in the sixteenth and
early seventeenth centuries when an already very elaborate musical
rhetoric coincided with a heightened desire for mystical expression.
Olivier Messiaen (Avignon 1908 - Paris 1992), while undoubtedly an heir
to this tradition, has created a musical language that is highly
idiosyncratic. Influenced by mystics like Saint John of the Cross and
Sainte Thércse de Lisieux, his spirituality permeates all his
works, from the explicitly sacred to the allegedly secular. As he never
tired of telling his interviewers, his music can be subsumed under
three themes: God’s Love as it is extended to the world through the
birth of His Son (the Incarnation), the human emulation of God’s Love
(the myth of Tristan and Isolde as the epitome of idealized love which,
even in its most exemplary form, is only a poor and blurred reflection
of divine love), and the glorification of God in his non-human
creatures (bird song, both as a manifestation of God's love as
expressed in nature and of the praise that God's creation offers its
creator).
This volume of essays aims to explore the various aspects of Messiaen’s
spiritually committed musical language, drawing on his own remarks in
subheadings and prefaces, his biblical and theological citations, his
allusions to works of visual art, and on the language spoken more
indirectly by the musical tropes themselves.
The two essays in the first part introduce the person behind the music:
Messiaen the teacher who never formed a “school”, the humanist who
coached widely different creative talents, encouraging each to become
more fully him- or herself, and the theologian who drew on complex
mathematics to transform his rhetorical message into music. Part II
follows with three investigations into the principal aspects of his
compositional technique and their relationship to his religiously based
concept of restraint. The three essays in Part III focus specifically
on the celebratory angle of the subject matter Messiaen's music
explored: the combination of humility and glorious praise of God in
Franciscan spirituality and the song of birds. The volume concludes
with three inquiries into language and structure in the broader sense,
and into the spiritual motivation that underlies a spectrum that spans
from a musical alphabet through the complex symmetrical design of a
cyclic composition to the composer’s own poetry.
Soliciting essays for a volume dedicated to
a composer whose music, thought, and spiritual attitude have for many
years been a major inspiration for me has been challenging and richly
rewarding. Working with an international team of authors and editing
their thought-provoking articles for publication has been a wonderful
experience and a great pleasure. I wish to extend my sincere gratitude
to all contributors for making this volume possible. My particular
thanks go to Joseph Auner, general editor of the series on “Studies in
Twentieth-Century Music” of which this book forms a part, for his very
prompt, always enlightening, and invariably kindly advice and support.
As can be expected when several scholars discuss a single composer, the
essays collected here contain some points of overlap. Where
observations made in one article were repeated in another, such
repetitions have been eliminated. Thus Ian Darbyshire, e.g., has kindly
agreed to cut out substantial documentation for points made in his
essay since the examples are discussed in extensive detail elsewhere,
and Roberto Fabbi has consented to limit himself to merely touching
upon the issue of synaesthesia, since this is central in Jean Marie
Wu’s contribution. In other cases, however, both the series editor and
I felt that the various treatments of the same material can be a
strength rather than a weakness, since recapitulations of a topic in
different contexts often create a cumulative effect.
Much thought has been given to Messiaen’s specific terminology and its
rendering by various authors. While several contributors grant the
composer the right to idiosyncrasies of language, others feel strongly
that traditions of the English language should have priority; thus you
will find Ian Darbyshire arguing against the use of the word
“interversion” while other authors saw no reason to deviate from
Messiaen’s choice of term. However, spelling and capitalization in the
titles of Messiaen’s works have been standardized throughout this
collection in accordance with the article on Messiaen in The New Grove
Dictionary of Music and Musicians, ed. Stanley Sadie (London:
Macmillan, 1980). Transliterations of Indian rhythms follow the “Table
of 120 deçi-talas according to Sharngadeva” in Appendix II of
Robert Sherlaw Johnson’s Messiaen (London: J.M. Dent and Berkeley, CA:
University of California Press, 1974 and 1989; now Oxford: Oxford
University Press).
Ann Arbor, July 1997
Siglind Bruhn